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?
二星期前, 我在巴黎的工作室, 電話響起, 我接到消息說: 「喂, JR, 你贏得了 TED2011 大獎。 你要為拯救世界而許願。」 我頓時不知所措。 我無法拯救世界, 沒有人可以。 世界整個亂了套。 我們看到獨裁者統治世界, 人口以百萬增加, 海裡已經沒有魚了, 北極也在融化, 上個 TED 大獎得主還說 每個人都愈來愈胖。 (笑聲) 也許除了法國人罷。 諸如此類。 於是, 我回覆電話 我告訴她, 「聽著, Amy, 告訴 TED 那群人我不會出席, 我沒辦法拯救世界。」 她說: 喂, 「JR, 你的願望不是拯救世界, 而是改變世界。」 「噢, 那好的。」 (笑聲) 「這很好。」 我的意思是, 科技、政治、商業 可以改變世界-- 並非總是有益,但的確在改變世界。 那麼藝術呢? 藝術可以改變世界嗎?
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.
我十五歲開始創作, 那時我並不是為了想改變世界。 我喜歡塗鴉, 在四處畫下自己的名字 把城市當做畫布。 我與朋友走過巴黎的地下道 和屋頂。 每一次都是短途的旅行, 是一場探險。 就像在社會各處留下我們的印記, 在城市頂端宣稱:「我曾在此。」
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.
我在地鐵上發現了一台便宜的相機後 就開始記錄那些 與朋友同行的冒險經歷, 並以照片影印的方式跟朋友們分享, 大約是這種大小的照片。 接著在十七歲, 我開始張貼這些照片 這是我第一個街頭博覽會, 意思是街頭畫廊。 我用顏色把照片框起來 你就不會以為這是廣告了。 我是說: 城市是我想像中最棒的畫廊。 我從不需要製作畫冊,呈現給畫廊看, 讓他們評判我的創作是否夠好, 是否足以秀給大眾來欣賞。 我會把它們直接在街上 向公眾展示。
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.
這是巴黎。 我會改變 --- 我的創作隨著旅行的地方、 畫展的主題而改變。 這是香榭大道。 我對這個展覽相當自豪。 因為當時我只是十八歲, 在香榭大道上遊走。 照片沒了之後, 框框仍在那裡。
(Laughter)
(笑聲)
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: 整條街道熊火蔓延。 發生的一場大暴動 後來變成我在巴黎的第一個藝術計畫。 每個人都黏在電視機旁, 觀看那些在周遭拍攝的 令人不安、令人恐懼的圖像。 我是說: 那些失控的孩子, 抛著汽油彈, 襲擊警察和消防員, 打刼商店裡所有搶得走的東西。 這些是罪犯、惡棍、危險的人, 破壞他們自己的環境。
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.
然後我看見了──真的嗎?── 我貼在牆上的照片 被燃燒汽車的熊熊烈火照映著── 我一年前貼上去的 違法的創作仍留在牆上。 那些是我朋友的臉孔。 我認識這些人。 他們不全是天使, 但他們也不是惡魔。 很詭異地看到 那些影像和眼睛 竟然透過電視回望我。
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?
於是我回到那裡, 帶著 28mm 的鏡頭。 那是我當時唯一僅有的鏡頭 但用這鏡頭 我必須很靠近那些人, 大概是 25 公分左右。 只有他們信任,我才能夠靠得那麼近。 於是我拍了四個 在 Le Bosquet 的人像照。 他們做出恐佈的表情 將自己扮成怪誕的人物。 然後我張貼巨大的海報, 貼在巴黎資產階級區的各個角落, 上頭有這幾個人的名字、年齡, 甚至住所建物的號碼。 一年之後, 這個展覽在巴黎市政府前展出。 這些原本被媒體盜用、 扭曲的惡棍形象, 轉換而成 如今卻能以自己的原貌為榮。 這時我才領悟到 紙張和膠水的力量。 那麼,藝術是否可以改變世界?
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.
一年之後, 我聽到許多 關於中東衝突的聲音。 相信我,那時的中東衝突 只是指以色列和巴基斯坦的衝突。 我和我的朋友 Marco 決定去那裡, 去看看誰是真正的巴勒斯坦人, 誰是真正的以色列人。 他們是否真的很不同? 我們到了那裡,直接走到街上, 隨處跟人閒聊, 我們發現事實 和從媒體聽到的不太一樣。 於是我們決定去拍人像照, 是巴勒斯坦和以色列 職業相同的人: 計程車司機、律師、廚師。 要求他們做出「承諾奉獻」的表情。 不是笑臉,因為笑容無法顯現 你是誰、你的感受如何。 他們全都同意 自己的照片與另一人的並列。 我決定去貼在 八個以色列和巴勒斯坦的城市 兩邊的牆壁上。 我們發起史上首次 規模最大的違法畫展, 取名為「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.
