Installation view of John Waters' 'Beverly Hills John', opening today at Sprüth Magers in London. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

无论你喜欢还是鄙视他的作品，约翰·沃特斯和他标志性的铅笔胡子都是不容忽视的。50年来，这位69岁的垃圾教皇一直嘲笑电影业的所有虚假魅力和荣耀。现在，这位美国艺术家以“贝弗利山约翰”的形式把好莱坞带到了伦敦，今天在斯普吕斯·马格尔斯(Sprüth Magers)开幕。

在主画廊里，艺术家乔斯林·威尔登斯坦(Jocelyn Wildenstein)在该剧的同名作品中扮演了一个独特的角色，他的脸颊有着不屈不挠的魅力，嘴唇滑稽可笑，眉毛长得太高，前额太高，不可能完美无瑕。贾斯汀·比伯(Justin Bieber)和好莱坞的领军人物拉西(Lassie)接受了同样怪异的改造-或者说Photoshop的液化工具。

附近，戴安娜王妃在“Shoulda！”(Shoulda！)中被惠特尼·休斯顿和艾米·怀恩豪斯(Amy Winehouse)等人围在一起。另一部最近的作品描绘了广受欢迎的美国前总统约翰·F·肯尼迪(John F Kennedy)和他的妻子杰奎琳·奥纳西斯(Jaqueline Onassiis)从空军一号(Air Force One)起飞。然而，死亡却隐约出现，因为英格玛·伯格曼(Ingmar Bergman)1957年的电视剧“七印”(The VII Seal)中的“死神”(Grim Reaper)给这对总统夫妇

沃特斯并非没有怀旧之情，这在费里科·费里尼(Federico Fellini)首次在巴尔的摩放映的同名电影中得到了证明。费里科·费里尼(Federico Fellini)在电影中以八英尺半的步调对费里尼进行了八英尺半(“电影过去很重要，”他说。)

其他亮点包括他的“图书馆学1-10”系列，其中沃特斯将高雅的文学作品与色情作品并列(他解释道，这并不比Clitty Clitty Bang Bang更好)和“取消安塞尔”(Cancel Ansel)，在这些系列中，安塞尔·亚当斯(Ansel Adams)的各种形象都被幽默的反常现象破坏了。

就连他自己的作品也不容易受到戏仿的影响：他1972年的热门电影“粉红”在一部74分钟的新视频中从X级上升到G级，“基迪·弗莱诺斯”(2015)；在这里，沃特斯重新把原作想象成一个全是孩子的演员(Babs Johnson‘s Mini-Me在重拍中特别讨人喜欢)。

但这一切都是充满感情的玩笑。沃特斯给他的研究对象注入了一剂真实性，他们在光滑的贴面和人造魅力背后极度缺乏-即使是娱乐界最优秀的整形外科医生也未能做到这一点。

His photographic work (since 1995) has taken on politically charged topics of 'cinematic correctness', religious lunacy, and media manipulation. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

'Beverly Hills John', 2012. The artist dons a Jocelyn Wildenstein-esque persona in the show’s namesake work, sporting gravity-defying cheeks and comically monstrous lips. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

'Reconstructed Lassie', 2012. Hollywood’s leading pooch, Lassie, undergoes the knife - or Photoshop’s Liquify tool in this case - receiving a similarly grotesque makeover. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

Other works in the exhibition speak to Waters’ concerns about the contemporary art world. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

'Congratulations', 2014, riffs on the red dot stickers once commonly used in galleries to indicate a sale. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

Waters pays tribute to Federico Fellini in the form of an eight-and-a-half foot recreation of a ruler he has kept since Fellini’s film by the same name first screened in Baltimore. In ‘Cancel Ansel’ (right),  various Ansel Adams images are corrupted by bizarre anomalies. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

Other highlights include his ‘Library Science 1-10’ series, in which Water juxtaposes highbrow literature titles with their pornographic counterparts (it doesn’t get better than Clitty Clitty Bang Bang, he explains). Pictured: 'Library Science #4', 2014. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

The Maryland-based artist has been lampooning the movie industry for five decades. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

Installation view of 'Beverly Hills John'. From left: ‘Library Science 1-10’, 2014; 'Bill's Stroller', 2014; 'Beverly Hills John', 2012; 'Reconstructed Lassie', 2012; and 'Justin Bieber', 2012. © John Waters. Courtesy of the artist and Sprüth Magers. Photography: Stephen White

'Grim Reaper', 2014, depicts the former American president John F Kennedy and his wife, Jaqueline Onassis, descending from Air Force One, while the Grim Reaper from Ingmar Bergman’s The Seventh Seal casts a sinister pall over the presidential couple. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

Princess Diana is flanked by the likes of Whitney Houston and Amy Winehouse in ‘Shoulda!’, 2014. © John Waters. Courtesy of Sprüth Magers / Marianne Boesky Gallery, New York

keywords:Sprüth Magers, John Waters, Beverly Hills John, Kiddie Flamingo, art, film, art installation, exhibition, art exhibit

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