2010年7月28日
毫無疑問,荒木經惟是這個時代最讓人惶惑的攝影家之一,也因此讓人總有論說他的欲望。有人說他是天才,有人說他是色情狂,有人說他是演員,有人說他變態。但我覺得他是一個行為藝術家、一個東方哲學家、當代攝影中最大的一個虛無主義者。你會問:怎麼可能?這個孜孜不倦拍照,出版了二百多本攝影集的工作狂怎麼可能是虛無主義者?這個大量拍攝人類肉體、城市景觀的充滿欲望的人怎麼可能是虛無主義者?
攝影即消費 看破色即空
然而走極端者往往是為自己提供反證。之所以我說他是行為藝術家,是因為他把拍攝這個行為本身已經當作一項藝術工程─一項藉以闡釋他的哲學的藝術工程來進行,他通過大量複製來強調攝影的本質─「機械複製時代的藝術作品」,攝影即消費,即使苦心經營的攝影也是消費,愈是精緻的影像愈顯得浪費。君不見時尚雜誌批量生產的美麗大片,實際它們比你的任何一張家庭紀念照都更沒有意義,時尚雜誌不承認這一點,荒木經惟卻毫不留情地揭示了出來,他的裸體美女日復一日地擺着相似的姿勢、做着麻木的興奮表情,猶如鏡子映照出真實生活同樣存在的虛偽。
這是東方哲學的「覺悟」,徹底地看破了色即是空,與之相比,西方類似的攝影家根本不在一個水準層次,例如另一個色情狂赫爾穆特.牛頓,他也大量拍攝裸體和極端的情欲場面,貌似顛覆時尚、調侃時尚,實際上還是為時尚服務,模特和攝影師的酷都是裝的,而且他拍攝情欲是因為他心中有色,通過攝影來放縱,荒木心中當然也色,但他的色卻悲哀─將大悲而終。
每張照片給他帶來一層虛空
這是一種悲憫─看看我們汲汲乎其中的那點欲望到底有多麼虛無!那些美嬌軀不是真實,她們身上的繩印、身邊的怪獸模型、她們空洞的眼睛才是真實;那些摩天大樓、車水馬龍不是真實,那大片的陰影、剖開的工地、凌亂的反光才是真實;大都會東京不是真實,他的書名《東京喜劇》才是真實……那麼多裸露的性器官不是真實,那些「花陰」─恣意盛開的熱帶花蕊以及它們的萎謝才是真實,一如那充滿禪意的命名:「空花」。
荒木的真實源於他的自覺:性比死更冷。他每拍一張照片,這張照片就給他帶來一層虛空,為了填補這虛空,他不由自主地又去尋找下一張照片,最後這虛空堆積得愈來愈大,讓觀者已經感覺不勝重負,而荒木卻樂此不疲。
最近荒木的作品中文版在台灣陸續出版,尤其《寫真的話》和《天才荒木的寫真術》予人啟發良多,老頭子嬉笑怒罵,卻常常給人醍醐灌頂之悟。他的攝影集也還是一本接一本不停地出版着,但最近他的處女作《阿幸》的復刻版出版,更令他的這些妙語得到最直接的圖證,也令人沉思這麼一個天花亂墜、無「惡」不作的怪叔叔的原初狀態─正如書的腰封上寫:「天才荒木的原點」。
這也讓我看到一個似乎和上述怪客完全不一樣的荒木經惟。《阿幸》的主題是我們如今無法想像的淳樸:一個平民區荒地上嬉鬧的一群小頑童,其中最「百厭」的就是男孩阿幸。其時年僅二十三歲、相貌青澀的荒木經惟放下大學生的尊嚴和這些髒兮兮的小孩打成一片,攝影快門總是在不可思議的角度和時機按下,你彷彿能感到荒木和他們之間的吆喝、呼吸的熱氣,照相機彷彿也是一件玩具,一件那個襤褸年代的竹蜻蜓,能夠帶領這些貧窮的小孩子和同樣貧窮的荒木一起高飛起來。
物我兩忘 保持赤誠
在這些上個世紀中葉的黑白照片裏,我們能看到的是徹底的自由和真實,不但被攝者毫不躲避鏡頭(也不在鏡頭前矯揉作態),攝影者在入神中忘記了自己的存在……我們觀看者也意識不到任何隔閡,連攝影本身也彷彿不在了。攝影有道,道之一就是這種物我兩忘的狀態,荒木竟然在最開始就領悟到了,除了因為如他所說:我拍攝的其實是我的小時候,「打從一開始拍照,我就已經把自己暴露在觀者之前了」,還有是因為那時的世界也還是那個赤裸的世界。此後的荒木經惟,要做的只是保持對這赤裸的真誠而已。
這是荒木最感動我的一本攝影集,它獲得了1963年第一屆太陽賞攝影獎,在荒木的回憶中,《阿幸》已經是他「私攝影」的起點,但是現在細讀,卻能發現許多並非「私攝影」的元素參與其中,賦予荒木的自我審視以魅力。荒涼陳舊的街區、空蕩蕩的陽光和陰影、來自貧困的乾淨……處處讓人想起意大利新現實主義的電影,也聯繫着那個年代的純樸和自尊,時代的細節圓融地包裹着無憂無慮的孩童,尚未有當代的刺激和侵略性。即使是後來荒木所拍攝的情色作品,他也保持了這種對環境細節的敏感:我、你與這個世界,三者是充滿交流的。
如果只看這本《阿幸》,還有最近為了慶祝他七十大壽出版的一些攝影集,比如說《走在東京》,我們會讚一句:他究竟是一個充滿了愛和溫暖的人。在後者,我們彷彿跟隨着一個老爺爺漫無目的地在東京街頭散步─或者是流浪,他還是有點古怪、有點色,鏡頭除了對準像當年阿幸們那樣的街童,更多流連於符合他審美趣味的少女和少婦,但在溫熙的眼光中、流動隨性的影像中、還有無礙地展示給他的每個人的微笑中,我們似乎知道了七十年光陰對於一個男人的意味,七十年的花花世界,不過一張黑白相紙
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Tuesday, July 27, 2010
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