專家說:「不可能! 人們不會接受。 軍隊會對你開槍,哈馬斯會綁架你。」 我們說:「好, 看看我們能做到什麼程度。」 很開心人們問我: 「我的照片會有多大?」 我回答:「會跟你的房子一樣大。」 當我們貼在牆上, 在巴勒斯坦那邊, 我們只帶著自己的梯子, 然後, 我們發現那張梯子並不够高。 於是, 巴勒斯坦人說: 「冷靜,等等,我們會幫你想辦法。」 於是他到聖誕教堂去 帶來了一張很舊的梯子, 那張梯子舊得應該曾見証耶穌出生。 (笑聲) 「面對面」計畫,只動用了六個朋友、 二張梯子、兩把刷子、 一輛租來的汽車、一台相機, 以及二萬平方英尺的紙。 我們獲得各種鼎力相助 來自不同階層的人。
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.
例如這是巴勒斯坦的拉姆安拉。 我們當時就在拉姆安拉張貼人像, 在擁擠市場的街上兩張人像都貼。 人們靠過來問: 「你們在做什麼?」 「噢,我們其實在做一個藝術計畫, 把職業相同的巴勒斯坦人 和以色列人的照片貼在一起。 實際上這兩位都是計程車司機。」 通常他們一開始沉默,然後問: 「你是說,你在這裡 張貼以色列人的頭像?」 「對,這是我們計畫的一部份。」 我總是讓沈默持續片刻, 然後問他們: 「你看得出誰是以色列人, 誰是巴勒斯坦人嗎?」 大部份人分辨不出來。
(Applause)
(笑聲)
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.
我們甚至貼在以色列的軍事塔上, 沒怎麼樣。 (註:原先被警告軍隊會開槍。) 你貼的照片只是紙張和膠水。 人們可以撕它、塗它,甚至向它撒尿 -- 我承認有一些高到尿搆不著-- 但在街上的人們就是監護人, 風和雨終究會弄掉這些照片, 它們本來就不會永久存在。 但恰好四年之後, 那些照片, 大部份都仍在。 「面對面」證明了 我們以為的不可能, 其實是可能的。 知道嗎, 甚至可說是輕而易舉, 我們還沒有推到極限, 我們只是展示了我們已經走得 比任何人所預期的還要遠。
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.
我在中東經驗到 在沒(多少)美術館的地方做。 街上的反應相當有意思。 所以我決定往這方向更進一步, 到完全沒有美術館的地方去。 踏進這些開發中國家的社區, 女人是他們社會的支柱, 但街上依然是男人說了算。 於是這啟發了我們創造一個計畫, 讓男人向女性致敬, 用張貼女性的照片的方式。 我稱這次的計畫為「女人是英雄」。 當我聽過當中所有的故事, 在我所到過的各大洲的每一處, 我並非總能理解 他們那些矛盾的複雜狀態, 我只是觀察。 有時沈默無語, 沒有任何字句,只有流淚。 我只為他們拍照, 然後貼出來。
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」這計畫 讓我走到世界各地。 在我去過的大部份地方, 我決定去那裡 是因為我在傳媒之中聽說過。 例如 2008 年 6 月, 我在巴黎看電視, 跟著我就聽到這可怕的事 發生在里約熱內盧, 巴西第一個貧民區,叫做 Providencia。 三個孩子,就是三個學生, 被軍隊拘留了, 因為他們未攜帶證件。 軍隊逮捕他們, 沒把他們送到警察局, 反而是帶到敵對的貧民區。 在那裡, 他們被斬成數段。 我十分震驚。 整個巴西震驚。 據說這是最多暴力的貧民區之一, 因為最大的販毒集團控制那裡。 所以我決定要去到那裡。
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.
我到達該地—— 我並不認識任何 非政府組織(NGO)的人。 那裡沒有NGO, 沒有協會、沒有NGO,什麼也沒有, 沒有目擊者。 我們只是隨處走動, 然後遇到了一名婦女, 我給她看我的書。 她說:「你知嗎? 我們渴望文化。 我們這裡需要文化。」 於是我走出去,從孩子開始。 我只是拍了一些孩子們的照片, 第二天我們就帶著海報回來貼在牆上。 第三天我再回去,海報已經被抓破了。 但是那沒關係, 我想讓他們感到
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.
