一聽音樂網

小野洋子，一個神秘而綺情的女人。一個擅于在不動聲色中制造藝術事件的女人。一個高齡仍專注表現出位的女人。裸露、和平，是她的御用主題。她是哲學家？文學家？藝術家？音樂人？抑或是電影人？很難下定論，但頒給她任何一個頭銜都不為過，因為她在上世紀60年代就能輕松駕馭上述每一個領域?？上У氖?，縱使才情萬千，這樣一個奇女子卻一生為聲名所累，始終背負著其前夫———“甲殼蟲樂隊”靈魂人物約翰·列儂的盛名。2004上海雙年展上，我們驚喜地發現了她的六件作品———2件裝置作品和4部電影短片，裸露、詩意、平和依舊在冷眼旁觀中綻放。作為一個藝術制造者從旁觀者的視角詮釋她的出位思想，這便是前衛派小野洋子特立獨行的藝術風格。 上世紀60年代初，才華橫溢的小野洋子已是當時紐約前衛藝術舞臺上的風云人物。1964年，小野洋子在卡耐基誦廳第一次表演了她最為出名的行為作品《切片》：隨機挑選上臺的幾位觀眾被要求用剪刀將她的衣服裁成碎片，直至全身赤裸。那年，她32歲。1966年9月，她在倫敦再次表演了《切片》，在英國藝術界引起轟動，觀眾席上的約翰·列儂于是見到了自己“一生里最重要的女人”。2003年9月，70歲的洋子在巴黎又一次表演了《切片》。她在臺上說：“來吧，剪下我的衣服，隨便哪里；每個人剪下的面積不要大于一張明信片，并請將這碎片送給任一個你愛的人?！彼忉屵@場事隔37年的表演時說：“1964年我第一次做它時，心里滿是憤怒和不安，但這次，我是懷著對你、對我、對全世界的愛而做的?！? 即使被視作導致披頭士最終解散的罪魁禍首，即使列儂為了她整整5年沒有公開露面，即使在列儂死后20年仍不放棄宣傳他“愛與和平”的理想而被部分歌迷抨擊為借亡夫之名發財，但幾十年來小野洋子依舊在當代藝術領域和音樂領域崇尚著自己的出位。日前，她在一個同性戀集會上參加了《每個男人都有一個愛著他的男人》的合唱，這是她20多年前所寫的老歌《每個男人都有一個愛著他的女人》的“同性戀版”，僅以此曲表達對同性戀婚姻的支持。因此，即便飽受爭議，小野洋子仍然身體力行東方藝術家少有的表達方式和敘事模式。因為在她的藝術視角里，藝術品和欣賞者都被她絕非本意卻絕對自然地設計好了，沿著她的思路進行展示和觀察，枯燥而乏味，卻異常冷靜地客觀而真實。 本屆雙年展上，在美術館一樓展出的《愿望樹》是小野洋子多年來一直堅持的一項生活裝置作品?！霸竿麡洹笔侨毡镜囊豁梻鹘y民俗，人們會把各自的心愿寫在小紙條上，綁在神社里的愿望樹上來祈禱自己的幸福。然而幸福本身是有多種指標和方向的，收集愿望樹上的紙條，小野洋子自己也就變成了一個各種愿望的收藏者。 在美術館四樓放映廳播出的小野洋子四部電影短片中，我們再一次跌倒在她擅于制造藝術事件的手腕下。在跟隨她的步調一起冷眼旁觀她一手炮制的藝術事件中，我們的慣性思維被擾亂，社會秩序被騷擾，既而對現有的世界觀提出質疑。 電影《蒼蠅》用了所有的膠片展示了一位寂然不動的女士，看上去幾乎是在昏睡。惟一運動的東西是一只蒼蠅，鏡頭跟著它停留在她身體的不同部位。這部電影是如此無聊，鏡頭隨著蒼蠅而移動，視覺隨著鏡頭而移動。洋子把這部影片描述為自傳體的篇章，并選擇了一種引人注目的精妙方式來表達她自己。 電影《末端》中，洋子把她在紐約的藝術家和音樂家朋友們集合在一起，拍下了他們裸體在路上走來走去的場景。又是無聊而樸素的鏡頭。但也許這部電影最讓人驚訝的地方在于：這是你每天在大街上都能看到的人和事物———但他們全部是赤裸的。 電影《強奸》是洋子最復雜也是最迷人的一部片子。根據設想，攝制組任選了一位在大街上碰到的婦女———倫敦的一個講德語的女人。攝影機窮追不舍地跟到她的公寓。女人由最初的好奇、合作變成沮喪和困怒。一切只能使觀眾導出這樣的困惑：這個女人被跟蹤，還是她是個演員？我們聽不懂她的語言，但我們能明白她的行為和表情。影片試圖探討攝像機對隱私的侵犯問題，并進一步研究我們對刺探別人隱私的嗜好。 這就是小野洋子，一個被約翰·列儂稱為“世界上最有名的不為人知的藝術家”，在71歲高齡的年紀，依舊專注在自己的出位世界里，精妙、細致、冷眼旁觀地雕刻著讓人目眩的裸露和真實。 Few women in the history of rock & roll have stirred as much controversy as Yoko Ono. Although her romance with John Lennon was hardly the only factor straining the relationships between the individual Beatles, she made a convenient scapegoat for the group's breakup, and was repeatedly raked over the coals in the media for the influence she held over Lennon, both in his life and his music. Ono's own work as an artist and musician didn't mitigate the public's enmity toward her; to the average man on the street, her avant-garde conceptual art seemed bizarre and ridiculous, and her highly experimental rock & roll (which often spotlighted her primal, caterwauling vocals) was simply too abrasive to tolerate. That view wasn't necessarily universal (or true), and in fact the merits of her work are still hotly debated. Regardless of individual opinion, Ono has left a lasting legacy; she was an undeniably seminal figure in the history of performance art, and elements of her music prefigured the arty sides of punk and new wave (whether she was a direct influence is still debated, although the B-52's did admit to drawing from her early records). Moreover, between Lennon's assassination and the myriad drubbings she's taken in the