尹嬋杰/譯

Artists who make collages are not unified by their technique or a specific aesthetic for their work. Using this malleable and expressive medium， their instincts have shaped the way that we see and make images， as well as how we understand them.

拼貼藝術(shù)沒有統(tǒng)一的技巧，也沒有特定的審美，但因?yàn)榭伤苄詮?qiáng)且具有表現(xiàn)力，藝術(shù)家得以通過拼貼展示創(chuàng)作天賦，并對(duì)世人觀察創(chuàng)作、理解圖像的方式都產(chǎn)生影響。

Some of the most famous collage artists have been able to evoke both serious complexity and irreverent absurdity， often simultaneously.

部分頂級(jí)拼貼藝術(shù)家的作品往往能同時(shí)喚起觀者截然不同的感受，既真心覺得它富有內(nèi)涵，又不屑地認(rèn)為它荒誕不經(jīng)。

Henri Matisse （1869–1954）

亨利·馬蒂斯（1869—1954）

Henri Matisse’s cut-outs， created during the last decade of his life， had a significant impact on our contemporary understanding of collage art.? Henri Matisse’s final years were full of turmoil. Following a separation from his wife and the outbreak of World War II， the French artist was diagnosed with intestinal cancer， which caused him to be bedridden for months at a time. And yet， Matisse never surrendered his art to the distressing circumstances at hand.

法國藝術(shù)家亨利·馬蒂斯在生命最后十年間創(chuàng)作的剪紙作品對(duì)當(dāng)代人理解拼貼藝術(shù)具有十分重要的影響。馬蒂斯的晚年飄搖動(dòng)蕩，和妻子分開，經(jīng)歷二戰(zhàn)爆發(fā)，后又被診斷出腸癌，導(dǎo)致動(dòng)輒就要臥床數(shù)月。但雖然面臨諸多困境，他卻從未因此放棄藝術(shù)追求。

When surgery to treat his cancer left him too weak to paint on canvases， Matisse shifted his artistic methodology and turned to cut paper as his primary medium， using scissors as his tool. His cut-outs， often inspired by the natural world or abstract forms， were arranged into lively compositions that transcended the confines of easel painting and allowed him to work with a new type of free reign.

手術(shù)之后的馬蒂斯身體極度虛弱，無法在畫布上作畫，就改變創(chuàng)作方式，轉(zhuǎn)而拿起剪刀，將剪紙作為主要?jiǎng)?chuàng)作手法。馬蒂斯的剪紙靈感往往來自自然界或抽象圖形，經(jīng)過巧妙安排后構(gòu)成一幅幅生動(dòng)的作品。剪紙不受畫架繪畫的限制，使他能以一種新的形式繼續(xù)自由創(chuàng)作。

The cut-outs also introduced a new operation in art， which came to be known as “drawing with scissors”.

馬蒂斯的剪紙作品也催生了一種新的藝術(shù)實(shí)踐，就是后來大家熟知的“剪紙繪畫”。

Kurt Schwitters （1887–1948）

庫爾特·施維特斯（1887—1948）

Kurt Schwitters was a German artist involved in both Dadaism and Constructivism， best known for his Merz and Merzbau works. He coined the term “Merz”1 to describe his unique style of art that involved using everyday objects to create his works.

德國藝術(shù)家?guī)鞝柼亍な┚S特斯是達(dá)達(dá)主義和建構(gòu)主義的代表人物，最為出名的是其“梅爾茲”和“梅爾茲屋”系列作品。施維特斯創(chuàng)造了“梅爾茲”一詞來描述他獨(dú)有的藝術(shù)風(fēng)格，即利用日常物品進(jìn)行創(chuàng)作。

Schwitters uniquely produced images that combined oil painting on canvas with assemblage. He pasted and nailed the materials onto his surfaces. The different materials included ink pad stamps， ticket stubs， matchbooks， daily newspapers， photo clippings， garbage， and other everyday objects.

