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.
Podigle su me lezbejke u planinama i nalik šumskom patuljku, došao sam u Njujork nešto kasnije. (Smeh) Stvarno uvrnute glave, a doći ću i do toga kasnije.
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.
Počeću od perioda kada sam imao osam godina. Uzeo sam drvenu kutiju i stavio u nju novčanicu od jednog dolara, hemijsku i viljušku u Koloradu. Mislio sam da će neki čudni humanoidi ili vanzemaljci za 500 godina naći tu kutiju i shvatiti kako naša vrsta razmenjuje ideje, možda kako smo jeli špagete. Stvarno nisam znao šta. Bilo kako bilo, ovo je malo čudno, jer evo me, 30 godina kasnije, a i dalje pravim 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 da pešačim, surfujem i radim te čudne stvari - i pravio sam kolaž za svoju mamu. Uzeo sam rečnik, pocepao ga na deliće i napravio neku vrstu rešetke Agnes Martin, sipao sam smolu preko nje i pčela se zaglavila u njoj. E, sad, ona se plaši pčela i alergična je na njih, pa sam sipao još smole na platno, misleći da ću moći da je sakrijem. Umesto toga, desilo se suprotno - to je stvorilo uvećanje kao kroz lupu na tekstu rečnika.
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.
Šta sam uradio? Napravio sam još kutija. Ovog puta, počeo sam da stavljam elektroniku, žabe, čudne boce koje bih našao na ulici - bilo šta što bih mogao da nađem - zato što sam uvek nalazio stvari, celog svog života, i pokušavao da izgradim odnose i ispričam priče između ovih predmeta. Počeo sam da crtam oko ovih predmeta i shvatio: „Hej, pa ja crtam u prostoru!” Mogu da nacrtam linije slobodnom rukom slične onima koje biste povukli oko mrtvog tela na mestu zločina. Izvadio sam predmete i stvorio sopstvenu nomenklaturu izmišljenih vrsta. Kao prvo, botaničke, o kojima možete steći nekakvu predstavu. Zatim sam napravio neke čudne insekte i stvorenja. Stvarno je bilo 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)
Bilo je kul jer sam počeo da dobijam nastupe i takve stvari. Zarađivao sam kintu, mogao sam da izvedem devojku na večeru u, na primer, Sizler. Vraški dobro, čoveče. (Smeh)
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 trenutku, stigao sam do ljudskog oblika, skulpture od smole u prirodnoj veličini sa crtežima ljudi unutar slojeva. Bilo je sjajno, osim jedne stvari - umro bih. Nisam znao šta da radim jer me je smola ubijala. Išao sam na spavanje svako veče 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.
Tako sam pokušao da koristim staklo. Počeo sam da crtam na slojevima stakla, skoro kao da crtate na prozoru, onda stavite još jedan prozor, pa još jedan i imate sve ove prozore zajedno koji su stvarali trodimenzionalnu kompoziciju. Ovo je stvarno funkcionisalo jer sam prestao sa korišćenjem smole.
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.
Tako sam ovo radio godinama, što je kulminiralo u ogromnom delu koje zovem „Triptih”. „Triptih” je velikim delom inspirisan „Vrtom ranog zadovoljstva” Hijeronima Boša, slikom koja se nalazi u Muzeju Prado u Španiji. Da li vi, narode, znate za ovu sliku? Super. To je kul slika. Nekako je ispred svog vremena, kažu. Dakle, „Triptih”. Sprovešću vas kroz ovo delo. Teži 10 900 kilograma. Dug je 5,5 metara. Dvostran je, pa ima 11 metara kompozicije. Pomalo je čudan. Pa, to je fontana krvi. (Smeh) Sa leve strane su Isus i skakavci. Postoji pećina odakle sva ova stvorenja sa životinjskim glavama putuju između dva sveta. Idu iz reprezentacionog sveta do podzemlja analogne mreže u kom se kriju. Ovde su stvorenja sa životinjskim glavama pored svetionika i samo što nisu izvršili masovno samoubistvo u okeanu. Okean se sastoji od elemenata kojih ima na hiljade. Ovo je bog ptica vezan za vojni brod. (Smeh) Bili Grejem je u okeanu, „Horajzonova” naftna mrlja, Valdo, sklonište Osame Bin Ladena - možete naći svakojake čudne stvari u okeanu ako se zagledate. Ovo je žensko stvorenje. Izlazi iz okeana i pljuje ulje u jednu ruku, a oblaci izlaze iz njene druge ruke. Njene ruke su kao vage, a ona predstavlja mitološku odrednicu za ravnotežu između Zemlje i kosmosa.