press and the court of public opinion, an alternate portrait of Ono as a strong, uncompromising survivor has emerged in more recent years. Although her link with John Lennon will always be foremost in the public's mind, Ono's own life story is fascinating in its own right. She was born February 18, 1933, into a wealthy Japanese family in Tokyo. Her childhood was somewhat lonely and isolated; her father, a banker and onetime classical pianist, was transferred to San Francisco a few weeks before she was born, and her socialite mother was often busy throwing elaborate parties. She didn't meet her father until age two, when the whole family moved to San Francisco. However, they returned to Tokyo three years later to avoid the anti-Japanese backlash that was beginning in the United States in response to Japan's growing military expansionism. Ono was educated at the Gakushuin School, the most exclusive private school in Japan (the Emperor's sons were her classmates). She began classical piano lessons at a very young age, and later received vocal training in opera. In 1945, her mother took the family to the countryside to escape Tokyo, in time to survive the massive Allied bombing of the city; however, rich city dwellers were unwelcome, and the Ono children were often forced to beg for food. After the war, Ono's father transferred to New York, and she moved to the U.S. in 1952, where she studied music at Sarah Lawrence College. During this time, Ono became enamored of classical avant-gardists like Schoenberg, Webern, and especially Cage. She also began dating Juilliard student Toshi Ichiyanagi, who shared her interests and became her husband (over her family's objections) in 1956. The couple moved to Manhattan, and Ono made ends meet by teaching Japanese art and music in the public school system, among other sporadic jobs (she'd rejected her parents' wealth and the attendant lifestyle). The couple's Chambers Street loft soon became a hot spot in the nascent downtown New York art scene; Ono frequently staged "happenings" (sometimes in partnership with minimalist composer LaMonte Young) that featured music, poetry, and other performance, and John Cage used the loft space to teach classes in experimental composition. During this period, Ono's art was largely conceptual, sometimes existing only in theory or imagination; she created a series of instructional pieces suggesting nonsensical activities, which were later published in book form as Grapefruit in 1964. Her first solo show was at George Maciunas' gallery in mid-1961, but the same year, Ichiyanagi and Ono separated, with the former returning to Japan. That November, Ono performed at the Carnegie Recital Hall (not the main hall), an event that featured a miked-up toilet flushing at various points throughout the show. It received negative reviews, however. With her parents' encouragement, Ono returned to Japan in March 1962, seeking a resolution to her marriage.