Two weeks ago I was in my studio in Paris, and the phone rang and I heard, "Hey, JR, you won the TED Prize 2011. You have to make a wish to save the world." I was lost. I mean, I can't save the world. Nobody can. The world is fucked up. Come on, you have dictators ruling the world, population is growing by millions, there's no more fish in the sea, the North Pole is melting and as the last TED Prize winner said, we're all becoming fat. (Laughter) Except maybe French people. Whatever. So I called back and I told her, "Look, Amy, tell the TED guys I just won't show up. I can't do anything to save the world." She said, "Hey, JR, your wish is not to save the world, but to change the world." "Oh, all right." (Laughter) "That's cool." I mean, technology, politics, business do change the world -- not always in a good way, but they do. What about art? Could art change the world?
兩個星期之前,我響巴黎工作室 聽到電話響,話 "喂 JR... ...你贏左TED2011大獎... ...要許個願拯救地球喔。" 我即時呆左 我唔識拯救世界呀,呢件事無人做得到 宜家個世界真系亂到阿媽都唔認得。 你睇,呢個跟本就系獨裁者嘅天下 人口成百萬咁遞增 海裏面嘅魚無曬 北極啲冰都融埋 先頭嘅TED獲獎得主仲話 我地會越來越肥添。 (笑) 法國人會唔會例外呢。 是但啦。 跟住我打返電話俾佢 同佢講 “嗱,Amy, 你話俾TED班人知,我唔出現啦 我救唔到地球呀。“ 佢就話,”JR呀, 你嘅願望又唔系拯救世界,系改變佢姐。" "哦,咁啊" (笑) ”甘好啦。“ 其實我發現科技、政治、商業 都響度改變世界-- 結果唔一定理想,但系一定有改變。 咁藝術呢? 藝術系咪都可以改變世界?
I started when I was 15 years old. And at that time, I was not thinking about changing the world. I was doing graffiti -- writing my name everywhere, using the city as a canvas. I was going in the tunnels of Paris, on the rooftops with my friends. Each trip was an excursion, was an adventure. It was like leaving our mark on society, to say, "I was here," on the top of a building.
我從15歲開始搞創作 當時無唸住要改變世界 就系玩開graffiti街頭噴畫-- 到處留名 將城市當成畫布 我會鑽入巴黎的隧道 又同朋友爬上樓頂 每次出去都好盡興 好刺激 感覺終於響呢個社會留底屬於我地自己嘅印記 響樓頂記低“本人到此一遊”
So when I found a cheap camera on the subway, I started documenting those adventures with my friends and gave them back as photocopies -- really small photos just that size. That's how, at 17 years old, I started pasting them. And I did my first "expo de rue," which means sidewalk gallery. And I framed it with color so you would not confuse it with advertising. I mean, the city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
有一次我響地鐵執到部簡易相機 之後就開始拍低我同朋友嘅歷險記 然後將相片畀返佢地 啲相好細張,得咁大 然之後,17歲嘅我就咁 開始左我嘅貼相生涯 搞左自己的第一個expo de rue 無非系一個"街頭影展” 我響每一張相片周圍涂左彩色框 路人就唔會以為系廣告 我發現城市真系一個最佳畫廊 無必要出書 更加無必要搵畫廊 請專家鑒定 作品系咪夠好 夠吸引 響大街度 可以更加直接
So that's Paris. I would change -- depending on the places I would go -- the title of the exhibition. That's on the Champs-Elysees. I was quite proud of that one. Because I was just 18 and I was just up there on the top of the Champs-Elysees. Then when the photo left, the frame was still there.
呢張系巴黎 我會視乎 展出地點 調整主題。 呢張系香榭麗舍大街 呢張系我嘅得意之作 因為嗰年我先18歲 就已經佔領香榭麗舍嘅頂峰。 後來張相唔見左 相框仲留響度
(Laughter)
(笑)
November 2005: the streets are burning. A large wave of riots had broken into the first projects of Paris. Everyone was glued to the TV, watching disturbing, frightening images taken from the edge of the neighborhood. I mean, these kids, without control, throwing Molotov cocktails, attacking the cops and the firemen, looting everything they could in the shops. These were criminals, thugs, dangerous, destroying their own environment.
