费里尼:8 1/2的色彩 FELLINI, 8 1/2 COLOUR

Marcello Mastroianni. Courtesy of  Paul Ronald, Archivio Storico del Cinema, AFE

FELLINI, 8 1/2 COLOUR

Photographs by Paul Ronald

费里尼:8 1/2的色彩

摄影:保罗·罗纳德

As if by magic, Federico Fellini’s legendary black and white film 8 1/2 makes an appearance in colour, immortalised by Paul Ronald. The producers asked him to photograph scenes in black and white. But Ronald had two Hasselblad cameras, and he loaded the second one with a roll of colour film, not knowing what he would do with it.

就像魔术一样,费德里科•费里尼的传奇黑白电影《8 1/2》“彩装”登场,在保罗·罗纳德的镜头下变得不朽。制作人原本请他拍摄黑白场景。但罗纳德有两台哈苏摄像机,而且他在第二台相机上装上了彩色胶卷,但他并不知道将怎么如理这卷交卷。

Colour reveals all. It underscores the aesthetic choices’ resolute modernity, from the sets to Piero Gherardi’s costumes, the eminently contemporary figures of Anouk Aimée and Claudia Cardinale, and Marcello Mastroianni’s lecherous poses. It takes us out of the film’s rigorous structure, brings us behind the scenes and shows us the festive mood that prevailed on Fellini’s set.

色彩揭示所有东西。色彩突出了审美选择的果断坚决的现代性,从布景到皮耶罗·盖拉尔迪(Piero Gherardi)的服装,阿努克·艾美(Anouk Aimée)与克劳蒂雅·卡汀娜(Claudia Cardinale)的显著当代形象,再到马赛罗·马斯楚安尼(Marcello Mastroianni)的情色姿势。色彩将我们抽离出电影的严密结构,领到场景背后,给我们展示了费里尼的布景中盛行的喜庆气氛。

81/2 was the last black and white film in a long series that the master began making in the early 1950s. It was never intended to be seen in colour, but Piero Servo recently found Ronald’s long-forgotten box of negatives. That rediscovery, accompanied by Anouk Aimée’s recollections, is the focus of this show.

《8 1/2》是这位艺术大师在20世纪50年代早期开始制作的长系列中都最后一部黑白电影。这部电影从未被设想过以彩色的形式呈现,但皮耶罗·塞尔沃(Piero Servo)最近发现了罗纳德的一盒被遗忘已久的底片。这一发现,加之阿努克·艾美的回忆,是此次展览的焦点。

Curator: Sam Stourdzé.

策展:萨姆•斯道兹(Sam Stourdzé)

With support from the Centre des Monuments Nationaux and the Fondation Fellini pour le Cinéma, Sion.

This exhibition is based on a project presented in 2011 at the Maison du Diable in Sion, coproduced by the Fondation Fellini pour le Cinéma and the Musée de l’Elysée, whom we thank for it.

We warmly thank Anouk Aimée, Piero Servo, and Antonio Moraldi.

支持:国家纪念中心(Centre des Monuments Nationaux),费里尼电影基金会(Fondation Fellini pour le Cinéma)(法国锡永).

本次展览基于2011年在法国锡永“魔鬼大厦”Maison du Diable呈现的一个项目,由费里尼电影基金会以及爱丽舍宫博物馆(Musée de l’Elysée)联合呈现,我们向其表达谢意。

我们由衷感谢阿努克·艾梅,皮耶罗·塞尔沃以及安东尼奥·莫拉尔地(Antonio Moraldi)。

 

Excerpt from Sam Stourdzé’s interview with Anouk Aimée

 

萨姆•斯道兹阿努克·艾梅访谈摘要

 

Sam Stourdzé: In 8 1/2, you play Luisa, the wife of the uninspired director. Today, the biographical elements are troubling when we watch the film again. Was it known at the time that it was Fellini’s life that was being performed?

萨姆•斯道兹: 在《8 1/2》中,你扮演的是路易莎(Luisa),一个平庸导演的妻子。如今,当我们再看这部电影,里面的传记性元素则令人困扰。拍摄的时候大家知道呈现的是费里尼的生平吗?

