Zhang Peili, Focal Distance

被“翻拍”的十字路口车流的影像:用单机拍摄实景(马路上的车流)15分钟;将拍好的影像通过25英寸电视机播放,并对电视屏幕中的街景(的一个局部)进行“翻拍”;以后按上述方式重复“翻拍”7次,每次“翻拍”的焦距与第一次“翻拍”相同;由此得到8个不同画面效果的影像 — 街景中车流的图像(和声音)变得越来越抽象。用录像装置的形式将这些“翻拍”出来的影像按“翻拍”顺序排列出渐变的效果。

拍摄环节:第一次拍摄:远景;机位固定;拍摄时间15分钟。
第二次至第八次拍摄:翻拍电视机播放的第一次拍摄的影像画面(局部),机位固定,焦距不变;同期声;每次“翻拍”15分钟。
拍摄器材:松下 M8000摄像机,VHS录像带
拍摄地点:杭州某临街的居民小区楼房内
拍摄人员:艺术家本人
后期处理:找到同步关键帧,使8个视频起止点一致;保留同期声。
剪辑设备:VHS录像机;Betacam SP剪辑机;
输出介质:VHS录像带;DVD
剪辑人员:艺术家本人

《焦距》由排成一条直线的八个显示器构成。排最后的显示器播放实景拍摄、长达十五分钟的马路车流影像;艺术家将拍好的影像通过显示器播放,并对显示器中的街景进行“翻拍”, 然后在第二个显示器中播放;以此类推,每次“翻拍”的焦距与第一次“翻拍”相同;作品中的图像和声音因而变得越来越抽象、模糊、甚至带有绘画的质感。艺术家用录像装置的形式将这些“翻拍”影像按“翻拍”顺序排列出渐变效果。虽然所有影像均描述相同的内容,但随著翻拍次数增加,原初记录的真实性也变得不稳定。声音在如此创作过程中同样变得抽象,在视听感知失效中衍生具有时间性的雕塑。

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Wang Xingwei, Ji Gong, oil on canvas, 240×200cm, 2015

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Li Liao, A Slap in Wuhan, Video, Color, Sound, 5’09”, 2010

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