施維特斯用獨(dú)特的手法將帆布油畫和集合藝術(shù)相結(jié)合，把材料粘貼、釘于油畫表面。他選用的材料五花八門，包括油墨印章、票根、火柴盒、日?qǐng)?bào)、裁剪的照片、廢棄物及其他日常物品。

To Schwitters， the material was of no consequence. His Merz pictures show only form， no content. He aimed to assemble these daily items into Cubist collages and find a rich and complex arrangement of material that negated the individual features of the objects creating new pictorial symbols.

對(duì)施維特斯來說，材料無關(guān)緊要，梅爾茲只為展示形式，不重內(nèi)容。他意在把日常物件拼合成立體派拼貼作品，挖掘復(fù)雜豐富的組合方式，消解物品的個(gè)體特征，創(chuàng)造出全新的圖畫符號(hào)。

Increasingly， he began to blur the lines between collage and found art2. The And-Picture （1919） was seen as readymade， though it is a combination of collage， painting， and found objects.

施維特斯逐漸模糊了拼貼藝術(shù)和現(xiàn)成品藝術(shù)兩者之間的界限，創(chuàng)作于1919年的《和圖畫》在當(dāng)時(shí)被視為現(xiàn)成品藝術(shù)，但實(shí)際上融合了拼貼、繪畫和現(xiàn)成品。

Hannah H?ch （1889–1978）

漢娜·霍赫（1889—1978）

German artist Hannah H?ch was considered an originator of the method of photomontage. Earlier in her career， she had been associated with Dada and in 1919， H?ch worked at a large publishing house in Berlin where she became inspired by the printed imagery around her. Leafing through the many publications in her office， she began to cut out images that interested her. She arranged the images in jarring yet jovial juxtapositions whilst demonstrating restraint and embracing negative space.

德國藝術(shù)家漢娜·霍赫是蒙太奇攝影的鼻祖?；艉赵谒囆g(shù)創(chuàng)作早期屬于達(dá)達(dá)派，自1919年起供職于柏林一家大型出版公司期間，因?yàn)榻?jīng)常接觸印刷圖片，受到很大啟發(fā)，就在辦公室眾多出版物中翻找，發(fā)現(xiàn)感興趣的圖片就剪下?；艉瞻褕D片組合成怪誕輕松的作品，從中能看出她的克制和對(duì)留白的認(rèn)同。

The most famous Hannah H?ch collage is “Cut With the Kitchen Knife through the Beer-Belly of the Weimar Republic” （1920）， which measures 90 by 144 centimeters. The masculine aesthetic was achieved through cutouts of war machinery， cogs， airplanes， and guns. H?ch’s fascination with machines echoes the fast-paced destruction of industrialization.

霍赫最著名的拼貼作品是《用廚刀切除魏瑪共和國的啤酒肚》，長144厘米寬90厘米，創(chuàng)作于1920年。作品通過戰(zhàn)爭機(jī)器、齒輪、飛機(jī)、槍支剪紙來表現(xiàn)出男性的審美，而她對(duì)機(jī)器的癡迷則呼應(yīng)了工業(yè)化的迅速瓦解。

H?ch’s most famous work， effortlessly titled ‘Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany’， shows her ideals and techniques in synthesis. A collage of newspaper clippings， the work challenges the racist and sexist codes upholding Weimar Germany. Throughout her career， H?ch would challenge the marginalised place of women in twentieth century Germany. She drew together fashion magazines， illustrated journals and photography to pioneer a form bent on3 demonstrating that art itself could be collected from the everyday clutter of modern life.

