《屏幕上的受苦者》内容简介

　　数字时代的领军艺术家，登顶艺术权力榜的女性艺术家代表作首次中译

　　以犀利洞察力直刺当代碎片化影像的黑洞

　　“弱影像是当代的屏幕上的受苦者,是音像制品的残渣,是冲上数字经济海岸的垃圾。其存在证明了影像剧烈的错位、转移和置换——在视听资本主义的恶性循环中影像加速产生和流通。弱影像作为商品或其拙劣的拟像、作为礼物或作为赏金被拖拽到全球各地。它们传播快乐或死亡威胁，阴谋论或走私品，反抗或镇压。弱影像可以展示难得一见的、显而易见的、不可思议的事物——前提是我们还能够破译影像内容。”

　　在21世纪的第二个十年,后资产阶级的衰败最终以经济黑洞的方式成为现实。一台排水泵开始吞噬并毁灭两百年来勤劳与集体智慧的产物,将社会文明的具体现实转化为抽象的事物——数字、算法、精确的暴行和虚无的积累。历史已经被无尽的、流动的碎片化影像的重新组合取代。然而,一种新的研究形式正在出现,艺术家正在寻找理解这些变化的共同出发点。

　　黑特·史德耶尔无疑是这一潮流中最具代表性的艺术家和写作者之一。本书是史德耶尔的一部代表性研究文集，围绕作者在艺术创作和写作里稳步推进的一种强力影像政治，收录了其近年来发表的多篇里程碑式的文章，包括名作《自由落体:关于垂直视角的思想实验》《为弱影像辩护》《博物馆是工厂吗？》等。这些独树一帜、洞察力犀利的文字反映了作者对数字影像、博物馆、电影院甚至垃圾邮件等现象的思考，以及对社会问题和人类困境的探索和拷问，不断突破传统艺术批评的界限。

　　作者简介

　　作者

　　黑特·史德耶尔（HitoSteyerl，1966—），德国视觉艺术家、理论学者、电影制作人，德国柏林艺术大学新媒体艺术专业教授。她从事艺术视频创作，其研究聚焦于影像领域。她曾在洛杉矶当代艺术馆（MOCA）、马德里索菲亚王后美术馆（ReinaSofia）和伦敦国际当代艺术中心（ICA）等地举办个展。她的作品被泰特现代美术馆永久收藏。

　　译者

　　乌兰托雅，北京大学英文系硕士在读，南京大学英文系学士，一个文字、绘画、影像学习者与实践者。

A brief introduction to the Suffering on Screen

A leading artist in the digital age, the representative work of a female artist who tops the art power list is translated into Chinese for the first time

Piercing the black hole of contemporary fragmented images with sharp insight

"Low image is the sufferer of the contemporary screen, the residue of audiovisual products, the trash that washes up on the shores of the digital economy. Its existence testifies to the dramatic dislocation, transfer and displacement of images - the accelerated production and circulation of images in the vicious circle of audiovisual capitalism. Weak images are dragged around the globe as commodities or poor simulacra, as gifts or as bounties. They spread happiness or death threats, conspiracy theories or contraband, rebellion or repression. Weak images can show things that are hard to see, that are obvious, that are incredible -- if we can even decipher what's in the images."

In the second decade of the 21st century, the post-bourgeois decline finally became a reality in the form of an economic black hole. A drainage pump begins to devour and destroy the product of two hundred years of hard work and collective intelligence, transforming the concrete reality of social civilization into something abstract - the accumulation of numbers, algorithms, precise atrocities, and nothingness. History has been replaced by an endless, flowing recombination of fragmented images. However, a new form of research is emerging, and artists are looking for common starting points to understand these changes.

Hetter Steyer is undoubtedly one of the most representative artists and writers of this trend. This is a representative collection of Steyer's research on the powerful image politics that the author has steadily advanced in his art and writing, including several landmark articles published in recent years, including "Free Fall: A Thought Experiment on Vertical Perspective," "In Defense of Weak Images," and "Are Museums Factories?" Let's wait. These unique and insightful texts reflect the author's reflections on phenomena such as digital images, museums, cinemas and even spam, as well as his exploration and interrogation of social problems and human plight, constantly breaking the boundaries of traditional art criticism.

About the author

author

Hetter Steyerl (1966 -) is a German visual artist, theorist, filmmaker, and professor of New Media Art at the University of the Arts in Berlin. She is engaged in art video creation, and her research focuses on the field of imaging. She has had solo exhibitions at the Museum of Contemporary Art (MOCA) in Los Angeles, ReinaSofia in Madrid and the International Centre for Contemporary Art (ICA) in London. Her work is in the permanent collection of Tate Modern.

translator

Ulan Toya, Master of English at Peking University and Bachelor of English at Nanjing University, is a learner and practitioner of writing, painting and video.