• 2010-02-05

    李伟和他的草原

    版权声明:转载时请以超链接形式标明文章原始出处和作者信息及本声明
    http://www.blogbus.com/liweipic-logs/57915706.html

     

    《李伟和他的草原》,上海新天地《Zing新》杂志2010年2月期刊发,欢迎上海朋友们逛商场免费取阅。

    《Zing新》杂志电子版本链接,注册后可以下载:http://www.xintiandi.com/chinese/zing_flash.asp 


    李伟和他的草原

    Plain is in my Soul 

    Text / 翁忻旸 Photo / 李伟

     

    李伟的作品并不如一些同年龄段的青年摄影家一样流溢出傲人的才华,发散着令人倾倒的魅力,他给出了一些平淡的画面,与茫茫的草原一样平,在翻阅画册的时候很容易被人轻轻翻过,但如果得到反复端详的机会,这些画面便展现出令人愉悦的韵味来。

     

    《大地》是李伟始于2008年的拍摄计划,步入而立之年的摄影师将视线投回到故乡,开始了一系列的旅行。“对于故乡的爱让我重新审视这片土地......在多次旅行后,我把这些照片展现给你们,它们代表了边境地区人们的真实生活。”摄影师写道。文字如摄影一般节制、清晰。

     

    作为一组纪录作品,《大地》并没有展现内蒙古标志性的场景:奔驰的骏马、如血的夕阳和云霞、在蒙古包前拉起马头琴吟唱呼麦的牧民。

     

    作品内容是“蒙古族的文化变迁”,却鲜有图片表现变迁中的阵痛和惊奇。我们能看到的较为明显的展示变迁的是两位蒙古妇女看手机的照片,李伟用中景将人物拉远,其神态展现的不是光鲜的现代感,而是更靠近古代中国画描绘仕女的作品。李伟似乎有意避开了紧张,崇高或戏剧性,专注于在散漫的凝视中摹写主题。

     

    一以贯之《大地》的是普通的视角、稳定的视角,这一视角不免让人想起小津安二郎。小津在电影中时常以小段的城市景观来穿插剧情,仿佛担心他平淡的剧情已经让观众过于紧张一般。这种呼吸式的韵律在观看《大地》时也能感受到,李伟拍摄的缺乏视觉中心的景观如同翻页一般,再次稀释了指向某一主题的努力。

     

    在拍摄人物的作品中,无论在室内还是室外,人物一般都置于画面中心,他并不强调构图,也进一步取消了自己抓取瞬间神态的技巧。摄影师可能藉由这些放弃自己内心的波动,对观看来讲,造成了平板和诚实的印象。

     

    我以为,“致虚极,守静笃,万物并作,吾以观复”是纪录片摄影师的最好状态,它将纪录者的注意力从画面引向内心。这也许可以描述李伟。

    ++++++++++++++++++++++

    你对故乡有什么记忆?

    儿时的记忆都逐渐模糊了。印象里很小的时候,有一次和父亲单位去旅游,呼和浩特附近一个叫召河的草原上的旅游点,可能是我第一次看到草原,空旷,草很稀疏,还有些蒙古族的歌舞表演什么的。

    你是蒙古族人吗?

    我出生于内蒙古呼和浩特市,现在工作生活于北京,我是汉族人。

    拍摄《大地》的缘起是什么? 

    实际上是成长后,对于故乡的再认识。内蒙古是我的故乡,但内蒙古太大了,我很多地方没走过。对家乡的感情促使我重新审视内蒙古。

    《大地》既有风景,又有室内环境和人物,内蒙古是一个很大的题目,你怎么定位这个创作计划?

    我把主题定位在中国当下蒙古族的文化变迁。而且我觉得把人物和生存环境结合起来,才能更全面的阐释主题。

    在拍摄中遇到的困难或阻力主要有哪些?

    拍摄的困难,主要还是资金的问题,我辞掉工作拍摄这个项目已经进入第三年了,在中国搞纪实摄影,是个理想主义的事情。

    能给我们讲述几个在拍摄过程中的故事吗?