輕松命名的《達(dá)達(dá)派用廚刀切除德國最后的魏瑪啤酒肚文化紀(jì)元》是霍赫最為出名的作品，體現(xiàn)了她的藝術(shù)追求和合成技巧。這幅剪報(bào)拼貼作品對(duì)盛行于魏瑪?shù)聡鴷r(shí)期的種族主義和性別歧視準(zhǔn)則提出了質(zhì)疑，而霍赫在其整個(gè)藝術(shù)生涯始終都在質(zhì)疑20世紀(jì)德國女性的邊緣地位。她把時(shí)尚雜志、帶插圖的期刊和照片創(chuàng)新性地融合到一起，開創(chuàng)了一種形式，決意證明現(xiàn)代生活中的混亂日常中滲透著點(diǎn)滴藝術(shù)。

Man Ray （1890–1976）

曼·雷（1890—1976）

American painter Man Ray’s early work Landscape （Paysage Fauve， 1913） spoke a Cubist language. His Cubist landscapes were already close to collage but once the artist moved to Paris， his work became distinctly Surrealist.

美國畫家曼·雷的早期畫作《風(fēng)景》是立體派作品，他的立體派風(fēng)景畫當(dāng)時(shí)已接近拼貼藝術(shù)，不過在移居巴黎后，作品風(fēng)格變成鮮明的超現(xiàn)實(shí)主義。

Man Ray interestingly used photography to create collage art that was not photomontage. In his 1922 ground-breaking book Les Champs Délicieux or “The Delicious Fields” Man Ray unleashed his Rayographs， more commonly known as photograms. Photograms are produced through a technique in which objects are laid onto light-sensitive paper which is exposed creating a strangely transparent collage.

曼·雷用攝影創(chuàng)作出不同于蒙太奇攝影的拼貼作品，頗具趣味。他在1922年出版的影集《迷人的田野》中，開創(chuàng)性地推出了“雷氏攝影”，更為人熟知的名字則是“物影照片”——把物體放置于感光紙表面進(jìn)行曝光，由此生成一種奇異的透明拼貼畫。

When the assembled objects were exposed to light， the photographic paper underneath the objects was not.

對(duì)光源曝光的是照相紙上的物體，照相紙本身并不曝光。

Man Ray chose objects that had different levels of translucence4， adding to the abstract aesthetic. The opaquer the objects， the more negative the space appeared though this was collage art that was ultimately about negativity. Cameraless photographs， objectless objects， and negative space5 negatives.

曼·雷挑選透明度不同的物體來增添抽象美感，物體越不透明，空間看起來負(fù)感更強(qiáng)。盡管這是拼貼作品，歸根結(jié)底是利用了負(fù)感反轉(zhuǎn)，不用相機(jī)拍的照片，沒有物體感的物體，留白的底片。

Max Ernst （1891–1976）

馬克斯·恩斯特（1891—1976）

Max Ernst was one of the most well-known Surrealist collage artists.

馬克斯·恩斯特是最負(fù)盛名的超現(xiàn)實(shí)主義拼貼藝術(shù)家之一。

His image Murdering Airplane （1920） is a collage depicting a hybrid human and World War I fighter plane while two soldiers carry one of their wounded in the foreground. Ernst’s source materials included popular magazines and educational supplies catalogs. He created new meaning by combining contradictory images， dividing or multiplying them， and employing them as drawings.

他于1920年創(chuàng)作拼貼畫《殺人的飛機(jī)》，畫面主體是人與一戰(zhàn)中的戰(zhàn)斗機(jī)構(gòu)成半人半飛機(jī)的怪物，前景中則是兩名士兵攙扶著一名受傷的同伴。恩斯特的創(chuàng)作素材包括流行雜志和教育用品目錄冊(cè)，他將充滿矛盾的圖像組合起來，對(duì)其進(jìn)行拆分或疊加，將它們作為繪畫材料，從而創(chuàng)造出全新的含義。

Kara Walker （1969–Present）

卡拉·沃克（1969—? ?）

Aside from the marvellous， 40-ton Sugar Baby， which turned out to be her most famous artwork to date， American artist Kara Walker is also known for her black and white silhouettes that have been pasted on the walls of many galleries worldwide to address African American racial identity. These figures are often involved in scenes of slavery， violence and conflict， inspired by traditional African illustration and folklore of the pre-Civil War United States. These cut-out collages and paste-ups actually represent a part of a larger idea， as there are also light projectors that cast the viewers’ own shadows straight into these narratives. This way， they would inevitably become a part of the artwork， unable to ignore it or walk away.

