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俄罗斯人欢天喜地地庆祝谢肉节 莫斯科激情夜

米哈伊尔·普雷科涅照片中的苏联建构主义

来源： 《透视俄罗斯》
Mikhail Prekhner was only 30 when he died. He was dispatched as press photographer to record the assault on Tallinn in August 1941. While the bombs fell, shy, delicate Prekhner in his dark-blue striped civilian suit took shots of the Russian evacuation on 27 August, the day before the Germans entered Tallinn. He was seen taking photographs as troops boarded the ship under artillery fire, but he himself was in no hurry to embark and continued shooting to the end of the film, as a soldier shoots to the very last cartridge. In his profession the most treasured frame was the last… // Aeromodeller, 1938
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Mikhail Prekhner / Moscow House of Photography

米哈伊尔·普雷科涅（ Mikhail Prekhner ）死时年仅30岁。他以新闻摄影记者的身份被派往塔林，记录1941年8月纳粹德军的进攻。当炸弹落下，性情羞涩而细腻，身穿深蓝色条纹平民服装的普雷科涅在8月27日，也就是德军进入塔林的前一天，拍摄下了俄罗斯人的撤离。有人看见他拍摄了部队在敌军炮火下登船，可他自己却并不急于撤离，而是继续拍摄到胶片用光，就像是士兵射出枪膛里的最后一颗子弹。在他的职业生涯中，最珍贵的作品就是他最后的一张... / / 《模型飞机制作者》，1938年。
There were two Prekhner brothers, Max and Mikhail. On the eve of the First World War their parents brought them from Warsaw to Moscow. Both had a keen interest in photography. In 1920, after finishing school, Max Prekhner began training as a photographer at a vocational college. Mikhail, the youngest brother, was then aged nine. His elder sibling is well known for shooting the 1933 Moscow–Kara Kum–Moscow automobile rally, with Roman Karmen acting as film cameraman. But it was the younger brother, Mikhail, who was invited to take part in the famous 1935 exhibition of Soviet photo art, where the jury included Sergei Eisenstein, Alexander Rodchenko and Alexander Grinberg. // "Nursery in the kolkhoz" series, 1930s

Mikhail Prekhner / Moscow House of Photography

普雷科涅家有两兄弟，马克斯和米哈伊尔。在第一次世界大战前夕，他们的父母带着他们从华沙迁到了莫斯科。两兄弟都对摄影有着浓厚的兴趣。1920年，在完成学业后，马克斯·普雷科涅开始在一家高等职业技术学院学习摄影。他的弟弟米哈伊尔当时只有9岁。马克斯因为拍摄1933年的莫斯科至卡拉库姆沙漠的汽车拉力赛而闻名于世，当时的电影摄影师是罗曼·卡尔曼。可是被邀请参加1935年著名的苏联摄影艺术展的却是他的弟弟，米哈伊尔。摄影展评审团囊括了谢尔盖·爱森斯坦，亚历山大·罗得前柯和亚历山大·格林伯格。 / /《集体农庄的托儿所》系列， 20世纪30年代。
The younger Prekhner’s work made such a favourable impression that the issue of Soviet Photo magazine covering this exhibition (№6, 1935) printed a separate article devoted to Prekhner junior, in the feature "Profiles of Masters": "He is just 24. But despite his tender age he shows great promise and has made many interesting and significant achievements in his chosen field. The first collection of Prekhner’s work appeared in the journal USSR in Construction, in an issue marking the tenth anniversary of the Buryat-Mongolian Republic. For this issue Prekhner took photographs ‘in tandem’ with M. Alpert, an accomplished press photographer with many years’ experience. Mikhail Prekhner emerged from this unofficially declared contest with flying colours. // "Summer", 1934

