超潮攝影家—大衛．拉夏培爾 David Lachapelle x MOCA Taipei

目錄｜Contents

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02

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林志鴻

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林志明

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藝術家論述

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20

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天堂到地獄

大洪水

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普普之後

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過度消費

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災難與毀滅

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人間觀想

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美國文件

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掠奪非洲

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122

麥可．傑克森

聖戰

純真預言

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天使 & 內在光芒

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127 139

目錄｜Contents

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04

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Preface

Artist Statement

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Chih-Hung Lin

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Chih-Ming Lin

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Heaven to Hell

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Destruction and Disaster

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115

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After Pop

Excessive Consumption

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Deluge

Michael Jackson

Meditation

Recollections in America

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The Rape of Africa

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Auguries of Innocence

139

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Angel & Light Within

Holy War

專輯執行 總編輯：石瑞仁 副總編輯：林羽婕 執行編輯：何立心、莊正琪、辜詩吟、陳志芳、郭子瑋、許格元、張瀞尹、周文婷、林宜燕 張玉美、徐慧娟、蘇雲禎、賴士超、沈庭弘、陳琬茹、趙沁琬、許翼翔 美術編輯：Fritz Lee 特約翻譯：廖蕙芬 特約英文校對：Blake Carter 發行人：李永萍 發行所：Pascal de Sarthe Fine Art & Fred Torres Collaborations 為財團法人台北市文化基金會 台北當代藝術館出版 地址：103 台北市大同區長安西路 39 號 電話：+886-2-2552-3721 / 傳真：+886-2-2559-3874 網址：www.mocataipei.org.tw 印刷：采泥國際文化事業有限公司 初版一刷 2010 年 05 月 ISBN：978-986-85294-7-2 版權屬於藝術家本人及 Pascal de Sarthe Fine Art & Fred Torres Collaborations 請勿翻印

展覽執行 執行總監：石瑞仁 副館長兼展覽組長：林羽婕 展覽組團隊成員 專員：何立心、莊正琪、辜詩吟、陳志芳、郭子瑋、周文婷、許格元、張瀞尹、林宜燕 張玉美、徐慧娟、蘇雲禎、賴士超、沈庭弘、陳琬茹、趙沁琬、許翼翔 教育推廣 & 發展行銷組團隊成員 專員：呂易穎、高慈敏、陳千筠、楊豐維、朱明謙、黃美嘉 行政組團隊成員 會計：曾清琪 / 人事出納：陳貞蓉 / 技術支援：莊正琪 / 視覺設計：賴欣怡、陳文榮、林婉筠、林菁慧、Fritz Lee 主辦單位： 策畫執行： 贊助單位： 藝術牆贊助： 指定住宿： 指定投影機： 指定電腦： 指定數位說明牌： 指定保全： 特別感謝：華碩文教基金會、忠泰建築文化藝術基金會、Fred Torres Collaborations、痞客邦、Vogue、 財團法人國家文化藝術基金會、財團法人邱再興文教基金會鳳甲美術館、Patrick Toolan、 Garret Suhrie

美國工作團隊 Organization : Vincent de Sarthe, Patrick Toolan Coordination : Jennifer Warner English text : Patrick Toolan Financial Consulting : Ghretta Hynd, Jane Denton Print Production : Julie Pochron, Mark Murphy, Kumi Gena Tanimura, Ken Bledsoe Artwork Fabrication : Drissi Creative Services, Duggal Visual Solutions, Sky Frame Video Material Courtesy : David LaChapelle Studio, Frank Benvenuto, Luca Pizzaroni Transport : Sunway Express Photo Credits : David LaChapelle: © Thomas Schweigwert Special Thanks : Helga LaChapelle, Sonja LaChapelle, Michael Anderson, Sylvie de Sarthe, John Engstrom, Sharon Gault, Craig Maldonado, Christopher Masciocci, Alessandro Oddo, Steven Pranica, Elana Rubinfeld, Annie Sperling, Shawn Spillet, Jordie Turner, Erni Vales, John Schoenfeld, Kristen Vallow, Xavier Huang.

Exhibition Catalogue Chief Editor : J.J.Shih Vice-Editor : Maple Yu-Chieh Lin Executive Editors : Li-Hsin Ho, Rick Juang, Maggie Ku, Casper Chen, Wayne Kuo, Ge-Yuan Hsu, Jinyin Chang, Dwadi Chou, I-Yan Lin, Yu-mei Chang, Louise Hsu, Carol Su, Shih-Chao Lai, Azuka Shen, Wan-Ju Chen, Hsin-Wan Chao Designer : Fritz Lee Translator : Hui-Fen Liao Proofreading : Blake Carter Publisher : Yung-Ping Lee Published by : Published by Pascal de Sarthe & Fred Torres Collaborations for Taipei Culture Foundation / Museum of Contemporary Art, Taipei Address : 39 Chang- An West Road, Taipei 103, ROC Telephone : +886 2 25523721 / Fax : +886 2 25593874 Website : www.mocataipei.org.tw Printer : Charming Art Corporation First Published in May 2010 ISBN : 978-986-85294-7-2 All Rights Reserved by David LaChapelle, Pascal de Sarthe Fine Art & Fred Torres Collaborations

Working Team of Exhibition Executive Director : J.J. Shih Deputy-Director : Maple Yu-Chieh Lin Department of Exhibition Head of Department : Maple Yu-Chieh Lin Assistant Curators : Li-Hsin Ho, Rick Juang, Maggie Ku, Casper Chen, Wayne Kuo, Ge-Yuan Hsu, Jinyin Chang, Dwadi Chou, I-Yan Lin, Yu-mei Chang, Louise Hsu, Carol Su, Shih-Chao Lai, Azuka Shen, Wan-Ju Chen, Chin-Wan Chao Department of Development and Promotion Specialists : Yi-Ying Lu, Beatrice Kao, Ofelia Chen, Feng-Wei Yang, Ming-Chien Zu, Mei-Jia Huang Department of Administration Accountant : Kate Tseng / Administration Affairs : Anita Chen / Visual Design : Hsin-Yi Lai, Weng-Rong Chen, Wang-Yun Lin, Nicole Lin, Fritz Lee Organized by : Presented by : Sponsored by : Art Wall Sponsor : Appointed Accommodation Sponsor : Appointed Projector Sponsor : Appointed Computer Sponsor : Appointed Digital Caption : Appointed Security Sponsor : Special Thanks to : Asus Foundation, JUL Foundation for Arts & Architecture, Fred Torres Collaborations, Pixnet, VOGUE, National Culture and Arts Foundation, CHEW’S Culture Foundation HONG-GAH MUSEUM, Patrick Toolan, Garret Suhrie

U.S.A. Working Team of Exhibition Organization : Vincent de Sarthe, Patrick Toolan Coordination : Jennifer Warner English text : Patrick Toolan Financial Consulting : Ghretta Hynd, Jane Denton Print Production : Julie Pochron, Mark Murphy, Kumi Gena Tanimura, Ken Bledsoe Artwork Fabrication : Drissi Creative Services, Duggal Visual Solutions, Sky Frame Video Material Courtesy : David LaChapelle Studio, Frank Benvenuto, Luca Pizzaroni Transport : Sunway Express Photo Credits : David LaChapelle: © Thomas Schweigwert Special Thanks : Helga LaChapelle, Sonja LaChapelle, Michael Anderson, Sylvie de Sarthe, John Engstrom, Sharon Gault, Craig Maldonado, Christopher Masciocci, Alessandro Oddo, Steven Pranica, Elana Rubinfeld, Annie Sperling, Shawn Spillet, Jordie Turner, Erni Vales, John Schoenfeld, Kristen Vallow, Xavier Huang.

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11

石瑞仁 台北當代藝術館執行總監

名聲響亮人氣特強，作品風靡全球的美國超潮攝影家大衛．拉夏培爾，同時活躍於時尚攝影、當代藝術創作、MV編導、紀錄片拍攝、以及 表演活動場景設計等領域，他的作品統合了藝術的創意和幽默的個性，每以兼具新潮美感及戲劇張力而著稱。拉夏培爾膾炙人口的攝影創作， 除了先後奪得法國及美國攝影雜誌（Photo）的「年度最佳攝影新人獎」，最近更獲選為「全球最重要的十大攝影師」之一，豐富的得獎紀錄， 一再印證了其作品普被肯定的創意與魅力。

去年年底，台北當代館邀請拉夏培爾專程來台，除了實地勘察計畫中的當代館個展場地，同時也在世貿中心國際會議廳舉辦了一場演講大 會，與國人分享其個人創作經驗與心得。雖然這是他第一次來台，但事先報名並出席這場演講的三千聽眾人數，以及現場反應的熱烈情景，都 締造了當代館開館以來的新紀錄。 拉夏培爾的攝影天份早在青少年時代即已開始嶄露，17歲那年，他獲得普普藝術大師安迪．沃荷（Andy Warhol）的賞識，應邀為Interview雜 誌拍攝人像，他的攝影家身份和知名度，也因此機緣而隨著好萊塢（Hollywood）的名人文化四處傳揚。他的影像作品中經常可見的是，超現實 感的名人身影和昭然若揭的風流物慾，一方面暗示了名流幕後的奢糜生活，另一方面也深刻記錄了這個荒唐年代的頹廢。難得的是，拉夏培爾 雖長期浸潤於流行文化與商業環境之中，卻不受制於作品拍攝目的，而能自由自在地超越商場習性與世俗格局，在一向挑剔刁鑽的歐美當代藝 文界中，他是少數能長期被接納，進而奉為圭臬的當代攝影家之一！

以攝影做為藝術創作的媒介，以當代社會文本做為影像書寫的軸心，拉夏培爾的心胸和眼界既是寬廣包容也是不斷聚焦的。概觀，從藝術史 的經典遺產到流行文化的諸般元素，從浮華世界的明星一族到現實角落的邊緣人物，都可以激發其創作靈感，而成就一系列今古交織、雅俗混 融的精彩創作。他的影像作品，巧妙結合了客觀的元素和主觀的構設，乍看似是大眾文化表相風采的一面反射鏡，細賞更近於社會情境和時代 精神的一種透視鏡；他那善於結合超現實的語境、華美迷人的色彩和社會文化指涉的作風，除了曾先後被美譽為「攝影界的達利」和「攝影界 的費里尼」，隱藏在他作品中的幽默警醒和文化批判意涵，也一直是很受矚目與肯定的。

在全球儼然已同步進入「影像時代」的今日，在幾乎人人每天都在生產和消費影像的台北，舉辦「超潮攝影家拉夏培爾」特展，無疑很能引 起社會大眾的興趣與共鳴。此次，拉夏培爾在台北當代藝術館舉行的個展，展出內容含括1985年至2009年間，他所完成的250餘件精心代表作 品。四月上旬開幕以來，本展除了瞬間吸引大量的賞藝人潮，也直接帶動了有關於大衛之影像藝術的研究與討論；不難想像的是，台北的這一 波熱潮，將繼續反應在中國大陸及亞洲其他國度的巡迴展出，本人也預祝大衛的亞洲巡展之旅成功順利。

本展歷經一年籌劃，得以順利開幕上檔，首先要感謝大衛拉夏培爾本人對於當代藝術館建築與空間的特別青睞，及其對當代館專業能力的信 任有加；其次要感謝藝術經紀人巴斯卡及其家族在這一年間，多次往返美國-台灣而不辭辛勞的居間聯絡、事務協調和分工合作；在台灣這邊， 要特別感謝的有：元大金控對大衛演講盛會的獨家贊助，三商美邦人壽的文宣贊助，凱悅飯店的襄力支持，以及長期以來固定贊助當代藝術館 各項展覽的台灣艾普森科技、華碩文教基金會、創見科技等。最後要真情告白的是，本展開幕以來的大量觀賞人潮，幸因本館館員及工讀生、 志工的熱情有勁和通力合作，而得以維持一定的服務品質；在感謝本館同仁之際，我想也應對假日在廣場排隊等候進館的諸多觀眾說聲-謝謝你 們的耐心，為藝術而等待，肯定是值得的！

Preface J.J. Shih, Executive Director of the Museum of Contemporary Art, Taipei

David LaChapelle, a superbly well-known and highly appraised American photographer, is active in the fields of fashion photography, contemporary art, music video direction, documentary film, and performance art stage design. His works embody creativity and humor and also demonstrate great current aesthetics and a dramatic range. LaChapelle has been awarded by French and American Photo Magazines as the “Best New Photographer of the Year,” and recently he was also named one of the “Top Ten Most Important Photographers in the World.” He continues to receive important awards from around the globe, and his works persist to show their unique innovation and charisma. At the end of last year, the Museum of Contemporary Art Taipei invited David LaChapelle to Taiwan to conduct a site survey for the coming exhibition, and during that time, he also gave a speech at the Taipei International Convention Center, where he shared with the audience his personal experiences and thoughts about his creative career. Although this was his first time in Taiwan, the speech was fully booked in advance by 3000 participants. The feedback that day was tremendous, and it set a new record for our museum.

LaChapelle began to show his talent in photography at a young age, and at seventeen, he was asked by pop master, Andy Warhol, to take photos for Interview Magazine. Because of this opportunity, LaChapelle’s status as a photographer quickly elevated, and he was able to work with many famous Hollywood celebrities. His images often project a recurring theme of celebrities placed in surreal settings which flaunt decadent and luxurious material desires. On one hand, LaChapelle hints at celebrities’ behind the scenes decadent lifestyles; on the other hand, he also comprehensively documents the debauchery of this absurd era. Though LaChapelle has been involved in popular culture and commercial industries for an extended period of time, his works have remained unrestrained, and he is not confined by the frameworks of business and conventional customs. In the hard to please European and American contemporary art worlds, he is one of the rare artists that has been widely accepted and is revered as one of the top contemporary photographers.

