VikMuniz_用电线和糖创作艺术【中英文对照】

1.I was asked to come here and speak about creation.
我受邀来这里讲讲艺术创造。
2.And I only have 15 minutes, and I see they’re counting already.
我只有15分钟，而且我看到他们已经开始计时了。
3.And I can — in 15 minutes, I think I can touch only a very rather janitorial branch of creation, which I call creativity.
我可以——在15分钟内，我认为我只能触及有关创作的入门部分， 我称之为创意。
4.Creativity is how we cope with creation.
创意就是我们如何理解创作。
5.While creation sometimes seems a bit un-graspable, or even pointless, creativity is always meaningful.
尽管创作有时看上去有点让人摸不着头脑，甚至毫无意义， 但创意通常都是有意义的。
6.See, for instance, in this picture.
比如，在这幅图中，
7.You know, creation is what put that dog in that picture, and creativity is what makes us see a chicken on his hindquarters.
你知道，创作就是何以将这条狗放入画中， 而创意就是何以我们会看到它后腿上的那只鸡。
8.When you think about — you know, creativity has a lot to do with causality too.
如果你仔细想想，你知道，创意也经常涉及到因果关系。
9.You know, when I was a teenager, I was a creator.
你知道，当我十来岁时，我是创作艺术的。
10.I just did things.
我成天做这做那。
11.Then I became an adult and started knowing who I was, and tried to maintain that persona — I became creative.
而当我成年并开始了解我是谁， 并努力保持这一人格时——我变得有创意。
12.It wasn’t until I actually did a book and a retrospective exhibition,  that I could track exactly — looks like all the craziest things that I had done, all my drinking, all my parties —
这些是直到我写了一本书并完成了一次巡回展后，我才确切地回想出来的—— 就好像我以前干过的那些疯狂的事儿，那些酩酊大醉，那些狂欢派对——
13.they followed a straight line that brings me to the point that actually I’m talking to you at this moment.
这些都连成一条直线把我带领到此时此刻 让我站在这里和大家说话。
14.Though it’s actually true, you know, the reason I’m talking to you right now is because I was born in Brazil.
真是这样的，你知道 我现在跟大家说话的原因就是我生于巴西。
15.If I was born in Monterey, probably would be in Brazil.
如果我出生于蒙特雷，那也应该是在巴西。
16.You know, I was born in Brazil and grew up in the ’70s, under a climate of political distress, and I was forced to learn to communicate in a very specific way —
要知道我生在巴西，成长于70年代， 政治压迫的年代， 我被迫学会以一种特殊的方法沟通——
17.in a sort of a semiotic black market.
类似一种符号黑话。
18.You couldn’t really say what you wanted to say, you had to invent ways of doing it.
你不能说你真正想说的， 你不得不想别的法子去说。
19.You didn’t trust information very much.
你也不太相信那些消息。
20.That led me to another step of why I’m here today, is because I really liked media of all kinds.
而导致我迈出走到今天的另一步就是 因为我真是非常喜欢所有类型的媒体。
21.I was a media junkie, and eventually got involved with advertising.
我是一个媒体痴，而最终投身到广告行业。
22.My first job in Brazil was actually to develop a way to improve the readability of billboards, and based on speed, angle of approach and actually blocks of text.
我在巴西的第一份工作 就是想办法提高告示牌的可读性， 这可读性就是基于速度、展示的角度以及实际的文字块。
23.It was very — actually, it was a very good study, and got me a job in an ad agency.
这是一次非常好的学习， 让我得到一份广告公司的工作。
24.And they also decided that I had to — to give me a very ugly plexiglass trophy for it.
而且他们还决定必须 要发给我一个很丑的塑料奖杯来奖励我的工作。
25.And another point — why I’m here — is that the day I went to pick up the plexiglass trophy, I rented a tuxedo for the first time in my life,
而另外一点造成我今天站在这里—— 就是我去领那个塑料奖杯的那天， 我平生第一次租了一套晚礼服，
26.picked the thing — didn’t have any friends.
领了那个奖杯——身边没一个朋友。
27.On my way out, I had to break a fight apart.
当我出去时，我不得不杀出一条血路。
28.Somebody was hitting somebody else with brass knuckles.
有人戴着铜指节环在痛揍别的什么人。
29.They were in tuxedos, and fighting. It was very ugly.