Mikhail Prekhner / Moscow House of Photography

米哈伊尔·普雷科涅的作品赢得了极大的赞誉，苏联摄影杂志甚至专门为报道本次摄影展（ 6号作品，1935年）单独撰文介绍他，文中还称他是“人物摄影大师”：“他年仅24岁。但是尽管还很年轻，他却表现出了很大的潜力，且在自己所选择的领域取得了许多有趣而显著的成就。普雷科涅的第一部作品集出现在《苏联建设》杂志纪念布里亚特 - 蒙古共和国成立10周年的期刊上。普雷科涅与马克斯·阿尔珀特共同为这一刊合作拍摄，后者有着多年的摄影经验，是一位成功的摄影记者。米哈伊尔·普雷科涅在此次非正式的较量中脱颖而出，表现出色。 / / 《夏》，1934年。
Admittedly, the young photographer was well prepared for the ‘contest’ with Max Alpert. Although lacking specialist training (can many boast of this, even today?), he learned from experience at the Izogiz publishing house. He had begun work there in 1932. At that time Izogiz produced information-propaganda albums, including ‘First Cavalry Army’, ‘Universities’, ‘Red Army’ and ‘Industry of Socialism’. Leading photographers such as Alexander Rodchenko collaborated with the publisher. Notably, Rodchenko participated in preparation of the ‘First Cavalry Army’ album with photographs by Mikhail Prekhner. The publishing house awarded Prekhner official recognition for this commission. // For the ‘First Cavalry Army’ album,

Mikhail Prekhner / Moscow House of Photography

诚然，这位年轻的摄影师在与马克斯·阿尔珀特的“较量”中也做了充分的准备。虽然缺乏专门的训练（即使到了今天又有多少人能以此为傲呢？），他在国家出版署艺术局学到了经验。他在1932年开始在那里工作。当时国家出版署艺术局出版信息宣传画册，包括《第一骑兵军》，《大学》，《红军》和《社会主义工业》。如亚历山大·罗得前柯等顶尖摄影师都在与出版商合作。值得一提的是，罗得前柯参加了《第一骑兵军》画册的准备工作，其中就有米哈伊尔·普雷科涅的作品。出版社为这次任务正式认可了普雷科涅。 / /为《第一骑兵军》画册拍摄的照片。
Certainly Rodchenko’s innovations such as the ‘oblique’ slant, sharp camera angle and shots from above or below were very popular. But Mikhail Prekhner was a talented pupil. Images of sportsmen are among the favourite themes of Soviet photography. Orderly rows of muscular gymnasts at athletics parades on Red Square, young swimmers and athletes with a stadium in the background symbolised youth, energy, and the country’s optimistic aspirations for the future. Probably Prekhner, too, was aiming for exactly this effect. But strangely enough, an unexpected and by no means constructivist nuance of meaning appears in the photograph, in addition to the characteristic and wholly ‘Rodchenko’ angle. // "Friends", mid-1930s

Mikhail Prekhner / Moscow House of Photography

当然，罗得前柯的创新技术，如倾斜拍摄，锐角取镜和镜头从上面或下面拍摄也非常受欢迎。不过米哈伊尔·普雷科涅是个有才华的学生。运动员的照片是前苏联摄影喜爱的主题。红场上肌肉发达、队列整齐的运动员，年轻的游泳选手和运动员，身后的体育场象征着青春、活力，和这个国家对未来的期望和乐观态度。可能普雷科涅想达到的也正是这种效果。但奇怪的是，照片中除了自身的特点和完全来自罗得前柯的角度，却出现了意想不到的，内涵上绝不是建构主义的细微差别。 / /《朋友》， 1930年代中期。
The beauty of the human body, the refined plasticity of movement, the nudity, implied naturalness and proximity to nature are motifs from a very different, certainly not modernist, oeuvre. A human being valued in his own right, not merely a cog in the social machinery. This calls to mind the interest in ‘plastic man’ prevalent throughout the 1910s and 1920s. Who could forget the barefoot dances by the studio of Isadora Duncan. But plasticity in motion was studied by scientists and photographers, as well as choreographers. An entire choreological laboratory operated at the Academy of Artistic Sciences (GAKhN), but was later dismantled – it was hard to find any ‘depiction of contemporary reality’ in nude studies and dance études. // Portrait of wife, 1930s

