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.
我被一群生活在山上的 女同性恋人士养大, 不久前我还像是个误入纽约的 森林小矮人。 (笑声) 我的脑子变得很混乱, 待会儿再细说这部分。
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.
先从我八岁时开始说起吧。 我有一个木盒子, 在里面放了一张纸币,一支笔,和一只叉子, 并把盒子埋在了科罗拉多。 我觉得一些奇异的机械人 或外星人会在五百年后发现它, 并以此来了解人类是 如何交流想法的, 可能是我们怎样吃意大利面。 我真的不知道。 不管怎样,我觉得这还是挺有趣的, 因为三十年后的我,仍在制造盒子。
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.
从前我在夏威夷呆过一段时间 —— 我喜欢远足,冲浪, 以及尝试所有奇怪的事情, 我给我妈做了一个拼贴画。 我拿来一本字典,把它撕碎, 然后弄成艾格尼斯·马丁 风格的那种格子, 我倒了一些树脂上去, 然后一只蜜蜂被粘住了。 她本来就很怕蜜蜂而且对蜜蜂过敏, 于是我往画板上倒了更多的树脂, 希望可以遮盖住那只蜜蜂。 然而事与愿违: 我几乎算是放大了瑕疵, 就像放大镜一样,盖在字典的文字上。
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.
然后呢?我做了更多的盒子。 这一次,我开始放置 一些电子产品,青蛙, 和在街上捡到的奇怪的瓶子—— 任何东西我可以找到的东西 —— 我的一生都不断地在寻找, 试着在事物之间建立联系, 讲述它们之间的故事。 于是我开始以它们为主题去作画, 而我意识到:“天啊天啊, 我可以在空间中作画! 我可以画出不受限制的线, 就像那些在犯罪现场的尸体周围画的线。 于是我把那些物件取出来, 为我的作品创造了一套分类学。 首先,植物类的—— 这类你们应该有些了解。 然后我开始弄了一些 奇怪的昆虫和生物。 在一层又一层的树脂上作画, 真的非常好玩。
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)
而且这非常酷, 因为我开始可以办展览和各种活动, 赚到了一些钱, 可以带我的女友去吃大餐, 比如去时时乐餐厅。 它真是美味至极,亲们。 (笑声)
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.
一段时间之后, 我又开始用人体模型创作, 在树脂内部,按照真实人体尺寸 绘制的作品。 这其实挺赞的,但是有一点: 这简直不是人干的活儿。 我不知道要怎么办, 那些树脂快要把我害死了。 我每晚睡觉时候都在想着它们。
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.
然后我尝试改用玻璃。 我开始在一层层的玻璃上绘画, 这就像在一扇扇的窗户上绘画, 然后需要把所有窗户叠在一起, 这样便形成了一个三维作品。 这还真的行得通, 于是我可以不再用树脂了。
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.
我持续做了许多年, 积累出了一件庞大的作品, 我称它们为“三联画”。 “三联画”在很大程度上 是受到耶罗尼米斯·博斯 “人间乐园”的启发, 是一幅存放在 西班牙普拉多博物馆的油画。 你们知道这幅作品吗? 很好,那是一幅很酷的画作。 人们说,它是一幅超前的作品。 好,“三联画”,我会慢慢 跟你们解释这件作品。 它重约10900多公斤。 长约5.5米。 它是双面的,所以总共是差不多11米。 这听上去有点奇怪。 这里有个血喷泉。 (笑声) 左面你们会看到耶稣和蝗虫们。 那里有一个洞穴, 那些有着动物头的怪物 穿梭于两个世界之间。 他们由具象的世界 回到这个它们所藏身的 错综复杂的下层世界。 这些有着动物头的生物 聚集在灯塔附近, 准备在大海里集体自杀。 大海是由成千上万的元素组成。 那里有一只鸟神绑在一只战舰上。 (笑声) 比利·葛培理在大海里, 油污里的海岸;瓦尔多; 本拉登的藏匿处 —— 如果你们认真地观察那片大海的话, 就能找到各种奇怪事物。 另外,这是一个雌性生物。 她从海洋里出来,一只手在泼着油污, 另一只手中飘出云朵。 她的手如天平一般, 有着神话中 对地球和宇宙平衡的表达。
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.
这是“三联画”的一部分。 是叙述类画作。 这边她在向手心吐着什么。 然后,当你们从另一边观察, 她又像树干,像鸟的喙, 还会从那里吐出云来。 她还有着一条5.5米的蛇尾, 来连接“三联画”。 她的尾巴还在火山的背面着火了。 (笑声) 我不知道怎么会出现这种效果。
(Laughter)
(笑声)
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.
这种事儿有时候确实会发生。 她的尾巴在一只独眼里终结, 由1986年的恐怖卡片组成的。 你们看见了么? 它们是上世纪80年代的产物, 像是棒球卡那种东西。 真的是走在时代的尖端。
(Laughter)
(笑声)
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.
这引申到我最近的一个项目。 我现在同时进行两个项目: 一个叫“心理地图”。 这是一个长达六年的项目, 去制造100个这样的人类。 每一个都是人类文化的一份存档, 由各种撕碎的传媒产品和物件拼凑, 可以是百科全书、字典或者是杂志。 每一样都可以被当做是一种存档, 以人体的轮廓呈现, 它们结队出行,每次20个, 4个或者12个。 它们像是细胞一般—— 一起出现,然后分裂。 你可以在它们之中走过。 这花费了我许多年的时间。 每一个,基本上 是一个1360多公斤的显微镜片, 里面封存着一个人。
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?
这个人的胸膛上 有一个小小的洞穴。 这是他的头;那是他的胸膛, 你几乎可以看到起始点在哪里。 接下来我会介绍其他的身体部分: 这是一个瀑布从他的胸膛喷涌而出, 遮盖他的生殖器——或者不是生殖器, 什么都行, 有点像是无性别的个体。 我会快速地跟你们介绍一遍这些作品, 因为我没有太长时间来解释它们。 你们可以大概看到这里面有很多层。 这是一个身体在分裂成两半。 这个作品有两个头, 两个头在互相沟通着。 在这个奇怪的造型中,你们可以看到 一些药片一样的东西 从一个头到另一个头。 在胸膛中间 有一个小小的树林。 能看到吧?
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.
总之,这次的演讲都是 关于这些盒子, 就像我们生活在其中的盒子。 太阳系就是我们生活在其中的盒子。 这引申到我最近的盒子作品。 这是一个砖盒。 它叫做“先驱者之作”。
(Cheers)
(欢呼)
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.
在这个盒子里,有一个物理学家, 一个脑神经科学家, 一个画家,一个音乐家, 一个作家,一个广播站, 一间博物馆,一所学校, 一间出版公司 向全世界宣传我们的作品; 一个花园。 我们摇动这个盒子, 而这些人就像粒子一样 互相撞击对方。
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.
而我想,这就是 你可以改变世界的方式。 你重新定义你的内在, 和你生活的那个盒子。 然后所有人共同意识到, 我们都生活在这里, 我们之间的千差万别不过是虚幻—— 有关国家,边界, 宗教——全部都不存在。 我们在同一个盒子中, 由同样的物质构成。 而如果我们不开始试着 去互换一些美好的事物, 我们其实很快就会灭亡。
Thank you very much.
非常感谢大家。
(Applause)
(掌声)