他们都穿着晚礼服在打架。那场面太丑陋了。
30.And also — advertising people do that all the time — (Laughter) — and I — well, what happened is when I went back, it was on the way back to my car,
而且——广告界的人每天都是这样的——（观众笑声）—— ——然后，当我走回我的车时，事情发生了，
31.the guy who got hit decided to grab  a gun — I don’t know why he had a gun — and shoot the first person he decided to be his aggressor.
那个被打的家伙决定去拿把枪—— 我也不知道他为什么会有把手枪—— 去射他认为在跟他挑衅的第一个人。
32.The first person was wearing a black tie, a tuxedo. It was me.
这第一个人打着黑色领带，穿着件黑色晚礼服。就是我。
33.Luckily, it wasn’t fatal, as you can all see.
幸好，没把我打死，要不你们也看不到我了。
34.And, even more luckily, the guy said that he was sorry and I bribed him for compensation money, otherwise I press charges.
而更幸运地是，这家伙还说他很抱歉， 于是我管他要了笔赔偿金，否则我就要起诉他。
35.And that’s how — with this money I paid a ticket to come to United States in 1983, and that’s very — the basic reason I’m talking to you here today.
而就是这样，在1983年，我用这笔钱买了张机票来到美国， 而这就是我今天能在这里跟大家说话的根本原因。
36.Because I got shot. (Laughter) (Applause) Well, when I started working with my own work, I decided that I shouldn’t do images.
因为我挨了一枪（笑声，掌声） 当我开始创作自己的作品时，我决定不碰图像。
37.You know, I became — I took this very iconoclastic approach.
要知道，我采取的是非常反传统的进路。
38.Because when I decided to go into advertising, I wanted to do — I wanted to airbrush naked people on ice, for whiskey commercials,
因为当我决定从事广告行业时，我想做的是—— 在冰上喷绘裸体的人，这是为威士忌做广告，
39.that’s what I really wanted to do.
我真正想干的是这个。
40.But I — they didn’t let me do it, so I just — you know, they would only let me do other things.
但是他们不让我这么干，所以我只好—— 他们只让我干些别的。
41.But I wasn’t into selling whiskey, I was into selling ice.
但我不太喜欢推销威士忌，我喜欢卖冰块。
42.The first works were actually objects.
最初的作品都是些实际的物体。
43.It was kind of a mixture of found object, product design and advertising.
有点像是拾得艺术品，产品设计和广告的混合。
44.And I called them relics.
我称之为“崩溃”。
45.They were displayed first at Stux Gallery in 1983.
他们最早于1983年在司塔克斯美术馆（纽约）展出。
46.This is the clown skull.
这个是小丑骨架。
47.Is a remnant of a race of — a very evolved race of entertainers.
这是一种进化程度很高的艺人物种的遗骸。
48.They lived in Brazil, long time ago. (Laughter) This is the Ashanti joystick.
很久以前，他们生活在巴西。（笑声） 这是阿善提（非洲西部）游戏杆。
49.Unfortunately, it has become obsolete because it was designed for Atari platform.
不幸的是，它已经没用了，因为它是为Atari游戏平台设计的。（1976年Atari公司在美国推出史上第一部正真意义上的家用游戏主机系统）
50.A Playstation II is in the works, maybe for the next TED I’ll bring it.
作品里还用到了一个PS2，也许下次TED请我我再带来。
51.The rocking podium.
摇摇领奖台。
52.This is the pre-Columbian coffeemaker.
这个是哥伦布发现美洲之前的咖啡机。
53.Actually, the idea came out of an argument that I had at Starbuck’s, that I insisted that I wasn’t having Colombian coffee, the coffee was actually pre-Columbian.
其实这个灵感来自有次我在星巴克里和他们争执， 我坚持认为我喝的不是哥伦比亚咖啡。 那咖啡是哥伦布发现美洲前的（指咖啡豆太陈了）。
54.The Bonsai table.
盆景桌子。
55.The entire Encyclopedia Britannica bound in a single volume, for travel purposes.
大英百科全书一卷本，方便旅行携带。
56.And the half tombstone, for people who are not dead yet.
以及半个墓碑，为那些还没死的人准备的。
57.I wanted to take that into the realm of images, and I decided to make things that had the same identity conflicts.