Using photography as his creative art medium and contemporary society as the core, LaChapelle’s perspective is all encompassing and with a continuous focal point. His works range from classic remains in art history to diverse elements deriving from today’s pop culture; he works with famous celebrities to neglected social minorities. He seems to see inspiration exuding everywhere, and his exciting works are masterfully pieced together with elements of the old and new, and are fusions of the high and low classes. He skillfully combines objective constituents with subjective structures, and the images presented act like a reflective mirror for popular culture, and upon closer inspection, they seem to give a thorough viewpoint of the society and the era. LaChapelle is ingenious with creating surreal settings with captivating colors and social innuendos. Due to his unique style, he has been referred to as the “Dali or Fellini of photography”; aside from the visual impacts his works deliver, the humorous reminders and social critiques behind the images are also focused on for the important message they carry.

The world is clearly entering into a time of “visual images”, and in Taipei, nearly everyone is producing or consuming images on a daily basis, and because of this current state we are in, the exhibition of David LaChapelle is certainly due to raise interest and awareness in the general public. The exhibition at the Museum of Contemporary Art Taipei contains works by LaChapelle from 1985-2009, and includes a total of more than 250 pieces. Since the opening in early April, the exhibition has drawn a tremendous number of visitors, and it is also raising much discussion and research on LaChapelle’s work. It is not hard to imagine that with this level of popularity in Taipei, the exhibition will surely continue to bring great impact as it tours to China and other parts of Asia. I would like to take this opportunity to wish David LaChapelle’s Asia tour a great success. After a year of meticulous planning, the successful opening of the exhibition owes much gratitude to the artist, David LaChapelle, for his trust in the Museum of Contemporary Art Taipei and for his affection toward this specific venue and its space. Also, a big thank you to the art agent, Pascal de Sarthe, and his entire family for their continuous efforts throughout the year in traveling back and forth between the US and Taiwan and all the preparation work and coordination they’ve invested in to make this exhibition a success. In Taiwan, we want to thank Yuanta Foundation’s exclusive sponsorship of LaChapelle’s speech; MassMutual Mercuries Life for sponsoring the exhibition’s promotion; Grand Hyatt Taipei for its tremendous support; and also for the long-term patrons of the Museum of Contemporary Art Taipei, including Asus Cultural and Educational Foundation, Epson Taiwan Technology, Transcend Information, JUT Foundation for Arts & Architecture and many others. Lastly, a heartfelt thank you to the museum’s staff and volunteers for their enthusiasm and teamwork in keeping the museum’s service quality up to par even with the massive crowds of visitors coming in for this exhibition. Extending from the appreciation for the museum’s team, I also want to say thank you to the many people that waited in line on weekends to see the exhibition; thank you for your patience, and it is for certain that the wait for art is sure to be well worthwhile!

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藝術家論述

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大衛．拉夏培爾

這次展出的作品，完整地展現了我長久以來所著重探討的一些議題，其中包含了我於80年代在紐約一些畫廊展出過的早期創作，一直延伸到 我在雜誌界工作十五年來的作品。

本次的展覽主軸在於反映，美國文化界大量使用傳媒來吸引群眾的一種偏執現象。我刻意將普普/流行(Pop)這個字眼加以放大，並致力以一 種精確而清晰的方式來和大眾溝通──拍攝對象從最受歡迎的名人以至於最被邊緣化的族群；我創作這些影像的目的，是要吸引人們的目光， 而非製造一種疏離感。在創作的過程中，我所重視的是如何使這些影像的內容更具包容力，並且能將其中的概念延伸到後續的創作。

我的近期創作與之前受委託拍攝的作品之間，最大的不同是從此不再受到雜誌版面的限制，並跳脫了白色畫框的制約，成為可讓觀眾深度探 索的立體圖景。

我認為我們正處於一個動盪不安的年代，到處都充斥著環境破壞、經濟危機、宗教對立、以及貧富懸殊的現象。長久以來，我透過我的鏡頭 來觀看這個世界，理解存在於其中的種種矛盾。

很多人覺得目前我們正處於災難的邊緣，處境非常危急。我希望能透過影像中所敘述的人、事、物，與大眾達成觀念上的互動和連結，共同 關注那些可能影響並改變每一個人的課題。

我最近完成的一系列影像作品，與我最早期拍攝的照片之間有著相呼應的關聯性，藉以重新詮釋我對於啟蒙、重返樂園、以及死後生活等議 題的個人想法。

Artist Statement

By David LaChapelle

“I am presenting a selection of works that best portray the consistent themes I have been exploring throughout my career﹣from some of my earliest works that were shown during the 1980’s in New York galleries, on through the 15 years I spent working for magazines.

Through this time my objective was to document America’s obsessions and compulsions using publications as a means to reach the broadest possible audience. I was employing “pop” in the broadest sense of the word. I was photographing the most popular people in the world to the marginalized; always attempting to communicate to the public in an explicit and understandable way. The images were always meant to attract, not alienate. Inclusion has always been the goal when making these pictures, and continues on in the newest works that will be exhibited.

The difference between the works I did as a photographer for hire and the most recent is that I’m freed from the constraints of magazines. The work has not only been liberated from the limitations of glossy pages, but has also emerged from the white frame, engaging the viewer with the exploration of threedimensional tableaux.

I feel that we are living in a very precarious time, with environmental devastation, economic instability, religious wars waged, and excessive consumption amidst extreme poverty. I have always used photography as a means to try to understand the world and the paradox that is my life.

There is the feeling that we are living at a precipice. My hope is that through the narratives told in my images, I will engage people and connect with them addressing the same ideas or questions that possibly challenge them.

My latest pictures are a reflection of my earliest pictures. I reintroduce my personal ideas of transfiguration, regaining paradise, and the notion of life after death.”

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攝影界變形金剛大衛‧拉夏培爾

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虛擬影像的物境奇用 文：林志鴻 大衛•拉夏培爾（David LaChapelle）是一名擅長說故事的影像藝術家，他的影像具有強度十足的咆哮勁道，當代社會的影像奇觀為他燃點 了創作的慾望，「藉由創作，穿透雙眼視界表象之外」則是他始終奉行的至理。八Ｏ年代，他只是蝸居紐約東村眾多年輕藝術家中的一人，八 Ｏ年代末，他加入了安迪•沃荷（Andy Warhol）的《訪談》（Interview）雜誌，開啟了多重身分扮演的契機。九Ｏ年代，他開始拍攝音樂錄 影帶。2005年，他著手拍攝紀錄洛杉磯嘻哈音樂文化的紀錄片《街舞狂潮》（Rize）。在拍攝黑白影像六年之後，拉夏培爾轉而採用彩色攝影 術，「目的就是為了提供大眾一個從沉重生活裡出走的種種可能，帶領大家走進一座更為明亮的奇想世界。轉念之間的連鎖反應相當驚人，當 決定進行彩色影像創作時，我已不再是當初的我了，從觀看生活的角度到工作的模式，那是一種徹徹底底的脫胎換骨。」

愛慕流行文化的矛盾綜合體 拉夏培爾的創作手筆一如凱斯•哈林（Keith Haring）、安迪•沃荷與尚-米榭•巴斯奇亞（Jean-Michel Basquiat）三位一體的當代藝壇聖像 畫。面對一個苦悶、壓抑、無以排遣的社會，他採取一個疏離的態度來觀察，以荒唐失當的畫面鋪陳，回敬無數荒謬悖理的現象。其創作中帶 有鍛光鍊影的苦行者意志或自虐狂的神經質，一邊設計裝置架構一邊莫名亢奮，拉夏培爾的創作，可說是一種無盡愛慕流行文化、卻又必需與 其維持適當安全距離的別無選擇的矛盾綜合體。

物境奇用的警世視潮 都會生活有其陰森冷鬱的一面，在現代主義詩人波特萊爾（Charles Baudelaire）、理論家齊美爾（Georg Simmel）、班雅明（Walter Benjamin）、列斐伏爾（Henry Lefebvre）的眼中，具有導致神經不安疲乏、失卻方向感、冷漠厭世等特質，以及片斷、偶然、瞬間的視覺體 驗，是一種集體記憶下的震撼式經驗殘片，也是無數生活狀態交織的異化與疏離。拉夏培爾的豐沛創作能量，宛如壓縮檔獲得釋放，引人驚詫 地合體為唐吉訶德般的「影像變形金剛」，隨時保持既激動又機動的昂揚狀態，宛如醒神的光束般，彈眼便是驚奇連連的讚嘆，創造出許多與 現實瞠目以對、捉對廝殺的暴亂影像故事。拉夏培爾主導著都會影像觀看模式的切換，藉由影像創作的形式與內容，進而擁抱自身的生活情 調，他牢牢掌控著奚落諷刺權勢慾力的關鍵本色，眼花撩亂的「物境奇用」，突破了消費文化的迷障，他的影像是一種向未來開放的開創性後 設之作，他的鏡頭隨時架設就緒，等待拉開影像劇場的序幕，他開放了「視潮」劃時代的解放，當謀略中的影像模塑，與觀者的解讀交融而產 生變形，警世的訊號便油然而生，而他的譏諷觀察，便在此時瞬間襲向了你我的感官深處，揭開了我們陶醉於文明物慾的種種防備。

商品與藝術本是一體兩面

「生活太苦悶了，何不來點幽默，偶爾脫軌一下，世界本來就不是你所想像的樣子。」攝影界壞男孩大衛•拉夏培爾的創作風格，恰與超現 實主義藝術家達利的行徑，如出一轍。時尚攝影畢竟不是客觀世界的再現，而是創作者個人主觀意識的鋪陳，拉夏培爾的攝影作品往往閃現著 令人目盲的亮眼色彩與光點，挾帶著幽默風趣的意涵，將「商品與藝術本是一體兩面」的邏輯，發揮到淋漓盡致，「商品化了許多藝術，也藝 術化了許多商品」是他的創作寫照，拉夏培爾始終相信：「只要能保證拍得漂亮，攝影師絕對可以為所欲為，人們願意為得到一張完美的照片 而付出一切。你說，有誰會不願意呢？」

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直擊消費至上的病態人生

拉夏培爾對當代社會與消費文化的誘惑特質備感興趣，當「戀物」成為了當代精神價值的核心，置身由廣告與消費行為所驅動的社會當中， 他劃破了事物表面進而檢視隱藏其後的陰謀，同時轉化消費至上的文化醜態，直擊被歡愉與膚淺環繞的病態人生，呈現出擲地有聲的「咆哮性 影像」，為觀者帶來情感上的震驚效應。他的影像往往具備唯美與奇詭的雙生性，在這普普巴洛克般的異想綺境中，所有的角色都以豐沛的能 量向我們承諾著極樂世界的存在，但我們也都瞭然於這座以物慾精心打造的迷幻異境，具有何等囚渙人心的本事。消費始終來自於人性，然而 消費真正慰藉了人心嗎？關於時尚與消費之間既孤獨又親密、既疏離又連結的關係，都可在他的影像作品中一一得到題解，而拉夏培爾近乎俗 豔的享樂主義作風影像，往往正向強化了災禍與幻夢兩極之間的意象落差。

攝影是光影共構的靈魂碰撞

「想要創造不可能，首要之計便在於打消不可能的念頭。當一個想法進入腦中，你就需要轉化它，讓它進而可行可見。當我年輕時，決定要 讓自己成為一名藝術家，很快地，我打定主意要讓『攝影』成為我的創意媒介，於是我借了攝影機拍下人生中早期的一些作品，呈現了我對於 生活的想像。開放創意的重點不在於你怎麼想，而在於你如何去思考那些別人從不思考的部分，我們應該以幼童般天真的目光看待世界，然後 我們將以眼中所見進行溝通對話，這樣才是真實，才是藝術。」早在1984年，拉夏培爾便在303藝廊舉辦個人首度的攝影展，當時，他的每件影 像創作開價四百美金，卻乏人問津。他在高中畢業後所得到的第一份差事，就是安迪•沃荷所安排的《訪談》雜誌攝影記者職缺。某次在紐約 夜店「里茲」（Ritz）幻覺皮衣合唱團（Psychedelic Furs）的演唱會上巧遇沃荷，沃荷對他說：「帶著你的作品來見我吧！」拉夏培爾便與303 藝廊的藝術總監馬克•巴雷（Mark Ballet）、佩吉•波威爾（Paige Powell）與威爾弗列多•羅撒度（Wilfredo Rosado）一同前往《訪談》雜誌 工作。拉夏斐爾表示：「《訪談》雜誌象徵著一時的時代精神（zeitgeist），藝術世界與普普文化盡在其中。我當時轉換了念頭，發現自己根本 不需要藝廊，因為雜誌是作品最佳的展示空間，甚至可以說雜誌是『私人影像收藏博物館』。我以秒針追逐著時針的心情工作，盡可能地按下 快門，因為時間對我來說永遠不夠。我不清楚何謂『風格』，我也不去想何謂『風格』，多數時候，攝影並不是以『風格』來界定的。夢幻般 的攝影作品，就像是由光與影所構造而出的種種靈魂的碰撞。那是在真實與夢幻之間頃刻開展的完美，所有一切都不曾刻意言傳於表面。我只 拍攝讓我感興趣的元素─色彩、幽默、性─最重要的是，這一切都得是自然而然發生的。你只需要享受創作當下的過程，『風格』自然而然浮 現，就讓歷史決定這些影像是否能夠成為藝術。現在可就不同了，透過雜誌、錄像等大眾文化媒介，我表達了我所想說的事情，現在我只想為 藝廊創作，如同當年我在303藝廊的展覽般，我再度開始為藝廊工作的計畫。我不再對五年或十年前熱衷的議題感興趣。」