2005年11月: 火燒街頭 大規模暴亂 響巴黎最舊的住宅區爆發 人人睇電視追蹤 見到從住宅區周邊傳返來嘅影像 畫面令人擔憂又驚恐 呢啲細路無人管教 起勢掟汽油炸彈 攻擊警察同消防隊 掃蕩商舖 呢班罪犯、歹徒同危險分子 用盡手段同環境抗爭
And then I saw it -- could it be possible? -- my photo on a wall revealed by a burning car -- a pasting I'd done a year earlier -- an illegal one -- still there. I mean, these were the faces of my friends. I know those guys. All of them are not angels, but they're not monsters either. So it was kind of weird to see those images and those eyes stare back at me through a television.
忽然間我見到一樣嘢--有無可能啊?-- 畫面嘅牆上有一幅我貼嘅相 就響嗰部燒著嘅汽車後面-- 我一年前貼嘅-- 呢張非法張貼--仲響度 相片裏面系我朋友嘅面孔 我瞭解呢啲人 佢哋都唔系天使 但亦唔系惡魔 響電視度睇見啲眼望住自己 感覺有些少怪
So I went back there with a 28 mm lens. It was the only one I had at that time. But with that lens, you have to be as close as 10 inches from the person. So you can do it only with their trust. So I took full portraits of people from Le Bosquet. They were making scary faces to play the caricature of themselves. And then I pasted huge posters everywhere in the bourgeois area of Paris with the name, age, even building number of these guys. A year later, the exhibition was displayed in front of the city hall of Paris. And we go from thug images, who've been stolen and distorted by the media, who's now proudly taking over his own image. That's where I realized the power of paper and glue. So could art change the world?
於是我返返去 帶埋部28mm焦距相機 亦系我當時唯一一部相機 用佢影相 要靠埋個人物 離得25公分 所以攝影師一定要俾人信得過至影到相 我影左四張相,主角都系Le Bosquet波士基人 佢地扮怪面嚇人 用搞笑誇張嘅方式表現自我 跟住我將啲相整成巨幅海報 貼勻巴黎嘅bourgeois購物區 上面寫埋人物嘅姓名,年齡 連屋企嘅門牌號都有埋 一年之後 呢輯相片響巴黎市政廳前展出 對比起以前我地睇到嗰啲 經過媒體偷拍、扭曲嘅相 嗰日展出嘅一張張自豪嘅面龐 響一刻令我意識到 紙張同漿糊嘅力量 藝術系咪都可以改變世界呢?
A year later, I was listening to all the noise about the Middle East conflict. I mean, at that time, trust me, they were only referring to the Israeli and Palestinian conflict. So with my friend Marco, we decided to go there and see who are the real Palestinians and who are the real Israelis. Are they so different? When we got there, we just went in the street, started talking with people everywhere, and we realized that things were a bit different from the rhetoric we heard in the media. So we decided to take portraits of Palestinians and Israelis doing the same jobs -- taxi-driver, lawyer, cooks. Asked them to make a face as a sign of commitment. Not a smile -- that really doesn't tell about who you are and what you feel. They all accepted to be pasted next to the other. I decided to paste in eight Israeli and Palestinian cities and on both sides of the wall. We launched the biggest illegal art exhibition ever. We called the project Face 2 Face.
時隔一年 我聽講中東地區衝突連連 傳黎各種聲音 當時,我可以負責任咁講 所有話題都指向以色列同巴勒斯坦 所以我同朋友Marco 決定去現場 見識一下真正的巴勒斯坦人同真正的以色列人 佢地之間差別真系咁大咩? 落腳之後我地出街 周圍同人傾計 發現事實同媒體嘅聲音 有些少差別 於是我地又決定影頭像 主角系從事同樣職業嘅 巴勒斯坦人同以色列人 -- 有的士司機、律師、同埋有廚師 -- 為表誠意 我地請佢地扮鬼 唔系笑-- 因為笑面無辦法傳達人嘅心理狀態同感受 佢地都接受 將自己嘅相同對方嘅貼埋一齊 我決定去8個以色列 同巴勒斯坦城市貼相 貼系牆嘅兩邊 我哋籌辦左有史以來最大型的非法藝術展 個名稱系:面對面
The experts said, "No way. The people will not accept. The army will shoot you, and Hamas will kidnap you." We said, "Okay, let's try and push as far as we can." I love the way that people will ask me, "How big will my photo be?" "It will be as big as your house." When we did the wall, we did the Palestinian side. So we arrived with just our ladders and we realized that they were not high enough. And so Palestinians guys say, "Calm down. No wait. I'm going to find you a solution." So he went to the Church of Nativity and brought back an old ladder that was so old that it could have seen Jesus being born. (Laughter) We did Face 2 Face with only six friends, two ladders, two brushes, a rented car, a camera and 20,000 square feet of paper. We had all sorts of help from all walks of life.
