视觉叙事呈现数字艺术，著名视频艺术家马可·布拉姆贝拉中国首展探索流行文化边界

视觉

现实与虚构间的张力在拼贴的层叠中丰盈，好莱坞影片的经典切片被

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 <p>现实与虚构间的张力在拼贴的层叠中丰盈，好莱坞影片的经典切片被赋予新造的含义，构筑银幕奇观。6月22日，“马可·布拉姆贝拉：双重呈现”在Fotografiska影像艺术中心开幕。这也是著名视频艺术家马可·布拉姆贝拉的中国首次个展。</p>
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 <p>以重新诠释流行图像和开创性使用数字成像技术而闻名、视频艺术家马可·布拉姆贝拉在本次上海电影节期间，带着他《Megaplex》系列中的两件代表性视频拼贴作品——《天堂之门》（2022年）与《王者尺度》（2023年）来到中国，通过视觉叙事和数字艺术呈现，带领观众踏上一段引人思考的旅程，探索流行文化的边界。</p>
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 <p>艺术家通过重塑流行文化语言，借助影史经典，讽刺流行文化中过度饱和的图像对观众感官的吞噬。作品之一的《天堂之门》带领观众进入一场好莱坞梦想和纷繁过剩的景观中。利用最先进的数字合成技术，布拉姆贝拉创造了一种嘲讽式的观看体验，将电影样本和幻想般的布景重新置入无休止循环的模因 (meme)。这个沉浸式展示挑战了我们对游戏、新闻、真人秀和好莱坞的认知,让我们一瞥高度感官并行宇宙。</p>
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 <p>另一件展览作品《王者尺度》，则是对猫王（埃尔维斯·普雷斯利）和拉斯维加斯传奇事迹交织在一起的视觉冥想，探讨他们作为美国梦无序轨迹的隐喻，暗指美国梦熵增的过程。作品以震撼的视觉效果呈现猫王与拉斯维加斯之间紧密的联系，这件作品以象征意义从内华达沙漠升起到拉斯维加斯大都市的未来主义，反映了从流行歌手到神话人物的埃尔维斯，以及从沙漠小城到美国消费主义和娱乐顶端的拉斯维加斯的转变。</p>
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 <p>这支四分钟连续循环的视频，利用循环的电影采样、人工智能生成的图像构建向上滚动的超现实影像。通过解构大众熟悉的猫王影像，深入探讨成名和地位背后的事实， 陈述大众对于名人的观念通常是由媒体塑造的。</p>
 <p>在马可·布拉姆贝拉瑰丽的影像中，特定流行文化背景下的人们共同建立的集体意识被重新利用而解构。好莱坞电影中的人物和场景成为集体意识的载体，在魔幻繁复的拼贴间被再次赋予新的灵魂，犀利讽刺过度消费下的生产过剩、过度饱和而让感官过载的影像。</p>
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 <p>尖端技术与艺术创造力的融合以及3D元素和视觉效果的合成，对于实现马可·布拉姆贝拉宏大的艺术表现至关重要。通过使用创新技术重塑流行文化图像，布拉姆贝拉挑战我们的感知，邀请我们反思过去、现在和未来的交汇。他创造的数字景观和沉浸式叙事，将观众带入一个现实与虚构交织的领域。</p>
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 <p>马可·布拉姆贝拉是艺术家，亦是电影导演，曾经在好莱坞制作电影的经历成为他后续作品的灵感起源。他闻名于为流行与图像再设语境的创作方式，并开创性将数字图像技术应用于视频装置和艺术。布拉姆贝拉致力于探索流行文化的历史与影响，以及图像如何通过过度的饱和而让人类的体验商业化。他的创作题材多围绕消费主义观念、通俗图像与人类历史、人类集体经验等展开。</p>
 <p>布拉姆贝拉的作品被国际广泛展览、收藏于纽约现代艺术博物馆、纽约古根海姆博物馆、旧金山现代艺术博物馆、和迈阿密佩雷斯博物馆等众多机构。他的公共艺术装置曾多次在各地展出，包括在纽约弗瑞兹艺术博览会期间，于纽约世贸中心Oculus的《楼梯下的裸体3号》（Nude Descending Staircase No.3），在拉斯维加斯"球幕"展出的《天堂之门》, 以及在纽约时代广场的"午夜时刻"系列中的《阿波罗18号》(2015)和《模拟乌托邦》(2024)。</p>
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 <p>展览开幕当天，Fotografiska影像艺术中心还邀请马可·布拉姆贝拉来到现场，与嘉宾孙孟晋、韩溢文以及主持人王懿泉一同交流探索艺术与科学交织渲染出的更多可能性。据悉，展览将展出至10月7日。</p>
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  图文/视频：袁婧<br>
   编辑：王柏玲<br>
   责任编辑：王蔚<br>
   部分图片由主办方提供
 </div>
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视觉叙事呈现数字艺术，著名视频艺术家马可·布拉姆贝拉中国首展探索流行文化边界

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