等待天啟的絕對時機

拉夏培爾擅於將超現實主義風格融入影像當中，打造出看似詭譎的人造真實情境，也由於作品中常見的奇詭絢燦構圖風格、俗豔對比的色調 與帶有訓示意味的隱喻象徵手法，而使他成為「攝影界的費里尼」，在拉夏培爾的作品裡，性、暴力與災難是常見的主題，在強烈的漫畫性視 覺表現下，仍可從畫面當中嗅到恐怖電影及古代宗教的意味，他運用最為通俗而商業化的拍攝手法，表達對於現實生活的觀點，點明並非純藝 術或純影像的創作才能登上藝術殿堂。

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在《耶穌是我的好朋友》（Jesus is My Homeboy）系列中，拉夏培爾將大眾對於耶穌的想像，置入北美的都市生活情境中，耶穌走出了受難 的聖殿，被熱衷於饒舌與嘻哈音樂的年輕人包圍，化入了一股迷幻浮世的氛圍，而米開朗基羅繪於西斯汀教堂的濕壁畫，則啟發了拉夏培爾創 作《大洪水》（Deluge）系列的靈感，這幅長逾七公尺的鉅作，不僅轉化了諾亞方舟涉渡洪水的聖經典故，也展現出拉夏培爾企圖將影像藝術 與宗教訓化規範合而為一的創作觀點。在《大洪水》中，他以極度戲劇性的矯飾主義影像作風，講述了聖經故事中人性墮落而招致險惡危機的 悲劇，畫面中人物的姿勢表情參照著米開朗基羅的構圖佈局。拉夏培爾奉米開朗基羅為創作的精神導師，他將其作品中的情感表現，歸因於米 開朗基羅的啟蒙，《大洪水》一作是美與恐懼的鮮明對照並存，「毫無疑問，那是對於『神聖』的展現，我確信米開朗基羅試圖藉由對於美的 守護與詮釋，證明上帝的存在。一如藝術家，攝影師的職責便在於為世界創造色彩與光線，引領大眾的目光與真實交遇，而天啟終將到來。」 以歷經毀滅後的新生與演進為發想，拉夏培爾試圖挑戰身體與心智延展的極致可能，從身體的時序、激情的危險等角度深入探究，探勘著人類 天性與本能及周遭環境的相互激盪，以及沉浸於各式價值觀中的情緒轉變與體能動靜，更衝擊著創作過程對於生命本質、極限與變動的種種提 問。這樣的創作彷若展開一段未知的冒險旅程，而不僅只是單純傳達一個訊息或訴說一個故事而已。「我鍾愛攝影的衝動來自於進一步認識人 與事物的渴望。」對於拉夏培爾而言，攝影從來不是關於表達，而是關於探索。

明星體系與普普文化 拉夏培爾開創了明星系統的普普官能文化，他邀約許多名人以共同創作的形式，進入藝術殿堂。早在芭莉絲•希爾頓（Paris Hilton）沒沒無 聞時，他便在《浮華世界》（Vanity Fair）拍攝了一組影像特輯，為芭莉絲留下了令人印象深刻的叛逆形象，在《滾石》（Rolling Stone）雜誌 中，拉夏培爾也為小甜甜布蘭妮（Britney Spears）拍攝了一組封面故事，布蘭妮在畫面中的現身，引發了當時美國輿論界對於青少女入鏡擺姿 的道德議論，環繞著布蘭妮的娃娃與純白衣著，突顯了她的天真無邪，但過於成熟俗豔的妝容與表徵性感的高跟鞋，卻反諷地讓這青澀年華的 閨閣想像破局，而布蘭妮懷擁象徵著「同性戀宣言」的紫色天線寶寶布偶封面照，也讓這張封面影像因媒體過度渲染的效應，而成為《滾石》 雜誌極為知名的封面之一，布蘭妮更因此急速竄紅，躍升為青少年崇慕的排行榜偶像；而在另一張《滾石》雜誌的封面照，拉夏培爾再度激起 喧然大波，他為饒舌樂手肯耶•威斯特（Kanye West）留下了頭戴荊棘頭冠、宛若耶穌的形象，對於大眾「褻瀆聖靈」的嚴厲指控，拉夏培爾 此舉回應了其「耶穌無種族之分」的堅實信仰。

身體是權勢交鋒的場域

在拉夏培爾的影像世界裡，名人樂於與其共創荒謬怪誕的情境劇，因為這不僅僅是肖像的捕捉，而是如同「時空膠囊」般，封存了他們不為 人知的精采面向。拉夏培爾的世界永遠充滿著戰爭與恐怖主義，但他也以飽滿鮮艷的色彩、場佈與影像質地，鼓舞著觀者望向開朗樂觀的遊園 地。拉夏培爾揭示了媒介運作的權力機制，也清楚指明身體是權勢交鋒的場域，他將娜歐蜜•坎貝兒（Naomi Campbell）、凱特•摩絲（Kate Moss）等名模化為「活體娃娃」（living dolls），將女性身體視為創作的現成品（ready-made），他更將結集的影像書稱為《藝術家與娼妓》 （Artists & Prostitutes），如此的做法頗為耐人尋味，拉夏培爾進一步解說：「藝術家的工作與生活，的確具有這樣的雙面特性。多數時候，我 們是依照付費者所下達的指令進行工作，無所不在的限制，反而讓工作更為容易。為自我創作、做自己真正想要的藝術，反而是個難題，因為 你必需深入思考自己究竟想要傳達些什麼，而這是更具挑戰性的艱鉅工作。」

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精神狀態的格鬥 在拉夏培爾為傑夫•昆斯（Jeff Koons）拍攝的《三明治》（Jeff Koons: Sandwich）中，身著正式西裝的昆斯跪立於桌上，敞開的雙手各持一 片吐司，如同起士般的鮮黃色塑料洋裝密實地鋪於躺臥桌上的棕髮女郎身上，帶有情色電影的意味。「當名人請求我為他們拍照時，我在意的 不只是捕捉他們眼中散發的靈魂。我更感興趣的是他們怎麼穿、他們的髮型有些什麼變化。對於這些名人來說，外在的裝扮既是『面具』，也 是『防衛』，他們多數時候都在演出被媒體『定型』的自己。」拉夏培爾擅用名人創造出批判大眾文化的距離，他締造了狂野的戲劇化張力， 在他的影像中，性愛與宗教觀點具有孿生特質，時尚則與愉悅的情色聯想共構，他的作品充滿了吸引與排斥的對立思想，將危險、衝突、力 量、及災難等感官意象編織融混。在拉夏培爾的創意世界裡，畫面的意義是由觀者自行詮釋創造，對於影像的解讀，充分反映出你之所以為你 的本質，探掘他的影像藝術，就像是開發一道與自我同感的心靈共鳴。拉夏培爾利用攝影將身體轉換為情感的戰場，將所有角色在影像中的演 出視為極限運動，這種「精神狀態的格鬥」，將為新世代重新定義攝影藝術的觀點與價值。

影像的本質就是虛幻 不同於西希爾•畢頓（Cecil Beaton）、爾溫•潘（Irving Penn）與赫姆•紐頓（Helmut Newton）對於名人肖像的詮釋模式，拉夏培爾 對於「明星系統」自有一番出奇的操作手法，「自娛娛人」是他創作的絕對法則，他將最貼近世俗生活的普普藝術偶像安迪•沃荷、詹姆 斯•羅森奎斯特（James Rosenquist）、克雷斯•歐登柏格（Claes Oldenburg）、湯姆•衛塞爾曼（Tom Wesselmann）與艾倫•瓊斯（Allen Jones）等人的作品風格，由當代影藝名人艾爾頓•強（Elton John）、潘蜜拉•安德森（Pamela Anderson）與黑人超模娜歐蜜•坎貝兒 （Naomi Campbell）詮釋演出，並為影中人添加了夢幻玄疑的特質，例如烏瑪•舒嫚（Uma Thurman）的留影，便具有拉斐爾前派畫家羅塞 提（Dante Gabriel Rossetti）與廿世紀現代主義女畫家藍畢嘉（Tamara de Lempicka）的風格寫照。「我痛恨對於攝影與藝術所謂『好品味』 的觀點。這真是毫無新意的說法。我只對『在毫無預料之處發現美』這件事感興趣。」對於拉夏培爾而言，「普普藝術的概念在於與大眾的 日常生活產生強力連結，普普藝術包含了生活中的所有事情。超現實主義藝術家則是帶有龐克搖滾性格的無政府主義者（anarchist），他們 以魔幻虛擬的手法，提出對於藝術的謫問。」在其《過度消費》（Excessive Consumption）影像系列中，名人以誇張至極的肢體表情，藉由 私領域的自我解構，展現了公眾形象之外的性偏好與展示癖（exhibitionism），同時表達現代男女對於體態雕塑及整型手術的高度熱衷。積聚 （Accumulation）、消費（Consumption）與解構（Destruction）構成了拉夏培爾影像創作的三大核心，個體與社會之間的集體認同，則是他 持續關注的創作母題，他自聖經、神話典籍、小說與漫畫中開發創作的靈感，模塑出一個在暴力環伺脅迫下扭曲變形的異化社會，並勾勒描繪 了莫名而極度深沉的個體焦慮。就他的觀點而論，影像的本質就是虛幻，他從不強調鏡頭要忠於現實這檔事，事實上，他的相機鏡頭是在逃避 現實。不論是模特兒或知名藝人，「攝影界的達利」拉夏培爾偏愛捕捉癲狂行為所造成的神經質表情，他想讓他們盡情咆哮，從苦悶裡獲得解 脫。這個世界的顏面本來就是由明星的臉不斷複製貼上所構成的，他只不過藉助拍照過程中的心理治療作用，為大眾的偶像袪除惱人的精神疾 病。累積眾多與影劇名流合作的經驗，拉夏培爾掌握了後現代主義的靈魂，並透過極為商業化、大眾化的影像敘事手法，為當前以媒體為中心 的社會，重構了以虛幻浮誇為傲的新寫實主義。拉夏培爾漠然地大步邁過好萊塢紅毯與超模聖殿的一級戰區，為投映在名人身上的傳奇色彩層 層髹色，在真實與假象的排比辨證之間，以無稽的影像，盱衡名流效應輕重隱顯的符碼。

The Transformer of Photography: David LaChapelle

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By Chih-Hung Lin

David LaChapelle is a photographer with great story-telling skills. His images possess tremendous power, and the many peculiar happenings in the contemporary world serve as his creative muses. His motto has been to look with a creative outlook beyond superficial appearances. In the 80’s, he started as one of the many young artistic hopefuls dwelling in New York’s East Village. At the end of the 80’s, he joined Andy Warhol’s Interview Magazine , and kicked off his multifaceted career. In the 90’s, he began making music videos, and in 2005, he made a documentary film, Rize , about Los Angeles’ street hiphop culture. After creating black and white images for six years, LaChapelle made the conscious decision to turn to color photography, and the objective was to offer the public another possibility to escape from their monotonous everyday life and take people into a vividly magical world. This turning point went on to form an amazing series of chain reactions. LaChapelle said that when he decided to venture into the world of color photography, he was also transformed into a new person, with new perspectives on life and ways of working. It was a total transformation for him.

An Ambiguous Multifaceted Being with a Burning Passion for Pop Culture LaChapelle’s creativity is comparable to the trinity of contemporary art: Keith Haring, Andy Warhol, and Jean-Michel Basquiat. In facing a repressed and confined society, he opts to make close observations while keeping a distance, and constructs with absurdity in response to the countless bizarre and irrational occurrences happening in the world. His creative works possess extreme neurotic determination and self-destructive qualities, and he holds a burning passion for popular culture, yet keeps a safe distance, making him a fascinatingly ambiguous multifaceted being.

Peculiar Warning Signals for the World The cosmopolitan life contains many dark and solemn sides, and in the eyes of poets and philosophers, such as Charles Baudelaire, Georg Simmel, Walter Benjamin, and Henry Lefebvre, the city has the ability to cause nervous tension, a sense of misplacement, aloofness and disgust towards life. Other conditions may include segmented, abrupt, and sudden visual experiences, which are the lingering effects of an impactful communal memory, senses of distancing and dissimulation resulting from the mixing together of countless different lives. LaChapelle’s rich creative energy feels like a sudden liberation after being repressed for an extended period of time. His ability to outrageously place together different elements make him look like a “Transformer of Images,” and in his images, despite the hyper state of the setting, there is always a god-like glow with elements of surprise projected one after another. The results are works that are dramatic and contrary to reality, with visual stories that are intense and aggressive. LaChapelle also takes the controlling role in changing the way people look at the urban world. The form and content of the visual works are used to embrace life, as he firmly holds on to the key in manipulating power and desire, with a dizzying array of bizarre uses of objects and settings. He breaks from the barricades of consumer culture, and his images are pioneering and futuristic. When his camera is set, and the curtain of the visual theater drawn, he opens up a time-crossing liberation visually.

When the predesigned images take shape, and transform as the audience deciphers the meanings behind them, this is when the warning signals LaChapelle has intended for the world begin to sound off. His ironic view-points will at this point penetrate our deepest senses, and lift the different masks hiding our desires.

