Nobuyoshi Araki “Love on the Left Eye”
Published by Taka Ishii Gallery, 2014
Edition of 300, softcover, 64 pages, 102 illustrations, H 14 x W 21 cm, 0.15 kg
｜左眼之戀｜
?Following the loss of sight in his right eye due to an obstructed retinal artery, this collection contains 102 images from a series Araki has energetically produced since October 2013.
自二零一三年十月，荒木右眼視力漸失，但仍創(chuàng)作不懈。
?In the works series, positive film is filled in on the right hand side with black marker pen. The projection of what’s seen in the left eye and what isn’t on the right, results in photographs where the right side represents a total eclipse of vision.
在正式?jīng)_印前扫俺，他以黑色麥克筆覆上每張底片的右半部画饥，當作品呈現(xiàn)面前岭皂，觀者彷彿進入荒木的視界——擁有清晰的左半邊见擦，以及遮掩不清的右側(cè)摘完。
?Titled “Love on the Left Eye”, the book recounts “Love on the Left Bank”, the photo book by Ed van der Elsken published in 1954 which Araki saw at the age of 20. In some form a tribute, Araki attempts to photograph women in the same pose as Elsken.
畫冊取名“左眼之戀”姥饰，受到荷蘭攝影家艾德·范·德·艾爾斯肯（Ed van der Elsken）的影響，荒木20歲時看到了那本“左岸之戀”的影集孝治×蟹啵荒木嘗試使用和艾爾斯肯相同的角度和姿勢拍攝女性，借此向艾爾斯肯致敬谈飒。
?Facing the fact that overcoming prostate cancer meant losing the sight in his right eye, this book also reflects Araki’s present state as he continues to vigorously photograph. An exhibition of the same name was held at Taka Ishii Gallery (Kiyosumi) in May, 2014.
才剛戰(zhàn)勝病魔卻又面臨視力衰退岂座，荒木認為「死亡是終將來臨的，我當然不願迎接杭措，但事實是沒人可以扭轉(zhuǎn)它的發(fā)生费什，那麼就一笑置之吧！」荒木對於創(chuàng)作一向充滿活力手素，透過作品鸳址，他演繹了「攝影即人生」的道理。
｜左岸之戀｜
?艾德·范·德·艾爾斯肯(Ed Van Der Elsken,1925-1990）荷蘭攝影師泉懦、導(dǎo)演稿黍。攝影集《Love on the Left Bank》，最早出版于1956年崩哩，講述了一個虛構(gòu)的名為Ann的波西米亞女子巡球，住在巴黎時所發(fā)生的故事。
Ann的生活頹廢而不顧一切琢锋，跟巴黎左岸的年輕男女們一樣辕漂，每天吃半塊面包、抽大麻吴超，睡在長椅上钉嘹，偶爾有好心的朋友給他們提供一個旅館房間。他們中的一些人寫作鲸阻、繪畫或者跳舞跋涣。這本影集是最早關(guān)注歐洲青年叛逆文化興起的攝影集之一。
?艾爾斯肯的一張經(jīng)典照片
?This is a facsimile edition of one of the ‘classic’ photography books of the century. Originallypublished in 1954, and long since out of print, it has been avidly sought by photographers and collectors alike. The book focuses on the Left Bank of Paris at the time when the area was recognized asa centre of creative fermentand the home of the artists, writers and aesthetes who would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work was acclaimed asexpanding the boundaries of documentary photography.
?Vali Myers, the Australian artist, featured in this book as‘Ann’,was born in 1930 in Sydney. A self taught artist, she was alreadya leading dancer in Melbournebefore leaving for Paris in 1949. During the post-war years, living in the streets and cafés ofSt.Germain des Prés,she continued to dance and draw. Later Vali travelled extensively and became internationally known as an artist. She founded the Il Porto Wildlife Oasis, near Positano, Italy and has her own studio-gallery in Melbourne.
｜不曾發(fā)生的戀情｜
?20世紀50年代鸟悴，塞納河的左岸圣日耳曼大道陈辱，咖啡館里聚集了作家、藝術(shù)家细诸、以及來自于索邦大學(xué)和美術(shù)學(xué)院的學(xué)生們沛贪。年輕的攝影師埃爾斯肯也被吸引到了這里，巴黎左岸，存在主義思想的發(fā)源地利赋。
那是一個虛無的時代水评，二戰(zhàn)剛剛呼嘯而過，年輕人還未有所喘息媚送，隨即又遭逢冷戰(zhàn)和核戰(zhàn)爭的威脅中燥。他們的青春充滿了深切的疑慮和悲觀，他們揮霍青春卻揮之不去彌漫的虛無情緒塘偎，無法言說的青春由黑白攝影的敘事表達出來全是無邊的憂傷——《左岸之戀》（Love on the Left Bank）不僅是埃爾斯肯的攝影畫冊疗涉，更是一幕幕“紀實戲劇”。
?描黑的眼圈吟秩，空洞的眼神咱扣，戀人相擁著睡在一片靜謐的無望中，卷曲凌亂的發(fā)峰尝，濃密的睫毛偏窝，緊閉雙眼，呼吸一口窒息的空氣武学，斑駁的玻璃反射的還是那雙眼眸祭往，仿佛看見了一切，又好似一切都消散在視線里火窒，淹沒在虛幻的背景中硼补。
?《左岸之戀》講述了一場無疾而終的異國戀情： 馬努埃爾從墨西哥來到法國巴黎，他漫無目的地徘徊于圣日耳曼的街道熏矿，安的出現(xiàn)是他新生活的開始已骇。這個散落著棕紅長發(fā)的姑娘，有一雙黑色的幽深眸子票编，她為他打開了一扇觀看巴黎的窗戶褪储。
安的獨特魅力眩目著身邊眾多的仰慕者，馬努埃爾因嫉妒與人沖突而被關(guān)入了拘留所慧域，但他依然思念著安鲤竹，具有些許諷刺意味的是，他獲釋之時前來迎接他的卻是前女友凱麗昔榴。后來馬努埃爾得到了安卻無法真正贏得她的心辛藻，而凱麗也在不知不覺中疏遠他。最后孑然一身的馬努埃爾去到墨西哥使館領(lǐng)取了歸國路費互订，終踏上了歸途吱肌。
（Via Internet/Edited）
艾爾斯肯在書中說：“不幸已經(jīng)成為了一種生活方式，悲慘與墮落成為我們的美”仰禽。
?
QUOTE OF THE DAY
情欲是一種掙扎氮墨，生命是一種即逝纺蛆。
荒木 経惟(あらき のぶよし)
THE END
