I was raised by lesbians in the mountains, and I sort of came like a forest gnome to New York City a while back. (Laughter) Really messed with my head, but I'll get into that later.
Odgojile su me lezbijke u planinama i došao sam u New York City kao šumski patuljak, (Smijeh) Stvarno mi je pomutilo um, ali kasnije ću o tome.
I'll start with when I was eight years old. I took a wood box, and I buried a dollar bill, a pen and a fork inside this box in Colorado. And I thought some strange humanoids or aliens in 500 years would find this box and learn about the way our species exchanged ideas, maybe how we ate our spaghetti. I really didn't know. Anyway, this is kind of funny, because here I am, 30 years later, and I'm still making boxes.
Započet ću s pričom od svoje osme godine. Uzeo sam drvenu kutiju i u nju stavio dolar, penkalu i vilicu i zakopao to u Coloradu. I mislio sam da će neki humanoidi ili izvanzemaljci za 500 godina naći tu kutiju i naučiti o načinima na koje je naša vrsta razmijenjivala informacije, možda kako smo jeli špagete. Nisam znao što točno. Ovo je pomalo smiješno zato što sam ovdje, 30 godina kasnije i još uvijek izrađujem kutije.
Now, at some point I was in Hawaii -- I like to hike and surf and do all that weird stuff, and I was making a collage for my ma. And I took a dictionary and I ripped it up, and I made it into a sort of Agnes Martin grid, and I poured resin all over it and a bee got stuck. Now, she's afraid of bees and she's allergic to them, so I poured more resin on the canvas, thinking I could hide it or something. Instead, the opposite happened: It sort of created a magnification, like a magnifying glass, on the dictionary text.
U jednom trenutku bio sam na Havajima -- volim pješačiti, surfati, raditi sve te čudne stvari i radio sam kolaž za mamu. Uzeo sam rječnik i rastrgao ga te sam ga oblikovao u mrežu u stilu Agnes Martin i premazao sam ga smolom pa se pčela zaljepila. Mama se boji pčela i alergična je na njih pa sam nanio još smole misleći da ću ju moći sakriti ili nešto slično. No, dogodilo se suprotno: To je stvorilo povećanje, kao povećalo na tekstu rječnika.
So what did I do? I built more boxes. This time, I started putting electronics, frogs, strange bottles I'd find in the street -- anything I could find -- because I was always finding things my whole life, and trying to make relationships and tell stories between these objects. So I started drawing around the objects, and I realized: Holy moly, I can draw in space! I can make free-floating lines, like the way you would draw around a dead body at a crime scene. So I took the objects out, and I created my own taxonomy of invented specimens. First, botanical -- which you can kind of get a sense of. Then I made some weird insects and creatures. It was really fun; I was just drawing on the layers of resin.
Što sam napravio? Izradio sam još kutija. Ovoga sam puta počeo stavljati elektroniku, žabe, neobične boce koje bi našao na ulici -- bilo što na što sam naišao -- zato što sam cijeloga života nalazio stvari, i pokušavao stvoriti odnos i ispričati priču tih predmeta. Tako sam počeo crtati oko predmeta i shvatio sam: Ajme meni, mogu crtati u prostoru! Mogu stvarati slobodne linije, kao one koje se crtaju oko trupla na mjestu zločina. Počeo sam micati predmete i stvorio sam vlastitu taksonomiju izmišljenih vrsta. Prvo, botaničku -- koju možete shvatiti. Zatim sam napravio neke čudne kukce i stvorenja. Bilo je stvarno zabavno, samo sam crtao po slojevima smole.
And it was cool, because I was actually starting to have shows and stuff, I was making some money, I could take my girlfriend for dinner, and like, go to Sizzler. It was some good shit, man. (Laughter)
I bilo je "cool", jer sam počeo održavati izložbe i slično, zarađivao sam, mogao sam izvesti djevojku na večeru, i čak ići u Sizzler. Bilo je fenomenalno, čovječe. (Smijeh)
At some point, I got up to the human form, life-size resin sculptures with drawings of humans inside the layers. This was great, except for one thing: I was going to die. I didn't know what to do, because the resin was going to kill me. And I went to bed every night thinking about it.
U jednom sam trenutku došao do ljudskog obličja, skulpture od smole u stvarnoj veličini s crtežima ljudi unutar slojeva. To je bilo odlično, osim jedne stvari: Bio sam na samrti. Nisam znao što da napravim, jer me smola ubijala. I svake noći sam išao u krevet misleći o tome.
