| 日本電影導演，同時也是七十年代前衛電影運動「地景理論」發起人之一的寺山修司，曾為該論點下了切確的註解：「人被歷史遺棄時，就會援用地理。」近四十年後，以河內為根據地，同時跨足媒體藝術的獨立影像製作人阮純詩，藉自身所遭遇的後殖民境況中，自我視角的大他者化，重訪寺山修司的命論。〈地景系列・之一〉這組由播放77張幻燈投影片的動態影像，以及24張黑白明信片所構成的裝置作品，呈現大批性質一致的影像：眾多不具名的越南人表情木然地面對鏡頭的畫面，指向畫面外某個不知名的事件。阮純詩在全球媒體景觀中，與這批再現影像偶然且弔詭地相遇，觸動她檢視在攝影師的觀景窗後，那揮之不去的帝國凝視。某種意義上來說，〈地景系列・之一〉藉檢索全球網路資訊庫的數位影像，進一步考掘圖像文字說明的教化本質與圖像本身開放意義間的動態權力關係，帶領觀者進入一場視覺遨遊，漫步於在影像負面暗示下所繪製而成的地貌圖，以及歷史大敘事集體記憶中的不知名地景之間。 |
Shuji Terayama, a Japanese film director and one of the initiators of an avant-garde film movement called landscape theory in the 1970s, offered this profound manifestation: “When one is renounced by history, [s/he] would seek for landscape [in order to restore his/her evidence of existence].” Almost four decades after, Trinh Thi NGUYEN, a Hanoi-based independent filmmaker and video/media artist, revisits Terayama’s claim by otherizing the self from her postcolonial circumstance. Landscape Series #1 is an installation composed of a 35mm slide projection with 77 slides and 24 pieces of black and white postcards. Both image devices feature the same set of images capturing anonymous Vietnamese people pointing to a specific event outside the camera frame. NGUYEN’s sudden yet uncanny encounter with the huge amount of pictorial representations of Vietnam on the global mediascape urges her to examine the internationalized imperial gaze behind the viewfinders and, in a sense, further to explore the power dynamics between the didactic nature of captions and the arbitrary essence of images. Retrieving digital images from the Internet database and converting those images into an archive, Landscape Series #1 offers a visual voyage based on the cartography of negative implications and leads the audience to go through a journey of the collective anonymousness buried underneath the grand historical narrative. |
