Interview with Philip-Lorca diCorcia
專訪菲利普-洛卡·迪科西亞


ART.ZIP: How do you find your teaching experience at Yale University School of Art?

PD: It began in 1996. It was more a casual role. I was invited to co-op and to critique the work of the students, and then I began to actually teach some practical courses about lighting and the methods of doing things. It is a graduate school, so its emphasis is really not on training professional photographers. It is within the art department. So in some way it’s not very good as a means to learn how to work professionally. There is a desire to have some of the skills necessary to do that, and I have been working professionally, so among other things, I was asked to do that. Eventually that was phased out, I just sit on a panel with up to four other people, maybe five. We review students’ works, they have to present their works twice a semester, and there is a final critique, so I sit with others on that panel, then I give lectures about my own work or something. But it is not like I go and teach the history of photography or even workshops on technical matters because it is just not something I really want to do anymore. The people who sit with me on the panel change all the time, including the head of the department, and a few permanent members of the faculty. My position is described as chief critic. So I guess I am a critic.

I am not sure exactly if I am going to continue to do it. To some degree that has to do with the nature of the photographic practice, and the policy of the institution. Frequently now the students, who are all graduate students, are not even making photographs in the traditional sense. At first that was okay but I really don’t feel I have that much to say. It is the nature of photography itself in the art world now: you rarely see a straightforward photograph. I am really not interested in trying to have a meaningful dialogue about abstraction or heavily conceptual work, that just doesn’t interest me. So that makes my presence somewhat irrelevant.

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ART.ZIP: 能給我們講講在耶魯大學藝術學院的教學經驗嗎?

PD: 我在耶魯大學藝術學院的教學生涯開始於1996年。最初這是一個相對自由的身份。我受邀對學生們的作品進行評價、指導;繼而我漸漸地開始教授一些關於燈光使用以及創作技法的實踐課程。這是一個研究生學院,所以教學重點並不是訓練專業攝影師,但也歸於藝術系之中。所以,在某種意義上這並不是一個進行職業技能學習的好地方。然而,在學生中有對職業技能學習的渴望,我自己本身大量進行職業創作,所以我也被邀請進行這種教學。

在一段時間之後這種教學結束了。我與其他四、五個人一同組成一個評委會,點評學生作品。學生們每學期遞交兩次作品,此外還有一次最終評估。所以這是我在耶魯大學的重要責任之一,此外我還會進行關於我自己作品的講座。但我並不會去教授攝影史或技術層面的問題,因為這已經不是我想要做的事了。評委會經常更換包括系主任或其他全職教員在內的成員。我的職位被描述成主評論。所以我想我擔任的是一個評論家的角色。

我並不清楚我是否要繼續留在這個職位。在某種程度上,這與攝影實踐的本質有關,也與學院的政策有關。現在的學生越來越慣常地進行非傳統攝影實踐。在最初這沒什麽問題,但是我真的感覺到我沒有什麽好說的。這也與藝術界中攝影本質的改變有關,你越來越少能看到一張直截了當的照片了。圍繞抽象或非常概念性的作品進行一次有意義的對話——我對這真的不感興趣。所以,在某種意義上,我的存在已經不太重要了。

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Philip-Lorca diCorcia 'Chris, 28 years old, Los Angeles, California, $30', 1990-92. Courtesy the artist, Sprüth Magers, Berlin:London and David Zwirner, New York:London

Philip-Lorca diCorcia ‘Chris, 28 years old, Los Angeles, California, $30’, 1990-92. Courtesy the artist, Sprüth Magers, Berlin:London and David Zwirner, New York:London

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ART.ZIP: Do you think you contribute somehow to such a change in photography as an artistic practice?

PD: I cannot speak for the medium at large. It is something I think about and it is an aspect of the work that I do. But I don’t think there is anyone that owns any particular aspect of photography solely by himself/herself. If the question suggests that somehow I out of thin air evolve this particular aspect of my work, which has been noticed, I would say no. Everything comes as result of smaller steps, the awareness of the history. The one thing I would say is that, as an artist, I chose to try and investigate that and emphasise it, and a lot of people were not interested in that. So the re-emphasis on that is something that I can claim responsibility for, but inventing it, no.

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ART.ZIP: 可是您的創作不正正是這種改變的推動力嗎?

PD: 我不能代表攝影這種媒介說些什麽。這問題是我的關注所在,也是我創作中的一個重要層面。但我不覺得任何個人能夠為攝影中發生的改變負責。如果這個問題意味著,不知為何,我的作品推動了攝影的發展,並因此被注意——我的答案會是否定的。事物的發展來自於細小的累積,來自於歷史的意識。我只會說,作為一個藝術家,我選擇嘗試探究並關注這個問題,而很多人對這個問題不感興趣。所以,我可以聲稱我關注這個問題,而創造這一切——不。

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