Mikhail Prekhner / Moscow House of Photography

人体之美，运动的精致可塑性，裸露，意味着天性和接近自然，是截然不同于现代主义的主题。人体本身，而非仅仅作为社会机器中的一个齿轮受到了尊重。这让人联想到公众在1910年到20年代对“塑料人”的普遍兴趣。谁够忘记伊莎多拉·邓肯工作室的赤足舞蹈。但是研究运动的可塑性的不仅是科学家和摄影师，还有编舞家。艺术科学学员有全套的舞蹈实验室，可是后来被解散了 - 很难在裸体研究和舞蹈练习中找到任何对“当代现实主义的表现”。 / /《妻子的肖像》，20世纪30年代。
However, in the mid-1920s the Academy managed to organise several photography exhibitions presenting ‘The Art of Movement’. They displayed works by such eminent masters as Nikolai Andreyev, Alexander Grinberg, Nikolai Svishchov-Paola, Moisei Nappelbaum and Yuri Yeremin. It is unlikely the Prekhner brothers, by their own admission ‘keen amateur photographers’, would have missed the sensational exhibitions in 1925 and 1926 of work by photographers from the old, pictorial school. It seems only natural for them to attend, especially since Mikhail would have been 14 and 15 at the time, Max 21 and 22. Whatever the case, in Mikhail’s photography we detect a similar admiration for plastic movement, harking back to classical culture. // "Pushkinskaya Square" series, 1932-1935

Mikhail Prekhner / Moscow House of Photography

然而在20世纪20年代中期，这家学院组织了展现“运动的艺术”的摄影展。他们展示了如尼古拉· 安德烈耶夫，亚历山大·格林伯格，尼古拉·斯维施乔夫·宝拉，莫伊塞·纳佩尔鲍姆和尤里·叶雷闵等著名大师的作品。他们不像普雷科涅兄弟，他们自己也承认是“业余摄影师”，他们会怀念1925年和1926年轰动一时的从旧的摄影学校出来的摄影师的作品展。他们参加这样的展览似乎是理所当然的，尤其是米哈伊尔当时才14、5岁，马克斯也才21、2岁。不管怎么说，我们在米哈伊尔的摄影作品中，都能感受到熟悉的回归古典文化，对运动可塑性的崇拜。 / /《普希金广场》系列， 1932年至1935年
Curiously enough, indirect proof of the younger Prekhner’s interest in the pictorialists can be found in a passage entitled ‘What the Stands Teach Us’, published in the same issue of Soviet Photo. Recalling that at the exhibition ‘in 1928 …as a keen amateur photographer I spent hours scrutinising and studying shots by Alpert, Yeremin, Fridlyand and other participants’, he singles out Yuri Yeremin: ‘The images by Yeremin are impeccable and subtle. For a long time Yeremin has influenced my work. Not only amateurs, but all our press photographers can learn something from him.’ // The Narkomzem building, 1933

Mikhail Prekhner / Moscow House of Photography

奇怪的是，小普雷科涅对绘画风格的兴趣的间接证据可以在《苏联摄影》同一刊的题为《看台教给了我们什么》的文章中看到。在回顾1928年的影展时，‘作为业余摄影师，我花了很长时间研究和学习阿尔珀特，叶雷闵，弗里德杨德和其他参展者的作品，他挑出尤里·叶雷闵的作品说：‘叶雷闵的作品是无可挑剔的和微妙的。在很长一段时间里，叶雷闵对我的影响很大。不仅是业余摄影师，我们所有的摄影师都可以从他身上学到一些东西。’ / / 农业和食品部 ，1933年。
It is no surprise that lyricism is seen as a hallmark of the younger Prekhner’s style. ‘Prekhner’s lyricism is not the product of languid frames of mind, it is filled with vernal transparency and great love for man,’ critcs wrote. For confirmation we can turn to the photographic series shot for the issue of USSR in Construction, devoted to small towns. It stands to reason that here we see a shot of the Pravda newspaper wall-stand with the Transfiguration of Our Saviour Cathedral in the background. How could he not include a juxtaposition of the ‘old’ and ‘new’? The workshops of the local factory may appear in an uncompromising constructivist style.// Krasnie Vorota Square, Moscow, 1932