我想把这些带入图片领域， 因此我决定要创造带有这类特性冲突的东西。
58.So I decided to do work with clouds.
所以我决定要用云彩创作。
59.Because clouds can mean anything you want.
因为云彩可以任凭你去想像。
60.But now I wanted to work in a very low-tech way, so something that would mean at the same time a lump of cotton, a  cloud and Durer’s praying hands —
但是现在我想用技术含量非常低的方式创作， 因此有些东西可能同时意味着 一大团棉花，一片云彩，以及丢勒的《祈祷之手》（丢勒是文艺复兴时期德国艺术大师）
61.although this looks a lot more like Mickey Mouse’s praying hands.
虽然这看上去更像米老鼠的祈祷之手。
62.But I was still, you know — this is a kitty cloud.
但我还是在努力，——这个是猫咪云。
63.They’re called Equivalents, after Alfred Stieglitz’s work.
根据Alfred Stieglitz（20世界纪初叶美国摄影家）的作品，这叫做等价物。
64.”The Snail”.
蜗牛。
65.But I was still working with sculpture, and I was really trying to go flatter and flatter.
我还尝试雕塑创作， 而且我真的是越来越趋于平面化。
66.”The Teapot.”
茶壶。
67.I had a chance to go to Florence, in — I think it was ’94, and I saw Ghiberti’s “Door of Paradise.”
我有次去了趟佛罗伦萨，应该是1994年， 我看到了Ghiberti（意大利文艺复兴早期青铜雕刻家）的“天堂之门”。
68.And he did something that was very tricky.
他的手法非常有意思。
69.He put together two different media from different periods of time.
他把两个不同时代的两种不同媒介放在一起。
70.First, he got an age-old way of making it, which was relief, and he worked this with three-point perspective, which was brand-new technology at the time.
首先，他使用一种古老的方式，浮雕， 然后他采用三点透视法进行浮雕，在当时这是全新的技术。
71.And it’s totally overkill.
结果简直没治了！
72.And your eye doesn’t know which level to read.
你的眼睛不知道该阅读哪一层次。
73.And you become trapped into this kind of representation.
最后你就被困在这种表现手法中。
74.And so I decided to make these very simple renderings, that at first they are taken as a line drawing.
因为我就想做这类的简单翻版， 开始时是单线条绘画的方式。
75.You know, something that’s very — and then I did it with wire.
你知道，就是这类的——然后我开始用电线。
76.The idea was to — because everybody overlook white — like pencil drawings, you know?
理由是——因为大家都对白色视而不见——就像铅笔画。
77.And they would look at it — ah, it’s a pencil drawing.
这样当他们看见时会说——啊，这是幅铅笔画。
78.Then you have this double take and see that it’s actually something that existed in time.
当你弄着弄着突然就发觉这个的确是像某个东西啊。
79.It had a physicality, and you start going deeper and deeper into sort of narrative that goes this way, towards the image. So this is “Monkey with Leica.”
这样它就具有了一个实体， 然后你就开始继续深入到某种诠释中， 继续下去就成为一幅图画。比如这个“拿着莱卡相机的猴子”。
80.”Relaxation.”
“悠闲”
81.”Fiat Lux.”
“FIAT灯”（Cate Hogdahl和 Nelson Ruiz-Acal 设计）
82.And the same way the history of representation evolved from line drawings to shaded drawings.
正如艺术表现的历史 是从画线条发展到画阴影。
83.And I wanted to deal with other subjects.
我还想尝试其他主题。
84.I started taking that into the realm of landscape, which is something that’s almost a picture of nothing.
我开始把这种方法应用到风景画中， 结果简直就是什么也不是。
85.I made these pictures called Pictures of Thread, and I named them after the amount of yards that I used to represent each picture.
我把这些画叫做“线画”， 这些画的名字就是我用来完成每幅画的线的长度。
86.These always end up being a photograph at the end, or more like an etching in this case.
最终完成的总是好像一张照片， 这张更像是版画。
87.So this is a lighthouse.
这是一座灯塔。
88.This is “6,500 Yards,” after Corot. “9,000 Yards,” after Gerhard Richter.
这是“6500码”，源自Corot（19世纪法国风景画家），“9000码”，源自Gerhard Richter（当代德国画家）
89.And I don’t know how many yards, after John Constable.
