从叙事雕塑走向整体艺术:论马修·巴尼的“雕塑电影”

From Narrative Sculpture to Collective Art: On Matthew Barney’s “Sculpture Film”

马修·巴尼的影像创作综合了行为艺术、舞蹈、雕塑、装置、绘画等多种艺术手法,最终凸显为一种作为"雕塑电影"的影像特质。"雕塑电影"首要体现为一种身体的雕塑性叙事,即通过身体的雕塑化与舞蹈化,让身体变成影像叙事的主要手段。同时,"雕塑电影"对跨媒介的运用让影像中原本不具有叙事意义的物质性元素变成故事的主角。从整体艺术的视角来看,马修·巴尼的"雕塑电影"也在更深层次上揭示出电影感官化的新走向:一种分心式感知。

Matthew Barney’s moving images are a combination of performance art, dance, sculpture, installation, painting, and other artistic techniques. Ultimately it emerges as a kind of "sculptural film". Matthew Barney’s "sculpture film" is primarily a sculptural narrative of the body, that is, through the sculpturalization and choreography of the body, the body becomes the main means of video narrative. At the same time, the use of cross-media in "sculpture film" allows the material elements of the images, to become the main characters of the story. From the perspective of collective art, Matthew Barney’s "sculptural film" reveals a new direction of sensitization of cinema at a deeper level: a kind of distracted perception.