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Duality in Consumer Goods and Art “Life is too short, why not treat it with some sense of humor, and derail from the predestined path? The world may turn out differently from what you have thought.” The bad boy of photography, David LaChapelle, has a daring unique style that is comparable to the surrealist artist, Salvador Dali. Fashion photography is not the representation of an objective world; it is the display of the photographer’s personal view-points. LaChapelle’s photos often exude dazzling brightness and colors, with implications that are humorous and fascinating. He utilizes to the maximum possibility the duality in consumer goods and art. He believes that there are many arts that have been fused with consumerism, and many consumer goods have also been mixed with art. As long as the photographs are beautiful, the photographer will have the absolute right to do as he/she pleases, and people are always willing to sacrifice everything just for a perfect photo. Who wouldn’t?

Attack on Consumer-Based Life LaChapelle has a high interest in contemporary consumer culture and the unique behaviors deriving from desires. When the need for objects becomes a fetish and an integral core for the contemporary value, he goes on to break the superficial layer of what people see, and dives in to the very center of the advertisement and consumer-based society to analyze the hidden agenda within. At the same time, he transforms the ugly sides of consumer-based culture by attacking the nauseating life surrounded by pleasure and superficiality. His images are powerful and have the ability to impact people’s inner emotions.

Often possessing the dual quality of being beautiful and bizarre, in the mystical pop-baroque setting created, all the characters seem to be announcing to us the existence of a utopia. However, we are all aware that this enchanting mysterious realm possesses the ability to mesmerize and captivate people’s hearts. Consumerism originates from human nature, but has it comforted the human heart? The relationship between fashion and consumerism is lonely yet intimate and distant yet connected. This complicated relationship is seen clearly in LaChapelle’s works, and the answers are there as well. However, LaChapelle’s almost kitschy hedonistic images also seem to be fortifying the bipolar differences between disaster and illusion.

Photography is the Soulful Commotion of Light and Shadow LaChapelle believes that in order to create the impossible, the first thing must be to abandon the thought of impossibility. Once the thought of impossibility enters the mind, it is necessary to transform it, and alter it into a reality. When LaChapelle was younger, he decided to become an artist, and very soon, he made the decision to use photography as his creative medium. With photography, he created many of his earlier works, and showed his imagination about life through them. LaChapelle believes that in order to open up creatively, the important thing is not to think about your own thoughts; instead, one must think about what other people have not thought about. People should look at the world with a child-like innocence, and then go on to communicate with what we see. That is reality, and that is art. Since 1984, LaChapelle began to show at 303 Gallery, and at that time, the price for each of his photos was USD 400, but not many people took interest in them. His first job after high school was working as a photo-journalist for Andy Warhol’s Interview Magazine . He met Warhol one night at a New York night club, the Ritz, during a Psychedelic Furs concert, and Warhol asked to see LaChapelle’s portfolio. LaChapelle then went to Interview Magazine with the artistic directors of the 303 Gallery, Mark Ballet, Paige Powell, and

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Wilfredo Rosado. To LaChapelle, Interview Magazine symbolizes the era’s zeitgeist, and it encompasses the art world and the popular culture. It was during that time that LaChapelle had an epiphany that he didn’t need galleries, because he thought magazines were the best platforms for exhibitions. He even considered magazines to be personal image collection museums. He worked very hard and fast in those days, because time was never enough for him.

He wasn’t clear about what “style” was, and wasn’t thinking about it either. To him, photography was not categorized by “style,” and a visionary photo was the result of a soulful commotion of the light and shadow. He only took photos of what interested him-colors, humor, sex-and above all, everything had to happen naturally. The important thing was to enjoy the moment, and “style” would emerge naturally. He left it to history to decide if those images could be deemed art. However, things are very different for him now. He has already expressed what he wanted to say through magazines, videos, and other public media, and now he wants to create for galleries once again, just like what he did at 303 Gallery. He is once again working for galleries, and has moved on from issues that he was passionate about five or ten years ago.

Await the Absolute Moment for Revelation LaChapelle specializes in using surrealistic elements in photography, and the artificial reality created is peculiar and bizarre. The often vibrant and eccentric construction of the photographs together with contrasting tones and hidden criticisms within the images have earned LaChapelle the title of “the Fellini of Photography.” In his photos, sex, violence, and disasters are common themes, and with the strong comic-like visual presentations, the horror film and traditional religious connotations remain clearly visible. He opts for very common and commercial approaches to express his viewpoints on life, and successfully enters into many houses of art with works that are usually not considered to be pure art. In the series Jesus is My Homeboy, LaChapelle uses the general public’s impression of Jesus and places him in a North American urban setting. Jesus has stepped out of his holy church and is surrounded by young hip-hop enthusiasts. The ambiance created is very psychedelic and other-worldly. The fresco wall painting by Michelangelo for the Sistine Chapel has also inspired LaChapelle’s Deluge . The piece is over seven meters long, and has appropriated the biblical story of Noah’s Arc. It is a good example of LaChapelle’s creative endeavor in mixing art with religion. In Deluge , he uses a dramatic and pretentious image style to tell the Bible’s story of the fall of man and the tragedy that followed. The characters in the image are positioned based on Michelangelo’s composition. LaChapelle has followed Michelangelo as a guide to express his ideas. Because of the inspiration from Michelangelo, Deluge is a work of vivid contrast between beauty and fear, and undoubtedly, it is a depiction of what is sacred, and LaChapelle believes that Michelangelo attempted to protect and portray what is beautiful to prove God’s existence. Like an artist, the photographer’s responsibility is to create color and light for this world. When the public is guided in seeing the reality, revelation will occur. With the idea of rebirth and post-destruction evolution, LaChapelle attempts to challenge the body and the mind’s most extreme possibility. He goes into deep analysis of various angles including the body’s timing, danger arising from passion, human nature, instinctive ability to interact with the surroundings and emotional transformations in facing different values. These various investigations cause great impact on his creative process, and raise many issues in facing extremity and transformation. This kind of creative process is very similar to going on an unknown exploration; it is not just a simple way of projecting a message or telling a story. LaChapelle’s passion for photography seems to come from his desire to want to know people and the things around them. To LaChapelle, photography is never about expressing, it is about exploring.

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The Star System and Pop Culture LaChapelle created a system of stars and a sensual pop culture, as he invites many celebrities to take part in his creative works. Together, they have ventured into many houses of art. When Paris Hilton was still unknown, he had already taken a series of photos of her for Vanity Fair . He also took a series of cover photos of Britney Spears for Rolling Stone . The sexy images of Britney stirred much controversy at that time because of her young age. The dolls and white clothing used for the photo shoot symbolized the star’s youth and innocence, but the mature and sexy make-up and the provocative high heels also ironically contradicted with her youthful age. The photo of Britney hugging the “gay pride” purple Teletubby once again raised much media hype, and has become one of Rolling Stone ’s most infamous covers. Britney’s stardom then exploded as she quickly became one of the top teen idols of the world.

For another Rolling Stone cover, LaChapelle once again stirred up much controversy with the image of rapper, Kanye West, wearing a crown of thorns like Jesus Christ. In facing the public’s sacrilegious accusation, LaChapelle responded with the firm belief that there should be no racial discrimination when it comes to Jesus.

Body is a Battlefield for Power In LaChapelle’s world of images, celebrities happily collaborate with him in creating bizarre and absurd settings, and the efforts put forth are no longer just for a mere photo shoot; they are creating time capsules and preserving fascinating events that are largely unknown to people. Sometimes LaChapelle creates worlds full of war and terrorism, but he fills them with vibrant colors, settings, and textures, and he encourages the audience to look toward an optimistic and happy playground. He has exposed the power play controlled by the media, and clearly points out that the body is a battlefield for power.

Supermodels, such as Naomi Campbell and Kate Moss, are turned into living dolls and ready-mades. He has also published a photo book with the title

Artists & Prostitutes . The interesting title is explained by La Chapelle as a way of expressing the duality existing in an artist’s work and life. Oftentimes, artists are paid to do what the commissioners ask them to do. The numerous restrictions actually make creating the artworks easier. Making art for the self, and doing what one thinks is art is actually a lot more difficult, because thoughts have to be put into the creative process, making it a much harder task.

Combat of the State of Mind In LaChapelle’s work featuring Jeff Koons, Sandwich , Koons is dressed in a suit and kneeling in front of a table with his opened arms holding a piece of bread in each hand. A brunette woman is covered in a bright yellow cheese-like plastic sheet and is flat on her back on the table. The image construction is quite pornographic. When a celebrity asks LaChapelle to take his/her photo, he is interested in capturing the soul beaming from their eyes. He is also very much interested in what they will wear and what kind of hairstyle he/she will have for the shoot. For celebrities, their outer appearances act like “masks,” and are also modes of defense. Oftentimes, they are playing what the media has type-cast them to be. LaChapelle is interested in using celebrities to create a way to criticize mass culture, and where dramatic and wild tensions are formed. In his images, sex and religious viewpoints are inseparable twins, and fashion and pleasurable eroticism also go hand-in-hand. His works are full of contradictory concepts about attraction and repulsion. Danger, confrontation, power, and disasters are all woven together sensually. In LaChapelle’s creative world, the meanings of the image are deciphered by the

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viewer, and each individual’s reading of the image will reflect the person’s inner character. Exploring his visual art is like opening up for a soulful reflection of the self. LaChapelle uses photography to transform the physical body into a battlefield for emotions, and the characters within the images are playing an extreme sport. This combat of the state of mind plays an integral role in defining the value and perspective of the new age art of photography.

Illusion is the Core Essence of Images With an approach for celebrity portraits that differs from Cecil Beaton, Irving Penn, or Helmut Newton, LaChapelle has his own unique way of treating the “Star System.” Humor plays an integral part in his creative process. Using popular styles made known by pop art icons, such as Andy Warhol, James Rosenquist, Claes Oldenburg, Tom Wesselmann, and Allen Jones, LaChapelle plays out their infamous artistic styles through performances by contemporary celebrities, such as Elton John, Pamela Anderson, and Naomi Campbell. Famous movie stars have also been photographed by LaChapelle, with treatments that are dream-like and illusive. The photo of Uma Thurman is a great example, with styles appropriated from the Pre-Raphaelite artist Dante Gabriel Rossetti and 20th century female artist Tamara de Lempicka. LaChapelle despises what is considered to be “good taste” for photography and art. To him, it is very cliché, and he is only interested in finding beauty in the most unexpected places. The most important concept of pop art is to build a strong connection with people’s daily lives. Pop art should be able to incorporate everything in life. On the other hand, surrealist artists are anarchists with punk rock personalities, and they use magical illusionary approaches to raise their scrutiny about art. In LaChapelle’s Excess series, celebrities are shown with dramatic physical expressions, and through the self deconstruction of personal spaces, they are shown in ways different from their known public images. The celebrities’ alter egos are captured showing their sexual preferences and their exhibitionism, and at the same time, these images show people of both sexes immersed in the contemporary world’s extreme obsession with plastic surgery and sculpting of the physical body. Accumulation, consumption, and destruction form three of the most important elements in LaChapelle’s creative images. The communal approval between the individual and the society continues to be an issue he focuses on. With inspirations deriving from the Bible, classical tales, novels, and comics, LaChapelle creates bizarre realms that are twisted and deformed due to violence, and he is able to illustrate indescribable and extremely profound anxieties. It seems that he thinks that illusion is the core essence of an image, and he has never emphasized staying true to the camera; in fact, he tries to escape from reality by hiding behind the camera. The “Dali of Photography,” David LaChapelle, is passionate about capturing models or celebrities’ crazy behavior and their neurotic expressions. I believe that he wants them to scream without restraint, and be liberated from repression. To him, the face of the world is comprised and patched together from numerous celebrity faces. He is trying to use the process of taking photos as a form of therapy, and attempts to relieve the stars and idols from their psychological issues. With an accumulation of experiences in working with countless celebrities, LaChapelle has a strong hold on postmodern souls and spirits, and with approaches and narrative styles that are highly commercialized and public, in the midst of a society that centers around the media, he has constructed a neo-realism that is based on being extremely illusive. LaChapelle strides forward calmly into the front battlefield of the Hollywood red carpet and Supermodeldom. Through the layers of dazzling hues and shining lacquers and in between the analysis of reality and illusion, LaChapelle projects with absurdity to confront the layers of symbolic icons carried by these famous personalities.