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”, mala pripovedačka stvar. Ovo je njena ruka u koju pljuje. Zatim, kada odete na drugu stranu, ona je nalik stablu, ptičijem kljunu i izbacuje oblake iz svog trupa. Ima zmijski rep dug 5,5 metara koji povezuje „Triptih”. Njen rep će se zapaliti na zadnjem delu vulkana. (Smeh) Ne znam zašto se to desilo.
(Laughter)
(Smeh)
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.
Takve stvari se dešavaju, znate. Njen rep se završava kiklopovim okom napravljenim od terorističkih sličica iz 1986. godine. Jeste li ih videli nekad? Napravljene su osamdesetih, nešto kao bejzbol sličice za teroriste. Daleko ispred njihovog vremena.
(Laughter)
(Smeh)
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 nas dovodi do mog najnovijeg projekta. Trenutno sam usred dva projekta. Jedan se zove „Psihogeografije”. To je projekat od oko 6 godina, koliko je potrebno za 100 ljudi. Svaki od njih je arhiva naše kulture, kroz naše kopirajuće medije i materiju, bilo da su u pitanju enciklopedije, rečnici ili časopisi. Svaki od njih se, međutim, ponaša kao arhiva u obliku ljudskog bića, a putuju u grupama od 20, 4 ili 12 članova. Oni su kao ćelije - grupišu se, dele, a vi nekako prolazite kroz njih. Ovo mi je oduzelo godine. Svaki od njih je, u suštini, mikropski slajd težine 1500 kilograma sa uglavljenim ljudskim bićem.
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 pećinu u grudima. To je njegova glava, evo grudi i nekako vidite početak. Proći ću kroz telo za vas. Postoji vodopad koji izlazi iz njegovih grudi, pokrivajući njegov penis - ili ne-penis, šta god da je, pomalo dvopolna stvar. Sprovešću vas na brzinu kroz ova dela jer ih ne mogu predugo objašnjavati. Postoje slojevi; možete ih donekle videti. Ovo je telo podeljeno na pola. Ovo ima dve glave i ostvaruje komunikaciju između njih. Možete da vidite tablete koje izlaze, idu u jednu od glava ove čudne statue. Postoji i mala šumska scena unutar grudne šupljine. Možete li da je vidite?
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.
Ceo ovaj govor vezan je za kutije, koje su slične kutijama u kojima smo. Ove kutije u kojima smo - Sunčev sistem je kutija. To nas dovodi do moje najnovije kutije. To je kutija od cigala. Zove se „Pionirski radovi”.
(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 je fizičar, neuronaučnik, slikar, muzičar, pisac, radio stanica, muzej, škola, izdavačka kuća da bismo podelili sav sadržaj koji tamo stvorimo u svetu, bašta. Protresemo ovu kutiju, svo ovi ljudi počnu da se sudaraju 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.
Mislim da je ovo način na koji se svet menja. Ponovo definišete svoju unutrašnjost i kutiju u kojoj živite i saberete se da biste shvatili da smo u ovome zajedno, da ova varka o razlikama - ideja država, granica, religije - ne funkcioniše. Napravljeni smo od istog materijala, u istoj kutiji. Ako ne počnemo to da razmenjujemo na nežan i fin način, ubrzo ćemo umreti.
Thank you very much.
Hvala vam.
(Applause)
(Aplauz)