 

阿努克·艾梅: One day, Giulietta [Massina] came on the set. I was finished shooting by then, and they called me: ‘The Maestro wants to see you!’ ‘But it’s over!’ ‘No, no, he wants you on the set!’ The assistants were all running left and right because Giulietta was there. She did not know the script. It was the first time she was coming. The scene in shooting was the one where Luisa discovers the tests, and all the women are there! It is the only time I saw Federico nervous. He told me: ‘But Giulietta is here, go say hello to her!’ So I went and sat next to her… I used to get along very well with Giulietta: maybe it was because I never tried to charm Federico. I was not part of all these women who were running after him… As a matter of fact, Federico always used to say to Marcello [Mastroianni], speaking of me: ’She’s our little sister from the country…’ In that scene, we understand quite quickly that the character of Luisa is in fact her. So I am sitting next to Giulietta, and she’s asking me questions: ‘But what’s this, and what about her, who is she, a mistress?’ So I explain to her: ‘She’s gone, she’s S icilian, with the feathers.’ And then she asks me: ‘And what about you?’ ‘I am not there, but I play the director’s wife…’ And one of Federico’s assistants would come to me every ten minutes, and discreetly ask me: ‘The Maestro is asking what Giulietta is saying?’ [Laughs]. ‘It was amazing because she was discovering the movie at the same moment when, in the film, Luisa discovers everything!’

 

阿努克·艾梅: 有一天,茱丽叶塔[马西纳](Giulietta [Massina])来到布景前。那时我已经拍完了,然后他们把我叫住:“大师要见你!”“但我已经拍完了啊!”“不,不,他想要你加入到布景中!”由于茱丽叶塔在场,助理们都在四处忙碌。她不知道台本。那是她第一次来。当时正在拍摄的场景是路易莎进行屏幕测试的场景,而所有的女士都在现场!那我我唯一一次看到费德里科紧张起来。他跟我说:“但茱丽叶塔在这儿呢,去跟她打声招呼!”于是我过去在她边上坐下了…我以前和茱丽叶塔相处得很好:也许是因为我从来没有试图去迷住费德里科。我并不是这些追随他的女人中的一员…事实上,费德里科过去常跟马赛罗[马斯楚安尼](Marcello [Mastroianni])提起我:“她是来自农村的咱们的小妹妹…”在那个场景下,我们很快就发现路易莎的角色原来由她扮演。于是我坐在茱丽叶塔边上,而她正问我:“但这是什么,她呢,她是谁,一个小姐?”于是我向她解释:“她走了,她是西西里人,身上带羽毛。”然后她问我:“那你呢?”“我不在那儿,但我扮演导演的妻子…”然后费德里科的其中一位助理每十分钟就来到我跟前,小心地问我:“大师问茱丽叶塔在说什么?”[大笑]。“实在太棒了!正当电影中的路易莎在厘清所有事情的时候,她也在参悟着这部电影!”

唱片汇 TOTAL RECORDS

Boz Scaggs, Middle Man, Columbia FC 36106, États-Unis, 1980. Photographie de Guy Bourdin. Avec l’aimable autorisation de The Guy Bourdin Estate, 2015.

TOTAL RECORDS

THE GREAT ADVENTURE OF ALBUM COVER PHOTOGRAPHY

唱片汇

唱片封面摄影的伟大探险

A history of photography through the prism of the vinyl record. These two media, which left their mark on the 20th century, interplayed in all their forms, from artwork to illustration, figuration to experimentation. The show is based on this diversity of intentions and propositions. The first two images published on an album cover— an artsy vision of Broadway and a more figurative shot of a cowboy— already suggested that anything was possible. The format—33 rpm, 45 rpm, a circle in a square—encapsulates almost the whole history of photography. Many photographers have left their mark on these 30×30 cm covers.

 

一段由黑胶唱片透射出的摄影史。这两件在20世纪留下了自身印记的媒介,通过自身的各种形式相互影响,从艺术品到插图,从装饰到实验。展览正是基于这种意图和命题的多样性而成。最早发表在专辑封面的两张图像——一张百老汇的文艺视像以及一张牛仔的具象拍摄——早已暗示了万事皆可能。这种格式——33转,45转,方形的封面加上圆形的唱片——浓缩了几乎整段摄影史。许多摄影师都在这些30×30厘米的封面上留下了自己的痕迹。

 

Photography has played a leading role in the history of recorded music. Looking at an album cover, you can almost hear what you see. Photographers illustrated many classics. Who hasn’t purchased a record based on its cover? The image of Abbey Road has come down through the past half-century just as surely as the Beatles’ music.