專家話 ”無可能[做到]... 民眾唔會接受..." "...軍隊會開槍打你,同埋哈馬斯會綁架你哋。“ 我哋就話 ”咁 我地試下可以行幾遠啦“ 我最鍾意人哋問我 “到時我張相有幾大架?” ”會同你間屋一樣咁大呀“ 貼相上牆嘅時候,我地響巴勒斯坦 帶埋條梯到現場, 先發現條梯唔夠高。 於是幾個巴勒斯坦人話, “唔好心急,等陣。我幫你搞掂佢” 佢跑到一個基督教堂 扛左一條舊梯返黎 條梯真系舊到不得了,我估可能系耶穌時期傳落黎嘅 (笑) 系6個朋友嘅幫助之下,我哋完成左”面對面“ 兩條梯,兩把刷 一架租返黎嘅車,一部相機 仲有20000平方英寸嘅纸 我哋得到各行各業嘅人 各式各樣嘅幫助。
Okay, for example, that's Palestine. We're in Ramallah right now. We're pasting portraits -- so both portraits in the streets in a crowded market. People come around us and start asking, "What are you doing here?" "Oh, we're actually doing an art project and we are pasting an Israeli and a Palestinian doing the same job. And those ones are actually two taxi-drivers." And then there was always a silence. "You mean you're pasting an Israeli face -- doing a face -- right here?" "Well, yeah, yeah, that's part of the project." And I would always leave that moment, and we would ask them, "So can you tell me who is who?" And most of them couldn't say.
就好似呢張巴勒斯坦相甘, 我哋當時系拉馬拉 貼緊相 -- 兩張相都貼系熱鬧嘅市場 啲人圍住我哋,問我哋 ”你哋系到做緊咩呀?“ “哦,我哋搞緊藝術呀 我哋宜家將做同一個工作嘅以色列人同巴勒斯坦人嘅相貼埋一齊。 呢兩個就系的士司機喇。” 呢個時候啲人就會驚左。 “你嘅意思系你系度 -- 貼緊以色列人嘅相?" “哦,系呀,系呀,系呢個藝術嘅一部分黎架。” 呢個時候,我會俾佢地睇一陣, 然後問佢地, “你可唔可以話我聽邊個打邊個呀?” 而佢地大部分都講唔出。
(Applause)
(鼓掌)
We even pasted on Israeli military towers, and nothing happened. When you paste an image, it's just paper and glue. People can tear it, tag on it, or even pee on it -- some are a bit high for that, I agree -- but the people in the street, they are the curator. The rain and the wind will take them off anyway. They are not meant to stay. But exactly four years after, the photos, most of them are still there. Face 2 Face demonstrated that what we thought impossible was possible -- and, you know what, even easy. We didn't push the limit; we just showed that they were further than anyone thought.
