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?
两周前在我巴黎的工作室, 我接到一个电话, “嗨, JR, 你得奖啦,TED 2011年度大奖。 你得许个能拯救世界的心愿。” 我有些迷茫。 我可没法拯救世界,没人能拯救世界。 这世界早他妈没救了。 独裁者统治世界, 人口数以百万的增长, 海里没鱼, 北极消融, 刚才前一位获奖者也说了, 咱还越来越胖。 (笑声) 可能法国人除外。 管他呢。 所以我又打过去 跟她说, “我说,Amy, 就跟TED的朋友说我不去了。 我真的没法拯救世界啊。” 她说,“嗨,JR, 你的心愿不用非得拯救世界,可以是改变世界啊。” “噢,那行啊。” (笑声) “好主意呀!” 你想,科技、政治,还有商业 都改变了世界—— 当然有变好有变坏,但至少改变了嘛。 那艺术呢? 艺术能改变世界吗?
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15岁就开始搞艺术, 那时没想着改变世界; 我那时喜欢涂鸦 就到处写下我的名字, 城市就是我的画布。 我和朋友在巴黎的隧道里涂鸦, 在屋顶上涂鸦。 每一次,都像是一场冒险, 短暂而刺激。 这就像给社会烙上我们的记号, 在每栋建筑顶端,表明,“我,来过。”
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,我在地铁里捡到一台廉价相机, 从那时起,我便开始和朋友一起记录我们的冒险之旅, 然后把照片洗出来, 照片很小,就这么大吧。 就这样,17岁那年, 我开始将这些照片贴到墙上。 我还”举办“了人生中第一次街头涂鸦, 就是把街头当做画廊。 我特地给照片画上彩色边框, 那大家就不会以为是广告了。 真的,我觉得城市是我能想象的最棒的画廊。 我不会将照片集结成册,然后拿给画廊 让他们评判 我的作品是不是够格展出。 我把决定权交给街上的 路人。
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.
那是巴黎 在不同的城市, 我会给展览 取不同的名字。 那是香榭丽舍大道上。 我挺得意那一场的, 因为那年我才18岁, 就已经登上了”香榭丽舍峰“。 后来即使照片不在了, 那些画框依然在墙上。
(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, 街道陷入火海。 大批暴徒 冲进巴黎多栋高端建筑。 那会儿人人都守在电视机前, 看着暴乱社区的画面, 那些画面让人震惊和恐惧。 我的意思是,这群失控的孩子, 他们投掷燃烧弹, 袭击警察和消防员, 将商店洗劫一空。 他们是一群追逐自己利益的暴徒, 是危险的罪犯。
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.
我看着他们 -- 这是真的吗? -- 在一个汽车烧着了的画面里, 我看到墙上有一张我贴的照片 -- 那是一年前贴的 -- 是违规张贴 -- 依然在那里。 这些,可都是我朋友的面孔啊, 我认识他们, 他们不是天使, 但也不是魔鬼。 我从电视里看到他们时, 他们仿佛也透过电视在盯着我,那感觉很怪。
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?
我又去了那里, 带着一个28毫米焦距镜头的相机, 那时我的设备只有这个。 那台相机 在拍摄时需要将距离拉近到10英寸(1/4米), 因此只有有了他们信任才能做到。 我当时拍了四张面部特写,他们来自波士基。 他们做各种鬼脸, 表情夸张,展现自我。 然后,我把大幅招贴张贴 在巴黎中产阶级聚集区, 照片下面有他们的姓名、年龄 甚至地址。 一年之后 这场展览蔓延到了巴黎的墙垣上, 我们拍下这些照片, 这些被媒体忽视和扭曲的形象, 他们现在自豪地展示他们真实的表情。 那一刻我突然意识到, 图片和胶水的力量。 那么,艺术能够改变世界吗?
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.
又是一年之后, 中东地区冲突不断, 充斥着我整个耳膜。 相信我,那会儿, 他们只说,是以色列人和巴勒斯坦人的冲突。 于是我和我朋友马可 决定去那里, 看看谁是真正的巴勒斯坦人,谁又是真正的以色列人, 他们区别很大吗? 到那之后,我们游走街间, 跟当地人攀谈聊天, 而我们认识到事情 跟媒体的说辞有些不同。 于是我们决定 给以色列人和巴勒斯坦人拍面部特写, 就像之前那样, 他们当中有司机、律师和厨师。 我们让他们对着镜头做个鬼脸,作为加入此次活动的“个性签名”, 不是微笑 -- 那不能真实地 表达你自己和你的感受。 他们也都同意 我将这些照片挨个张贴在墙上。 我打算 贴八个以色列和巴勒斯坦城市, 而且给隔离墙的两面都贴上。 那一次,我们举办了有史以来最大的一次非法艺术展, 我们叫做“面对面”。
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.
