Rockbund Art Museum 上海外滩美术馆

Constantly influenced by geopolitics, Francis Alÿs makes cities in Mexico, Argentina and the rest of Latin America as his main sources of inspiration for art creation, and uses poetic and allegorical methods to address political and social realities. He shares many similarities with two masters in the realm of film. The Argentine filmmaker Fernando Ezequiel Solanas, who developed the theory of the Third Cinema, has been committed to promoting the culture and development of the third world countries: even the most poetic scenarios in his films contain political satire, while the Chilean filmmaker Alexandre Jodorowsky has made roads an element highly repeated or a theme always discussed in his films. A Story of Deception, a work exhibited in “Francis Alÿs: Dépense”,also centers around a highway, halved by a dotted white line, extending towards a mirage glimmering on the horizon. In this talk, Lu Zhiyu, a well-known film critic, will share his ideas on two movies which are deeply rooted in the culture of their filmmakers’ homeland: El Viaje by Fernando Ezequiel Solanas and Poesía sin fin by Alexandre Jodorowsky.

Forget about his fame as a cult film art master, and you will find that Alexandre Jodorowsky is actually an ingenuous poet like an innocent child. This is what astonished me the most when I watched Poesía sin fin. In this unconventional autobiographical film, Jodorowsky totally freed himself, revealing his inner selfhood. He played a clown in the movie as a homage to the Italian film director, Federico Fellini, and wrote the most poetic epitaph for his family.--- Lu Zhiyu

弗朗西斯·埃利斯的作品一直贯穿着地缘政治的影响，墨西哥、阿根廷等拉美地区的城市是他创作的主要线索之一，他运用诗意、讽喻的方式来诠释政治和社会现实。而在电影领域，“第三电影”流派开创者阿根廷导演费尔南多·索拉纳斯，一直以来为第三世界国家的文化和生存而努力：他的影片即使在最诗意的时候也不放弃对时事政治的嘲讽；智利导演亚历山大·佐杜洛夫斯基的电影中一直延续着“公路”的特征，或者说追寻的议题；而弗朗西斯·埃利斯本次展出的作品《一个欺骗的故事，巴塔哥尼亚》中，也出现了由一条点缀的白线均分开的公路，镜头似乎一直朝着眼前的海市蜃楼前进。本次活动我们很荣幸地邀请到著名影评人陆支羽和我们一起分享两位导演深植于自身文化土壤所创作出的两部电影：索拉纳斯的《旅行》与亚历山大·佐杜洛夫斯基的《诗无尽头》。

“世人总是惯以’邪典电影大师’来为佐杜洛夫斯基加冕，但如果剥去这层异色的外衣，你或许会发现，佐杜洛夫斯基的内心其实住着一位如孩童般天真执着的诗人。这也是佐神的《诗无尽头》带给我的最震颤灵魂的感受。作为一部非典型自传体电影，佐杜洛夫斯基在《诗无尽头》中纵情放飞幻想，彻底袒露自己的灵与肉；他扮演小丑致敬费里尼，还为自己的家族写下最诗意的墓志铭。”——陆支羽