這些藝術屬於他們。 第四天,我在廣場上舉辦一場會議 來了一些婦女。 這些婦女都跟那三個被殺的孩子有關。 有他們的媽媽、祖母、最好的朋友。 她們都想大聲說出這個故事。 這天之後, 貧民窟的每個人都允許我做。 我拍了更多的照片,開始著手計畫。 毒梟對我們在這裡拍攝有些疑慮。 我告訴他們;「知道嗎? 我沒興趣拍攝暴力和武器。 這些在媒體上够多了。 我想展示驚人的生命與活力, 這些就是我在這些日子所看到的東西。」 這是極具代表性的圖貼。 因為這是我的創舉, 你在城市是無法看到的。 這是三個孩子被捉的地方, 這是他們其中一個的祖母。 那些階梯 就是毒販時常佔據的地方, 有不少槍戰火拼。 當地人全都明白這個計畫。 我們把照片張貼在山丘上的各個角落。
(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.
有趣的是,媒體無法走進那個地帶。 你應該看看。 他們必須從遠距離用直昇機拍攝, 用很長的鏡頭, 我們在電視上看到 自己在張貼海報的樣子, 還放了電話號碼: 「如果你知道 Providencia 是怎麼一回事,歡迎來電。」 我們完成計畫後就走人了。 媒體毫無頭緒, 要怎麼了解這個計畫? 他們必需找出那些女人, 從她們身上得到解釋。 於是你為媒體 和那些不知名女人之間搭了橋樑。
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.
我們繼續旅程。 我們去到非洲、蘇丹、獅子山、 利比亞、肯亞。 在像蒙羅維亞這樣的戰亂地方, 人們直接走到你跟前。 他們想知道你在做什麼? 不停問:「你計畫的目的是什麼? 你是 NGO 嗎?是記者嗎?」 藝術, 只在搞藝術。 有些人問:「為什麼全是黑白照片? 你們在法國沒有彩色嗎?」 (笑聲) 或是問你:「這些人死了嗎?」 有些了解計畫的人向不懂的人解釋。 我聽到有人對不懂的人這樣解釋: 「你在這裡待了幾個小時試圖理解, 與你的同伴討論。 在那段時間裡, 你沒有想過明天你會吃什麼。 這就是藝術。」 我想這是人的好奇心 鼓動了他們 跟我們合作這些計畫。 然後它變更多。 變成了渴望、需求、盔甲。 在 Monrovia 的這段橋上, 前叛軍幫我們貼上這人像照, 這女人可能曾在戰亂中遭受強暴。 女人通常在衝突中最先受害。 這是肯亞的基貝拉,
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.
非洲最大的貧民窟之一。 你可能看過選舉後發生的暴動影片, 那發生在 2008 年。 這次我們貼在屋頂上, 但我們不用紙張, 因為紙張不能防止雨水 滲漏到屋內, 而塑膠就可以。 於是, 藝術又變得有用了。 也令那些人繼續保存它。 例如,你看到最大張的那雙眼睛 底下遮蔽著許多房子。 我幾個月前去過, 那些照片仍在, 只是眼睛遺失了一片。 我去問人們發生了什麼事。 「噢,那個人搬走了。」 (笑聲) 屋頂蓋上海報之後,一位婦女打趣地說: 「現在上帝看得見我了。」 當你現在看基貝拉, 基貝拉那些眼睛回看你。
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.
這裡是印度 在我往下講之前,先說明, 每次去一個地方,我們沒有授權, 我們好像是突擊隊—— 一群朋友走到那裡, 試著把照片貼在牆上。 但有些地方是, 你不能在那些牆上貼東西。 在印度, 我們就是無法張貼。 我聽說是因為文化上, 也因為這是法律, 我們一貼就會被拘捕。 於是,我們決定去貼白色的, 貼白紙在牆上。 想像白人貼著白紙的模樣。 於是人們走過來問: 「喂,你們在做什麼?」 「噢, 我們只是在做藝術。」「藝術?」 當然, 這令他們很迷惘。 你知道印度的街道上有許多灰塵。 灰塵越多 飄到空氣中, 附在白紙那些黏貼的部份, 於是, 你便可以看到影像了, 就像貼紙的背面一樣。 於是, 愈多灰塵, 影像愈清晰。 隔天我們走到街上 那些照片便自動顯現了。 (掌聲) 謝謝。 所以那次我們沒有被捕。
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.