 

摄影在录制音乐的历史中扮演了领先角色。当你看着一张唱片封面,你几乎能闻你所见。摄影师展示了许多经典。谁不曾因为封面而买下一张唱片?艾比大道(Abbey Road)的图像毫无疑问地与披头士的音乐一样穿越了半个世纪而流传至今。

 

The Rolling Stones’ Sticky Fingers record sleeve featured Andy Warhol’s famous crotch shot, but the world’s foremost photographers, including David Bailey, Hiro, Annie Leibovitz and Robert Frank, illustrated some of the group’s other album covers. Some photographers built a style; others built icons. Labels built visual identities where photography mattered more than anything else: Francis Wolff’s black and white photos for Blue Note, ECM’s shades of grey, the flashy colours of Hypnosis, etc. House productions foreshadowed a sound. Conversely, album covers featured many of the century’s symbolic, historic images: a portrait of Céline, the Great Depression seen through the eyes of the Farm Security Administration photographers, May 1968, Black Power in the United States, etc. Every technique—from photojournalism to photomontage, photo booths, photos used for a purpose other than that for which they were intended, overexposed photos and photos within the photo—can be found in these 30×30 cm squares.

The deeper you dig, the vaster the subject seems.

Jacques Denis

 

滚石乐队“Sticky Fingers”的唱片封面特点是一张安迪·沃霍尔的胯部照片,但全球最重要的摄影师,包括大卫·贝利(David Bailey), Hiro,安妮·莱柏维兹(Annie Leibovitz)和罗伯特·弗兰克(Robert Frank),展示了滚石的其他唱片封面。一些摄影师创造了风格;其他的创造了偶像。比起其他任何东西,摄影更在意视觉身份,而唱片公司确立了视觉身份:弗朗西斯·沃尔夫(Francis Wolff)为蓝调唱片(Blue Note)创作的黑白照片,ECM唱片的灰色阴影,Hypnosis唱片的艳丽颜色,等等。唱片公司的制作预示了一种声音。相反地,唱片封面主打的是代表性的、具有历史意义的图像:席琳(Céline)的肖像,农场安全管理局摄影师眼中的大萧条(the Great Depression),1968年法国五月风暴,美国黑人权力运动,等等。每一门技术——从摄影新闻到摄影集,照相亭,作为目的而非其原意而被利用的照片,过曝照片,图中图——都能在这些30*30厘米的方块中被找到。

你挖掘得越深,它越显宏大。

雅克·德尼(Jacques Denis)

X

Exhibition curators: Antoine de Beaupré, Serge Vincendet, and Sam Stourdzé.

With the complicity of Jacques Denis.

The section ‘Francis Wolff and Blue Note Records’ is produced by the Kyotographie Festival, with Michael Cuscuna (Mosaic Records) and Lucille Reyboz & Yusuke Nakanishi (Kyotographie) as exhibition curators.

Prints by Tokyo Color Kogeisha, for the Blue Note section.

Paul McCartney album covers photographed by Linda McCartney.

Curated by Paul and Mary McCartney and produced by Linda Enterprises Ltd,

London. Prints by Sean Mulcahy at Metro Imaging, London.

Wallpapers by Central DUPON Images.

Framing by Plasticollage and Circad, Paris, and Europlast, Aubervilliers.

Publication: Total Records, la grande aventure des pochettes de disques photographiques, éditions 213, 2015.

Texts: Jacques Denis.

 

展览策划: 安托万· 德·布普雷(Antoine de Beaupré) , 谢尔日·文森蒂(Serge Vincendet), 萨姆•斯道兹(Sam Stourdzé)

联合策划:雅克·德尼

“弗朗西斯·沃尔夫与蓝调唱片”部分由京都摄影节(Kyotographie Festival)制作,马赛克唱片的迈克尔·库斯库纳(Michael Cuscuna,Mosaic Records) 以及京都摄影节的露西尔·瑞铂斯(Lucille Reyboz )和Yusuke Nakanishi为展览策划。

蓝调唱片部分的印刷由东京Color Kogeisha承担。

保罗·麦卡特尼(Paul McCartney)唱片封面由琳达·麦卡特尼(Linda McCartney) 拍摄。

保罗与玛丽·麦卡特尼(Paul and Mary McCartney)担任策划,伦敦琳达有限公司(Linda Enterprises Ltd, London)担任制作,伦敦马特洛影像(Metro Imaging, London)的肖恩马·尔卡希(Sean Mulcahy)承担印刷。

墙纸由杜邦影像中心(Central DUPON Images)制作提供。

Plasticollage and Circad(巴黎) 以及Europlast(奥贝维利埃)承担装裱。

出版:《唱片汇:唱片封面摄影的伟大探险》(Total Records, la grande aventure des pochettes de disques photographiques, éditions 213, 2015.

