| 以色列多媒體暨聲響藝術家納達弗‧阿索爾，自2009年以來便不斷透過〈剝露系列〉的創作，實驗探究記錄片美學與即時地誌影像的創作實踐，〈剝露：穆撒拉拉〉便是此系列創作的新嘗試，將以色列與約旦邊境的小城穆撒拉拉化為創作主題，藉拍攝該城鎮獨特的城市地景，提醒觀眾以色列獨立戰爭之際，該城鎮有著眾多信仰基督教的阿拉伯裔居民遭到放逐；此外，根據藝術家的研究，此處更是1960至1970年代，以色列黑豹黨的重要據地。為了使世人重新看見烙印在這塊土地上豐富且龐雜的歷史與生跡，阿索爾帶領一批由3到9位配有穿戴攝影器具的「繪測員」，儘可能地以他們的足跡與攝像機掃描過整座城鎮，接著將拍攝的動態影像資訊匯入由阿索爾撰寫的影像軟體，藉此投影出身臨其境式的全景視聽影像。如藝術家所強調地：「數位地圖逐漸控制了我們的地理認知，決定我們感知空間的方式，本作品便是對數位地圖提出之私密、片段、間接、擴大而凝縮的反論。」影像進入與貫穿的身體感受，更逼使穆撒拉拉因以色列政治經濟現況而遭噤聲遺忘的那部分顯身。 |
Nadav ASSOR, an Israeli sound and multimedia artist, has been experimenting with the aesthetics of the documentary in conjunction with an attempt to conduct a real-time cartography through the art series titled Strip since 2009. Strip: Musrara is another incarnation of this artistic exploration, which took place in Jerusalem’s neighborhood of Musrara. Located on the Israeli side of the border between Israel and Jordan, the unique cityscape of Musrara is a reminder of the permanent expulsion of the Christian Arab residents during the Israeli War of Independence. Moreover, based on ASSOR’s research, this is also the origin of the Israeli Black Panthers movement during the 1960s and 1970s. In commemorating the rich and complex history of the community inscribed upon the remains, ASSOR employs a camera crew including three to nine “surveyors” equipped with wearable cameras, which he launches in different directions in order to scan the neighborhood. Then, by feeding those scans to the custom-made software coded by the artist himself, ASSOR would generate a large-scale, immersive audio-visual panorama. As emphasized by the artist, “It is a personal, fragmented, rippling, expanding and contracting antithesis to the digital maps that increasingly control our geography and determine the way we perceive space.” The corporeality of walking through and crossing were highlighted by the characteristic alleys of Musrara. In Strip: Musrara, ASSOR has also exposed the traces of oblivion in Musrara under the current political and economic circumstance of Israel.
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