798艺术区在3画廊 Being 3 Gallery .798 Art District
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策展人:

棉布

艺术家:

布克哈德•冯•哈德尔

Curator(s):

Mian Bu

Artist(s):

Burkhard Von Harder

布克哈德•冯•哈德尔:24帧/秒——解构电影 Burkhard Von Harder:24 fps -Deconstructing Movie(s)


作者:文嘉琳 翻译:徐化宁

12月24日,在3画廊非常荣幸的邀请到德国艺术家布克哈德(burkhard von harder)举办展览《24帧/秒——解构电影》。这已经是布克哈德第二次于在3画廊举办个展,2014年,在3画廊教堂空间曾以超宽幅银幕展出布克哈德用7年时间,拍摄的长达16个小时的电影《德国疤痕》,一时引起震动!

这一次,布克哈德的《24帧/秒——解构电影》则是另外一种新鲜视野。其中,一个重要的作品“’未命名电影卷轴#1’是由18万幅独立影像构成的,它展现在画廊中,足有1.1米高,41米长,采用300 dpi(分辨率),共计47亿像素——这相当于4倍的中国人口。”(布克哈德语)

艺术家像拆解机器零件一样拆解了一部电影,把活动的影像还原回静止的视觉画面,每秒24帧图像,一部电影拆解下来形成铺天盖地的抽象图案。在高帧率电影风行的当代,甚至连一直被称为“24格真理”每秒24帧的电影都已经被人们嫌弃画面模糊了,布克哈德重新来解构电影,仿佛要再现麦布里奇24架相机拍摄骏马连续奔腾的笨拙时代。

在电影内部解构,按照电影发轫之初的内在法则去阅读电影,这当然不是又回到电影原点,而是在展开它内部的张力,唤起新的边界和活力,在技术的后果中思考习以为常的惯性不会再去思考的东西。可以说,这种解构的方式深入到一部电影的肌理,让人注意到无比精细的内在。有点类似对电影的绝妙而独特的研究文本,细致入微,又淋漓尽致的“再次创作”。策展人棉布说,布克哈德的解构方式是德里达式的。太恰当不过!

作为电影导演,图像与时间,视觉与动态,是布克哈德的基本语法,在建构与解构之间,自由来回。也正是在这种交错的研究方式,布克哈德使观众对电影有了更加透彻和明确理解的可能,在“再次创作”上生发出新的抽象贡献:在时间的牵制下,铺天盖地的帧图画面形成克制而又不呆滞的抽象画面,不是波洛克的行动主义抽象,而是时间与技术精准的抽象。

布克哈德还有一些摄影作品,不同于瞬时的记录,而是过去场景的还原。例如《合同》,说的是年幼时他爸爸让他签署一份类似遗嘱的合同。岁月早已过去,不可能倒回,布克哈德却以蜡像的方式还原了那时情境,然后再来拍摄……这种营造自然杂糅了记忆和情绪,甚至有种与消失抗衡的力量,似乎是艺术家再生时间的许诺,保护踪迹的创作。不可思议的是,这个出生老式贵族家庭的艺术家一生都在完成自己的陈述责任。

展览将持续到2016年1月24日,欢迎各界朋友前来参观!

 


by Wen Jialin translate:Xu Huaning

On December 24th, Being 3 Gallery is very honored to announce the second solo show by German artist Burkhard Von Harder. The show is titled “24 fps- Deconstruction Movie(s)”. Took an epic 7 years to shoot, in 2014, his film “German Scars” has been displayed on the super-wide screen at the Church Space, which is up to 16 hours in length and made a splash that time.

This time, his “24 fps- Deconstruction Movie(s)” brings us a brand new perspective. An important one among his works called “Untitled filmscroll #1”, consisting of 180 000 images: reproducing every single frame of 125 minutes original length, the film translates into a scroll of 1.10 by 41 meters. At a resolution of 300 dpi it has 4,7 billion pixels - four times the size of the Chinese population. Finally animating the scroll, the film is coming back into a new form of life.

Artist dismantles films like undoing a camera and restores the active images back to static visual images, with a frame of 24 per second, turning a film into overwhelming wallpaper. In contemporary times that high frame rate prevails, even the very blurred “24 truth” film with a frame of 24 per second has been abandoned. He deconstructed the film again, as if to reproduce Mubridge’s awkward times when horse galloping was shoot consecutively by 24 cameras.

Deconstructing internally, he reads the film according to the internal rules originated from the beginning, which does not has to date back to the original point of the film but to open internal tension, invoke new boundary and vigor and think about technical consequences that is inertial and never would consider again. That is to say, by this way of deconstructing, we can deeply get into the texture of film, making people notice the incomparable fineness within. This is more or less similar to the wonderful and unique study of film text, nuanced and involving incisively “second creation”. Just as curator Mianbu said, Burkhard ‘s construction is totally Derrida type.

As a movie director, images and time, vision and dynamic are basic grammars of him. Between construction and deconstruction, he goes back and forth freely. It was also in this interlaced way of research, Burkhard was able to give audiences a possibility to understand more thoroughly and clearly, producing new abstract contribution on “second creation”:under the restrain of time, overwhelming images with frames evolve into an abstract picture, restrained but not dull; different from Pollock’s abstraction of activism, this is abstraction of time and technique precision.

Different from instantaneous record, some of his photography works are restorating of the past scenes. Such as "the contract", talking about his father letting him sign a contract similar to a will at his young age. Time lost cannot win back, however, Burkhard restored the old scenes and memories by the form of wax and then shoot those scenes. This kind of rebuilding blended memories and emotions, and even involving a force against disappearance, seeming to be a promise of time regeneration and works of traces protection by the artist. Incredibly, the artist who was born in an aristocratic family tries to accomplish his responsibility of statement all his life.

The exhibition will continue unitl January 24th, 2016, welcome friends from all walks of life to visit!