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禮拜堂中的大衛：淺談拉夏培爾

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林志明

如果人們懂法文，便會知道大衛．拉夏培爾（David LaChapelle）這位美國攝影家名字的法文原文意涵，乃是「禮拜堂中的大衛」。這個和西 方宗教脫離不開的名字，仿佛宣告他即便是實踐著強烈普普風格色彩且略帶超現實意味的編導式攝影，並且在講究風潮和表象魅力的時尚攝影 領域中工作，他的作品仍是帶有批判和質疑的色彩，並且經常使用大量的宗教意象。

除了提出問題和批評之外，宗教及藝術史意像更是他長期的特色，也是靈感來源。在一篇訪談中他曾指出：「藝術史對視覺藝術中的每一位 工作者都是至關緊要的，不論你是位設計家、建築師或攝影家。你必須和它們相指涉或比較。學藝術史不是為了讓我們在雞尾酒會中可以有個 聊天話題，而是讓我們能夠理解理念如何演變，以及作者的諸觀念。」 瞭解了這一點，我們便可知道大衛．拉夏培爾和傑夫•渥爾（Jeff Wall）實在很接近。雖然像義大利Vogue這樣的刊物，已經給了他非常大的 工作自由，但他其實在時尚這個仍有不少限制領域中工作，風格也更加誇大華麗，而他和渥爾之間最大的共同特徵，便是把攝影當作是在我們 這時代延續繪畫的一種方式。

比如在《耶穌是我的好朋友》系列中這一張《洗腳圖》（這次展出稱為《油膏》（Anointing）），很明顯是由西方宗教繪畫中及聖經典故 中取材。瑪莉•瑪德蓮（Mary Magdalene）傳說中是一位長期跟隨耶穌的門徒，她曾被視為一位原先職業是妓女，但後來懺悔並加入基督教 的人物，她除了傳說曾以懺悔的淚水為基督洗腳之外，後來甚至長期隱居在沙漠中悔罪。某些傳說甚至說她是耶穌的情人。有關她的繪畫， 總是將她的頭髮畫得豐碩美麗（大部份是金髮），象徵性感，但又經常同時使得她和骷髏頭同在，以顯示懺悔的一面。在去年於馬德里提森 （Thyssen）美術館舉辦的「愛慾的淚水」（Tears of Eros）展覽中，瑪莉•瑪德蓮在藝術史上的各種圖像展現，便是說明愛慾與死亡關係的例 証之一。

瞭解這一點我們可以回過頭來看拉夏培爾的作品。這張《洗腳圖》顯然是對各種古典畫作進行回應：它也顯示了瑪莉•瑪德蓮豐美的金髮， 並且選擇洗腳這個會接觸到身體性敏感端點的時刻。除了選擇這個時刻之外，拉夏培爾甚至使得瑪德蓮的頭髮直接撫觸在耶穌的腳上，使得這 個姿勢擺放中的情色意味相當明顯。雖然基督的形象是相當傳統的（尤其是他的穿著），而且藉著窗戶的背光，他不著痕跡地擁有了傳統的頭 部光暈，也作出了啟示的手勢，但整個場景設置在相當一般的現代廚房裡，又使得這略帶淚痕的瑪德蓮變得像是一位充滿了性幻想的年輕女性。

這種將景場置入現代空間，或者使用現代物件的方式，當然是在藝術史上屢不見鮮的。比如文藝復興時期的宗教繪畫便是如此；不只在繪 畫史上如此，後來許多的劇場、電影改編，更是將場景、服裝的風格時期玩弄於股掌之上。這樣的作法，在這次拉夏培爾的作品中也可大量看 到，除了使得歷史性或經典性的故事和我們的時代更為接近之外，也明白地表示出這是每一個時代依據它的新提問所作的詮釋。在這樣的既引 述又改造的製作裡，拉夏培爾的特色是以普普風味加上幻想性格，但他能否逃脫一般對於普普的質疑，即態度上的曖昧：究竟是在讚頌消費還 是在批判消費？如果是要批判消費，那麼又為何要使用這麼能展現形象魅力的手法？我想，即使拉夏培爾展現了各種極端手法想脫離這個兩 難，比如建構災難式的場景、解構形象魅力的根源、大量引用藝術史題材等，但這仍會是觀眾們心目中出現的問題，而其中一個重要的原因， 便是因為其影像經常帶有動人的力量。

David in the Chapel: on David LaChapelle Chih-Ming Lin

David LaChapelle’s name in French means “David in the Chapel.” With a name so closely connected to Western religion, this American photographer seems to have made a declaration that his vibrantly colored pop and surreal narrative photos for the fashion industry are often used to propose critiques and analytical statements through the implications made with the multitude of religious connotations.

In addition to raising critical questions, LaChapelle has long been inspired by religion and art history, and those elements have also become his distinctive trademarks. He mentioned in an interview that, “I think art history is crucial for anyone in visual arts, no matter whether you are a designer, an architect or a photographer. You have to be referenced in that. Not so you can have conversation at a cocktail party, but to understand how ideas evolve and to understand concepts pf authorship, originality and communication.”

In understanding the point he is trying to make, one might be able to make the connection that David LaChapelle and Jeff Wall have many things in common. Although with publications such as Italian Vogue , a lot of creative freedom is probably granted at work; however, the fashion industry still has many restrictions. Nevertheless, LaChapelle is able to carry on with a style that is extreme and decadent, and one of the major similarities between LaChapelle and Wall is that they both see photography as an extension from painting for this generation.

In the series “Jesus is My Homeboy,” the photo of the foot wash Anointing is clearly inspired by Western religious paintings and Bible stories. Mary Magdalene is said to be an apostle that followed Jesus for an extended period of time, and as a repentant prostitute, she washed Jesus’ feet with her remorseful tears, and lived in the desert later to repent her sins. Some stories have also said that she was Jesus’ lover. Paintings about her are often depicted as a woman with lusciously beautiful hair (often blonde). The images exude sex appeal, but at the same time, she is often drawn next to skulls to show her repenting heart. Last year at the Thyssen Museum in Madrid, the exhibition “Tears of Eros” showed various paintings depicting Mary Magdalene throughout different times in art history. The presentations are good examples of the relationship between Eros and death.

With the above point in mind, we return to examine LaChapelle’s work. Anointing is clearly a response to various classical paintings: It shows Mary Magdalene’s beautiful golden hair, and has particularly selected the moment of the foot wash, where sensitive physical contact takes place. In addition to the specific point in time, LaChapelle has also shown Mary Magdalene’s hair directly touching Jesus’ feet; the position depicted is quite erotic. Although the image of the Christ is very traditional (in particular his clothing), and with the back light coming from the window, he is shown with a subtle halo above his head with hands gesturing in the enlightening position. However, the setting takes place in a modern day kitchen, and the teary eyed Magdalene appears to be a young woman in a sexual fantasy.

The approach of transforming the setting into a modern space or the use of modern objects has been used quite often throughout art history. It could be seen in the religious paintings during the Renaissance; and it goes beyond painting, as seen in theater and cinema, where period settings and costumes are easily manipulated. This approach can be seen quite a lot in LaChapelle’s works at this exhibition. This kind of approach can draw a historical or classical story closer to the current time, and it is also used to clearly express new methods of portrayal in connection to new concerns of the specific time period.

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In the process of appropriation and reconstruction, LaChapelle’s unique style combines pop with fantasy; however, he may not be able to escape from the general assessment made on the art genre of pop, which is the ambiguity on attitude: is the artwork praising consumerism or criticizing it? If the stance is to criticize, why the approach of glamorizing the subject? Although LaChapelle has attempted many extreme approaches to escape from this quandary, such as the construction of a set of disaster, deconstruction of the source of the image’s charisma, and massive references to art history, questions may still remain for each viewer. The most important reason is perhaps because his images often possess the eminent power to move people.

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作品圖錄｜ARTWORKS

本展區的標題源自於由Taschen出版的拉夏培爾最新著作，這是拉夏培爾出版三部曲的最後一本；其他兩本是1996年出版的“拉夏培爾王國 (LaChapelle Land)”與1999年的“拉夏培爾飯店(Hotel LaChapelle)”。透過兩個影像，拉夏培爾透過了耶穌基督的意象提醒著我們在日常生 活中所存在的聖靈感應。在 《寇特妮•樂芙聖母慟子像》這件作品中，拉夏培爾呈現了歷史上最著名的死亡 –耶穌，以及現代流行文化中最 知名的死亡 –超脫樂團主唱寇特•科本，加上另外一位不知名看似用藥過量而亡的男子。他提醒著我們姑且不論受害者是誰，當愛的人往生

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時，身邊親密的人總是會經歷戲劇性的悲傷。影像透過聖母這樣的歷史象徵延伸至全人類，其中所呈現的移情作用來自於攝影師本身對於藝 術史的濃厚興趣。拉夏培爾的影像中引用了藝術史上的主題以及人物 - 而站在照片前面的孩童成為了見證人 – 這樣的模式不斷的出現在拉夏 培爾的作品中。《聖母》的創作靈感不僅受到了文藝復興時期的古典主義的影響，更包含了英國拉斐爾前派的元素。在《耶穌受難記》這件 作品中，拉夏培爾將黑人饒舌歌手肯耶•威斯特（Kanye West）化身為耶穌基督。作品透過頭戴荊棘頭冠這樣的形象提醒著我們每人都有自 己需揹負的壓力以及該付出的犧牲。這位現代耶穌手拿著閃爍的手機，似乎告訴著我們有個訊息正等待著被接收。

天堂到地獄｜HEAVEN TO HELL

This section takes its title from the artist’s latest book, published by Taschen, which concludes the trilogy that began with LaChapelle Land , 1996, and Hotel LaChapelle , 1999.With these two images, LaChapelle reminds us of the divinity present in every life, using imagery of the figure of Jesus Christ. In Pieta with Courtney Love , LaChapelle highlights the most famous death in history, Jesus Christ, one of the most famous deaths in popular culture, Kurt Cobain, and an anonymous death of a young man - apparently the victim of an overdose. The scene reminds us that no matter the victim, the drama of the sense of loss undergone by those who lose a loved one, something enshrined in the historical icon of the Pieta, extends to embrace all humanity and gives form to a feeling of empathy that is nourished by the photographer’s deep interest in art history. His visitation of the themes and subjects from past art – and to which the child in the foreground of the photo bears witness – forms a large part of the output of LaChapelle. As can be seen in Pieta , he has been influenced not just by Renaissance classicism, but also by the English Pre-Raphaelites. In The

Passion of the Christ , LaChapelle represents the Christ figure as a black man, rapper Kanye West, reminding us with the iconic image of the crown of thorns that each of us has our own burdens to bear and sacrifices to make. In his hand this modern Jesus holds a cell phone with a blinking light to serve a reminder to both the subject and the viewer that a message is waiting.

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寇特妮‧樂芙聖母慟子像, 2006, 彩色沖印

Pieta with Courtney Love, 2006, Chromogenic print

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天堂到地獄 之一, 2006, 彩色沖印

Heaven to Hell #1, 2006, Chromogenic print

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天堂到地獄 之二, 2006, 彩色沖印

Heaven to Hell #2, 2006, Chromogenic print

《大洪水》系列作品代表著拉夏培爾攝影生涯的轉折點，因為這是他自80年代於紐約東村的畫廊展覽後第一次回歸到純創作非商業性質的 作品。靈感來自於米開朗基羅繪於西斯汀教堂的濕壁畫，不過拉夏培爾將場景拉到了慾望之都拉斯維加斯。這個城市代表著美國文化的極度 奢華以及人造假象，可以說是現代的所多瑪與蛾摩拉。參照著米開朗基羅的構圖佈局，拉夏培爾呈現了當代男男女女於舞臺上飾演著啟示錄 裡的角色。儘管處於困境中，他們互相幫助，伸出援助之手努力的朝著高處爬。在影像的頂端，一個背著十字架的男人將每個人拉離了災難 使他們得到救贖。作品所要表達的訊息是一個充滿希望的未來，無論我們個人的命運還是世界的命運如何，人類將攜手合作互相幫助。《博 物館》和《雕像》呈現了一個陷於水中的藝術機構，所有曾被認為無價的藝術品已變成毫無價值，遭到摧毀並被遺留下。我們所看到的是當 33

洪水已經退去的景象。藝術品依然存在，但曾經推崇並且保護這些作品的人們已經不在。拉夏培爾探討著當生命的末端就在眼前，藝術品無 法防止不可避免的事情發生。這些無價的藝術作品將沒有任何價值，不僅因為大自然摧毀了它們的原始狀態，而且因為沒有任何人存留下來 能夠賦予它們附加的價值。觀眾成為了留在這展場內的這些作品的現任擁有者，因為我們變成了藝術品的觀賞者。透過《大教堂》，拉夏培 爾指出了人們在艱困時刻轉向宗教或其他更高層能量的共同需求。所呈現的是當群體獲得了救贖，當人們面臨人生末期時，希望能如曙光般 閃耀。《覺醒》中浸於水裡的人們象徵著處於生與死之間的一個祥和的境界。在大水箱中的個體是孤獨並且安靜的，他們處於一個超脫的境 界，超越了物質世界裡的一切。

大洪水｜DELUGE

The Deluge series represents a turning point in the career of LaChapelle, as it was the first series of works done strictly for artistic expression and not advertising or publishing since the 1980’s when he was showing at galleries in New York City’s East Village. Inspired by Michelangelo’s fresco, the Deluge , in the Sistine Chapel, LaChapelle’s Deluge is set in Sin City, Las Vegas. The city itself is representative of the excesses and artificiality of American culture – the modern day Sodom & Gomorrah. Respecting the form and composition of Michelangelo’s great work, LaChapelle presents contemporary men and women as players on the stage of Apocalypse. In spite of this great plight, they help each other, reaching out helping hands in search for higher ground. At the apex of the picture a man on a cruciform is lifting the crowd up to salvation. The message is one of hope for the future, that whatever our individual fate, or the fate of the world is, mankind will join together and help one another. In Museum and

Statue , we find the salons of an art institution under water, with what were once priceless works of art made valueless, destroyed, and left behind.

We see that the flood has already come and the waters receded. The art remains, but the people that once revered and protected the works are no longer present to admire them. With these, LaChapelle explores the idea that when the end of our lives is at hand, the artwork will not be able to physically prevent the inevitable. These priceless works of art now hold no value, not only because nature has destroyed their original states, but also because there is no one left to assign value. We are now the owners of these artworks left behind in this gallery, as we are the beholders. With

Cathedral , LaChapelle addresses the common need to turn to religion or a higher power during time of hardship. It addresses the salvation often found in community and during such difficulty as the group faces the end and the light of hope shines through.The Awakened figures submerged in water represent the peaceful place between life and death. The figures, photographed alone in a large tank of water, were in a state of solitude and quiet at the time the pictures were taken. They are in a state of transcendence, beyond the physical world.