我哋甚至系以色列嘅軍事防禦塔到貼左相, 咩都無發生。 當你貼一張相嘅時候,佢只不過系紙同漿糊。 啲人可以搣左佢,貼野系上面,甚至可以系上面尿尿 不過有啲太高啦,我諗應該尿唔到 -- 但系街上面嘅人, 佢哋就系策展人。 遇到落雨打風,啲相遲早會唔見 我本來就無打算要佢哋留系到。 不過正正4年之後, 果啲相大多數仲系到。 ”面對面“證實左 有啲我哋覺得唔可能嘅事系可能發生嘅 -- 而且,你知唔知呀?好易架咋。 我哋無挑戰界限, 我哋只不過系證明我哋做到嘅野比啲人諗嘅遠。
In the Middle East, I experienced my work in places without [many] museums. So the reactions in the street were kind of interesting. So I decided to go further in this direction and go in places where there were zero museums. When you go in these developing societies, women are the pillars of their community, but the men are still the ones holding the streets. So we were inspired to create a project where men will pay tribute to women by posting their photos. I called that project Women Are Heroes. When I listened to all the stories everywhere I went on the continents, I couldn't always understand the complicated circumstances of their conflict. I just observed. Sometimes there was no words, no sentence, just tears. I just took their pictures and pasted them.
系中東,我系[好多]博物館 展出我嘅作品。 系街展覽呢個方向 有啲搞笑。 於是我決定繼續向呢個方向發展 去啲無博物館嘅地方。 當你行入呢啲發展中嘅社會, 你會發現女人系佢地社區嘅支柱, 不過男人仲系條街嘅話事人。 於是我哋啟發左要創作一個項目 等啲男人通過啲相 向女人致敬。 我叫呢個項目做《婦女系英雄》 當我聽到果啲故事嘅時候 系任何我去過嘅地方, 我唔系次次都明 衝突嘅複雜情況, 我淨系觀察。 有時候系無文字, 無句子,只有眼淚。 我影左佢地嘅相 貼左出黎。
Women Are Heroes took me around the world. Most of the places I went to, I decided to go there because I've heard about it through the media. So for example, in June 2008, I was watching TV in Paris, and then I heard about this terrible thing that happened in Rio de Janeiro -- the first favela of Brazil named Providencia. Three kids -- that was three students -- were [detained] by the army because they were not carrying their papers. And the army took them, and instead of bringing them to the police station, they brought them to an enemy favela where they get chopped into pieces. I was shocked. All Brazil was shocked. I heard it was one of the most violent favelas, because the largest drug cartel controls it. So I decided to go there.
《婦女系英雄》帶我走遍世界。 我去左好多地方。 我決定去果度 系因為我系媒體上面聽過。 好似2008年6月 我系巴黎睇電視, 聽到系 里約熱內盧發生嘅慘案。 巴西嘅第一個貧民窟叫做Providencia 三個細路,系三個學生黎嘅, 被軍隊扣押 因為佢地無帶身份證明 軍隊抓住佢地 無將佢地送去警局, 反而將佢地送左去一個同佢地有仇嘅貧民窟 於是佢地俾人斬到一碌碌。 我好震驚。 所有巴西人都好震驚。 我聽講呢個系最暴力嘅貧民窟之一 因為最大嘅販毒集團掌控呢個區域。 所以我決定去果度。
When I arrived -- I mean, I didn't have any contact with any NGO. There was none in place -- no association, no NGOs, nothing -- no eyewitnesses. So we just walked around, and we met a woman, and I showed her my book. And she said, "You know what? We're hungry for culture. We need culture out there." So I went out and I started with the kids. I just took a few photos of the kids, and the next day I came with the posters and we pasted them. The day after, I came back and they were already scratched. But that's okay. I wanted them to feel that this art belongs to them.
當我抵達嘅時候 -- 我嘅意思系,我無同任何NGO取得聯繫。 果度咩都無 -- 無旅行社,無NGO,咩都無 -- 連證人都無。 我哋周圍行, 然後遇到一個女人, 我俾我本書佢睇。 然後佢同我講,”你知唔知呀? 我哋好文化飢渴呀。 我哋呢度需要文化。” 我從幫小朋友影相開始。 我淨系拍左幾張小朋友嘅相, 第二日我攞住張海報過黎,貼上去。 第三日已經俾人搣左喇。 不過,唔緊要啦。 我就系想俾佢地覺得啲藝術系佢地嘅。
Then the next day, I held a meeting on the main square and some women came. They were all linked to the three kids that got killed. There was the mother, the grandmother, the best friend -- they all wanted to shout the story. After that day, everyone in the favela gave me the green light. I took more photos, and we started the project. The drug lords were kind of worried about us filming in the place, so I told them, "You know what? I'm not interested in filming the violence and the weapons. You see that enough in the media. What I want to show is the incredible life and energy. I've been seeing it around me the last few days." So that's a really symbolic pasting, because that's the first one we did that you couldn't see from the city. And that's where the three kids got arrested, and that's the grandmother of one of them. And on that stairs, that's where the traffickers always stand and there's a lot of exchange of fire. Everyone there understood the project. And then we pasted everywhere -- the whole hill.
