论文部分内容阅读
自1970年代,纽约现代艺术博物馆(Mo MA)举办摄影展览“镜与窗”以来,摄影便开始更加有力地突破原有的社会功用和自律性的艺术定位,化作联结外在现实和摄影师内在体验的通道。这其中,时间始终以摄影的媒介特性,成为构建图像意义的重要链条。然而,当摄影作为一种制像技术和行动方式深深地嵌入到当代权力与审美体系中,时间与图像的关节就被骤然打开,同时表现出一种“制衡逻辑”。在此境遇中,时间并不是图像的共谋;相反,时间与图像似乎幻化为对等的实体,凭借相互间的
Since the 1970s, when the New York Museum of Modern Art (MMA) held a photo exhibition “Mirror and Window”, photography began to break through even more original artistic functions of social and self-discipline, turning itself into a link between external reality and The way the photographer’s inner experience. Among these, time has always taken the characteristics of photography as an important link in the construction of image meaning. However, when photography is deeply embedded in contemporary power and aesthetic system as an imaging technique and mode of action, the link between time and image is suddenly opened and a “logic of checks and balances” emerges. In this situation, time is not a collusion of images; on the contrary, time and images seem to be turned into equal entities, by virtue of mutual