Mikhail Prekhner / Moscow House of Photography

抒情被看作是年轻的普雷科涅风格的标志毫不奇怪。“普雷科涅的抒情不是慵懒心态的产物，它充满了春天的透明和对人类伟大的爱，”评论家写道。要想确认这一点，我们可以从为《苏联建设》的小城镇专刊拍摄的系列摄影作品中找到。从中我们看到了一道《真理报》报墙，背景是圣显容大教堂。他怎么就不能将'老'和'新'包容在一起呢？当地工厂的车间也许呈现出一种不妥协的建构主义风格。 / / 红门广场，莫斯科， 1932年
Of course he was a man of his time. At least, unlike the pictorialists, he preferred to use his Leica instead of photographic plates. ‘Unfortunately he was a zealous advocate of the Leica. And although he wielded it like a true virtuoso, we were obliged to warn him of this camera’s harmful influence,’ lamented P. Krasnov, an admirer of his work. Probably Prekhner absorbed the best features that Soviet photography could offer him at the time. Rodchenko made an accurate appraisal: ‘Prekhner resolved the task in a simple manner – he took the very best from everyone: the prettiness, the long shot angle and lyricism from Yeremin, the laconic subject matter from Shaikhet, and the positions and angles from me. Obviously it was a success…’ // "Pushkinskaya Square" series, 1932-1935

Mikhail Prekhner / Moscow House of Photography

当然，他是那个时代的人。他至少不像绘画风格的人，他更愿意用他的莱卡相机而不是摄影板。“不幸的是，他是一个极为推崇莱卡相机的人。尽管他对相机的运用像一个真正的艺术鉴赏家，我们不得不提醒他注意相机的有害影响’ 克拉斯诺夫（Petr Krasnov）作为他作品的崇拜者感叹道。可能普雷科涅吸收了那个时代苏联摄影最好的优点。罗得前柯做出了准确的评价：“普雷科涅以简单的方式解决了问题 - 他展现出了大家最好的一面：美貌，长焦距和叶雷闵的抒情，沙克赫特的简洁题材，还有我的位置和角度。很显然，他是成功的....../ /《普希金广场》系列， 1932年至1935年
But he had only five years left. In 1938 one of Mikhail Prekhner’s photographs was awarded a silver medal at an international exhibition in Antwerp. It had seemed that his brother was far less fortunate. He served in the air force. In 1938 Max became a victim of political repression. In October 1941 he was mobilised to a penal company as rifleman-photographer. Apparently such duties were listed in the table of ranks. Probably he was unaware his brother was no longer alive. But ultimately fate was kind to the elder Prekhner. Max Prekhner fought to the end of the war, although he was wounded in March 1945. He died in Moscow in 1982. In the city where, back in the 1920s, he gave his brother a camera to hold, for the very first time. // Mikhail Prekhner in Oirotia, 1934-1935

Moscow House of Photography

可是他只有五年的时间了。在1938年，米哈伊尔·普雷科涅的一张照片在安特卫普的国际展上被授予了银奖。似乎他的哥哥就不那么幸运了，他加入了空军。1938年，马克斯成为了政治压迫的受害者。1941年10月，他作为步兵摄影师被动员加入了宪兵连。显然，这样的职责注定是要往上爬的。也许他还不知道他的兄弟已经死了。最终的命运还是眷顾了马克斯·普雷科涅。他一直战斗到了战争结束，不过他在1945年3月还是受伤了。他在1982年在莫斯科去世。就在这座城市里，在20世纪20年代，他第一次给了他的弟弟一部相机。 / /米哈伊尔·普雷科涅，1934年至1935年。
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2013年3月19日
标签: 苏联、 重返苏联、 历史、 摄影、 战争、 作品

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