2.2 与艺术家 Vik Muniz 访谈 (可选择中文字幕)

When you look at a picture with the certain degree of ambiguity,

your perception heightens it.

And you try to figure out that from all kinds of possible references.

You don't know what it is, and

you are completely open to any kind of way of thinking about it.

[MUSIC]

When I knew that The Museum of Modern Art was organizing Stieglitz at Lake George,

I went to see it in an afternoon.

That show got me in a mood of looking for things in things,

which is something that you do when you look at clouds one way or another.

And the beautiful thing about Stieglitz Equivalents is that,

the fact that you're always seeing forms in clouds.

In the Equivalents you don't.

You just see clouds.

[MUSIC]

I just saw the show, and

right after leaving it you had these amazing marble floors.

I kept thinking about clouds, and when I leaved, I looked at the floor and

I saw all these clouds, and then I took the camera and

I started shooting the clouds right there and this whole thing.

>> I remember, I used to work, I was there, I remember those floors well.

>> And then what I did, I went to the gift shop and

I got a piece of paper to draw, and a little pair of scissors and

I made this little round thing that looked like the moon.

And I started shooting it there and a security guy came and tried to ask me what

I was doing and I said, no, I'm just taking pictures of the floor.

And then he was like, you cannot do this, I said, why not?

I'm just taking pictures of the floor.

I mean people take pictures of artworks, you don't mind.

And I went out to the street then came back and I shot like four rolls of film.

[MUSIC]

I wanted to make something that looked just like a Stieglitz but then it was just

the floor of the museum in front of the exhibition where a Stieglitz was.

When you're dealing with something that it seems familiar to you,

it's great because first of all you're open to it, and

you look at it as something that you want to see it again.

But then there's this double take,

you realize that that is not what you thought it was.

That feeling's quite effective in creating a lasting impression and

starting a conversation.

And before you know it,

you're implicated in a series of questions about what's in front of you.

You're not just looking at something,

actually thinking about the way you're looking at something.

This is the kind of interaction that I want my works to have with the viewer.

[MUSIC]

When you think of photographs as processes,

not as products, you start really understanding what they really mean.

[MUSIC]

My mother came to one of my shows, and first time she stepped in a museum

was to see one of my exhibitions, so I make work for her.

If she won't like it, I don't think it's good.

I'm maybe one of these artists that don't take any pride for

not being understood, and being ahead of my time.

I'm right here right now, and I want people to get it or

to feel at least something, because I make work in a way, don't make it for

any specific public and I have something for everybody.

[MUSIC]

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