第四日,我系主要嘅廣場開左個會 有哋婦女黎左。 佢地都系同果三個比人殺死嘅細路有關。 有細路嘅阿媽,阿婆,好朋友。 佢地全部都想大叫甘講個故事出黎。 果日之後, 每個貧民窟嘅人都對我開左綠燈。 我影左更多相,終於開始左個計劃。 啲毒販對於我哋系到影相 有啲擔心。 我同佢哋講,“你哋知唔知呀? 我對暴力同武器無興趣。 你系媒體度都見到啦。 我要展示呢到嘅美好生活。 而過去幾日我真系見到。" 呢張好有代表性, 因為呢個系第一張你系城市見唔到嘅相。 三個細路就系o系呢到俾人抓左, 張相入面就系其中一個人嘅阿婆。 而呢條樓梯, 就系啲毒販成日黎嘅地方。 呢度成日都交火。 個個都明白個計劃系咩意思。 然後我哋將啲相貼滿左成個山。
(Applause)
(掌聲)
What was interesting is that the media couldn't get in. I mean, you should see that. They would have to film us from a really long distance by helicopter and then have a really long lens, and we would see ourselves, on TV, pasting. And they would put a number: "Please call this number if you know what's going on in Providencia." We just did a project and then left so the media wouldn't know. So how can we know about the project? So they had to go and find the women and get an explanation from them. So you create a bridge between the media and the anonymous women.
有趣嘅系媒體過唔到黎。 我嘅意思系,你可以理解。 佢地系從好遠嘅距離嘅直升機上面影我哋, 要用果種好長嘅鏡頭, 然後我哋可以系電視機見到自己貼緊相。 而且佢地仲寫左個電話,話:“如果你知道 果度發生左咩事,請打呢個電話。" 我哋做完個計劃就走左 所以媒體唔知道發生咩事。 甘點樣可以了解呢個計劃呢? 所以佢地去左搵啲女人 從佢地果到得到解釋。 甘樣,你就創造左一個媒體 同埋無名氏婦女之間嘅橋樑。
We kept traveling. We went to Africa, Sudan, Sierra Leone, Liberia, Kenya. In war-torn places like Monrovia, people come straight to you. I mean, they want to know what you're up to. They kept asking me, "What is the purpose of your project? Are you an NGO? Are you the media?" Art. Just doing art. Some people question, "Why is it in black and white? Don't you have color in France?" (Laughter) Or they tell you, "Are these people all dead?" Some who understood the project would explain it to others. And to a man who did not understand, I heard someone say, "You know, you've been here for a few hours trying to understand, discussing with your fellows. During that time, you haven't thought about what you're going to eat tomorrow. This is art." I think it's people's curiosity that motivates them to come into the projects. And then it becomes more. It becomes a desire, a need, an armor. On this bridge that's in Monrovia, ex-rebel soldiers helped us pasting a portrait of a woman that might have been raped during the war. Women are always the first ones targeted during conflict.