文字:雅克·德尼

9.12 第二次新闻发布会

Design by Liu Jing 设计:柳静 Photo: Li Shu 摄影:李树
Design by Liu Jing 设计:柳静
Photo: Li Shu 摄影:李树

Jimei X Arles: East West Encounters International Photo Festival
集美X阿尔勒:东西方对话 国际摄影季

*

Talk & Conversation
讲与谈

Moderator: Cao Dan
主持人:曹丹

Key Speaker:Sam Stourdzé, RongRong, Li Zhenhua
主讲人:萨姆•斯道兹、荣荣、李振华

Saturday, 12th of September
星期六,九月十二日

17:00-19:00
晚五点至七点

Special Guests: Michael Benson, Liu Tian, Ma Nan, Ben Huang, Liu Xiaoguang, Hu Weiyi, Hu Jieming, Liu Jing, Iris Long & Cedar Zhou, Zheng Yunhan, Liu Hongjian, Lu Yanpeng
特邀嘉宾:Michael Benson、刘畑、马楠、Ben Huang、刘晓光、胡为一、胡介鸣、柳静、龙星如&周姜杉、郑云瀚、刘宏剑、卢彦鹏等
Shanghai Minsheng Art Museum
上海民生现代美术馆

Address: bldg F, NO.570 West Huaihai Road
地址: 中国上海市长宁区淮海西路570号(红坊院内)

Tel/电话:+86 21 6282 8729
jimeiarles@qq.com | http://www.jimeiarles.org

Supported by:

MINSHENG

logoConsKEE club

About 项目介绍

2015

集美X阿尔勒:东西方对话 国际摄影季
Jimei X Arles: East West Encounters International Photo Festival


展览时间:2015年11月15日-12月16日
Date: November 15-December 16, 2015


展览地点:园博苑嘉庚艺术中心、市民中心
Location: Yuanbo Garden, Tan Kan Kee Art Center, Jimei City Center


摄影双年展、摄影三年展以及国际摄影节等形式推广传统及当代摄影艺术,带动相关产业和区域经济文化发展,是当今许多国家、地区的做法。国际著名摄影节法国“阿尔勒摄影节”(les Rencontres d’Arles de la photographie)经历了多年的发展,形成了自己的特色和模式,并且在当今世界经济和文化变革的情况下不断求新。


This day in age, many countries and regions are forming photo biennials, triennials, and international photo festivals to promote traditional and contemporary art photography while spurring on the economic and cultural development of the areas in which they are held. The internationally renowned “Les Rencontres d’Arles” already has an illustrious history and has developed its own unique style and model. Furthermore, it continues to strive for change amidst today’s global economic and cultural transformation.


集美X阿尔勒正是在这一专业领域和公众的双重需求中产生,有着特别文化积淀,历史涉及国际海洋文化之遗留。集美X阿尔勒将更深远的影响到周边国家地区的文化,以及和欧洲所构建的基于当代图像的全球化特征。


Jimei X Arles emerges precisely from the convergent needs of both this specialized discipline and the broader public. Xiamen possesses a truly unique cumulative cultural heritage and history of overseas interaction and exchange. Jimei X Arles aims to have a widespread effect upon culture in its neighboring countries and regions, as well as that of the global characteristics of contemporary photography, which originated in Europe.


集美是中国最美城市——厦门的一个行政区,被称为“海上花园”的地方。一条大山脉分出五条小山脉直入两个海湾,形成“五龙戏珠”地形地貌和一系列优美的传说。地杰人就灵。被毛泽东主席誉为“华侨领袖 民族光辉”的陈嘉庚先生生于斯,并创办了中国永久和平学村—-集美学村,十几万的师生在集美求学,创造极致雅美。人文集美形成了软件信息服务、机械装备制造、商务商贸旅游、文化演艺四大主导产业,生活在集美的人们安居乐业,幸福美满。


Jimei is one of China’s most attractive cities—one of Xiamen’s administrative areas, it has been dubbed “The Garden on the Sea.” Its landforms consist of a vast mountain range splitting into five smaller ranges and surrounded by two gulfs, which was the basis for the exquisite traditional saying “five dragons playing with a pearl.”
When the land is beautiful, the people thrive. Chen Jiageng, once called “a radiant overseas Chinese ethnic minority leader” by Chairman Mao Zedong, was born here and established one of the longest standing academic areas in China—Jimei School Village, where tens of thousands of teachers and students continue to study, create, and attain academic excellence.
Cultured Jimei is comprised of software/information technology services, mechanized equipment production, business and commercial tourism, as well as the leading cultural performing arts industry. Life in Jimei is peaceful and content, happy and harmonious.


