朱馨芽：《忘卻的面具》——黑白狂歡節

「Chi era? Ero io? Ma poteva anche essere un altro! Chiunque poteva essere, quello lì」

Luigi Pirandello Uno Nessuno e Centomila

《那個人是誰？是我嗎？既然有可能是別人！那個人啊，任何人都有可能是》

"Who was that person? Was it me? It might be someone else too! That person could actually be anybody"

路伊吉·皮蘭德婁《一個人，既不是任何人，又是千萬人》Luigi Pirandello One, No One and One Hundred Thousand

圖/文：朱馨芽 Giulia Pra Floriani

在義大利東北部的阿爾卑斯山中，小鎮人每到二月都會歡迎春天帶來的希望。山裡生活的人們更是具有佩戴面具過狂歡節的傳統。祈願避邪功能的面具，意味著小鎮的人們在每一個寒冬過去之後又等來了聚會迎春的機會。冬天取暖燒的木頭，修房子用的木頭，也是工匠製作雕刻藝術創作的主要材料。 拍攝者在這個只有三千人的小鎮出生，父母在山裡開飯館，媽媽寫詩，爸爸熱愛文學，藝術類的書是晚上她讓父母從高架上拿下來看。她當時所生活的地方，需要走很遠的路也許才能碰到一個人。在人煙稀少的生活環境中，人們從來不會覺得孤獨：崇山峻岭和摻天大樹是朋友，頭一天看到的是飛機掠過，第二天也許看到的就是駱駝奔跑。反而在現代恐龍化龐大人口生活的城市中，每一個人都愈加倍感孤獨。

所謂現代的人，感覺到別人都是戴著五彩繽紛的面具，同時也感受得到自我天天扮演著不同的角色，用以來符合他人看待自我的身份轉換。在生活中跟他人發生不同關係的時候，一個人很難去真正理解他者，最多也只能看到一個臨時的外貌。作家皮蘭德婁曾經也考慮到：自己看到的我並不是你看到的我，也不是他人看到的我。一個人所看到的大部分都來自於自我的意識，包含著許多幻覺。作者給被拍攝者戴上的面貌只能是她自己能夠看到的，只是他們複雜性的一部分。面具完全把被攝者的真實面目遮擋了，觀眾也只能看到外表的虛構形象。而真正的形象是什麼，似乎也並不重要。

回家的時候，我還是喜歡在山裡自己走走，在沒有人的地方停下來聽聽是什麼聲音。

In the north-eastern Italian Alps, every year in February villagers welcome the arrival of spring with carnival celebrations and masked parades. Originated as apotropaic ritual media, masks are now an excuse to get society reunited to celebrate the beginning of a new agricultural season. The same wood villagers burn in the winter to warm up is the same wood used to build their houses and to carve masks. The photographer was born in this village of three thousand people, where her parents opened a small restaurant, always keeping their passion for literature alive. Her mother used to write poetry, her father liked to read, and they both would take down heavy art books form the high shelf in the night to let her look at them. The place where they were living was far away from the other villagers, and you could walk for hours without meeting anybody. In this lightly populated environment, children don』t ever feel lonely: mountains and trees are their friends, the first day they are a plane, the next day they become camels. Curiously, in modern dinosaur sized cities with huge populations, where it』s almost impossible to be alone, everyone is feeling lonely.

The modern man knows the others are constantly wearing colorful masks, and feels himself is every day playing different roles to meet others expectations. When dialogue between people takes place, it』s hard to say either if the talkers really understand each other or are they just able to see an illusory appearance. The writer Luigi Pirandello was obsessed by a doubt: The Me I see is not the Me you see, nor is it the Me seen by others. Most of what a person perceives comes from his or her own consciousness instead of the object of perception itself, and is unavoidably embedded with illusion and misunderstanding. The author asked the subjects to wear one particular mask, which actually represents just one shade of their multiform complexity. Masks completely obscured the subject』s true faces, and the audience just sees the appearance of a fictional image. What the real image is, does not seem to be important.

When I go back home, I still like to walk in the mountains by myself, sit down in the middle of nothing and listen.

朱馨芽，1992年出生於義大利阿爾卑斯山。在威尼斯大學學習中國語言和文化以及人類學期間，參加了海外交換項目，分別於巴塞羅那自治大學和長春吉林外國語學院進修。在西安交通大學學習研究中國語言與文化後，自2016年起在北京大學藝術學院學習，重點研究中國美術史，以繪畫和攝影為愛好。

朱馨芽會說義大利語、英語、漢語，以及西班牙語言。從2015年開始，她以國際策展人的身份參與了中國大理國際影會和平遙國際攝影大展的工作。她的文章已經發表在《中國攝影》雜誌，義大利藝術雜誌《Artribune》，智利藝術雜誌《Arteallimite》等期刊雜誌。

Giulia Pra Floriani was born in the Italian Alps in 1992. During her studies of Chinese language, culture and anthropology in Venice, she took part in the Erasmus exchange programs, studying in Changchun and Barcelona. After a master』s in Chinese Studies at the Xi』An Jiotong university, she is currently focusing her reaserch on Chinese history of art at the Art department of Peking university.

She speaks Italian, Chinese, English and Spanish. She took part in the Dali international photography festival and in the Pingyao international photography festival as a curator. Her articles have been published by the magazines Chinese photography, Artribune and Arteallimite.

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