每一個計畫——那是一齣影片。 這是「女人是英雄」的紀錄影片。 (音樂) 好了。 我們用攝影機記錄 每一個藝術計畫。 大部份你所看見的 來自「女人是英雄」的簡介短片。 是影像、照片, 一張接著一張。 即使沒有我們, 那些照片也會繼續旅行下去。 (笑聲) (掌聲) 希望你們看到影片之後 能了解這些藝術計畫的規模, 以及感受到人們怎樣去看這些照片。 因為每張照片背後, 還有不同的層次, 在每個影像背後都是故事。
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」在每一個社區 啟動了社區的新動力。 我們走後,當地婦女仍保持著那動力。 例如, 我們製做書本,非賣品, 所有的社區都會得到。 但要得到, 他們需要 讓其中一位婦女簽名。 我們在許多地方都是這樣做。 我們定期回去。 例如在 Providencia 貧民窟, 我們設立了一個管理中心。 我們每年會回基貝拉 去蓋更多的塑膠海報屋頂。 因為當我們離開時, 位於計畫周邊的民眾會問: 「喂,那我的屋頂呢?」 於是, 我們決定第二年再去 繼續這項計畫。
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?
對我來說最重要的 是我沒用任何的品牌或是商業的贊助。 所以除了我自己和主題, 我對任何人都沒有責任。 (掌聲) 這對我來說 是工作中最重要的事情之一。 我想, 今天 做事的過程和結果都是同樣重要。 而這一直是處事的重心。 好玩的是 我的創作與圖像和廣告之間 有著細微差別。 我們剛剛在洛杉機張貼了一些, 在過去的數個星期,是有關另外一個計畫的。 我甚至被邀請去覆蓋整個 當代美術館(MOCA)。 可是昨天市政府打電話給美術館,說: 「你們必須撕下來, 因為這能被用來做廣告。 根據法令, 必須撕下來。」
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.
你告訴我,這到底可以廣告什麼? 我所拍攝的對象 都非常自豪能參與這計畫, 讓社區貼有他們的照片。 但他們基本上要一個承諾。 他們要求我: 「請讓我的故事跟隨你去旅行。」 於是我照做了。 這是巴黎, 這裡是里約熱內盧。 我們在各方透過照片展覽故事, 讓故事旅行, 讓人了解整個藝術計畫的規模。 這是倫敦、 紐約,
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.
以及今天,和你們一起在長灘。 最近,我開始進行一項公共藝術計畫。 我不再只選用我自己的作品。 我用了Man Ray、Helen Levitt、 Giacomelli,以及其他人的藝術。 今天的重點不再是照片是不是你拍的, 重要的是你用這些圖像做什麼, 張貼它們所釋出的聲明。 例如,我在瑞士貼了 一張尖塔(喚拜塔)的照片, 就在這國家投票反對 清真寺喚拜塔後的數個星期。 (掌聲) 圖片中戴著防毒面具的三個人 原本是在車諾比拍的, 我把它貼在義大利南部, 當地的黑手黨有時會惡霸橫行。
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.
就某方面而言,藝術可以改變世界。 藝術不應該改變世界、 改變實際的東西, 而是改變觀念。 藝術可以改變我們看待世界的方式。 藝術可以創造類比。 事實上,藝術不能改變事物的事實 使它成為交流和討論的中立場所, 繼而使你能夠改變世界。 當我創作的時候 通常得到兩種反應。 人會說:「為什麼你不去伊朗或是阿富汗? 這對他們一定很有用。」 或是:「我們可以幫什麼忙?」 我假設你大概會是屬於第二類, 那就好了, 因為這個計畫, 我想請各位拍照, 然後貼出來。
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.
我的願望就是: (模擬擊鼓) (笑聲) 我希望各位為 自己關心的議題挺身而出。 透過參與這項全球性的藝術計畫, 一起顛覆世界。 這項計畫在此刻正式啟動 我邀請在座的各位、 每位觀眾, 來共襄盛舉。 我希望這願望 可以由現在開始! 分享你所關心的議題、 某個人的故事, 甚至你自己的照片。 告訴我你所支持的事物; 拍照片、人像照; 上傳。 我會提供詳細資訊。 我會把你的海報寄給你。 通過團體加入, 向世界展示。 所有的資料都在這網站: insideoutproject.net
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.
今天正式登場! 我們的視野改變我們本身。 當我們擕手一起行動, 整體會大於所有部份的總和! 我希望經由團結一起,我們得以創造, 讓全世界可以記得。 這個心願在此刻啟動,掌握在你手中。
Thank you.
謝謝。
(Applause)
(掌聲)
Thank you.
謝謝。
(Applause)
(掌聲)