集美X阿尔勒:国际摄影季将遵循阿尔勒国际摄影节的国际展览经验和内容,通过三影堂摄影艺术中心整合适合亚洲和中国的经验和内容,立足集美区文化产业战略定位,综合考虑当地社会资源、文化资源,做中国最好的国际摄影季,提升集美的国际知名度进而带动集美文化产业蓬勃发展。


Jimei X Arles International Photo Festival will rely upon Les Rencontres d’Arles’ extensive international exhibition expertise and content, while incorporating Three Shadows Photography Art Centre’s comparable Asian and Chinese exhibition expertise and content, all strategically situated within Jimei district’s newly developed arts & culture estate. These elements will be synthesized with local civic and cultural resources to create China’s best international photo festival, bringing Jimei into the international public sphere and encouraging the expansion of its cultural industry.


集美X阿尔勒:国际摄影季由厦门市集美区支持,三影堂摄影艺术中心主办。集美X阿尔勒:国际摄影季由阿尔勒国际摄影节主席萨姆•斯道兹(Sam Stourdzé)先生、三影堂摄影艺术中心创办人荣荣先生共同发起,独立策展人李振华先生为执行总监。


Jimei X Arles International Photo Festival is supported by Xiamen, Jimei district and organized by Three Shadows Photography Art Centre. Jimei X Arles International Photo Festival was jointly initiated by Sam Stourdze, Director of Les Rencontres d’Arles, and RongRong, Founder of Three Shadows Photography Art Centre. Independent curator Li Zhenhua will serve as CEO of the event.


集美X阿尔勒:国际摄影季分为:相遇、两种乡愁、时尚与摄影、城市巡航、延展摄影、独立影事、在地行动、重影重生、奖项与收藏等板块。涉及到超过十个国家和地区,一百位以上国内外摄影艺术家,超过千幅作品的集结。

Jimei X Arles International Photo Festival is thematically divided as follows: Encounter the East, Fashion & Photography, City Navigation, Double Nostalgia, Local Action, Extended Photography, Audio Visual, and Prize & Collection. The festival will encompass more than ten countries and regions, over a hundred photographers from China and abroad, and over a thousand photographs.

Sam Stourdzé 萨姆•斯道兹

Sam Stourdzé, Lausanne 20.06.2013

https://www.rencontres-arles.com/Home

SAM STOURDZE is the director of Les Rencontres d’Arles Photography Festival.

A specialist of images, his research focuses on the contexts of their production, distribution and reception. He has studied for many years the mechanisms involved in the circulation of images, concentrating on the ties linking photography, art and cinema.

He organized a number of international exhibitions as an independent curator and published several books, notably Le Cliché-Verre de Corot à Man Ray, the retrospectives of Dorothea Lange and Tina Modotti, Chaplin et les images, Fellini, La Grande parade, or recently, Derrière le rideau – L’Esthétique Photomaton. Stourdzé received a fellowship from the Villa Medicis – French Academy in Rome. He was the director the Musée de l’Elysée and editor in chief of the Magazine ELSE from 2010 to 2014.

萨姆•斯道兹现任阿尔勒摄影节总监。

作为一名图像专家,他的研究包罗图像制作、发布和接收的联系。他已经深谙图像流转相关的技巧,专注于摄影、艺术和电影紧密之联系。

作为一个独立策展人,他成功组织了许多国际性展览并出版了数本图书,包括:著名的《柯罗•曼雷的透明底片》、《回顾桃乐丝•兰格和蒂娜•莫多提》、《卓别林和图像》、《费里尼》、《大阅兵》,还有最近的《幕后——美学的摄影棚》。斯道兹曾获得法国科学院驻罗马的梅迪奇别墅颁予的奖学金。他曾任爱丽舍宫博物馆的总监,并在2010年到2014年间担任《ELSE杂志》的主编。