那些专家曾说,“不可能, 他们不会同意的, 当地的武装力量会射杀你们,哈马斯会绑架你们。” 我们便说,“好吧,那就看看我们能走多远吧。” 我特别高兴人们问我, “我的照片会有大?” “有你房子那么大。” 刚开始,我们贴完巴勒斯坦那一墙时, 发现我们的梯子高度不够, 没法继续, 当时有几位巴勒斯坦小伙子说, “没事儿,稍等,我来想办法。” 随后他去了耶稣诞生大教堂 搬来了一座很老的梯子 那梯子真的老到可能见证了耶稣的诞生。 (笑) 完成“面对面”计划,只有我们六个朋友, 2架梯子,2把刷子, 1辆租来的小车,1台相机, 还有20,000平方英尺的纸张。 我们得到了很多人的帮助, 他们来自各行各业。
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.
比方说,在巴勒斯坦时, 这是在拉马拉(巴勒斯坦城市), 我们正在墙上糊照片, 我们选的都是以色列和巴勒斯坦的闹市区。 人们围了过来,问, ”你们在干嘛?“ ”哦,这是个有关艺术的工程, 我们贴的是以色列人和巴勒斯坦人的照片,他们是同一个职业的, 这两个,都是出租车司机。“ 紧接着的往往是沉默。 你是说你正在贴一张以色列人的面孔, 就在这里贴?” “对啊,对啊,这是工程的一部分嘛。” 接着我总是有意沉默一会儿, 然后问他们, “那你能分辨出哪个是巴勒斯坦人,哪个是以色列人吗? 而他们大部分人都分不出来。
(Applause)
(掌声)
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.
我们甚至在以色列一座军事瞭望塔上也贴了, 什么事都没有。 贴一张照片,只需要胶水和纸, 人们可以撕了它,在上面乱涂乱画,甚至在上面尿尿, 是有人挺乐在其中,我知道, 但路人, 他们就是这个大画廊的馆长。 照片经不起风雨洗礼, 他们注定是难以长存的。 但是,四年了, 大部分照片依然在那里。 "面对面"计划证明了 一切皆有可能, 而且,没有你想象得那么难。 我们并没有挑战极限, 我们只是想说,我们比大家想的,走得更远。
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.
中东有些地方博物馆不多, 于是我在街头办“照片展”, 这条“街头艺术之路” 挺有意思。 我想在这条路上走得更远, 去看看那些没有博物馆的地方。 当你置身这些发展中地区时, 女人是这个地区的支柱, 但男人依旧掌权。 由此我们希望做一个歌颂女人的项目: 让男人来张贴女人的肖像照, 以此来歌颂女人。 我称这个计划为,女人是英雄, 我们当时不管走到哪里, 都能听到很多故事。 其中发生冲突的复杂背景, 我不一定都能听懂, 我只是观察。 有时候没有只言片语, 只有泪水。 我只是为她们拍照, 并张贴出来。
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.
”女人是英雄“让我周游各国, 很多我去过的地方, 我决定前往, 是因为我在媒体上听到过。 比方说,2008年6月, 我在巴黎,看电视, 得知在里约热内卢, 发生了那场耸人听闻的事件。 在普罗维登西亚 — 巴西第一个棚户区, 三个孩子 -- 他们是学生 -- 因为没有带相关证件 而被军方扣押。 军方带走了他们, 但没有交给警察, 反而交给了一个敌方的棚户区, 在那里,三个孩子被剁成了肉块…… 我当时震惊了, 整个巴西都震惊了。 我听说那是最暴力的棚户区之一, 由最大的毒枭控制着。 我决定去那里。
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.
我到了以后, 我没有跟任何NGO(非政府组织)联系, 那儿什么都没有 — 没有旅行社,没有NGO,什么都没有, 没有目击者。 我们随便走走, 遇到了一位妇女, 我给她看我那些集结成册的肖像照, 她说,”你知道吗? 我们太渴望文化了, 我们需要文化。” 于是我又开始拍照,从拍孩子开始。 我给孩子们拍了一些照片, 做成海报,然后第二天贴到墙上。 第三天我回去时,它们已经被刮掉了。 但那无所谓, 因为我希望他们觉得艺术就在手中。
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.
