維塔斯?盧克斯 現(xiàn)實(shí)之外Vitas Luckus. Beyond Reality
維塔斯?盧克斯（1943-1987）是立陶宛攝影的原始開(kāi)創(chuàng)者之一。20世紀(jì)60年代以來(lái)他對(duì)立陶宛攝影學(xué)校的建立作出了巨大的貢獻(xiàn)，他創(chuàng)作了很多卓越的經(jīng)典攝影作品并在應(yīng)用攝影領(lǐng)域取得了很大的成就。然而，傳統(tǒng)攝影對(duì)維塔斯來(lái)說(shuō)是遠(yuǎn)遠(yuǎn)不夠的：他開(kāi)始構(gòu)建他自己獨(dú)特的影像世界，同時(shí)結(jié)合現(xiàn)實(shí)和幻想;這個(gè)世界的構(gòu)成、顏色或者觀察的切入點(diǎn)徹底改變了他對(duì)待現(xiàn)實(shí)的感知。在創(chuàng)造性工作和傳統(tǒng)生活方式上面跳出傳統(tǒng)思維定式，維塔斯似乎一直在外圍行走。他的能力，與周邊世界直接的親密關(guān)系以及他對(duì)他作品特征的才能表達(dá)使他在其他藝術(shù)家中脫穎而出。Vitas Luckus (1943–1987) is one of the most original figures in Lithuanian photography. Since 1960s he had contributed to the formation of Lithuanian photography school, created many remarkable works of classical photograph and successfully worked in the field of applied photography. However, conventional photography was not enough for him: he started constructing his peculiar world of images while combining reality and fantasy; the world where composition, colour or point of viewing altered the perception of reality drastically. Being out-of-the-box personality in terms of both creative work and traditional lifestyle in general, Vitas seemed to walk in the periphery. He stood out from the others because of his energy and immediate and extremely close relation to the surrounding world and because of the ability to render the features in his works.?
盡管維塔斯是一個(gè)真正的傳奇，不僅僅是在立陶宛，還在在整個(gè)蘇聯(lián)，但是維塔斯只有過(guò)幾個(gè)短暫的個(gè)人攝影展，他并沒(méi)有活著看到他的作品出版在任何刊物上。在這個(gè)藝術(shù)家戲劇性的去世后，他的遺孀塔尼亞離開(kāi)立陶宛定居在了美國(guó)，并帶走了維塔斯所有的攝影作品。之后花了超過(guò)20年的時(shí)間才重新發(fā)現(xiàn)了這個(gè)藝術(shù)家的創(chuàng)作遺產(chǎn)：在2013年的維塔斯?盧克斯攝影回顧展“讓我們進(jìn)入一個(gè)新的世界”在維爾紐斯國(guó)家美術(shù)館舉辦（展覽的策展人是Margarita Matulyt?）;在2014年這個(gè)藝術(shù)家的專著在阿爾勒國(guó)際攝影節(jié)上榮獲了歷史圖書(shū)獎(jiǎng)的提名。通過(guò)這種方式，盧克斯的名字最終開(kāi)始進(jìn)入了世界攝影史。Despite being a true legend not only in Lithuania but also in the entire Soviet Union, Vitas had just a few personal exhibitions and did not live to see any solid publication of his works. After dramatic death of the artist, his widow Tania left to the USA with all his photography archive. It took more than 20 years to rediscover creative legacy of the artist: in 2013 a retrospective of photography by Vitas Luckus Let’s Enter a New World was held in the National Gallery of Art in Vilnius (the curator of the exhibition was Margarita Matulyt?); in 2014 the artist’s monograph was awarded in the nomination Historical Book Award in the international photography festival Rencontres d‘Arles. In this way, the name Luckus has finally started its way into the history of world photography.
在此介紹了維塔斯?盧克斯最富有概念性和創(chuàng)造性的攝影作品：攝影系列 重回復(fù)古攝影（1969年至1983年），甜蜜心情（1975-1983），啞劇（1968-1972），即興啞劇（1971-1973），肖像特寫(xiě)（1968年至1986年）和在他去世幾周前創(chuàng)造的系列 白色背景（1987年）。在這個(gè)展覽上展出的所有系列都揭示了這個(gè)藝術(shù)家對(duì)待藝術(shù)媒介非傳統(tǒng)的姿態(tài)，他試圖超越傳統(tǒng)形式，讓自己走出思維的局限性。Inside-Out Art Museum introduces the most conceptual part of Vitas Luckus creative work: photography series A Take on Vintage Photography (1969–1983), Sweet Mood (1975–1983), Mimes (1968–1972), Improvising Pantomime (1971–1973), Close-up Portrait (1968–1986) and the series created a few weeks prior to his death Against a White Background (1987). All the series introduced in the exhibition reveal the artist’s unconventional attitude to media, his attempt to overstep it as well as to overstep himself and the limitations of thinking.