我哋繼續旅行。 一路去左非洲、蘇丹、塞拉热昂、 利比里亞、肯尼亞。 系好似蒙羅維亞啲戰火紛飛嘅地方, 啲人會直接走到你面前。 姐系,佢哋想知道你黎呢到做咩。 佢地不停問我,”你黎呢到有咩目的? 你系咪NGO嘅人呀?你系咪媒體呀?" 藝術,搞藝術咋。 有啲人問,"點解系黑白架? 法國無顏色咩?” (笑) 有時佢地會問,"呢啲人系咪死左呀?" 有哋人睇得明,就會同其他人解釋。 我聽到有個人同個唔明嘅人解釋, “嗱,你企系到幾個鐘 冥思苦想,同你嘅同伴討論。 系呢段時間,你從來都無諗過 聽日食啲咩。 甘就系藝術啦。" 我覺得系啲人嘅好奇心 激發佢地 去參與呢個計劃。 所以個計劃先會越來越多。 變成一種慾望,一種需要,一種[聽唔清楚]。 系蒙羅維亞嘅橋上面, 一個曾經系叛軍嘅軍人幫我哋貼一張相 呢張相系一個系戰爭中被軍隊強姦嘅婦女。 系衝突之中 婦女總系最早嘅受害者。
This is Kibera, Kenya, one of the largest slums of Africa. You might have seen images about the post-election violence that happened there in 2008. This time we covered the roofs of the houses, but we didn't use paper, because paper doesn't prevent the rain from leaking inside the house -- vinyl does. Then art becomes useful. So the people kept it. You know what I love is, for example, when you see the biggest eye there, there are so [many] houses inside. And I went there a few months ago -- photos are still there -- and it was missing a piece of the eye. So I asked the people what happened. "Oh, that guy just moved." (Laughter) When the roofs were covered, a woman said as a joke, "Now God can see me." When you look at Kibera now, they look back.
呢到系这是肯尼亞的基貝拉, 非洲最大嘅貧民窟之一。 你或者見過2008選舉後發生 嘅一啲畫面。 今次我哋從房頂落手, 不過我哋無用紙, 因為紙一落雨就無左 唔可以幫啲屋擋雨 -- 乙烯基塑料就得喇。 呢個時候藝術有實際用途。 啲人保留左佢地。 我最鍾意嘅系當你睇到最大果隻眼嘅時候, 你可以看到眼睛果到有好多屋。 幾個月前我去左果度 -- 啲相仲系到 -- 不過眼睛入面有一塊唔見左。 我問啲人發生咩事。 “哦,果個人搬左屋呀。” (笑) 當我哋將啲乙烯基塑料鋪系屋頂嘅時候,有個女人同我哋講笑, ”宜家上帝可以見到我啦。“ 你宜家再睇基貝拉, 佢地都會睇返你
Okay, India. Before I start that, just so you know, each time we go to a place, we don't have authorization, so we set up like commandos -- we're a group of friends who arrive there, and we try to paste on the walls. But there are places where you just can't paste on a wall. In India it was just impossible to paste. I heard culturally and because of the law, they would just arrest us at the first pasting. So we decided to paste white, white on the walls. So imagine white guys pasting white papers. So people would come to us and ask us, "Hey, what are you up to?" "Oh, you know, we're just doing art." "Art?" Of course, they were confused. But you know how India has a lot of dust in the streets, and the more dust you would have going up in the air, on the white paper you can almost see, but there is this sticky part like when you reverse a sticker. So the more dust you have, the more it will reveal the photo. So we could just walk in the street during the next days and the photos would get revealed by themselves. (Applause) Thank you. So we didn't get caught this time.
好啦,印度。 我開始講之前,你要知道, 我們每一次去一個地方,都無旅遊顧問, 所以我哋搞到好似突擊隊甘 -- 我哋一班人去到果個地方, 到左就想辦法講啲相貼到牆上面。 不過有啲地方你唔可以就甘貼野系牆。 系印度想貼野系無可能嘅。 我聽講系文化同埋法律嘅原因, 如果我們系牆貼左野,就會即刻俾人拉。 於是我哋決定貼白色, 系牆上貼白紙。 你想像下一班人系牆到貼白紙。 有人過黎問我哋, “喂,你哋搞緊咩呀?” “哦,無野,搞緊藝術。” “藝術?” 當然,佢地好唔知點甘嘅樣。 不過你知啦,印度條街好多塵架嘛, 越多塵 系空氣到飄下飄下, 系白紙到都見到甘制, 不過有啲位系有粘性嘅 就好似你反轉張貼紙甘。 所以越多塵,就越可以見到張相。 之後幾日我哋系條街到行 就見到啲相自己顯現左出黎。 (掌聲) 多謝。 所以我哋今次無俾人抓住。
Each project -- that's a film from Women Are Heroes. (Music) Okay. For each project we do a film. And most of what you see -- that's a trailer from "Women Are Heroes" -- its images, photography, taken one after the other. And the photos kept traveling even without us. (Laughter) (Applause) Hopefully, you'll see the film, and you'll understand the scope of the project and what the people felt when they saw those photos. Because that's a big part of it. There's layers behind each photo. Behind each image is a story.