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覺醒：但以理, 2007, 彩色沖印

Awakened : Daniel, 2007, Chromogenic print

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覺醒：路得, 2007, 彩色沖印

Awakened : Ruth, 2007, Chromogenic print

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覺醒：耶西, 2007, 彩色沖印 Awakened : Jesse, 2007, Chromogenic print

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覺醒：約拿, 2007, 彩色沖印 Awakened : Jonah, 2007, Chromogenic print

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覺醒：底波拉, 2007, 彩色沖印

Awakened : Deborah, 2007, Chromogenic print

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覺醒：大利拉, 2007, 彩色沖印 Awakened : Delilah, 2007, Chromogenic print

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覺醒：猶滴, 2007, 彩色沖印

Awakened : Judith, 2007, Chromogenic print

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覺醒：哈拿, 2007, 彩色沖印

Awakened : Hannah, 2007, Chromogenic print

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覺醒：亞伯, 2007, 彩色沖印 Awakened : Abel, 2007, Chromogenic print

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覺醒：亞伯蘭, 2007, 彩色沖印 Awakened : Abram, 2007, Chromogenic print

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覺醒：以斯帖, 2007, 彩色沖印 Awakened : Esther, 2007, Chromogenic print

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大洪水, 2006, 彩色沖印 Deluge, 2006, Chromogenic print

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|16 大教堂, 2007, 彩色沖印 Cathedral, 2007, Chromogenic print

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|17 美術館, 2007, 彩色沖印 Museum, 2007, Chromogenic print

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雕像, 2007, 彩色沖印 Statue, 2007, Chromogenic print

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此展區薈萃了拉夏培爾在不同時期拍攝的一系列呈現了末日或是破壞的照片。現實與想像的交織形成了受到自然災害或是科技災難的景觀、 有些則是某些人對於特定的人事物的盲目憤怒引起的災難。拉夏培爾的母親住在佛羅里達州這個最容易遭受颶風破壞的區域 ；他在這些場 景內置入了沒有屋頂的房子，斷裂的樹木以及破碎的家具，畫面內有一些女性遊走於其中宛如災難的倖存者。她們像是有遠見的魅影，身穿 著高級訂製服和配件，有些拿著手提箱。這些照片所要呈現的重點是由一群時尚以及解放的女性所代表的上層資產階級。這些人物在廢墟場 景中如此般突兀的存在感形成了兩種不同的可能性：介入或逃亡。所有的場景中展示著在破壞中存在的華麗感，暗示著自戀性的消費行為主 要是為了化解恐懼和冷酷的現實。透過消費來造成對於恐懼的分心其結果卻是一個冷漠的狀態的形成，而此狀況則已經直接對於自身造成了 莫大的影響。在《世界盡頭的房子》，一個位在前端穿著華麗睡衣的女人，她充滿著宛如女教皇般的驕傲和尊嚴。身後一排完全被摧毀的住 宅證明了這裡經歷了一場颶風襲擊，由她蓬亂的頭髮中也可看出颶風吹襲的痕跡，不過她看起來似乎被凍結暫停住。她手裡抱著一位孩子， 從她敞開的衣服可看到裡面華麗的內衣。《你可以幫助我們嗎？》這幅作品採用了雷同的構圖，呈現了一對穿著閃亮粉紅色舞台戲服的雙胞 胎。他們之間有兩個孩子在廢墟中玩耍。這兩張照片，連同《末世之後》以及《你在那裡嗎？》是在2005年替義大利Vogue雜誌所拍攝的。 它們代表著拉夏培爾的時尚攝影生涯的終點。

災難與毀滅｜DESTRUCTION AND DISASTER

This section gathers together a series of photos, shot at different periods of time, showing visions of the apocalypse or of destruction. Reality and imagination interweave in compositions of landscapes devastated by natural disasters or technological catastrophes, and by the blind fury of individuals against objects and persons. LaChapelle, whose mother lives in one of the regions most exposed to hurricanes – Florida – scatters over these scenes roofless houses, shattered trees, and the detritus and fragments of furniture, while female figures wander around like survivors. They resemble visionary apparitions, though wearing haute couture dresses and accessories, and often holding a suitcase. The photos are concerned with an upper bourgeois class represented mainly by chic and apparently emancipated women. The “out of place” presence of the characters against a ruined and abandoned background places them on the cusp between two different possibilities: approach or exodus. All of the scenes show glamour amidst destruction and are representative of narcissistic consumerism as distraction from fears and hard realities that we face in our world. The distraction creates a state of indifference until one is personally affected by the situation. In The House at the End of the World , a woman in the foreground wears a sumptuous dressing gown, which gives her all the pride and dignity of a female pope. Behind her a row of completely destroyed residential homes testifies to the passage of a hurricane, the traces of which are left in her disheveled hair, though blocked as though in a freeze frame. In her arms the woman holds a child and shows off the luxurious lingerie beneath her wide-open dress. A similar setting frames Can You

Help Us? ; this shows twins wearing shocking-pink stage costumes. Between them are two children playing among the ruins. These two photos, along with When the World is Through , and Are you out there? were originally photographed in 2005 as editorials for the fashion magazine, Italian Vogue. They mark the end of LaChapelle’s career photographing for fashion editorials.

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|19 世界盡頭的房子, 2005, 彩色沖印 The House at the End of the World, 2005, Chromogenic print

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萬得麵包, 2002, 彩色沖印 Wonderbread, 2002, Chromogenic print

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從前的天堂卻是現在的地獄, 2005, 彩色沖印 What Was Paradise Is now Hell, 2005, Chromogenic print

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|22 你可以幫助我們嗎？, 2005, 彩色沖印 Can You Help Us?, 2005, Chromogenic print

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吃到飽, 2002, 彩色沖印 All U Can Eat, 2002, Chromogenic print

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你在那裡嗎？, 2005, 彩色沖印 Are You Out There? , 2005, Chromogenic print

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|25 我為了購物買了一台大車, 2002, 彩色沖印 I Buy a Big Car for Shopping, 2002, Chromogenic print

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|26 末日之後, 2005, 彩色沖印 When the World Is Through, 2005, Chromogenic print

對拉夏培爾而言，普普文化已找到合適的語彙和大眾溝通。在他作品中，可找到普普藝術的影子，而且公開地向這些經典的前輩致敬，如詹 姆斯•羅森奎斯特（James Rosenquist）、克雷斯•歐登柏格（Claes Oldenburg）、湯姆•魏瑟曼（Tom Wesselmann）、艾倫•瓊斯（Allen Jones）、理察•漢彌爾敦（Richard Hamilton）、韋恩•弟波（Wayne Thiebaud）和安迪•沃荷（Andy Warhol）。承襲普普藝術嘲諷性的 內容，加上超現實主義所強調重新定義的真實，呈現過度放大或解構日常生活物品，拉夏普爾重新審視這些巨作，運用嘲諷性的暗示來刻畫

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作品，使其蛻變成具有新思維和新意象的作品。例如這張安迪沃荷重塑的電椅，拉夏培爾重現經典之作，在電椅旁的地板上放置一雙女鞋。 《發光體》（Celebrity Gleam）的攝影作品也是同樣的對應例子，呼應英國普普藝術的訴求，引用理察•漢彌爾敦（Richard Hamilton）的 特殊風格，不論在色調和主題構圖的剪輯上，都有其影子，該作品一向是嘲諷財富所帶來的社會行為與其矛盾處：《漢堡致死》（Death by Hamburger）完全是向克雷斯•歐登柏格致敬，巨大的漢堡就重壓在年輕女體上，這幅2001年的攝影作品似乎預測了加工包裝食物的濫用，

隨後於2004年，摩根史柏路克（Morgan Spurlock）的紀錄片《麥胖報告》（Super Size Me）也可見到類似主題。

普普之後｜AFTER P0P

For LaChapelle pop culture finds its fulfillment in language aimed at a wide public. In certain of his works references to Pop Art are explicit and they openly refer to the iconographies of James Rosenquist, Claes Oldenburg, Tom Wesselmann, Allen Jones, Richard Hamilton, Wayne Thiebaud and, of course, Andy Warhol. Having derived from Pop an ironical content with its roots in a typically Surrealistic redefinition of reality – over-enlarged or decontextualized everyday objects – LaChapelle revisits famous works, sowing them with sarcastic hints that in turn become in themselves the objects for new thoughts. Then there is the famous electric chair, reproduced by Warhol and re-presented by LaChapelle with a pair of women’s shoes on the floor beside it. There is also an evident assonance between the photo Celebrity Gleam and the English roots of Pop Art through a particular reference to the style of Richard Hamilton, both in color range and the composite montage of the subjects. The ironic attitude shows itself to be of value for revealing the contradictions and behavior of a society based on wealth: Death by Hamburger displays a huge hamburger, worthy of Claes Oldenburg, plunging down onto the body of a young woman and crushing her. This 2001 photo seems an anticipation of the abuse of fast food later seen in the cinema in (Super Size Me ), the 2004 documentary by Morgan Spurlock .

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安迪‧沃荷：最後的休憩, 1986年11月22日, 彩色沖印 Andy Warhol : Last Sitting, November 22, 1986, Chromogenic print

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|28 我想活下去, 2001, 彩色沖印 I Want to Live, 2001, Chromogenic print

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阿曼達版本之安迪沃荷的紅色伊麗莎白泰勒, 2007, 彩色沖印 Amanda as Andy Warhol's Liz RED, 2007, Chromogenic print

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阿曼達版本之安迪沃荷的瑪麗蓮夢露, 2002, 彩色沖印 Amanda as Andy Warhol's Marilyn, 2002, Chromogenic print

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螺旋防波堤, 1997, 彩色沖印 Spiral Jetty, 1997, Chromogenic print

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發光體, 2002, 彩色沖印 Celebrity Gleam, 2002, Chromogenic print

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|33 漢堡致死, 2001, 彩色沖印 Death by Hamburger, 2001, Chromogenic print

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李奧納多‧狄卡皮歐：復古風 1996, 彩色沖印 Leonardo DiCaprio : Nostalgic Styling, 1996, Chromogenic print

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潘蜜拉‧安德森：雙面煎蛋, 1998, 彩色沖印 Pamela Anderson : Over Easy, 1998, Chromogenic print

這個系列的作品是從拉夏培爾身為時尚以及名人攝影師的20年生涯中所累積的大量作品中所選出，呈現出他的商業作品以及最新的藝術創作

之間的關聯性。他的最新作品顯示出拉夏培爾是如何用相機來見證社會的迷戀和極端的種種行為。許多他近期的作品內所探討的主題，如大

眾消費和物質主義，都清楚地與之前的作品相呼應著。在《沉迷於鑽石》這件作品中，拉夏培爾探討了對於物質需求過度依賴的危險性，沉

迷的程度宛如毒品上癮一般。透過《莉兒金：奢侈品》這件作品，他指出了與其對於名牌和奢華物品的迷戀，其實更需要受到重視的是皮膚

底層的內在，靈魂的意義。《費•唐娜薇：蝗蟲日》、《芭莉絲•希爾頓》和《瑪丹娜：時間的遲滯，攝影的精神 》均呈現了對於明星崇拜

的境界已經如同對於宗教的激情或狂喜一般強烈。《大衛•鮑伊：保存自己》和《替換你的臉》都是於90年代初所拍攝，探討不斷透過人工

手段來改變身體的樣貌，而一切所為只是為了滿足自我的虛榮。

過度消費｜EXCESSIVE CONSUMPTION

This collection of works was selected from an expansive body of work compounded after 20 years as a fashion and celebrity photographer. These pieces are most representative of the link between his commercial work and his newest artworks. As with his newest works, these works show LaChapelle’s ability to use the camera to bear witness to society’s obsessions and excesses. Many themes found in his most recent works, of mass consumption and materialism are clearly displayed in this work of years past. In Addicted to Diamonds , LaChapelle confronts the dangers of becoming dependent on the need for material consumption like a drug addict. With Lil’ Kim: Luxury Item , he addresses the world of branding and obsession with luxury brands while reminding the viewer that what’s beneath the skin, the body which houses our soul, should be treated with a deeper value than a designer label. Faye Dunaway: Day of the Locust, Paris Hilton, and Madonna: Time Lapse Photograph Spiritual Value speak of the worshipful cult of celebrity which is equated to that of religious passion or ecstasy like a visitation from a Saint. David Bowie: Self-

Preservation and Replace your Face , both taken in the early nineties, address the constant need for physical self improvement using artificial means.

