文/ 管郁达（艺术批评家、时任《艺术方向》杂志执行副主编）

有预料到的是近半个世纪以来摄影技术的飞速发展。与人人都能使用的袖珍轻便的数码相机的时代相比，拍照时必须扛着一个笨重、昂贵的新鲜玩意儿的那个时代简直太遥远了。在当时照相机是聪明人、有钱人沉醉其中的贵重玩具。十九世纪三十年代末英国和法国制造的第一批相机，只能由发明者本人和摄影迷来操作。那时根本没有职业摄影者，因此也就无所谓业余摄影者。在这最初的十年中，摄影并没有明确的社会功用，它是一种没有报酬的艺术性活动，尽管当时摄影尚未成为一门艺术。但与本雅明的论断相反，恰恰是摄影的“工业化”使它成为艺术。“工业化”使摄影者的活动产生了社会实效，反对这些实效的力量激发并增强了摄影者把摄影作为一门艺术而进行的个性化实验中的自觉意识和审美力。

《退场——大隐》 傅文俊

《退场——国计民生》 傅文俊

闲置废弃的蒸汽机机车，炼钢厂令人生畏的巨大无比的车间、高炉和烟囱，如巨龙一般向远方不断延伸的铁轨，还有在新的造城运动中被夷为平地的工业废墟和老旧房屋……，等等这些并非自然的而是人类自己制造的“工业景观”或“工业风景”，正是傅文俊在他的作品中不断重复的主题和对象。他在影像中叙述的那些关于城市的故事并非一种简单的未来主义者的乐观憧憬，相反，刻意做旧的技术处理和对破败之物的选择，还有晦暗压抑的色调，都使他的作品染上了一种挥之不去的、伤感的怀旧的挽歌情调，仿佛城市的落日与黄昏。

《退场——脊梁》 傅文俊

《退场——力量》 傅文俊

其实这种叫做“工业景观”或“工业风景”的东西，早在一百多年前就出现在印象主义、未来主义、超现实主义和达达派艺术家们作品中了。在莫奈（Claude Monet）、毕沙罗（Camille  Pissarro）、布勒东（André Breton）、波菊尼（Umberto Boccioni）、杜尚（Marcel Duchamp）等艺术家的笔下，工业及其城市文明的景观不但构成了他们一些重要作品的母题，而且也是其创作灵感的巨大源泉。有人曾说，毕卡索（Pablo Picasso）与布拉克（Georges Braque）创立立体主义的动机来自于对田园牧歌消逝后机器文明时代的恐惧和预感，那比他们更早一些的塞尚(Paul Cézanne)呢？他年复一年地躲在法国南方的普罗旺斯，用一种解析的、理性的、科学的方法画他家乡埃克斯的山坡。在西方现代主义的血统中，孕育出工业文明与城市文明的科学理性精神，一直都在发挥着推波助澜的作用。塞尚教导我们学会把自然看成立方体和圆柱形，这正是一种基于科学立场之上的观看方法：在眼见的自然和想到的自然之间，后者在新兴的城市文明所代表的世界观中已获得了支配性的地位。这也正是古典世界与现代文明之间的重要分野。

《退场——遗留》 傅文俊

《退场——再次守望》 傅文俊

City’s Landscape and Elegy

By Guan Yuda (art critic, executive vice chief editor of Art Direction)

It has been predicted the fact that the photographic technology would have developped rapidly in the recent about fifty years. Comparing to the ages where everyone can use a small, pocket-sized digital camera, the ages where for taking a picture, you had to shoulder a heavy and expensive new object is just too far. At that time, the camera was a costly toy that could be afforded only by the smart and the rich people. At the end of the 1930s,  Great Britain and  France manufactured the first cameras, which could be used only by the inventor himself and by the fans of the camera. At that moment, didn’t exist professional photographers, consequently nor the amateurs. In the first ten years, photography didn’t have a clear social function, but just an unremunerated artistic activity, even though it hadn’t become an art at that time. However, contrarily to Walter Benjamin’s affirmation, it is the “industrialization” of photography that turned it into art. The “industrialization” gave the photographer an actual social effect, and the power to oppose this actual effect aroused and enhanced the photographer’s self-consciousness and the ability to appreciate the beauty of treating the photography as an art and doing personalized experiments.

The idled and disused steam locomotives, in the steel plants the formidable and enormous workshops, blast furnaces and chimneys, the dragon-like long widely extended railways, the industrial relics and the old buildings leveled to the ground within the new city’s construction activity etc., these not natural but man-made “industrial landscapes” or “industrial sceneries” are the repeated themes and subjects in Fu Wenjun’s works. In the images, the stories about the city being recounted are not a simply futurist optimistic longing, but oppositely, careful aging treatment, the choice of the ruined objects as well as the dull and constrained shade give his work a nagging, sentimental and nostalgic emotional appeal, like the city sunset and dusk. 

The subject called “industrial landscape” or “industrial scenery” has already appeared about one hundred years ago in the works of the impressionist, the futurist, the surrealist, and the Dadaist. Under the pen of artists like Claude Monet, Camille Pissarro, André Breton, Umberto Boccioni, Marcel Duchamp, the sceneries of the industry and the urban civilization not only constitute the motif of their important works, but also are the great source of their inspiration. Someone ever said that, the reason for Pablo Picasso and Georges Braque to found the Cubism originated from the fear and the premonition of the machine civilization ages coming after the disappearance of the pastoral. So what about the Paul Cézanne, earlier than them? Year after year, he spent his time in Provence, south of France, and painted the hills in his hometown Alex in an analytic, rational and scientific way. In Western modernism, the spirits of science and rationality, which gave birth to the industrial civilization and urban civilization, always add fuel to the flame. Cézanne taught us to learn toconsider the nature as a cube and a cylinder, which is a way of watching based on a scientific stand: between the nature seen and the nature imagined, the latter one has achieved the dominating position in a world view represented by the emerging urban civilization. This also shows the important dividing line between the classic world and the modern civilization. 

原文刊载于《涂鸦街》2009/08