I'm going to tell you about why I became a sculptor, and you may think that sculptors, well, they deal with meta, they deal with objects, they deal with bodies, but I think, really, what I care about most is making space, and that's what I've called this talk: Making Space. Space that exists within us, and without us.
我要告诉你们我成为雕塑家的缘由。 你们可能会认为雕塑家, 他们与元要素,与物质, 还有与人体打交道, 但是我觉得,我真正最在乎的是 构造空间,而且我也把这个演讲命名为: 构造空间。 空间存在于我们的生活中 也存在于其以外
So, when I was a child, I don't know how many of you grew up in the '50s, but I was sent upstairs for an enforced rest. (Laughter) It's a really bad idea. I mean, after lunch, you're, you know, you're six, and you want to go and climb a tree. But I had to go upstairs, this tiny little room that was actually made out of an old balcony, so it was incredibly hot, small and light, and I had to lie there. It was ridiculous. But anyway, for some reason, I promised myself that I wasn't going to move, that I was going to do this thing that Mummy wanted me to do. And there I was, lying there in this tiny space, hot, dark, claustrophobic, matchbox-sized, behind my eyes, but it was really weird, like, after this went on for days, weeks, months, that space would get bigger and darker and cooler until I really looked forward to that half an hour of enforced immobility and rest, and I really looked forward to going to that place of darkness.
在我还是个孩子的时候, 我不知道你们当中多少人是50年代长大的, 但是我曾经被迫上楼午休。(笑声) 那真的不是个好主意。我是说,吃了午饭,你知道, 一个6岁小孩,本应该想去爬树。 但是我得上楼去,回到我狭小的房间, 其实是旧阳台改的, 所以又热又狭小,而且太过于明亮 我还必须得躺在那儿——这真是荒唐 不管怎么说,出于一些原因 我下决心不动弹 因为妈妈吩咐的事 我要做到 然后我就在那个小地方躺着, 在我印象里,这地方又热,又黑,幽闭,只有火柴盒那么大 但是很奇怪,当我坚持午睡 过了几天,几周,几个月,那个空间居然变大了, 变暗了,也凉快了。 最后我居然开始期待每天那半个小时的 强迫午睡休息 而且我真的很想去那个地方呆着 到那片黑暗之中
Do you mind if we do something completely different? Can we all just close our eyes for a minute? Now, this isn't going to be freaky. It isn't some cultic thing. (Laughter) It's just, it's just, I just would like us all to go there. So I'm going to do it too. We'll all be there together.
介不介意咱们做些与众不同的事? 请大家闭眼一分钟 不会有什么恐怖的事发生 也不是什么宗教仪式(笑声) 我只想带着你们一起体会那种感觉 所有我也会闭上眼。让我们一起来体会
So close your eyes for a minute. Here we are, in a space, the subjective, collective space of the darkness of the body. I think of this as the place of imagination, of potential, but what are its qualities? It is objectless. There are no things in it. It is dimensionless. It is limitless. It is endless.
现在请大家闭上眼 我们现在所在的这个空间 是黑暗的主观公共空间 我认为这是想象力驰骋的空间 是蕴含潜力的空间 但是它有什么特点呢? 这里空无一物,其中什么也没有 这里无边无垠,没有任何界限 这里无穷无尽。
Okay, open your eyes.
好啦,睁开眼吧。
That's the space that I think sculpture -- which is a bit of a paradox, sculpture that is about making material propositions -- but I think that's the space that sculpture can connect us with.
这个空间就是我认为雕塑- 这有点矛盾,雕塑是在 提出物质命题- 但是我认为那就是一个空间, 它能通过雕刻将我们联系起来。
So, imagine we're in the middle of America. You're asleep. You wake up, and without lifting your head from the earth on your sleeping bag, you can see for 70 miles. This is a dry lake bed. I was young. I'd just finished art school. I wanted to do something that was working directly with the world, directly with place. This was a wonderful place, because it was a place where you could imagine that you were the first person to be there. It was a place where nothing very much had happened. Anyway, bear with me. I picked up a hand-sized stone, threw it as far as I was able, it was about 22 meters. I then cleared all the stones within that radius and made a pile. And that was the pile, by the way. And then, I stood on the pile, and threw all of those rocks out again, and here is rearranged desert.