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潘蜜拉‧安德森：神奇的古銅膚色, 2004, 彩色沖印 Pamela Anderson : Miracle Tan, 2004, Chromogenic print

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大衛‧鮑伊：保存自己, 1995, 彩色沖印 David Bowie : Self Preservation, 1995, Chromogenic print

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阿曼達‧萊波雷：沉迷於鑽石, 1997, 彩色沖印 Amanda Lepore : Addicted to Diamonds, 1997, Chromogenic print

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莉兒金：奢侈品, 1999, 彩色沖印 Lil' Kim: Luxury Item, 1999, Chromogenic print

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瑪丹娜：狂暴的季節, 1998, 彩色沖印 Madonna: Furious Seasons, 1998, Chromogenic print

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安吉莉納‧裘莉：思慾的春天, 2001, 彩色沖印 Angelina Jolie : Lusty Spring, 2001, Chromogenic print

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女神卡卡：泡泡, 2009, 彩色沖印 Lady Gaga : Bubbles, 2009, Chromogenic print

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女神卡卡：大都會, 2009, 彩色沖印 Lady Gaga : Metropolis, 2009, Chromogenic print

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在庭園中昏倒, 1995, 彩色沖印 Collapse in a Garden, 1995, Chromogenic print

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權力的滋味, 1995, 彩色沖印 A Taste of Power, 1995, Chromogenic print

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|46 亞列山大‧麥昆和伊莎貝拉‧布羅：燒光這棟房子 , 1996, 彩色沖印 Alexander McQueen and Isabella Blow : Burning Down the House, 1996, Chromogenic print

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|47 償還的天堂, 1999, 彩色沖印 Redeeming Paradise, 1999, Chromogenic print

為了向麥可．傑克森致敬，拉夏培爾參考了墨西哥天主教聖像卡的格局和三部曲的概念，拍攝完成《美國耶穌》、《大天使長麥可》、《賜

福》。在此，流行之王麥可．傑克森等同於大天使長麥可，以正義的化身打擊魔鬼。然而，本身卻是個心靈重傷、落寞天涯海角的孤獨戰

士。正邪對比、勝負認定是清晰的，但其中的意涵卻耐人尋味。拉夏培爾認為麥可傑克森是現代的烈士，無意傷害他人，同時他也相信那些

針對麥可的指控都是莫須有的，麥可所寫的歌詞展露其深信人性美好與光明的未來；迥然不同於歷史上其他的流行歌星。拉夏培爾認為麥可

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的一生是這世代最具代表性的史詩，他的一生給全世界上了深沉的一課－人們加諸於他人的批判是極具毀滅性，同時也使我們正視自身對於

創造偶像的需求，以及喪心病狂地沉迷於看著他們從天隕落。媒體小報模糊了我們的焦點，一味地八卦，沉溺其中，使我們的生命充斥這些

小道消息。

麥可．傑克森｜MICHAEL JACKSON

LaChapelle created the three works: American Jesus , Archangel Michael , and The Beatification , drawing his inspiration from Mexican prayer cards. In one of the photos the king of pop assumes the role of the Archangel Michael striking down the devil as a messenger of justice.

Nevertheless, his image gives the impression of a lone and spiritually wounded warrior standing at the end of the earth. In the work, the contrast between good and evil and the identity of the victor and the defeated is clear, but its message is up for interpretation. LaChapelle feels that Jackson was a modern day martyr, incapable of intentionally harming anyone. He also believes that all the accusations against Jackson were, to say the least, unfounded. Jackson’s self-written lyrics reveal their author’s faith in the beauty of humanity and the brightness of the future, unlike any other pop star in history. LaChapelle considers Jackson’s life story as one of the most epic stories of this era. His life taught the world a valuable lesson on the destructiveness of people judging other human beings for being different from themselves. It also makes us look at our need to create idols and the perverse pleasure we receive in witnessing their fall from grace. The tabloids distract us from important matters, reducing us to gossips. By indulging in this we render our lives trivial.

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大天使長米迦勒, 彩色沖印 Archangel Michael : And no message could have been any clearer, Chromogenic print

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美國耶穌, 彩色沖印 American Jesus : Hold me, Carry me boldly, Chromogenic print

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賜福, 彩色沖印 The Beatification : I'll never let you part for you're always in my heart, Chromogenic print

拉夏培爾偏愛超凡的議題，例如聖神於日常生活的顯靈或不可避免的死亡，這些議題在《人間觀想》這個展區透過《耶穌是我的好朋友》系

列作品中得到了完好的呈現。創作的靈感來自一件全美流行的T恤，拉夏培爾在2003年9月號的英國雜誌ID首度呈現了這系列作品，作品中

有一群穿著潮流服飾的年輕人包圍著耶穌，而耶穌則維持著傳統的形象，並且頭頂有著光環。祂周圍的年輕臉龐傳遞著一個難以置信的表

情，而且有時是沮喪的。他們似乎感到好奇，並著迷於祂所散發出的催化力量。場景發生在非常普通的地方，如青少年會面的街道上、速食

店的窗口、以及破舊的屋內。其中引用了新約聖經中的：最後的晚餐、復活、受到石刑的通姦者、或瑪莉•瑪德蓮洗基督的腳。畫面內的人

物彼此之間充滿著同情，呈現出人與人之間重新組織的情感，也因此他們在冷漠和孤獨的城市中得到救贖。 這對拉夏培爾來說是與神的關係 中最深層的意義所在。當極端福音主義正在美國成為主流的當下，拉夏培爾使用此系列來喚回耶穌所帶來的訊息以及祂的真實自然的一面 : 耶穌本是一位被邊緣化和被踐踏的男人，而不是一個充滿批判以及排外的人

人間觀想｜MEDITATION

LaChapelle’s preference for transcendent themes, such as the divine presence in everyday matters or the inevitable moment of our death, is well represented in the section Meditation , in which the series Jesus is My Homeboy is presented. Inspired by a popular t-shirt sold throughout America, LaChapelle created the series in September 2003 for the British magazine I.D . The series shows a group of youngsters wearing urbanwear amongst the figure of Jesus, derived from traditional iconography and surrounded by a luminous halo. The faces of the youths around him transmit an aura of disbelief and, occasionally, dismay. They seem curious and, in a certain sense, entranced by the catalyzing force He emits. The scenery shows ordinary places such as the streets, the meeting points for youngsters, fast-food store windows, and run-down domestic interiors. The references are to episodes from the New Testament: The Last Supper, the Resurrection, the Stoning of the Adulterer, or Mary Magdalene washing the feet of Christ. The characters populating the scene establish a deep feeling of empathy between each other, an empathy which recuperates the texture of human relationships by reweaving it and they are thus saved from the indifference and loneliness of the city. This, for LaChapelle, is the deepest meaning of a relationship with the divine. In a climate of extreme Evangelism becoming the majority in the United States, LaChapelle uses this series to reclaim the message and true nature of Jesus – a man of the marginalized and downtrodden, not a man of judgment and exclusion.

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|51 油膏, 2003, 彩色沖印 Anointing, 2003, Chromogenic print

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最後的晚餐, 2003, 彩色沖印 Last Supper, 2003, Chromogenic print

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見證一件聖蹟, 2003, 彩色沖印 Evidence of a Miraculous Event , 2003, Chromogenic print

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餅和魚, 2003, 彩色沖印 Loaves and Fishes, 2003, Chromogenic print

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調停, 2003, 彩色沖印 Intervention, 2003, Chromogenic print

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|56 佈道, 2003, 彩色沖印 Sermon, 2003, Chromogenic print

本展區中的影像是由拉夏培爾透過了新拼貼的方式所組成，使用的素材是買來的舊照片。這些70年代的照片裡所拍攝的是朋友以及家庭聚會

等場合。拉夏培爾將這些照片做了一些處理並且放入與原始照片無關的物件以及人物。槍支，旗幟，象徵美國的符號，和年輕男子都被添加

到這些場景中，不過這些照片原本就有著象徵美國的符號以及酒精。各年齡層的男男女女，看似輕鬆愉快，並且在他們的子女前大剌剌的無

拘無束地在臥室或是客廳享受著歡樂的派對，畫面顯示著他們使用著美國星條旗花紋的餐具以及與戰爭相關的物件。這些影像內充斥著被隱

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藏卻可瞧出端倪的不安以及背叛的氛圍。70年代是所謂的“美國夢”的末期，而拉夏培爾所強調的是階級的矛盾 – 尤其是針對住在郊區的中 產階級 – 他們延續著民族意識但是卻同時出現了徘徊不定的和平主義和干涉主義。雖然攝影師並沒有透露出影像中什麼是原始的什麼是虛構 的，除了明顯的印在一名老婦身上的T恤的新口號：“布希是殺手。把布希扔了，不要扔炸彈”，不過這種呈現方式並沒有影響到藝術家所

提出的“整體的魔法”，並能夠加強過去和現在之間的連續性: 一種從類比和矛盾之間所發展出的連續性。

美國文件｜RECOLLECTIONS IN AMERICA

The images in this section are a type of neo-collage composed by LaChapelle, using photos that were bought second hand. The originals are all photos from the seventies and show groups of friends meeting up for family parties and other occasions. LaChapelle manipulated the photos and inserted objects and people having nothing to do with the original photos. Firearms, flags, symbols of American power, and young men are added to scenes in which symbols of Americana and alcohol were already present. Men and women of all ages, in relaxed poses, act uninhibitedly even in front of their children, whether in the bedroom or in the living room, and display themselves openly partying among their star-spangled tableware and war propaganda. The undergraduate atmosphere that saturates these images is scattered through with hints betraying social unease. The seventies were the sunset of the so-called American Dream and LaChapelle underlines the contradictions of a class – above all that of middle-class suburbia – that continually experiences nationalist feelings while hovering between pacifism and interventionism. In this case, though, the photographer does not reveal what is original and what is fake in these scenes, apart from the obviously up-to-date slogan “Bush kills. Drop Bush not bombs” printed on the T-shirt of an elderly lady. Such reserve in no way compromises what the artist himself calls “the magic of the whole” and underlines the continuity between past and present: a continuity created from analogies and inconsistencies.

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回憶錄IV：宴會點心與來福槍, 2006, 彩色沖印 Recollections IV : Party Snacks and Rifle , 2006, Chromogenic print

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回憶錄I：第三代, 2006, 彩色沖印 Recollections I : 3rd Generation, 2006, Chromogenic print

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回憶錄II：雙重約會, 2006, 彩色沖印 Recollections II : Double Date, 2006, Chromogenic print

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回憶錄III：懷特穿白色, 2006, 彩色沖印 Recollections III : White on White, 2006, Chromogenic print

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回憶錄 IX：生啤酒, 2006, 彩色沖印 Recollections IX : Draft, 2006, Chromogenic print

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回憶錄VI：咖啡酒加牛奶, 2006, 彩色沖印 Recollections VI : Kahlua and Milk, 2006, Chromogenic print

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|63 回憶錄 V：美好時光, 2006, 彩色沖印 Recollections V : Good Times, 2006, Chromogenic print

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回憶錄VIII：笑破肚皮的酒瓶, 2006, 彩色沖印 Recollections VIII: Laughter Decanter, 2006, Chromogenic print

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回憶錄X：八卦, 2006, 彩色沖印 Recollections X : Gossip, 2006, Chromogenic print

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回憶錄XI：雙人床上的宴會, 2006, 彩色沖印 Recollections XI : Party on Twin Beds, 2006, Chromogenic print

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回憶錄XIII：露營, 2006, 彩色沖印 Recollections XIII : Camping, 2006, Chromogenic print

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回憶錄VII：愛如是, 2006, 彩色沖印 Recollections VII : Love Is, 2006, Chromogenic print

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回憶錄 XII：啤酒罐與小孩小狗, 2006, 彩色沖印 Recollections XII : Beer Bottle with Baby & Terrier, 2006, Chromogenic print

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《掠奪非洲》的攝製，參考了十五世紀義大利藝術家波堤切利的著名畫作《維納斯與戰神》。在原作中，穿著半透明白色長袍的愛神維納 斯，凝神注視著身邊的沈睡男子─戰神馬爾斯。戰爭導致死亡、傷痛和毀滅，但是在這幅畫中，戰神處於休眠狀態，他的致命武器也成了小 精靈們的玩具。波堤切利想要傳達的訊息相當清楚：用愛終止戰爭。拉夏培爾以三個黑人小男孩取代原作中的小精靈，原來的長矛也變成了 現代版的槍枝。此外，他又在原有的英雄美女角色對照中，加入了種族議題的元素：黑人與白人。安穩沈睡的戰神馬爾斯，延續了古羅馬以 來的角色典型─一位英俊挺拔的白人，身旁圍繞著黃金打造的武器和戰利品，包括手榴彈、手槍、金塊、珠寶、飾品、以及一個鑲著鑽石的 骷髏頭。而端坐在畫面左邊的維納斯，被置換為一個摩登打扮、美麗、順服、唯命是從的非洲女人形像。在波堤切利詮釋希臘神話的畫作 中，白色維納斯是勝利者，但是在拉夏培爾的作品中，黑色維納斯與公雞和綿羊被擺放在一起，暗示她和這些牲畜一樣，都是可以被掠奪擁 有的一種「財產」。畫面後方，明顯已被殖民者和資本主義開發破壞的非洲景觀，以及前景中，身受其害而茫然不覺、乃至於持槍戲耍的非 洲小男孩，在在說明了，拉夏培爾試圖以創作來刻畫並批判所有以強勢文明來宰制弱勢地區的野蠻行為。

*此段落節錄自柯林•維京斯（Colin Wiggins）的著作《掠奪非洲》中的文章

掠奪非洲｜THE RAPE OF AFRICA

The Rape of Africa , in terms of composition, is a faithful adaptation of Botticelli’s Venus and Mars . The well-known allegorical work depicts Venus, the goddess of love, dressed in a diaphanous white gown, sitting upright and wide awake. She stares at her naked, sleeping male companion – the god of war, Mars. War is the bringer of death, grief and destruction. However, in Botticelli’s painting, Venus has vanquished Mars. His proud lance is now a plaything for little satyrs. The painter’s message is clear: Love conquers war. LaChapelle responds to Botticelli’s painting by replacing the satyrs with three small African boys. Two of them are playing with guns – grim weapons of war, the weapons of Mars. The artist further extends the Renaissance painter’s game of contrast by adding another opposite: black and white. In the photograph, Mars, as worshipped by ancient Romans, is a handsome, white European man. He slumbers peacefully and is surrounded by the trappings of conquest: bars of gold and shiny trinkets, a gilded grenade and pistol, and a diamond-encrusted skull. On the left sits Venus. She is a black African woman seen through European eyes and has been rendered passive, tame and beautiful. In the original painting, Venus is in charge. In LaChapelle’s work; however, she is placed next to the rooster and the lamb, traditionally animals of sacrifice, indicating that she is merely a chattel just like them. In the background, the dry and arid landscape is the product of destruction brought by colonists and capitalists; while in the foreground, little African boys play with weapons as if they were nothing out of the ordinary. The work captures LaChapelle’s use of creativity to depict and criticize the barbaric of dominating disadvantaged regions by more advanced civilizations. Africa, the cradle of civilization is being degraded. In this birthplace of mankind -the motherland - we are degrading or raping our own mother out of greed and f0r the false security that gold provides.

