本文介绍弗朗切斯科·维佐利的影像艺术一丑陋人性的残酷再现。他用刺绣(ricamo),用针线代替画笔和油彩来仓作人物肖像,风格写实,具有黑自照片效果。拿着绷子,在上面行针走线,这原本是女人的手工活,可是在崇尚突破陈规、追求创新的西方当代艺坛,维佐利所走的另类艺术路线竟然将他带到了成功的殿堂。维佐利的刺绣画从一开始就不是作为独立的作品而存在,而是作为他的表演艺术的道具或装置艺术的构成元素而出现的。实际上,维佐利始终是以影像、摄影、电影和表演艺术家的身份跻身于西方当代艺坛的。从他于1997年推出的第一部系列影像作品《刺绣三部曲》(Trilogia del ricamo)开始,影像始终是维佐利最为倚重的艺术手段。他的艺术策略是与娱乐明星合作,并利用大众传播媒介,充分借助外力,铺设自己的成功之路。后来,维佐利还积极建立与时尚界的联系,成为许多知名品牌的代言人。 This article describes the brutal reproduction of the ugly humanity of Francesco Vesuoli’s video art. He uses embroidery (ricamo), with needlework instead of brushes and oil to warehouse for portraits, realistic style, with black self-photo effect. Holding the bungee, which was originally arranged by the hand of a woman, but in the western contemporary art scene that advocates breakthroughs and pursuit of innovation, the alternative artistic route taken by Vizezz even brought him to success Palace. Vizioli’s embroidery paintings did not exist as independent works from the very beginning, but emerged as an element of his performing arts props or installation art. In fact, Vezzoli has always been in the Western contemporary art scene as an image, photography, film and performance artist. Starting with his first series of Trilogia del ricamo films, launched in 1997, the images have always been the most important artistic means by Veszine. His artistic strategy is to work with entertainment stars and leverage the mass media to leverage his external force to lay out his own path of success. Later, Vizezz also actively establish contacts with the fashion industry, many well-known brand spokesman.