【特刊01】匪夷所思，Montserrat Gudiol的《情人們》（中英雙語）

[Special Issue 01] Montserrat Gudiol’s Impossible Lovers

Foreword 特刊前言

Little is known about Montserrat Gudiol nowadays. Her works, enigmatic to us, are found only sporadically over the internet, with scant information available to us. We are not even sure about their names and backdrops. Few stories or narratives lead us to the mystery of her mind. All we know is her withered figures drained by a sort of medieval melancholy.

而今我們對 Montserrat Gudiol 知之甚少。其作品往往晦澀不明，且僅散見於互聯網之上，相關信息實甚匱乏。我們甚至不知道這些作品的名字及相關背景。這位女性藝術家的精神世界至今是個謎團，鮮有人涉獵其中。我們所知道的，只不過是她那些枯瘦的人物形象，它們仿佛為某種屬於中世紀的憂鬱所榨乾。

Rarely have we seen anyone launching an expedition deep into the rugged terrain of Gudiol’s garden with forking paths. With a series of explorations, the Special Issue will make attempts to have the topography of her spiritual landscape delineated.

Gudiol 的藝術地理，仿佛一個莫大的“小徑分岔的花園”，至今罕有人涉足。《Gudiol 特刊》將透過一系列嘗試，將這位女藝術家的精神地理完整地呈現出來。

Montserrat Gudiol’s unique perspective predisposes her females to dwell in contemplation where the affections are enmeshed in desperate paradoxes.

Montserrat Gudiol 以獨特的女性視角，將其女性人物置於沉思之中，透過那種沉思，我們得以看見，情感關係深陷於令人絕望的悖論之中。

While the heroine paled visibly, and perhaps morbidly, at hallucinating about an affectionate lover who appeared in a mirror image, with the masculine body obliterated in oblivion, a penetrating sense of solitariness, an existential nothingness, besieged and engulfed her entirely, in a vein in which enormous waves overwhelmed a helpless boat off the coast of Kanagawa.

在這兩件以“情人們”爲主題的作品中，女主人公均面色如土，幾近病態。她幻想出一個含情脈脈的戀人，那人以一種鏡像的方式呈現在她跟前，其男性軀幹隱沒於背景之中，仿佛因遺忘而有所缺失。一種刺透人心的孤獨感，某種存在主義式虛無，將她整個包圍和吞沒，使她顯得那些弱小，宛如神奈川前為巨浪所吞噬的一葉扁舟。

Such a vast, forlorn emptiness unfulfilled the promise of love. The fantasised lover by no means eases her misery. Not any embrace can she count on to eradicate the sense of estrangement.

那種空洞，遼闊而且凄涼。它并不兌現愛之承諾。那個幻想出來的戀人絲毫不能減輕她的苦難。她甚至不能期待任何形式的擁抱，以根除那種隔膜感。

Conversely, the estrangement is diluting or eroding her lover’s body, effacing the very likelihood of intimacy, even if she’s in a gesture geared up to leaning against him (Lover 02). Eventually, intimacy becomes literally unlikely in romance, only to leave unfathomable destruction as well as nihilism to females.

與之相反，那種隔膜稀釋著、侵蝕著她的情人的身體，徹底抹去了親密的可能性，即便她幾乎已然做出想要倚靠於他的姿態（如“Lovers 02”中那樣）。其結果就是，在這樣一段怪異的關係中，親密幾乎是不可能的，親密仿佛只為給女性造成深不可測之破壞與虛無。

With a highly delicate and touching brushwork, Gudiol thus depicted a dramatic irony which veneered devouring patriarchal hegemony in gestures saturated with tenderness.

Gudiol 以一種高度細膩且動人的筆觸，描繪出了一種戲劇化的反諷，這種反諷將毀滅性的男性主導權僞裝在含情脈脈的柔情姿態之中。

We shall in no way downplay the glaring white that was overshadowed by the desolate nothingness. To some extent, despite a melancholy pathology, it is impregnable, as if the feminine weakness makes itself radiant. Given the religious reflections normally wrapped in a characteristically medieval meagreness that frequently emerged in Gudiol’s works, the females under the siege of melancholy denote arguably the manifestation of the Holy Purity, albeit desperately morbid and vulnerable.

不可輕視那種耀眼的白，即便它為荒涼的虛無所籠罩，即便它呈現出一種憂鬱的病態，但在某種程度上，它卻是牢不可破的，仿佛女性的柔弱令其自身燦爛輝煌。Gudiol 慣常的做法，是將一種宗教冥思包裹在一種中世紀的清癯中，處於憂鬱圍攻之下的女性角色可説是彰顯著某種聖潔，即便病態而且脆弱不堪。

Yet this alone is not the whole story. Gudiol’s genius is actually embodied in the ambiguities of narratives. It can be argued that the male was recalled, invoked, or terribly missed, or was simply haunting in her mind. Blurring the masculine body into emptiness can also be viewed as the metaphor of female’s realistic disappointment or physically unease-laden rejection.

然而這并非事實的全部。Gudiol 的天才之處，其實體現在敘述模糊性之上。男性角色可以被認爲是透過追憶想起來的，或是像招魂一樣被召喚出來，也可説是因過度思念而產生的幻覺，或者像鬼魂一樣縈繞在女性角色的腦海。將男性軀幹隱沒到虛無之中，也可以看作是一種隱喻，隱喻女性在現實中所遭遇的失望，或者是隱含不安的、生理性的拒絕。

Whichever the ambiguities may infer, the miserable quandaries of females are tragically mirrored. Though each of them missing a side of face, possibly a tribute to Picasso’s faces magic, the combination of the rest is cruelly cleaved. Whether Gudiol intended to allude to the impossibility of love or a relationship that has soured, the vulnerable and sensitive lovers awoke a sense of existential fear.

且不論曖昧之處所指為何，確定無疑的，是女性所處的艱難處境。雖然情人們各缺一邊臉（或可能是向畢加索嘗為世人所稱道的臉部魔術致敬），但是合在一處卻并不至於完整，反而像從中間劈開一樣。不管 Gudiol 究竟是要暗示愛情之不可能，還是暗示已然變質的戀人關係，脆弱而且敏感的情人們已喚起一種存在主義式恐懼。

The equivocal representation of affection and relationship was unprecedented. Analogously, no one else like Gudiol has ever lent so much weight to the metaphysical reflection on women’s situation.

在對感情和戀人關係的模糊的呈現方式上，Gudiol 可稱是史無前例的，也沒有人像她那樣給予女性處境的反思以如此之多的形而上學色彩。

[Note] This article was not translated but rewritten.

【注】本文非中英文互譯，而是以兩種語言進行雙重寫作。