So I tried using glass. I started drawing on the layers of glass, almost like if you drew on a window, then you put another window, and another window, and you had all these windows together that made a three-dimensional composition. And this really worked, because I could stop using the resin.
Zato sam pokušao sa staklom. Počeo sam oslikavati slojeve stakla, kao da slikate na prozoru, zatim stavite drugi prozor pa još jedan i skupite te prozore koji čine trodimenzionalnu kompoziciju. I to je stvarno funkcioniralo, jer sam mogao prestati koristiti smolu.
So I did this for years, which culminated in a very large work, which I call "The Triptych." "The Triptych" was largely inspired by Hieronymus Bosch's "[The] Garden of Earthly Delights," which is a painting in the [Museo del] Prado in Spain. Do you guys know this painting? Good, it's a cool painting. It's kind of ahead of its time, they say. So, "The Triptych." I'll walk you through this piece. It weighs 24,000 pounds. It's 18 feet long. It's double-sided, so it's 36 feet of composition. It's kind of weird. Well, that's the blood fountain. (Laughter) To the left, you have Jesus and the locusts. There's a cave where all these animal-headed creatures travel between two worlds. They go from the representational world, to this analog-mesh underworld, where they're hiding. This is where the animal-headed creatures are by the lighthouse, and they're all about to commit mass suicide into the ocean. The ocean is made up of thousands of elements. This is a bird god tied up to a battleship. (Laughter) Billy Graham is in the ocean; the Horizon from the oil spill; Waldo; Osama Bin Laden's shelter -- there's all kinds of weird stuff that you can find if you look really hard, in the ocean. Anyway, this is a lady creature. She's coming out of the ocean, and she's spitting oil into one hand and she has clouds coming out of her other hand. Her hands are like scales, and she has the mythological reference of the Earth and cosmos in balance.
To sam radio godinama i sve je kulminiralo velikim djelom, koje sam nazvao "Triptih". Inspiracija za "Triptih" je bila "Vrt zemaljske naslade" Hieronymusa Boscha, slika izložena u muzeju Prado u Španjolskoj. Znate li za tu sliku? Dobro, to je super slika. Ispred svog vremena je, tako kažu. Dakle, "Triptih"; provest ću vas kroz djelo. Teži 10,800 kilograma. Dug je 5.5 metara. Ima dvije strane, dakle to je kompozicija od 11 metara. To je pomalo čudno. Pa, to je fontana krvi. (Smijeh) Na lijevoj strani nalaze se Isus i skakavci. Tamo je špilja gdje sva ova bića sa životinjskim glavama putuju između dva svijeta. Odlaze iz predstavljenog svijeta u ovo analogno podzemlje gdje se skrivaju. Ovdje su stvorenja sa životinjskim glavama kraj svjetionika i spremaju počiniti masovno samoubojstvo skakanjem u ocean. Ocean se sastoji od tisuća elemenata. Ovo je bog ptica zavezan za ratni brod. (Smijeh) Billy Graham je u oceanu, Horizon koji je uzrokovao istjecanje nafte, Waldo, sklonište Osame Bin Ladena- možete pronaći razne čudne stvari ako se zagledate u ocean. Ovo je žensko stvorenje. Izlazi iz oceana i pljuje naftu u jednu ruku, a iz druge ruke joj izlaze oblaci. Ruke su joj poput vage i ona predstavlja mitološku referencu Zemlje i svemira u ravnoteži.
So that's one side of "The Triptych." It's a little narrative thing. That's her hand that she's spitting into. And then, when you go to the other side, she has like a trunk, like a bird's beak, and she's spitting clouds out of her trunk. Then she has an 18-foot-long serpent's tail that connects "The Triptych." Anyway, her tail catches on fire from the back of the volcano. (Laughter) I don't know why that happened.
To je, dakle, jedna strana "Triptiha". On je kao mala pripovijetka. Ovo je njezina ruka u koju pljuje. A onda kad prijeđete na drugu stranu, ima nešto poput surle, poput ptičjeg kljuna i iz surle pljuje oblake. Zatim ima 5.5 metara dug zmijski rep koji povezuje "Triptih". Njen rep zahvaća vatra sa stražnje strane vulkana. (Smijeh) Ne znam zašto se to dogodilo.
(Laughter)
(Smijeh)
That happens, you know. Her tail terminates in a cycloptic eyeball, made out of 1986 terrorist cards. Have you guys seen those? They were made in the 1980's, they're like baseball cards of terrorists. Way ahead of their time.
