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马琳·杜马斯说“艺术家总是爱假装,艺术家总是假装去爱”。尼采说:“他还会理解:我为什么在无法找到我所需要的东西时,就通过造假来逼迫自己,或从伪造与虚构中求取。诗人们还做过什么别的呢?世上的一切艺术的目的何在呢?”1这是马琳·杜马斯的声明,怎样去解释它呢?这样表达肯定是有她自己对假装的定义。假装是一个人为(社会性)的现象。特别是在大众媒体和照相图片的上下文中。(电影《天生杀人狂》2中利用电视节目中杀人犯主角和观众的被采访来讽刺媒体利用真实性的爆料来哗众取宠。它们符合大众的猎奇的消费心态,从那位女记者看到现场直播同事的被杀的假装同情扭捏的表情可以看到。)利用这些图像的真实性和直接与现实有关系的直接的记录性的特质。这些照片媒体承担着和促进着一种操纵的战略作用。
Marlene Dumas said “artists always love to pretend that artists always pretend to love.” Nietzsche said: “He would also understand why I forced myself by counterfeiting or seeking forgery and fiction when I could not find what I needed. What else did the poets do? What is the purpose of all art? ”1 This is the statement of Marlene Dumas, how to explain it? This expression must have her own definition of pretense. Pretend to be a human (social) phenomenon. Especially in the context of the mass media and photographic images. (The movie “Inborn Killer 2” uses television interviews with protagonists and viewers of homicides to satirize the media for using false positives to sensationalize the public. They are in line with the general public’s curiosity of consumer mentality, from which the woman reporter saw the live broadcast The disguised expressions of sympathy and empathy by colleagues can be seen.) Make use of the authenticity of these images and the direct, documented nature of the reality. These photo media bear and promote a strategic role of manipulation.