THE GRAPHIC RISE OF BRITISH MODERNISM — JONATHAN ELLERY

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United Kingdom 英國

優選 Distinction;

Browns Editions
( Browns Editions)
一本出版物 所有英國人的生活都在這裡了。被打包入箱內,於圓桌的協商會議後做上記號。微不足道、脆而不堅、索然無味、陷入不知所措的境地。 在Ellery的帶領下,我們見證了與過去主要論題、拘泥形式、琢磨文體風格上的重大突破。英國日常生活的拜物教本質終被揭露。英國的文明戰爭在此地上演,被打包入箱內,隨時準備好離開。難道我們就必須被困在界定的範圍之內?從許多方面來看,我們一直以來都是如此。 這些英格蘭的照片不僅帶有險惡的氛圍,他們對著我叫大嚷著抗議我們當前的處境。與其稱作整個英國,說英格蘭倒更為恰當,因為這些房屋、花園棚舍、廚房餐桌和政治人物對單一國家而言只是微不足道的指標,遑論整個國家聯合公約。儘管須得透過敏銳的觀察才能發現實情,不過你也不用把自己變成一個社會學家,總歸這本書是由簡單、巧妙且設想周到的開場白構成。 本書共包含四個未明確定義卻一目瞭然的章節:房屋、花園棚舍、廚房餐桌和政治人物。欲解鎖這些事物之間的相關性,讓我們由微觀和宏觀的角度仔細審視各個項目,就像憶起西元1977年美國知名設計Eames 夫婦的電影Powers of Ten (十的十次方),從有限縮放到無限,以尺度、速率的為測量形式來巨觀、微觀我們與宇宙之間的關係。 一直以來大家都知曉英國人的家就是他的城堡。此種說法無非是在強調獨立權利和自主的重要性。然而,若我們於當前的政治氣氛下重新看待這件事情,我們會發覺一個充滿孤立、攻擊性和防禦性的視角。 花園棚舍從古至今都是英國文化的主流,是培養許多業餘創新的搖籃。一個用科技進行「修補」的地方、一個家中男主人短暫逃離妻小的庇護所,或是一個可以無限暢飲自製葡萄酒和啤酒、吸食非法用品和盡情享受色情刊物的窩巢。 廚房餐桌大概是從花園棚舍搬進去的,在進行創新修補時特別有用;而小型企業也大多是從這種廉價的木製框架旁始得創立及營運。但是在這裡,這些桌子都是空的。無人在其側進行工作。桌上沒有放置任何餐點。它們只是空白的畫布。 於是我們來到政治人物的部分。我們看見生命,真是如此嗎?或許這些全是犯罪現場?我讀了一本無字天書,卻不由得聯想到了這個故事。

A PUBLICATION All life in England now is here. Wrapped in boxes. Ticked after being negotiated around a table. Subtle, crisp, empty and locked in limbo. We are witness to a sharp break from the past with a thematic, formal and stylistic tone, here being set by Ellery, to reveal the fetishistic nature of English everyday life. Britain’s civilised war is afoot here, wrapped in boxes and ready to go. Are we contained within defined borders? In many ways, we always have been. There is more than a slightly menacing air to these photographs of England, for they scream, to me, of the state we’re in. I say England rather than the UK because these houses, garden sheds, kitchen tables and politicians are all subtle pointers to a singular country rather than a united pact of nations. It takes a keen eye to spot, but you need not be a sociologist to enjoy, for this book is a simple, brilliantly executed, thoughtful conversation starter. There are four undefined, but clear, chapters: houses, garden sheds, kitchen tables and politicians. To unpack the relevance of these let’s look at each from a micro and macro perspective, reminiscent of the 1977 Eames film, Powers of Ten, that zooms from finite to infinite. It has long been said that an Englishman’s home is his castle. This is often to denote the importance of independent power and autonomy. However, if we look at it within the current political climate, we see another angle, that of isolation, attack and defence. The garden shed has long been popular in English culture as a place where amateur innovation happens. A place for ‘tinkering’ with technology, a refuge for the male of the house from his wife and children, or a den for drinking illicit supplies of homemade wine and beer and looking at pornography. The kitchen table may have taken over from the shed when it comes to tinkering with innovation; small business empires are set up and run from around its cheap wooden frame. But here, the tables are empty. No one sits here. No one is working. There is no meal on the table. These are blank canvases. And then we come to the politicians. We see life, or do we? Perhaps, these are all crime scenes? I read a book with no words and yet conjured this narrative.