    比如前几天,我在东乌旗那里拍摄,坐在一个蒙古人摩托车后座上去拜访牧民,冻得好惨。中间骑一段,不得不下来走走,或者捂捂脸。而牧民们,恰恰长期生活在这样恶劣的气候和自然环境下。

    作为一组记录照片,你选取事件,人物及景象的标准是什么?它们是作为散文诗出现还是包含更多事件的小说封面 

    我想这样的拍摄方式更像散文诗。具体就是看在场的感觉,有感觉就按快门拍。后期编辑照片,需要考虑的因素太多了,当然,我希望照片里呈现的人物或景象,有些隐喻或隐含的细节,这样才更耐看些。

    一些摄影师拍摄包含情感张力的记录照片,将决定性一刻展现给观众;你的照片则显得平淡而素朴。你是否也经历过捕捉瞬间的阶段?

    如果说决定性瞬间是砰的一下打动你,那《大地》这组却是通过照片所蕴含的的细节和力量触动你。就像中国文化里有以柔克刚一说。我现在更喜欢后面这种记录方式。

    吕楠关于西藏人的摄影是否也曾打动过你?在同时代的摄影师中有让你得到启发的吗?

    吕楠的作品我也很喜欢。当代的摄影师,我们都在走自己的路。

    拍摄自己的故乡总会牵带个人情感,你如何平衡内在情感和外在现实的关系?

    我喜欢塔可夫斯基(Andrei Tarkovsky)的电影《乡愁》(Nostalgia),整个《大地》这组作品我也希望流淌着浓浓的个人情绪,这和自己的心灵相关,我觉得比外在的现实更重要些。

    一些照片相较其它更为提供了一种情调,你更喜欢提纯的画面还是复杂的画面?你怎么看待诗意? 

    我喜欢纯净的画面。所谓诗意就是作品所呈现的意境之美吧。

    故乡对你来说是什么?

    故乡是根,是我的心灵源泉

     +++++++++++++++++++++++++

     Li Wei, Plain is in my Soul

    Li Wei isn’t your typical hot young photographer, blessed with amazing talent and charm that carries you off your feet. His works are simple -- as “plain” as the boundless plains, which amongst all the photos in a collection, tend to receive no more than a passing glance. Yet if, for once, they were to be appreciated for their true worth, the pictures would offer a very pleasant taste, indeed. 


    In 2008, Li Wei started “The Earth” project -- a series of journeys back to his hometown. He writes, “My love for my hometown takes me back to this land to observe it from another perspective…After so many journeys, I bring these photos to you, as they reflect the real life of those who live at the boundaries.” His words are just as restrained and clear as the pictures. 


    As a documentary piece, “The Earth”, rather than being devoted to the signature scenes of Inner Mongolia: horses galloping, red sunsets and rosy clouds against the herdsmen in yurts singing to the accompaniment of matouqin, depicts cultural change in Mongolia, yet without a single picture exhibiting the pain and wonder of this process. We can see the relatively more straight-forward message about change is in the faces of two Mongolian women staring at their mobile phones, which Li Wei shoots from a distance in order to achieve a sense of the female portraits of traditional Chinese painting, rather than a bold, modern feel. It seems that Li Wei has intentionally avoided tension -- noble or dramatic, and depicts his themes through casual observation. 


     “The Earth” is of the same vein that would remind one of Ozu Yasujiro, who often connects his images with urban scenery, as if he’s afraid that the empty plots may cause anxiety among viewers. This kind of rhythm can be felt in “The Earth” as well; Li Wei’s lack of visual focus is like browsing -- once again diluting the effort to push forward the theme.  


