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劇照
更新時(shí)間：2024-04-11 16:53
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Triumphs and Laments documents one of contemporary artist William Kentridge’s most ambitious and controversial projects: a colossal frieze along the banks of the Tiber river in Rome portraying the glories and tragedies of the Eternal City that was commissioned in the summer of 2016. The film, shot with exclusive access to Kentridge over the course of two years from his home in South Africa to the center of Rome, details the artist’s vision and his creative process in developing a work of art that will disappear in just a few years.
長篇影評(píng)
1 ) 今晚BBC對(duì)肯特里奇的訪談
"follow the less good idea; of course you start a rehearsal from something specific ; a music ; a choreography; but then on the edge of the carefully rehearsed, emerges something like a sparkle; an improvisation at the end of the choreography; you realise that the peripheral can be central. There's something political here, the big ideas, communism, capitalism, end of history, there is catastrophe lurking in big certainties. it's on the edge of those certainties that something organic might flourish. " (憑記憶，大意）。
同行的觀眾覺得他“讓羅馬活起來”。不知道。感覺這個(gè)紀(jì)錄片從一開始就把肯特里奇作為一個(gè)具體的“城市空間設(shè)計(jì)師”來講，一開始就從功能性公共藝術(shù)來講，基本上也是丟掉了肯特里奇的優(yōu)勢(shì)特征了。
Kentridge真的讓人不服不行，政治議題上的深刻與形式集大成的復(fù)合有機(jī)的程度實(shí)在太高，他在影片里有句說的好“我的工作室就像全世界”，各種圖像音樂素材為他所駕馭，至少在音樂元素的混合生成上是我覺得目前最厲害的，對(duì)各個(gè)形式的語言的認(rèn)識(shí)和控制力太猛，全才，綜合性大師。
創(chuàng)作部分介紹得較少，主要作紀(jì)錄用
立體的藝術(shù)家
Wunderbar!
give and forgive 項(xiàng)目總監(jiān)因?yàn)橐淮涡盐驗(yàn)榭系吕锲孢@個(gè)項(xiàng)目跑了10年，真不容易最后還是非常震撼，依然還是用柏拉圖洞穴之喻，里面女歌手很霸氣
太短了！肯特里奇在繪畫、舞臺(tái)、音樂以及表演，都太有品味了，更厲害的是對(duì)歷史和城市記憶的關(guān)注……中國藝術(shù)家差太多。