然后
然后,行程到了尽头,在那儿,我们看到了。
再然后,我们给它一个框子,一堵墙,一个展厅。
不再有新的元素,也似无必要。
那框子就已足够。现实与时间被界定,
成为一个“得以与日常生活区分”的状态。
现在,我们作为观众而来,来到那儿,但不在其中,
像鱼吻出的泡泡,成形、升起
就是要被淹没,不是在水中,而是在空气中。
水面之上,每个人都活得很像他们自己;
这一点我们在来到之前就已了然。
【注】成为一个“得以与日常生活区分”的状态:阿恩海姆《中心的力量:视觉艺术构图研究》中说,画框“界定了艺术作品的现实状态,使得它们得以从日常生活背景中区分出来”(英文版52页)。
2017年9月7-9日
And Then
The journey ended, there, and we saw it.
And then, we gave it a frame, a wall, and an exhibition hall.
No more new elements since then, and no need,
It seems. The frame is enough.
Reality and time are defined
Into a status "distinguished from the setting of daily life."
Now, we come as audience, being there but not in it,
Like the bubbles from fish's kiss that take form and rise
On
Above water, everyone lives like themselves,
And we have known this before we come.
Sept. 7-9. 2017
Note: a status "distinguished from the setting of daily life": see Rudolf Arnheim's claim in The Power of the Center: A Study of Composition in the Visual Arts that the frames of a painting "define the reality status of works of art as distinguished from the setting of daily life" (p.52).
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