第四天,我在大广场上与一些人会了面, 来了一些妇女, 都是三个遇害孩子的亲戚朋友, 有他们的母亲、祖母,还有好友。 他们都愤怒地讲述着那场谋杀。 那天以后, 那个棚户区的每个人都给我开绿灯。 我拍了更多的照片,接着,项目开始了。 那里的毒贩头头, 对于我们拍摄他们的地盘,有些顾虑, 于是我跟他们说, 我对暴力和武器没兴趣, 你们在媒体上已经看得够多了, 我想展现的是这里难以置信的生活, 而实际上在最近几天我在周围看到了许多。” 这幅作品很有标志意义, 跟以往我们在其他城市所做的都不同, 并且这里是三个孩子被抓走的地方, 这张肖像,是其中一个孩子的祖母。 就在这段阶梯上, 非法交易、 冲突交火,屡屡发生, 但那里的每个人都理解我们所做的, 后来,我们将照片贴满整座山。
(Applause)
(掌声)
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.
好玩的是,媒体还进不来, 我们当时就看着那些媒体, 他们在直升机上,举着长镜头拍我们, 那镜头真的很长, 因为我们还从电视上看到我们正在糊照片, 屏幕下方还有一个电话号码: “如果你知道普罗维登西亚发生了什么,请联系我们。” 就这样,我们完成了一个项目,然后离开, 媒体一无所知, 但是他们要如何了解那里发生了什么呢? 他们得到当地询问那里的妇女, 从她们那里了解情况, 所以你就架起了一座桥梁, 一头是媒体,一头是那些不知名的妇女。
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.
我们的旅程在继续, 我们去了非洲、苏丹、塞拉利昂、 利比里亚、肯尼亚。 在战火连年的蒙罗维亚, 人们向你径直走来, 他们想知道你想干嘛。 他们不停地问我,”你做这个项目的目的是什么?“ 你是NGO?是媒体?“ 艺术,就是艺术而已。 有人问,”为什么只有黑白色? 你们法国没有彩色吗?” (笑) 或者他们会问,”这些人都死了吗?” 知道这个项目的人会向另一些人解释, 我曾听到这样一番解释, “你看,你已经在这儿待了好几个小时了, 你和朋友一起讨论,想了解这个项目, 在这段时间里, 你完全没有去想明天的温饱问题, 这,就是艺术。” 我想,人们的好奇心 促使他们 加入这个活动 渐渐的,越来越多人加入了进来, 人们想要加入,这成了他们的需要。 这是蒙罗维亚的一座桥, 一位前反政府武装军帮我们贴了这张妇女肖像, 她可能是在战争中被强暴过的。 妇女总是冲突中 最先受到伤害的。
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.
这是肯尼亚的基贝拉, 非洲最大的贫民窟之一。 你们可能见过, 08年肯尼亚大选后的暴力事件的图片 这一次,我们将照片贴在屋顶上, 但我们没用纸, 因为纸并不能挡雨, 水还是会漏进屋里。 不过,聚乙烯能档, 艺术变得实用了, 所以人们一直留着。 你知道,有件事很令我开心,瞧,很多大眼睛, 那下面其实有很多房子, 我几个月前去那里时, 那些大眼睛依然在,但其中有一小块消失了, 我问当地人怎么回事, “奥,他家搬走了。” (笑) 当那些照片在屋顶铺好时,有位妇女开玩笑说, “现在上帝能看到我了。” 现在,当你看着基贝拉, 他们也看着你。
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,再说印度。 在介绍之前,我想说明一点, 每次我们到一个地方,都不是通过旅行社的, 我们就像游击队, 一群人,到那里, 然后想在墙上贴照片, 但有些地区,是不允许你在墙上随意张贴的, 比方说印度,就不行。 我知道,有文化和法律上的原因, 我们一贴就会被捕, 所以我们决定糊白纸, 把墙糊白了。 想象一下,白人糊白墙的景象, 人们纷纷围拢过来,问道, “嗨,你们在干嘛?” “噢,我们在搞艺术。“ ”艺术?“ 当然,他们被搞糊涂了。 但是,大家都知道,印度街头灰尘满天, 越多灰尘 飞扬空中, 就越多灰尘飞扬到墙上, 而墙上有些部分是有黏性的, 就像翻过来的黏纸, 所以,灰尘越多,墙上的照片就越加明显。 所以接下来几天,我们可以悠然地走在街上, 看着那些照片显现出来。 (掌声) 谢谢 所以那次我们没被抓
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.