所以,想象我们在美洲中部。 你在熟睡。你醒来, 而且不用把头从地上抬起来 从你的睡袋上,你能看到70英里远的地方。 这是一个干河床。 我那时还年轻,刚从艺术学校毕业。 我想做一些直接和世界对话的工作, 直接和空间对话的工作。 这是一个极好的地方,因为它是那种 你可以尽情想象 自己是第一个涉足那里的人 它是那种没发生过什么事情的地方。 不管怎么说,再忍受我一下。 我拾起一个拳头大小的石头, 使劲地扔出去 大概扔了22米远 然后我捡起这个范围内的所有石头 堆成一堆。 这就是那堆石头 然后,我站在石头堆上, 把所有石头又扔出去了, 然后这里变成了一个格局不同的沙漠。
You could say, well, it doesn't look very different from when he started. (Laughter) What's all the fuss about? In fact, Chris was worried and said, "Look, don't show them that slide, because they're just going to think you're another one of those crazy modern artists who doesn't do much. (Laughter)
你可能会说,嗯,看起来和他开始的时候 没什么不一样。 (笑声) 如此折腾究竟是为什么? 其实,Chris担心地说, “你看,不要给他们展示那页, 因为他们会认为你是那种 疯狂却光说不练的现代艺术家。 (笑声)
But the fact is, this is evidence of a living body on other bodies, rocks that have been the subject of geological formation, erosion, the action of time on objects. This is a place, in a way, that I just would like you to, in a way, look at differently because of this event that has happened in it, a human event, and in general, it just asks us to look again at this world, so different from, in a way, the world that we have been sharing with each other, the technological world, to look again at the elemental world. The elemental world that we all live in is that space that we all visited together, the darkness of the body. I wanted to start again with that environment, the environment of the intimate, subjective space that each of us lives in, but from the other side of appearance.
但是事实是,这是一个 生命体在其他生命体上的证据, 石头由地质变迁形成, 腐蚀是时间作用在事物上的证据 这个地方 我希望你们能用不同的角度来看待, 因为在这里发生的事情, 是一个人类主导的事件 一般情况下,它只是要我们来重新审视 这个世界 它与我们共同生活熟知的世界是如此不同, 技术的世界 再看看元素的世界。 我们都生活在元素的世界 是我们一起拜访的黑暗空间。 我想重新从环境开始, 这个亲密、 主观的空间环境 我们每个人都生活在这个空间中 但我要从外部观察这个空间
So here is a daily activity of the studio. You can see I don't do much. I'm just standing there, again with my eyes closed, and other people are molding me, evidential. This is an indexical register of a lived moment of a body in time.
所以这里有一个工作室的日常活动。 你们看到我不太忙,只需要站在那里 同样闭上眼睛 而其他人在塑造我存在的证据 这是一个为时间中的实体鲜活存在的一刻 而做成的一个索引登记
Can we map that space, using the language of neutrinos or cosmic rays, taking the bounding condition of the body as its limit, but in complete reversal of, in a way, the most traditional Greek idea of pointing? In the old days they used to take a lump of Pentelic marble and drill from the surface in order to identify the skin, the appearance, what Aristotle defined as the distinction between substance and appearance, the thing that makes things visible, but here we're working from the other side.
我们可以用微子的语言来为这个空间绘制地图 或者用宇宙射线,以约束条件作为限制 但从某种意义上 对最传统的希腊观点的“指示”是一种完全的逆转? 旧时代,人们采到一块大理石 在表面钻孔来确定表层 确定外观 亚里士多德称之为 物质与表象间的区别 让事物可见的关键 但我们从反面来做
Or can we do it as an exclusive membrane? This is a lead case made around the space that my body occupied, but it's now void. This is a work called "Learning To See." It's a bit of, well, we could call it night, we could call it the 96 percent of gravity that we don't know about, dark matter, placed in space, anyway, another version of a human space in space at large, but I don't know if you can see, the eyes are indicated, they're closed. It's called "Learning To See" because it's about an object that hopefully works reflexively and talks about that vision or connection with the darkness of the body that I see as a space of potential.