呢個計劃,系《婦女系英雄》 一條片。 (音樂) (好) 我哋將每一個計劃 都整左一條片。 呢個系《婦女系英雄》嘅預告片 -- 有形象、相片, 一張一張排起。 就是我哋唔系到,啲相都會繼續旅行。 (笑) (掌聲) 希望你哋有機會睇到呢條片, 然後你就會明白呢個計劃嘅範圍 同埋啲人見到啲相有咩感覺。 呢個系計劃更重要嘅一部分。每一張相都有層次。 每張相都有故事。
Women Are Heroes created a new dynamic in each of the communities, and the women kept that dynamic after we left. For example, we did books -- not for sale -- that all the community would get. But to get it, they would have to [get] it signed by one of the women. We did that in most of the places. We go back regularly. And so in Providencia, for example, in the favela, we have a cultural center running there. In Kibera, each year we cover more roofs. Because of course, when we left, the people who were just at the edge of the project said, "Hey, what about my roof?" So we decided to come the year after and keep doing the project.
《婦女系英雄》呢個計劃為社區 增加左新嘅活力, 呢啲婦女系我哋走左之後仲繼續保持呢種活力。 例如,我哋整左啲書 -- 非賣品 -- 全個社區都可以得到。 不過想要就要攞本書俾其中一個女人簽名。 好多地方我哋都甘做。 我哋定時定候就會返去。 包括果個貧民窟, 我哋系果到有一個固定嘅中心。 系基貝拉,每年我哋都會整多啲相系房頂。 因為,每一次我哋走果陣,有啲人嘅房頂就系我哋個計劃旁邊, 佢地話:“喂,我個屋頂呢?” 於是我哋決定第二年再去過 繼續做呢個計劃。
A really important point for me is that I don't use any brand or corporate sponsors. So I have no responsibility to anyone but myself and the subjects. (Applause) And that is for me one of the more important things in the work. I think, today, as important as the result is the way you do things. And that has always been a central part of the work. And what's interesting is that fine line that I have with images and advertising. We just did some pasting in Los Angeles on another project in the last weeks. And I was even invited to cover the MOCA museum. But yesterday the city called them and said, "Look, you're going to have to tear it down. Because this can be taken for advertising, and because of the law, it has to be taken down." But tell me, advertising for what?
對我黎講,好重要嘅一點系 我無用任何品牌或者公司嘅贊助。 所以我對其他人無責任 除左對自己 仲有呢個主題。 (掌聲) 對我黎講 亦系我工作中最重要嘅事 我覺得,宜家, 事情嘅結果同你做事嘅方式一樣重要。 而呢個總系工作嘅一部分。 有趣嘅系我會將圖像同廣告 明確甘分開。 上個禮拜,我哋系洛杉磯 貼左啲相,開始左一個新計劃。 佢地甚至邀請我將啲相貼到加州現代藝術博物館。 不過尋日,市政府嘅人打電話俾我 ,話 “睇黎,我哋要將佢地搣左佢。 因為啲人會覺得我哋做緊廣告, 法律唔俾呀, 以一定要攞落黎。“ 不過唔該話我知,我哋做緊咩廣告?
The people I photograph were proud to participate in the project and to have their photo in the community. But they asked me for a promise basically. They asked me, "Please, make our story travel with you." So I did. That's Paris. That's Rio. In each place, we built exhibitions with a story, and the story traveled. You understand the full scope of the project. That's London. New York. And today, they are with you in Long Beach.
俾我影相嘅人 好自豪甘黎參加呢個計劃 好自豪可以系社區展示佢地嘅相。 佢地只有一個好基本嘅要求。 佢地話,”求下你啦,俾我哋嘅故事同你一齊旅行。" 所以我做左。呢到系巴黎。 呢到系里約。 每一個地方,我哋都用一個故事做展覽,然後呢個故事開始傳播。 你會理解成個計劃嘅範圍。 呢到系倫敦, 紐約。 今日,佢地系長島,同你一齊。
All right, recently I started a public art project where I don't use my artwork anymore. I use Man Ray, Helen Levitt, Giacomelli, other people's artwork. It doesn't matter today if it's your photo or not. The importance is what you do with the images, the statement it makes where it's pasted. So for example, I pasted the photo of the minaret in Switzerland a few weeks after they voted the law forbidding minarets in the country. (Applause) This image of three men wearing gas masks was taken in Chernobyl originally, and I pasted it in Southern Italy, where the mafia sometimes bury the garbage under the ground.