    If his subjects are people, they tend to be placed in the center of the picture, no matter if it’s indoors or outdoors -- Li Wei ignores the composition of the photo. In addition, the subjects in his photos are relatively small, and when they are large they tend to be shot from the front, staring directly at the lens -- Li Wei, again, dispenses with the snapshot skills for catching a fleeting glimpse. By doing this, the photographer may have turned his back on the ripples of the heart, but to the audience, it leaves an impression of honest simplicity.  


    Li Wei describes the role of a documentary photographer as “effecting emptiness to the extreme while keeping stillness whole; a myriad of things acting in concert and I therefore watch their return.” In this state, the attention of the photographer is pulled back from the pictures to his heart. It’s a valid description of Li Wei.
     


    What’s your impression of your hometown?

    My childhood memories have blurred, though I remember traveling with my Dad when I was little. The trip was organized by his company to a scenic spot on a plain called Zhao River near Huhehot. It was probably my first time seeing the plains with my own eyes -- open, sparse, and tinted with things like Mongolian singing and dancing performances.


    Are you Mongolian?

    I was born in Huhehot Municipality in Inner Mongolia and at present I am working and living in Beijing. I am of Han ethnicity. 


    Why did you want to create “The Earth”?

    It is my impression of my hometown after growing up. Inner Mongolia is my home. But it’s so big that I can’t cover every corner. My affection towards my hometown let me see Inner Mongolia from a new perspective. 


      “The Earth” boasts both natural sceneries and indoor settings and people. Inner Mongolia is a big theme, so what are you trying to present through this creative project?

    The theme is about the cultural change of Inner Mongolia in today’s China. I think the theme can be presented more completely only if I combine living things with their environment. 


    Did you experience any difficulties, and what is the main source of those barriers?

    The main challenge was financial. It’s been three years since I quit my job and started this project. In China, documentaries are somehow unrealistic and idealistic. 


    Could you share with us some stories of the process of shooting?

    The other day, I was in East Wu Qi visiting local herdsmen, riding with a Mongolian on his motorcycle, and it was freezing cold. I had to, from time to time, walk a few miles or rub my face to warm up. However, it is in this bitter climate and natural state that the herders have been living for centuries. 


    To make a documentary series, what’s your standard for selecting scenes and subjects? They seem to be more like poems, or novel covers with more imagery.

    I would say the shooting method is more like poetry. To be more specific, it really depends on my feeling when I am on the spot, and I would press the shutter whenever the feeling is right. In the editing stage, there are so many factors to be taken into consideration. Of course, I prefer to include some subtle details about the subjects or scenes to make it more thought-provoking. 


    Some photographers throw to the audience the moment through their very emotional presentations. Your pictures appear to be plain and simple. Have you ever experienced the “snap-shot” period?

    If by the moment you mean the moment you get moved, “The Earth” on the other hand presents you with all the hidden details and powers or “ordinary” scenery. It’s the so-called “weak is strong” idea of Chinese culture. I prefer the latter. 


    Have you ever been inspired by the photos of Tibet by Lu Nan or similar contemporary photographers?

    Yes, I like Lu Nan’s works, as well. Each contemporary photographer is on his or her own track. 


    Personal feelings are inevitably involved when it comes to one’s hometown. How do you balance the relation between inner-feelings and objective reality?

    I like Tarkovsky’s movie Nostalgia. I hope that “The Earth” can also have a strong individual emotional flow. It is related to the soul, which to me is more important than objective reality. 


    Some photos are comparatively more sentimental than others. Which one do you like better, simple scenes or complicated ones? What’s your view towards being poetic?

    I like pure and clean pictures. The so-called “poetic” label should be a kind of artistic conception of the works.


    What does the hometown mean to you?

    To me, my hometown means my roots. It is the headspring of my soul. 

     


    分享到:

    评论

  • 恭喜,
    普通的视角、稳定的视角,这一视角不免让人想起小津安二郎
    这句太强了,在上海新天地看过这本杂志,很好质感很好很喜欢
    下次来广州哦
    回复jupitel说:
    Jupitel,也去看了你拍的广州,祝过年好!吉祥如意!
    2010-02-13 14:29:36