或者说,我们是否能做出一张独一无二的膜? 这是铅制容器,包围了我身体所占据的那个空间 现在它是空的 这个作品的名字是“学习去看” 它有点……我们可以称之为夜, 我们可以称它为 96%的重力 关于空间中未知的暗物质 这是人类存在于空间的另一个版本 我不知道你们是否注意到 眼睛自身表明,它们是闭着的。 它被叫做“学习去看”,因为这是关于一个 自反指代的物体,是一种幻想 是与黑暗的一种联系 在这个我觉得充满潜力的空间中
Can we do it another way, using the language of particles around a nucleus, and talk about the body as an energy center? No longer about statues, no longer having to take that duty of standing, the standing of a human body, or the standing of a statue, release it, allow it to be an energy field, a space in space that talks about human life, between becoming an entropy as a sort of concentration of attention, a human place of possibility in space at large.
我们能不能用另外一种方法 用原子核周边粒子的语言 来探讨作为一个能量中心的人体? 无关乎雕像,无关乎站立的责任, 无关乎人的矗立, 或是雕塑的矗立,放开它 让他成为一个能量场,一个在空间之中 讨论人类生命的空间,在成为熵 它是一种注意的集合, 和在整个空间中人类位置的可能性。
Is there another way? Dark matter now placed against a horizon. If minds live in bodies, if bodies live in clothes, and then in rooms, and then in buildings, and then in cities, do they also have a final skin, and is that skin perceptual? The horizon. And is art about trying to imagine what lies beyond the horizon? Can we use, in a way, a body as an empty catalyst for a kind of empathy with the experience of space-time as it is lived, as I am standing here in front of you trying to feel and make a connection in this space-time that we are sharing, can we use, at it were, the memory of a body, of a human space in space to catalyze an experience, again, firsthand experience, of elemental time. Human time, industrial time, tested against the time of the tides, in which these memories of a particular body, that could be any body, multiplied as in the time of mechanical reproduction, many times, placed over three square miles, a mile out to sea, disappearing, in different conditions of day and night. You can see this work. It's on the mouth of the Mersey, just outside Liverpool. And there you can see what a Liverpool sea looks like on a typical afternoon. The pieces appear and disappear, but maybe more importantly -- this is just looking north from the center of the installation -- they create a field, a field that involves living and the surrogate bodies in a kind of relation, a relation with each other and a relation with that limit, the edge, the horizon.
有没有另外一种形式? 暗物质现在被用来对抗视野 如果思想在身体中,身体在衣服中, 衣服在房间中,房间在大楼中, 大楼在城市中,它们有最终的表层吗, 这表层能感知到吗? 视野 艺术是关于 试图想象视野之外有什么的吗? 我们能否用身体作为一种空催化剂 为活的空间-时间的经验产生共鸣, 就像我正站在你们面前 试图感受和连接 我们正在分享的时间空间, 我们能否用身体曾经的记忆, 空间中的人类空间去催化 一种经验,重申一下,是第一手的经验 是元素时间的。 人类时间,工业时间,用来检验 时间的流动,在其中某个 特定躯体的这些记忆,有可能是任何人的, 成倍的像在机械的再生产的时间中 很多倍,放置在超过三平方英里, 一英里外是海, 在不同的日夜条件中消失。 你能看到这个工作。它在摩西河口 恰好在利物浦外。 在那里你可以看到利物浦河是什么样的 在一个特定的午后。 碎片出现又消失 但是也许更重要的是 这仅仅从装置的中心往北看 他们创造了一个场,这场涉及到 活的和有某种联系的替代的躯体, 这是一种相互关联的联系,而且是一种有限制的联系, 边缘,视野。
Just moving on, is it possible, taking that idea of mind, body, body-building, to supplant the first body, the biological body, with the second, the body of architecture and the built environment.