重達(dá)40噸的《糖娃》是美國藝術(shù)家卡拉·沃克迄今為止最知名的作品，不過她那圍繞非裔美國人種族身份主題的黑白剪影作品同樣聞名于世，常張貼在世界各地的美術(shù)館墻上展出。受傳統(tǒng)非洲插畫和美國內(nèi)戰(zhàn)前民間故事的啟發(fā)，作品中的剪影人物往往置身于奴隸制和暴力沖突的場(chǎng)景中。這些剪紙拼貼畫和粘貼作品實(shí)際上只是宏大主題的一部分，還有投影機(jī)將參觀者的影子直接投射到墻上，讓他們也參與作品敘事。這種設(shè)計(jì)勢(shì)必讓觀眾也成為作品的一部分，既不能視若無睹，也無法轉(zhuǎn)身離開。

Wangechi Mutu （1972–Present）

萬蓋奇·穆圖（1972—? ?）

One of the most important contemporary African artists today， Wangechi Mutu works across a variety of media， including video， performance， sculpture and of course collage， through which she investigates topics like gender， race and colonialism. Inspired by artists like Gustav Klimt and Egon Schiele， as well as movements like Surrealism， she composes imagery drawn from anthropological， medical and ethnographic texts， pornography and even Vogue magazine， calling out the violence that women， and black women in particular， endure in today’s society. Wangechi Mutu’s works on paper are often painted with ink and acrylic paint， and accompanied with materials like plastic pearls， 24 karat gold and latex.

萬蓋奇·穆圖是最具影響力的當(dāng)代非裔藝術(shù)家之一，其創(chuàng)作媒介多樣，包括視頻、表演、雕塑，當(dāng)然還有拼貼——她通過拼貼來探索性別、種族和殖民等話題。穆圖深受象征主義畫家古斯塔夫·克利姆特和表現(xiàn)主義畫家埃貢·席勒影響，超現(xiàn)實(shí)主義等運(yùn)動(dòng)也給了她啟發(fā)。穆圖從人類學(xué)、醫(yī)學(xué)、人種學(xué)文本，甚至色情圖片和Vogue雜志中尋找元素進(jìn)行創(chuàng)作，展示女性，尤其是黑人女性在當(dāng)今社會(huì)遭遇的暴力。穆圖的拼貼畫常用墨水和丙烯酸酯進(jìn)行繪畫，利用塑料珠、24k金和乳膠漆等材料進(jìn)行拼貼。

Collage artworks can be quick and easy to assemble making， this a popular format among artists and amateurs. For this reason， it has also been criticized as low art or kitsch6. Nonetheless， its methods and materials make a collage a key tool for artists probing notions of identity， politics， and commodity culture.

拼貼藝術(shù)這一創(chuàng)作形式省時(shí)省事，備受藝術(shù)家和愛好者青睞，但也因此遭到批評(píng)，人們認(rèn)為這種形式低級(jí)庸俗。然而，拼貼作品因?yàn)閯?chuàng)作手法多樣，材料來源廣泛，一直是藝術(shù)家探究身份認(rèn)同、政治以及商品文化等概念的主要手段。

（譯者為“《英語世界》杯”翻譯大賽獲獎(jiǎng)?wù)?；單位：南京曉莊學(xué)院）

1 Merz 德語詞綴，施維特斯將其解釋為一種哲學(xué)和一種生活方式。

2 found art 現(xiàn)成品藝術(shù)。

3 bent on一心要做某事。

4 translucence半透明。? 5 negative space負(fù)空間，指畫面主體以外的留白空間。

6 kitsch庸俗的藝術(shù)品。