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文／托比永·罗兰德 Torbjørn Rødland译／彭可、黄安澜
Hand on Fire, Torbjørn Rødland, 2008 1The muteness of a photograph matters as much as its ability to speak.照片沉默的能力和它表达的能力同样重要。2The juxtaposition of photographs matters as much as the muteness of each.将照片并置与让它们各自沉默同样重要。3All photography flattens. Objectification is inescapable.
所有的摄影都是平的，物化是不可避免的。
4Photography cannot secure the integrity of its subject any more than it can satisfy the need to touch or taste.
相比起保准被摄物诚实的样貌，摄影更能满足人们触摸或品尝它的欲望。
5Good ideas are easily bungled.
好的想法都很容易被搞砸。
6Banal ideas can be rescued by personal investment and beautiful execution.个人奋斗和优秀的执行能够拯救平庸的想法。7Lacking an appealing surface, a photograph should depict surfaces appealingly.
纵使打印出来的照片无吸引人的表面，但照片能够将表面描绘得很吸引人。
8A photograph that refuses to market anything but its own complexities is perverse. Perversion is bliss.一张除了自己的繁杂性之余，拒绝推广任何东西的照片是任性和偏执的。而偏执让人欣喜若狂。9A backlit object is a pregnant object.一个从背面被照亮的物件是一个富饶的物件。10To disregard symbols is to disregard a part of human perception.
漠视符号便是漠视人性感知力的一部分。
11Photography may employ tools and characteristics of reportage without being reportage.摄影能够运用资讯报告的工具和特点，但不报告什么。12The only photojournalistic images that remain interesting are the ones that produce or evoke myths.仅有生产和激发虚构的资讯照片是有趣的。13A photographer in doubt will get better results than a photographer caught up in the freedom of irony.带着可疑的摄影师会比自由自在地表达讽刺并受它所困的摄影师，拍到更好的照片。14The aestheticizing eye is a distant eye. The melancholic eye is a distant eye. The ironic eye is a distant eye.审美式的眼神是有距离的眼神。哀伤的眼神是有距离的眼神。讽刺的眼神是有距离的眼神。15One challenge in photography is to outdistance distance. Immersion is key.摄影的其中一个挑战是超越距离。沉浸是关键。16Irony may be applied in homeopathic doses.讽刺能够像顺势治疗法同样，一次一次稀释着运用。17
A lyrical photograph should be aware of its absurdity. Lyricism grows from awareness.
一张抒情的照片应该认识到自己的荒谬。抒情性是从觉察中生长出来的。18For the photographer, everyone and everything is a model, including the photograph itself.
对摄影师来讲，任何人，任何事物都是模特，包含照片本身。
19The photography characterized by these sentences is informed by conceptual art.带有这些句子里描述的特征的摄影和观念艺术相关。20The photography characterized by these sentences is not conceptual photography.带有这些句子里描述的特征的摄影不是观念摄影。*原文刊登于Tripple Canopy, Issue #12: "Black Box," May 5, 2011  作者介绍托比永·罗兰德（Torbjørn Rødland）b. 1970，Rødland用尖锐的图像直击观者，以激发出纷杂的情感与智力思考。对自然世界的好奇，幽默，批判性，小聪明，敬仰与浪漫主义贯穿他的作品，并常常同期出此刻同一张图像里。
Play Under（翻面游戏）是一个基于图像语言的学习小组，2020年在上海成立。致力于供给一个松弛的图像讨论环境，实践形式包含翻译、写作、线下活动、出版物和艺术家合作项目等。
"play under" 即探索咱们以松弛的方式对待实践和交流的各样可能性，依旧处在一个既定和相对封闭的系统中也是不问可知的。而图像亦似是而非，这似乎是对的，亦可能是不对的。
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发表于 2024-9-30 15:01:28