继续,有无可能 用思想,躯体,身体构造的观点, 来替代第一个躯体 生物上的躯体。第二个, 建筑的躯体和环境的建构。
This is a work called "Room for the Great Australian Desert." It's in an undefined location and I've never published where it is. It's an object for the mind. I think of it as a 21st-century Buddha. Again, the darkness of the body, now held within this bunker shape of the minimum position that a body needs to occupy, a crouching body. There's a hole at the anus, penis level. There are holes at ears. There are no holes at the eyes. There's a slot for the mouth. It's two and a half inches thick, concrete with a void interior. Again, a site found with a completely flat 360-degree horizon. This is just simply asking, again, as if we had arrived for the first time, what is the relationship of the human project to time and space?
这被称作“大澳大利亚沙漠的空间。” 它在一个未定义的位置 而且我从未公布过它在哪。 它是心灵的对象。 我认为他是21世纪的佛 再次重申,躯体的黑暗, 嵌在沙坑的形状中 它是躯体能占有的最小位置 一个蜷缩的躯体 在肛门和生殖器的位置有个洞。 耳朵上有洞。眼睛上没有洞。 嘴里有个水池。有2.5英尺深, 由空的内部构成 这里能看到完全平坦 且360°视野无阻 现在简单的问一下, 好像我们第一次到达, 人类工程与时间-空间的关系 是什么?
Taking that idiom of, as it were, the darkness of the body transferred to architecture, can you use architectural space not for living but as a metaphor, and use its systolic, diastolic smaller and larger spaces to provide a kind of firsthand somatic narrative for a journey through space, light and darkness? This is a work of some proportion and some weight that makes the body into a city, an aggregation of cells that are all interconnected and that allow certain visual access at certain places.
用那句老话, 躯体的黑暗转化成了建筑, 你能不用建筑空间去生活 但只作为隐喻, 用它的收缩压,舒张压 更小和更大的空间来提供一种 第一手的体叙事用于穿越空间 光明和黑暗的旅行? 这是一项作品,它的某些部分和某些质量 使它的躯体成为成为城市的一部分,是细胞的聚合 它们都内部相关联 且允许特定的视觉进入 在特定的位置
The last work that I just wanted to share with you is "Blind Light," which is perhaps the most open work, and in a conference of radical openness, I think maybe this is as radical as I get, using light and water vapor as my materials. Here is a box filled at one and a half atmospheres of atmospheric pressure, with a cloud and with very bright light. As you walk towards the ever-open threshold, you disappear, both to yourselves and to others. If you hold your hand out in front of you, you can't see it. If you look down, you can't see your feet. You are now consciousness without an object, freed from the dimensionful and measured way in which life links us to the obligatory. But this is a space that is actually filled with people, disembodied voices, and out of that ambient environment, when people come close to your own body zone, very close, they appear to you as representations. When they appear close to the edge, they are representations, representations in which the viewers have become the viewed.
最后一个我想与大家分享的作品是 “盲光”,这也许是 最开放的作品, 在一个异常开放的会议中, 我能想到的也就只有异常 用光和水蒸气作我的材料 这有个盒子 装了1.5大气压的大气 用云和很亮的光。 当你走向那个永远开放的门槛, 对你和他人来说,你消失了。 如果你把手放在你的面前, 你看不见。 如果你向下看,你看不见你的脚。 你现在有了没有一个物质的意识, 没有维度 且能够测量生活将我们与 责任联系起的方式 但是这确实是一个充满了人的空间, 无形的声音, 且在周围环境之外, 当人们靠近你的身体地带, 非常接近,他们对于你就像表征。 当他们接近边缘时, 他们就是表征,表征 在观望者眼中是可视的。
For me, art is not about objects of high monetary exchange. It's about reasserting our firsthand experience in present time. As John Cage said, "We are not moving towards some kind of goal. We are at the goal, and it is changing with us. If art has any purpose, it is to open our eyes to that fact." Thank you very much. (Applause)
对我来说,艺术不是高价买卖的物品。 它是确立我们的第一手经验 在此时。 正如约翰 · 凯奇所说, "我们并没有走向某种目标。 我们达到了目标,而它则随着我们变化。 艺术的目的就在于睁眼看清这个事实 谢谢。 (掌声)