Događa se, znate. Njezin rep završava u očnoj jabučici kiklopa koja je napravljena od terorističkih karti iz 1986-e. Jeste li ih ikad vidjeli? Napravljene su 1980-ih, one su kao bejzbolske kartice terorista. Daleko ispred svog vremena.
(Laughter)
(Smijeh)
That will bring you to my latest project. I'm in the middle of two projects: One's called "Psychogeographies." It's about a six-year project to make 100 of these humans. Each one is an archive of our culture, through our ripped-up media and matter, whether it's encyclopedias or dictionaries or magazines. But each one acts as a sort of an archive in the shape of a human, and they travel in groups of 20, 4, or 12 at a time. They're like cells -- they come together, they divide. And you kind of walk through them. It's taking me years. Each one is basically a 3,000-pound microscope slide with a human stuck inside.
To će vas dovesti do mog zadnjeg projekta. Usred dva projekta sam: Jedan se zove "Psihogeografije". To je šestogodišnji projekt za izradu 100 ovih ljudi. Svaki je arhiv naše kulture, kroz naše istrgnute medije i građu, bilo da se radi o enciklopedijama, ili riječnicima, ili časopisima. Ali svaki djeluje kao svojevrsni arhiv u obliku čovjeka i putuju u grupama od 20, 4 ili 12. Oni su kao stanice -- dolaze zajedno, razdvajaju se. A vi na neki način hodate kroz njih. Traje godinama. Svaki je 1,400 kilograma teško mikroskopsko stakalce s čovjekom unutra.
This one has a little cave in his chest. That's his head; there's the chest, you can kind of see the beginning. I'm going to go down the body for you: There's a waterfall coming out of his chest, covering his penis -- or not-penis, or whatever it is, a kind of androgynous thing. I'll take you quickly through these works, because I can't explain them for too long. There are the layers, you can kind of see it. That's a body getting split in half. This one has two heads, and it's communicating between the two heads. You can see the pills coming out, going into one head from this weird statue. There's a little forest scene inside the chest cavity. Can you see that?
Ovaj ima malu špilju u prsima. Ovo mu je glava, ovo prsa, možete na neki način vidjeti početak. Pokazat ću vam cijelo tijelo: Iz prsa mu izlazi vodopad, koji mu prekriva penis, ili ne penis ili što god to bilo, neka androgina stvar. Brzo ću vas provesti kroz ova djela, jer ih ne mogu predugo objašnjavati. Ovdje su slojevi, možete ih vidjeti. Ovo je tijelo koje se raspolavlja. Ovo ima dvije glave i komunicira između dviju glava. Možete vidjeti kako izlaze tablete koje ulaze u glavu jedne na ovoj neobičnoj skulpturi. U prsnoj šupljini je mala šumska scena. Možete li ju vidjeti?
Anyway, this talk's all about these boxes, like the boxes we're in. This box we're in, the solar system is a box. This brings you to my latest box. It's a brick box. It's called Pioneer Works.
Ovo je govor o ovim kutijama, kao o kutijama u kojima smo mi. O kutiji u kojoj smo mi, sunčev sustav je kutija. To vas dovodi mojoj posljednoj kutiji. To je ciglena kutija. Zove se "Pionirska Djela".
(Cheers)
(Klicanje)
Inside of this box is a physicist, a neuroscientist, a painter, a musician, a writer, a radio station, a museum, a school, a publishing arm to disseminate all the content we make there into the world; a garden. We shake this box up, and all these people kind of start hitting each other like particles.
Unutar ove kutije su fizičar, neuroznanstvenik, slikar, glazbenik. pisac, radio stanica, muzej, škola, izdavačka ruka koja ispušta sav sadržaj koji tamo činimo u svijet, vrt. Protresemo ovu kutiju i svi ovi ljudi počnu udarati jedni o druge kao čestice.
And I think that's the way you change the world. You redefine your insides and the box that you're living in. And you come together to realize that we're all in this together, that this delusion of difference -- this idea of countries, of borders, of religion -- doesn't work. We're all really made up of the same stuff, in the same box. And if we don't start exchanging that stuff sweetly and nicely, we're all going to die real soon.
I smatram da je to način mijenjanja svijeta. Iznova definirate svoju unutrašnjost i kutiju u kojoj živite. I ujedinite se u spoznaji da smo svi zajedno u ovome, da je ovo iluzija različitosti -- ideja zemalja, granica, religije -- ne funkcionira. Sačinjeni smo od istih stvari, u istoj kutiji. I ako ne počnemo razmijenjivati stvari lijepo i ljubazno svi ćemo uskoro umrijeti.
Thank you very much.
Puno vam hvala.
(Applause)
(Pljesak)