这个我不知道用了多少码线，源自John Constable（19世纪英国风景画家）。
90.Departing from the lines, I decided to tackle the idea of points, like which is more similar to the type of representation that we find in photographs themselves.
玩够了线头以后我决定尝试使用点点， 有点类似摄影艺术中的表现手法。
91.I had met a group of children in the Caribbean island of Saint Kitts, and I did work and play with them.
我在加勒比海的圣基斯岛（Saint Kitts）上遇到一群孩子， 我和他们边工作边玩。
92.I got some photographs from them.
拍了一些他们的相片。
93.Upon my arrival in New York, I decided — they were children of sugar plantation workers.
当我回到纽约，我决定 因为他们是糖料种植工人的孩子。
94.And by manipulating sugar over a black paper, I made portraits of them.
所以我在一张黑纸上堆放砂糖，制作了他们的肖像。
95.These are — (Applause) — Thank you. This is “Valentina, the Fastest.”
这些（观众掌声） 谢谢。这是“飞毛腿Valentina”。
96.It was just the name of the child, with the little thing you get to know of somebody that you meet very briefly.
这就是这孩子的名字， 还有跟他们短暂相聚时所了解到的一些小细节。
97.”Valicia.”
“Valicia”。
98.”Jacynthe.”
“Jacynthe”。
99.But another layer of representation was still introduced.
还有一层表现手法要介绍给大家。
100.Because I was doing this while I was making these pictures, I realized that I could add still another thing I was trying to make a subject —
因为我做这些图片时我经常舔手指， 我发现我还可以加入点别的东西 我想做一类主题——
101.something that would interfere with the themes, so chocolate is very good, because it has — brings to mind ideas that go from scatology to romance.
就是不同题目之间可以相互干扰， 所以巧克力就很不错，因为 它既能带来从粪便到浪漫的各种联想。
102.And so I decided to make these pictures, and they were very large, so you had to walk away from it to be able to see them.
所以我决定做这样的画， 它们很大，因此你必须离远一些才能看明白。
103.So they’re called Pictures of Chocolate.
它们叫做巧克力画。
104.Freud probably could explain chocolate better than I. He was the first subject.
弗洛伊德对巧克力的解释可能比我更好。他成为第一个主题。
105.And Jackson Pollock also.
还有Jackson Pollock 。（20世纪美国抽象表现主义画家）
106.Pictures of crowds are particularly interesting, because, you know, you go to that — you try to figure out the threshold with something you can define very easily,
有关人群的图画非常有趣， 因为，你知道，你要 你试着把它和你最容易辨认的东西联系起来，
107.like a face, goes into becoming just a texture.
比如人脸，这样就呈现出人脸的肌理。
108.”Paparazzi.”
“狗仔队”。
109.I used the dust at the Whitney Museum to render some pieces of their collection.
我在惠特尼博物馆用尘土来表现他们的一些藏品。
110.And I picked minimalist pieces because they’re about specificity.
我选的都是极简主义的作品，因为它们都强调特异性。
111.And you render this with the most non-specific material, which is dust itself.
而你使用最不特异的材料来重现它们 也就是尘土。
112.Like, you know, you have the skin particles of every single museum visitor.
比如，你知道，你有每一个来参观的访客的皮屑，
113.They do a DNA scan of this, they will come up with a great mailing list.
他们做一个DNA扫描，就能得到一个很长的地址清单。
114.This is Richard Serra.
这是Richard Serra（美国极简主义艺术家）
115.I bought a computer, and [they] told me it had millions of colors in it.
我买了一台计算机，据说它里头有上百万色彩。
116.You know an artist’s first response to this, is who counted it? You know?
你知道一个艺术家的第一反应就是，有人数过吗？
117.And I realized that I never worked with color, because I had a hard time controlling the idea of single colors.
然后我发现我以前从来没使用过色彩， 因为我很难搞定单一色彩这个概念。
118.But mostly applied to numeric structure, then you can feel more comfortable.
而基本上是采用符号结构， 然后才会觉得比较舒服。
119.So the first time I worked with colors was by making these mosaics of Pantone swatches.
所以我第一次用色彩创造就是用彩通（Pantone，美国彩色系统供应商，全球色彩标准权威）的色卡制作的马赛克图片。