好啦,最近我開始左另外一項公共藝術項目 今次我唔用自己嘅作品喇。 我用Man Ray, Helen Levitt Gracomelli,其他人嘅作品。 系唔系你嘅相唔緊要。 重要嘅系你用啲相 黎做咩, 佢貼嘅地方有咩用意。 舉例,我貼左一張尖塔嘅相 系瑞士, 因為佢地系幾個禮拜之前投票通過禁止國內起尖塔嘅法律。 (掌聲) 呢張有三個帶住防毒面具男人嘅相, 系o系Chernobyl影嘅, 我將佢貼系意大利南部, 果度啲黑手黨成日將啲垃圾埋系地下。
In some ways, art can change the world. Art is not supposed to change the world, to change practical things, but to change perceptions. Art can change the way we see the world. Art can create an analogy. Actually the fact that art cannot change things makes it a neutral place for exchanges and discussions, and then enables you to change the world. When I do my work, I have two kinds of reactions. People say, "Oh, why don't you go in Iraq or Afghanistan. They would be really useful." Or, "How can we help?" I presume that you belong to the second category, and that's good, because for that project, I'm going to ask you to take the photos and paste them.
從某啲方面黎講,藝術系可以改變世界嘅。 藝術本身唔系為左改變世界, 唔系為左去改變具體的事, 而系去改變觀點。 藝術可以改變 我哋睇世界嘅方式。 藝術可以創造一種類比。 事實上藝術改變唔到事態 藝術處於中立地帶 為交流同討論提供環境, 令到改變世界變得可能。 系我創作嘅時候, 一般會遇到兩種反應。 有人會話:”噢,你不如去伊拉克或者阿富汗啦... 響嗰邊一定好有用。“ 又有人問 ”我哋可以點幫你?“ 我諗你哋似乎系屬於第二類, 其實系好事 因為呢個計劃, 我要請大家影相 然後貼出黎。
So now my wish is: (mock drum roll) (Laughter) I wish for you to stand up for what you care about by participating in a global art project, and together we'll turn the world inside out. And this starts right now. Yes, everyone in the room. Everyone watching. I wanted that wish to actually start now. So a subject you're passionate about, a person who you want to tell their story or even your own photos -- tell me what you stand for. Take the photos, the portraits, upload it -- I'll give you all the details -- and I'll send you back your poster. Join by groups and reveal things to the world. The full data is on the website -- insideoutproject.net -- that is launching today.
所以我宜家嘅心願系: (敲鼓動作) (笑) 我希望各位積極參與 通過呢個全球性的藝術項目 表現你最關切的人物事件, 我哋一齊顛覆世界。 而家就開始 從在座的每一位開始 就系你 仲有屏幕另一邊嘅每一位觀眾 我希望呢個願望 可以從呢一分鐘開始實行。 揀一個你心動嘅主題 搵一位有精彩故事嘅人物 或者你自己張相 -- 話我知 你嘅觀點。 影啲相,影啲人像, 放上網--我會講明細節-- 跟住等我寄返張海報俾你。一班人一齊 將現實展示俾全世界。 所以嘅資料都系呢個網站: insideoutproject.net 網站今日會上線。
What we see changes who we are. When we act together, the whole thing is much more than the sum of the parts. So I hope that, together, we'll create something that the world will remember. And this starts right now and depends on you.
我哋見到嘅野會改變我哋。 當我哋一齊行動, 團體嘅效應遠遠超出個人嘅總和 所以我希望,我哋可以一齊創造 一啲世界會記得嘅事。 宜家開始啦,靠曬你。
Thank you.
多謝。
(Applause)
(掌聲)
Thank you.
多謝大家
(Applause)
(掌聲)