這個傍晚，即將入夜；小雨綿綿，地面上、樹葉上、空氣里，到處都被雨水滋潤著，瀰漫著「濕」氣，《關於詩電影》的展覽就在這迷蒙的「濕」氣展開。

此次展覽是一個英國藝術家Adele Myers來中國進行的影像交流展。展覽共包括兩部分：一部分是在曼徹斯特和阿聯酋的學生的詩電影嘗試；另一部分是Adele Myers自己的6部詩電影作品。

Adele Myers之前在英國曼徹斯特，現在在阿聯酋教應用媒體。她在曼徹斯特建立了一個機構：「Bokeh，Yeah!」，它是一個年輕藝術家的互助組織，幫助想做影像的藝術家用相機拍攝作品。Adele Myers教的學生大多數都沒有經過專業基礎訓練和資金支持，但這些學生經過一段時間的學習與嘗試，作品成果開始顯現，進而實現了這次交流展覽。

當在討論詩電影的時候，我們常常會提到安德烈·塔可夫斯基，他的電影充滿著詩意。詩電影是將電影本性等同於詩，主張用「詩的語言」拍電影，把詩的結構引用到電影內在架構上，並善用聯想、隱喻、象徵、節奏等詩的創作方法。詩電影追求純光影、線條、畫面的技巧處理畫面進而展示紊亂的下意識活動，力圖探索電影的純粹詩性。塔可夫斯基是將整個電影變成一首詩，而Adele Myers是將詩與電影互為補充構成一首詩。在這次展覽上，Adele Myers放映的《光陰賽跑》、《摺紙》、《夾具》、《紅番花布上》、《墜鳥》是她近期的新作品，她將詩詞的形象重新塑造，將對話從紙上搬到大螢幕，又從大螢幕上的畫面映射到生活現實。她的每一部詩電影都是將自己細膩的情感暗含在其中，表達的初衷和內容時常都與藝術家本人的經歷和情感相關，如《Tyven》，是一部更注重電影本身的視覺語言和音樂結合的詩電影，這是一部為紀念那些失去孩子和不能生育的母親。此短片更是包含了她濃濃的情感在其中。或許，她的詩電影就是陪伴她生活的「孩子」。

Adele Myers' Exhibition Works

Adele Myers’s recent film works re-imagine the words of poets, shifting the dialogue from the page to the screen. She reconstructs the imagery and narrative to create new and extended themes that go beyond the original. Often drawing from her life experiences to bond a personal perspective to the text. The result is a meander, a meditation or kaleidoscope of observation.

Racing Time 

He elbows the cold morning aside,

a string vest, seventy years and legs

bowed like the trees but just as sturdy.

Shorts billowing like the clouds,

chin inclined to the hill, he will eat up

the distance, have the hill for breakfast.

The starting gun was the crack of knees

first thing then a stretch into the morning,

a dawn chorus of approval everywhere.

The breeze in the sails of his shorts,

as he battles up the waves of the hill,

the effort breaking on his sheer face.

He stumbles, but does not give way

fights back, tramples the hill under foot

and the hill pushes back with strength.

His arms pump, pistons punch the air,

pummel the morning, bare knuckles,

knobbly knees in the groin of the hill.

Because it is there, because he is there,

because he will never hang up his heart,

he plants the flag of himself on the top.

Based on the poem ‘Racing Time’ by Chris Woods

(for Ron Heaton)

First published in Great Britain in 2008 by Comma Press 

From Dangerous Driving 

Origami 

Sometimes you just have to remove yourself from the landscape 

Before your lips curl up and dry out like Ferns

Before your heart breaks down into the rain sodden dirt

Before you stain the horizon with your smile 

So I fold up my life 

Like Origami 

Fold it into my pocket 

Until I slowly 

Disappear.

Based on the poem ‘Origami’ by Gaia Holmes

First published in Great Britain in 2013 by Comma Press

From Lifting The Piano with One Hand

Jig

There is 

the smoke 

and the scratch 

and the jig

of bones 

and the wheeze

of leaves 

and the spark

in the eye 

and the bellows

flaming 

the flailing heart 

and a magician stands

in my front room 

bringing 

my dead words

back to life. 

Based on the poem ‘Jig’ by Gaia Holmes

First published in Great Britain in 2013 by Comma Press

From Lifting The Piano with One Hand

Upon a Crocus Cloth

Pity the drunks in this late April snow.

They drank their hats and coats a week ago.

They touched the sun, they tapped the melting ground, 

In public parks we saw them sitting round 

The merry campfire of a cider jar 

Upon a crocus cloth. Alas, some are 

Already stiff in mortuaries who were 

Seduced by Spring to go from here to there, 

Putting their best foot forward on the road 

To Walkden, Camberwell, or Leeds. It snowed. 

It met them waiting at the roundabout. 

They had no hats and no coats to keep it out. 

They did a lap or two, they caught a cough. 

They did another lap and shuffled off.

Based on the poem ‘Pity the Drunks’ by David Constantine 

First published in Great Britain in 2004 by Bloodaxe Books 

From Collected poems by David Constantine