即可预约 | 卡别耶拉·莫拉维茨 杭州摄影展

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Gabriela Morawetz

July 2019 . Paris

“我们从没有试着建造过什么，⽽建筑设计类的幻象总能在超越我们想象的遗忘⾥找到他们最后的⽅向。这些模型，由于需要建造的⼗分精确且充满情感⽽变得有些笨重和繁琐。即使在毁灭阶段，它们的形态仍具有启发性和强⼤的⼒量，但它们不再是⽆法触碰的对象。⽽在它们的脆弱中，展现了⼀种新的创造潜⼒。那些在途中被抛弃的梦想仍然有一股神秘⼒量，⽽我的任务就是让他们苏醒过来。”

“在我的想象中，我正在走向⼀个与现实毫⽆联系的空间。它更像是⼀个⼀切都消失了或是什么都还没出现的地方。我行⾛在荒地上，在那⾥，「想象」是唯一的活动，就像在一个一切皆有可能的「空⽩」里，便可以真正活于⾃己的⼼中。我一直对那些能唤起⾮陆地景观情感的地⽅感兴趣。这与我对⼟壤材料、矿物成分和颜色的迷恋有关。通过观察一⽚区域内的碎⽚化的地理元素，你可以由此发现⼀个和⾃然梯度一样强⼤的地形 (尽管它只是部分的碎⽚化信息)。”

“正是通过深耕「空」的空间，让我想到将两个世界组合在一起:它们一个来⾃矿物而另一个来⾃理智思索。而卡马尔格的风景也就已成为了这个新的未开垦的星球，在那里⼀切⾏为将可能。特别是，它那⼀⽚盐碱地或终将被遗弃。我发现在这不断变化和运动的景观中有一种威胁，但同时也有⼀种感觉:这是另⼀个世界，但是颜⾊是甜蜜和闪耀的。

”当我⾛路的时候，我的眼睛紧盯着脚下的地面，我感觉离地⾯越来越远了。在过去的⼏年⾥，我⼀直在我的⼯作室⾥进⾏失重的实验，「失重室」系列作品在那里变得非常⾃然。我发现，某些抽象结构即便“浸没”在物中，⽽随处可⻅的低洼却给景象带来灾难之后的样⼦。的确，有一些神秘碎片，它们的怪异让⼈感到畏惧，但还是完全融⼊了这个空间。“

埋在地下并被水覆盖的旧机器是未知世界遗留下来的回忆。地表的实质是泥土、盐和水。这几乎是一个充满各种危险、裂缝、洞穴和火山的荒原...我们有触摸遥远星球的物质的感觉，我们想要融入这空间。回到工作室，尝试重现这些相同的质地，继续想象着居住在这些空间的不同可能性。很喜欢弗兰克·劳埃德·赖特 (Franc Lloyd Wright) 的观点：地球会向着自己的方向倾斜倒退，退到它自己的围墙里，如果不被打开，它就不能成为一个避难所——这是从人类侵占的姿态里发现的。

“绘画和摄影的灵感有时来⾃于

一些胡思乱想与真实世界

想要创造这样一个世界

或是将绘画作品转化成摄影作品

摄影是某件事⾥的⼀部分

⼀些碎⽚，⽽不是全部

真实，在这里

⼈、模特、灯光、建筑、自然

摄影是与现实联系在一起的

你需要确定去哪⼉，以及拍什么

— Gabriela Morawetz  

“我经常在景观中使⽤镜⼦和其他反射面。因此，镜⼦和反射⾯通过反射光线，将光线引导到⼀个像窗户⼀样⿊暗的地方。与盐打交道有很多含义。颜⾊范围从粉红色到明亮的⽩色是纯光。我想起罗德妻子 (因没有听从天使的话回头望而变成盐柱) 的故事。

即使是灾难象征的纪念碑，但同时也是纯洁的。过去和现在，⽔平和垂直，作为生命和死亡的隐喻，是我们经常遇到的问题。有时我对我们遗留的东⻄仍感到困惑...然后我回头看——我必须找到一种办法，它不会暗示结局，但是会显出新现实的可能性。”

The phantoms of architectural designs that were never built and have found their final destination in oblivion have always had power over my imagination.The models, made with a lot of precision and emotions most of the time become simply cumbersome. Their forms remain suggestive and powerful even inthe phase of destruction but they are no longer untouchable as an object. In their vulnerability they reveal a new creative potential. Those dreams that havebeen abandoned along the way still have a secret power and my task will be their recovery.

In my imagination I am moving towards spaces without any connection with reality. It is rather a place where everything has disappeared or nothing has justyet appeared. Walking in wasteland where imagination is the only activity, it is like being in a void where everything becomes possible, it is to be insideoneself. I have always been interested in places that could evoke non-terrestrial landscapes. This is related to the fascination for the soil material, theirmineral side and their color. By concentrating on the fragments of the territory one can find a topography as powerful as that perceived on the natural scale.

“在那个时间事情发生了

那个时间就像世界的起源

我们对它的了解不多
但我们感觉与那些事情有着某种联系
对我来说思考每件事情都可以特别有趣
就像⼀块⼩石头可以被某种精神补充能量”

— Gabriela Morawetz 

It was by furrowing these "empty" spaces that I had the idea of combining two worlds: the mineral and the one coming from the intellect. It is the landscape ofthe Camargue that has become this new virgin planet where anything can happen. In particular, it is the saline lands that can be eventually abandoned. Ifound in this landscape in constant transformation and movement a kind of threat, a sensation that it is another world and yet the colors are sweet andshimmering.

As I walked, my eyes fixed on the surface near my feet, I felt more and more detached from the earth. The weightlessness I've been experimenting with in mystudio over the last few years working on the "Weightless Room" series has become quite natural in that place. I found that some abstract structures, evenimpregnated with matter, that is the ubiquitous low give this landscape a post-disaster look. Indeed, there are mysterious debris, threatening by theirstrangeness but totally integrated in this space.

The old machines embedded in the ground and covered by water are reminiscent of the remains of an unknown world. The texture of the earth is a mixture ofmud, salt and water.It's almost a desert full of various dangers, crevasses, holes and volcanoes ... We have the feeling of touching the material of a distantplanet and we want to blend in its space.

Back in my studio, I try to reproduce these same textures and I continue to imagine the different possibilities to inhabit these spaces. I like this idea of FrancLloyd Wright, who thinks that the earth tends to fall back on itself, to retreat into its own enclosure and that it can not serve as a shelter without beingunfolded, discovered by the human gesture of appropriation / Robert Harrison, Forest/.

I continue the work on the deconstruction and the reconstruction of the forms by transforming the remaining parts of the models, to find a new dimensionthrough these ruins in miniature. All these experiences lead me to the moment when I begin to perceive a new plausible reality that emerges from theamalgam of subjects ...

I often use mirrors and other reflective surfaces that I have in the landscape. Thus, by reflecting the light, they direct it to dark places acting like windows .Working with salt is loaded with various meanings. The color range from pink to bright white is pure light.

I think of the story of Lot's wife who becomes a statue of salt ... because in fleeing the devastated city of Sodom she dares to look back and punished by thegod she turns into a statue of salt. It becomes the monument to disaster but also purity. Past and present, horizontality and verticality, as metaphors of lifeand death, are issues that we regularly confront. Sometimes I remain puzzled by what we leave behind ... and I look back. I have to find a way that will notsuggest the end but will rather show the possibility of new reality.

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王红路 

法国高等社会科学院语言学博士

写于2013年10月  巴黎