每个项目,都是来自电影 《女人是英雄》 (音乐) OK 我们所有行动, 构成了一部电影, 大家现在看到的,来自《女人是英雄》的预告片, 这些画面,摄影, 都是一张张拍下来的。 照片不断在传播,无论有没有我们。 (笑声) (掌声) 可能的话,你们将会看到电影, 你们会了解这个行动, 你们会了解人们看到照片时的感受。 人们的感受,是很重要的一部分,每一张照片都有自己的背景, 每一个画面背后,都是一个故事。
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.
”女人是英雄“给那些社区 注入了新的活力, 我们离开后,是那里的女人维系了这份活力。 比方说,我们出书 -- 非卖品 -- 整个社区都能免费拿到, 但前提是,有女人签字。 我们在很多地方都这么做, 我们会定期回去, 比方说在普罗维登西亚棚户区, 我们有运作的组织, 在基贝拉,我们每年会给更多屋顶铺上照片, 因为每次铺完离开时,刚好没铺到的那一家总会问, ”嗨,给我家屋顶也铺一下吧?“ 所以我们打算下一年再去, 接着铺下去。
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?
对我来说,有一点很重要, 我们不用任何品牌或公司赞助商, 所以不对任何人负责, 除了对自己, 对被拍摄者负责。 (掌声) 对我来说, 这个原则对我的工作很重要。 今天,我相信, 做事的过程跟结果一样重要。 这一向是工作的一部分。 有趣的是,我所把握的图片和广告之间的 那点细微的区别。 前几周,我们刚在洛杉矶做了一些张贴, 是另一个项目。 我甚至受邀为洛杉矶现代艺术美术馆做张贴。 但是昨天他们打来电话说, ”我们得把那些照片揭掉, 因为会被当成广告, 而且因为法律原因, 它们必须被撤掉。” 可是请问,我在为什么做广告呢?
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.
被我拍下的人们, 他们为自己参与到这个行动感到自豪, 为他们的照片能贴在社区感到自豪, 但他们只向我提了一个基本的要求, 他们要求,”请让我们的故事跟你一起旅行。“ 我承诺了,并且做到了。看,那是巴黎。 那是里约热内卢。 我们各地的展览,都有各自的故事,所以,故事在旅行。 大家看到的是这个行动的全貌。 那是伦敦, 纽约, 今天,在这里——长滩,它们在你们身边。
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,最近,在我着手开始的一个公共艺术展中, 我不再使用自己的作品, 我用曼·雷、海伦·莱维特、 贾科梅利,和其他人的作品。 现在用谁的摄影作品并不是重点, 重点是你用这些 照片做什么, 贴在哪里,代表的是一种宣言。 比方说,我把伊斯兰宣礼塔的照片, 贴在瑞士, 而就在几个星期前,他们刚刚通过禁令——国内禁止宣礼塔。 (掌声) 这幅照片,是三个戴着防毒面罩的人, 最先摄于切尔诺贝利, 我贴在意大利南部, 在那里,黑手党肆意填埋垃圾。
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.
某种程度上说,艺术能够改变世界。 艺术本不是用来改变世界的, 不是用来改变物质的, 但是艺术能改变精神, 艺术可以改变 我们观察世界的角度。 艺术能让人产生共鸣和联想, 其实,艺术不能改变事物的这一属性, 让它恰恰能以一个中立的立场 介入各种沟通与对话, 以这样一种方式,艺术在改变世界。 当我做这个活动时, 人们会有两种反应, 有人说,”哦,你怎么不去伊拉克或者阿富汗啊, 这会对他们特别有用。“ 另一种反应是,”我能做些什么。“ 我想在座各位属于后者, 非常好, 因为为了这个项目, 我将会要求你们拍下照片, 然后张贴出来。
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.
所以我的心愿是: (模仿打鼓声) (笑) 我希望你们能够站出来 为你所在乎的东西 加入这个全球性的艺术工程, 让我们一起,让世界非同凡响。 这一行动已经开始, 是的,各位现场的, 各位电视机前的, 我希望这场行动, 即刻启动。 为你所热爱的人,讲出他们的故事,拍下他们的照片, 或者你自己的照片, 告诉我你相信什么,支持什么。 拍下照片,面部特写, 然后上传——我会给出所有细节, 我会将海报寄给你。还可以团体报名, 告诉世界你们的故事。 活动所有内容都在我们的网站上: insideoutproject.net 网站今天投入使用,
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.
我们所看到的,能改变我们的人生, 让我们一起行动, 众人齐心,其力断金。 所以我希望,大家一起行动, 让世界铭记。 活动已经开始,主动掌握在你手中。
Thank you.
谢谢
(Applause)
(掌声)
Thank you.
谢谢
(Applause)
(掌声)