*Taken from original text written by Colin Wiggins published in the book The Rape of Africa

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大衛‧拉夏培爾：水彩, 墨, 拼貼, 2009, 40 x 23 公分 David LaChapelle : watercolor, graphite, collage on paper, 2009, 40 x 23 cm

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掠奪非洲, 2009, 彩色沖印 Rape of Africa, 2009, Chromogenic print

透過了《聖戰》，拉夏培爾回應了目前以宗教名義發動的戰爭，名為神聖戰爭的這種荒誕想法。在作品的頂部，聖戰的文字採用了著知名好

萊塢地標的模式呈現，而好萊塢正是拉夏培爾工作的地方。由紙板製作的裝置則是使用大型電影院內的廣告看板風格，通常這些看板的功能

跟新聞媒體的新趨勢一樣，具有的娛樂性遠超過傳達資訊的功能。由此戲劇化以及情感煽動所產生的效果則是形成了人們對於現實生活中在

世界各地所發生的事情的一種鈍感。透過《糖果清真寺》，拉夏培爾指出了西方社會對伊斯蘭宗教的觀點，所呈現的是一個穆斯林敬拜的場

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域轉換成一個開放的糖果王國。引用了格林童話中女巫誘惑無辜兒童進入糖果屋的故事 ，拉夏培爾重建了泰姬瑪哈陵這個“穆斯林文化中的

迪士尼樂園”，一個不同於其他西方給予穆斯林文化觀點的極為誘人的特殊例外。《準殉教者與72個處女》呈現了因為72個處女而沒有達成

預定目標的自殺式襲擊者，而這72個處女原本是在他達成摧毀的任務後將獻給他的。這件作品擺設在《聖戰》的對面，同樣訴說著極端主義

中希望透過謀殺和破壞而獲得啟發與救贖中的荒誕理論。

聖戰｜HOLY WAR

In Holy War , LaChapelle addresses the current political climate of war waged in the name of religions, and the absurdity of the idea of a war that is holy. At the top of the display, we see the words Holy War, alluding to the famous Hollywood sign where LaChapelle works. The production of the cardboard display uses the same process as advertisement displays seen in multi-screen movie complexes, and is reminiscent of the increasing trend amongst news media to entertain as much as inform. The resulting effect of such dramatization and sensationalism is a desensitized perspective to real life events going on in the world. With Candy Mosque , LaChapelle refers to a view western society has of the Islamic religion, presenting the Muslim place of worship as an inviting Candy Land. Referencing the children’s tale Hansel & Gretel in which a witch lures the innocent children into a house made of sweets, LaChapelle recreated the “Disneyland of Muslim culture,” the Taj Mahal, as an alluring exception the West gives to Muslim culture. In The Would-be Martyr and 72 Virgins , a potential suicide bomber is kept from his intended purpose by the 72 virgins that are promised to be waiting for him should he complete his mission of destruction. The presentation of this piece opposite Holy War illustrates the similarity in the absurdity of an extremist philosophy of murder and destruction in the hopes for enlightenment and salvation.

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糖果清真寺, 2008, 彩色沖印 Candy Mosque, 2008, Chromogenic print

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聖戰, 2008, 回收硬紙板印刷、視覺電路, 269.2 x 876.3 x 67 公分 Holy War, 2008, Print on recycled corrugated cardboard with visual electronics, 269.2 x 876.3 x 67 cm

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準殉教者和72位處女, 2008, 彩色沖印 Would - Be Martyr and 72 Virgins, 2008, Chromogenic print

《純真預言》系列作品靈感來自於詩人威廉•布雷克的同名詩。詩裡面包含了一系列人類對抗大自然的悖論、無限與有限、以及擁有與沒有 的相對論。源起於2007年一個消費主義至上以及極度浪費的年代，拉夏培爾創作了這一系列作品當作對於一個奢華年代的回應，並且是一個 針對無可避免的終點的警告。將當今社會與歷史上羅馬帝國的衰退相比較，這些作品是拉夏培爾的預言也是個徵兆。他預知了接下來發生 的全球經濟危機，呈現了貪婪與物質迷戀來證明自我價值，因而導致的大災難。這一系列為了展覽而創作的作品延續了許多拉夏培爾於雜誌 工作十五年來長期關注的議題，不過其中的緊迫性則是比以往更加的強烈。《墮落─所有能到手的永遠不夠》是個立體的實際比例超現實作 品，作品呈現當今社會奢華的物質，地面則是竄出了地獄般的烈火。拉夏培爾創作出了一個現代的人間樂園，而社交名媛芭莉絲•希爾頓在 其中稱后，畫面的前端有著一名死去的男子。芭莉絲沒有直接注視著觀眾，而是透過了一面鏡子看到了大眾對她的迷戀。拉夏培爾選擇了厚 紙板做為創作媒材，除了它的輕薄以及可塑性，同時可呈現出戲劇性的效果，並且具環保意識。《撞毀》系列的五個作品各自挪用了高級汽 車的廣告用詞作為每件作品的個別名稱。其中所使用的廣告詞包括“華麗的力量”以及“智慧型奢華”均顯示了社會賦予這些高消費以及高 耗能機器的超高價值，但是諷刺的是，目前我們正處於一個經濟以及能源受限的年代。藝術家拆解了這些階級象徵提醒我們物質享受是曇花 一現的短暫，而我們必須面對炫耀性消費的時代已經結束。在《負性貨幣》系列作品中，拉夏培爾重新使用了一個在90年代他曾經實驗過 的沖洗照片的手法。利用暗房內的放大機鏡頭，拉夏培爾將一元美鈔放置於底片的地方，所產生的效果是粉紅色有著一元美鈔雙面圖像的相 片。這些影像將實質貨幣轉換為虛擬負片；透過這件作品，拉夏培爾直接的回應了因為虛假的物品與虛假的資本所造成的經濟衰退。

純真預言｜AUGURIES OF INNOCENCE

The title of the series Auguries of Innocence is from the poem of the same name by poet and artist William Blake. The poem consists of a series of paradoxes with man against nature, the infinite versus the finite, and the haves against the have-nots. Started in 2007, at the height of an era of consumption and excessive waste, LaChapelle created this series as a sign of the inevitable end that comes to such times of widespread decadence, equating our present day to the years prior to the decline of the Roman Empire. The works serve as LaChapelle’s own auguries, or premonitions.

As a foresight to the global economic crisis, these works are depicting the greed and obsessive quest to prove one’s personal value through the accumulation of material possessions that have brought about such chaos. These new works made for exhibition resonate many of the same themes and ideas with a more explicit urgency as those LaChapelle had been working with when he had been a magazine photographer for the 15 years prior. In Decadence: The Insufficiency of All Things Attainable , three dimensional, life-size forms are laid out serving as a hyper-reality of the excess of our times as the ground opens up to a fiery inferno. LaChapelle creates a modern day Garden of Earthly Delights in which Paris Hilton reigns supreme as a man dies in the foreground. She does not look directly at her audience, rather looking through the mirror to see a public fascinated by her. LaChapelle chose the cardboard medium specifically for its lightweight, transitive nature. It is a dramatic, but ecologically conservative mode of presentation. The five works titled The Crash are given individual titles using words that are taken from the advertising of luxury cars. Words like Luxurious Power and Intelligent Decadence are chosen to point out the value society has put on these machines which have become excessive consumers of energy and finances at a time when both are at their limits. The destruction of these status symbols reminds us of the fleeting nature of such acquisitions and reminds us that we have reached the end of a time of conspicuous consumption. With the works Negative Currency , LaChapelle revives a developing process he experimented with in 1990. Using the enlarger in a darkroom, LaChapelle used dollar bills in the place of a negative, and the resulting effect was a pink print that shows both sides of the currency at once. Rendering the image of the actual physical currency as a virtual negative, he is making a direct correlation to the economic collapse based on false commodities and false capital.

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墮落―所有能到手的永遠不夠, 2008, 回收硬紙板印刷、視覺電路, 266.7 x 903.3 x 134.6 公分 Decadence - The Insufficiency of All Things Attainable, 2008, Print on recycled corrugated cardboard, 266.7 x 903.3 x 134.6 cm

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撞毀―動機產生, 2008, 回收硬紙板印刷, 304.8 x 243.8 x 50.8 公分 The Crash - Motion Emanates , 2008, Print on recycled corrugated cardboard, 304.8 x 243.8 x 50.8 cm

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負性貨幣：一元鈔票做成的底片, 1990 - 2008, 彩色沖印 Negative Currency : One Dollar Bill Used as Negative, 1990-2008, Chromogenic print

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撞毀―奢華的力量, 2008, 回收硬紙板印刷, 267.5 x 247 x 52.5 公分 The Crash - Luxurious Power, 2008, Print on recycled corrugated cardboard, 267.5 x 247 x 52.5 cm

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撞毀―明智的衰落, 2008, 回收硬紙板印刷, 266 x 184.5 x 64 公分 The Crash - Intelligent Decadence, 2008, Print on recycled corrugated cardboard, 266 x 184.5 x 64 cm

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負性貨幣：五元鈔票做成的底片, 1990-2008, 彩色沖印 Negative Currency : Five Dollar Bill Used as Negative, 1990-2008, Chromogenic print

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撞毀―無限制的自由, 2008, 回收硬紙板印刷, 264 x 192 x 56 公分 The Crash - Boundless Freedom, 2008, Print on recycled corrugated cardboard, 264 x 192 x 56 cm

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撞毀―擴大演出, 2008, 回收硬紙板印刷, 264.1 x 203.2 x 55.8 公分 The Crash - Enhanced Performance, 2008, Print on recycled corrugated cardboard, 264.1 x 203.2 x 55.8 cm

紐約藝廊首次展出，《天使》(1985) 和 《內在光芒》 (1987) 代表大衛拉夏培爾攝影作品的潮流，運用攝影的千變萬化轉入魔幻境地。利用暗 房調動明暗，拉夏培爾以手動的方式操弄原作的樣貌，因此開啟藝術家奇幻作品的潮流，並早在數位攝影開始的十年前，創造一個可期待的

現實世界。在《內在光芒》中，年輕人敞開胸膛展現他的靈魂。此圖顯示拉夏培爾對於人的概念，超越血肉之軀，這股能量存在於我們自身 和外界。這些圖像攝於他年輕時代，極具概念上的連結，如同在他的作品覺醒系列中所探索的主題 (2007)。1980年代的紐約對於年輕的拉夏 培爾而言是一處藝術靈感爆炸的聖地。然而隨後愛滋病襲擊了整個社群和他藝術的烏托邦，開始大反轉。許多拉夏培爾的年輕朋友和同事瞬

間消逝人間，因此拉夏培爾二十幾歲時就開始試圖透過他的藝術尋找生命的意義和答案。他從藝術史裡選中有翅膀的人物，以此作為他對靈

魂的完美詮釋。

天使 & 內在光芒｜Angel & Light Within

First exhibited in galleries in New York City, Angel (1985) and Light Within (1987) represent the beginning of LaChapelle’s trend for taking photography and bending it towards using the camera in an organic, magical way. Burning and dodging in the darkroom, LaChapelle manually manipulated the original subject. Thus began the artist’s tendency for fantastical subject matter, making an alternative reality a decade before the advent of digital photography. In Light Within, a young man opens his chest to reveal his soul, his spirit. The picture illustrates LaChapelle’s idea of man being more than what is contained within his flesh – showing the energy that exists within us and outside of us. These pictures, taken early in his career have a significant tie with ideas he is exploring today in work such as in the Awakened Series (2007). 1980’s New York was an exploding mecca of artistic inspiration for the young LaChapelle. AIDS devastated the community and his artistic utopia was turned upside down. Many of LaChapelle’s young friends and co-workers died very quickly, forcing LaChapelle, then in his early 20’s , to try to find meaning and answers through his art. He took the archetypical winged being from art history and deciding it was the perfect metaphor for the soul, used it in his work.

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天使, 1985, 彩色沖印 Angel, 1985, Chromogenic print

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內在光芒, 1987, 彩色沖印 Light Within, 1987, Chromogenic print

[國家圖書館出版品預行編目資料] |大衛．拉夏培爾 = David Lachapelle | 石 瑞 仁 總 編 輯 / 廖 蕙 芬 翻 譯 ____ 初 版 ____ 台 北 市 台 北 當 代 藝 術 館 |2010.05 |156面 ; 26x34.6公分 |ISBN : 978-986-85294-7-2(平裝) |1.攝影集 |958.52 99008732