Right now is the most exciting time to see new Indian art. Contemporary artists in India are having a conversation with the world like never before. I thought it might be interesting, even for the many long-time collectors here with us at TED, local collectors, to have an outside view of 10 young Indian artists I wish everyone at TED to know.
現在是最佳時機 欣賞新印度藝術作品 印度當代藝術家與世界交流的方式 有別以往 這是一件很有趣的事 ,讓TED長期的 收藏家,本地的收藏家 有機會了解10位年輕印度藝術家的背景 我希望TED的觀眾同樣能認識他們
The first is Bharti Kher. The central motif of Bharti's practice is the ready-made store-bought bindi that untold millions of Indian women apply to their foreheads, every day, in an act closely associated with the institution of marriage. But originally the significance of the bindi is to symbolize the third eye between the spiritual world and the religious world. Bharti seeks to liberate this everyday cliche, as she calls it, by exploding it into something spectacular. She also creates life-size fiberglass sculptures, often of animals, which she then completely covers in bindis, often with potent symbolism. She says she first got started with 10 packets of bindis, and then wondered what she could do with 10 thousand.
首先要介紹的是巴爾第‧克爾(Bharti Kher) 巴爾第基本主要題材 是現成可以購買的吉祥痣 也就是無數印度女子在額頭點上的紅痣 天天如此,密切關係到 婚姻制度 其實,吉祥痣原本 象徵第三眼 通往靈異世界以及宗教世界 巴爾第,一直設法解脫這種普遍的刻板印象 讓吉祥痣展示其驚心動魄的一面 她也用玻璃纖維創作真人大小的雕刻品,多以動物為題材 作品完成後,巴爾第會將他貼滿吉祥痣 具有強烈的象徵意義 巴爾第介紹最初 是用10包吉祥痣創作 然後,她好奇一萬包吉祥痣,能創作什麼?
Our next artist, Balasubramaniam, really stands at the crossroads of sculpture, painting and installation, working wonders with fiberglass. Since Bala himself will be speaking at TED I won't spend too much time on him here today, except to say that he really succeeds at making the invisible visible.
下一個藝術家是…巴拉蘇巴馬廉(Balasubramaniam) 他的創作包括雕塑、油畫、裝置藝術 用玻璃纖維做出魔術般的創作 巴拉蘇也會在TED演講 我今天就不多說了 但還是要介紹他的創作 能展現大家看不見的一面
Brooklyn-based Chitra Ganesh is known for her digital collages, using Indian comic books called amar chitra kathas as her primary source material. These comics are a fundamental way that children, especially in the diaspora, learn their religious and mythological folk tales. I, for one, was steeped in these. Chitra basically remixes and re-titles these iconic images to tease out some of the sexual and gender politics embedded in these deeply influential comics. And she uses this vocabulary in her installation work as well.
住在紐約布魯克林的甘納許(Chitra Ganesh) 以照片拼貼出名 將印度漫畫《亞瑪‧齊塔拉‧卡撒》 為主要題材 這些漫畫基本上 是小孩,尤其離散的猶太人 學有關宗教及民間故事的途徑 我曾經也迷上這些漫畫 甘納許基本上會從新組合、從新命名 這些富象徵性的圖畫 挑出漫畫裡有關性或性別政治 所隱藏的深奧訊息 將這些詞彙用在裝置藝術
Jitish Kallat successfully practices across photography, sculpture, painting and installation. As you can see, he's heavily influenced by graffiti and street art, and his home city of Mumbai is an ever-present element in his work. He really captures that sense of density and energy which really characterizes modern urban Bombay. He also creates phantasmagoric sculptures made of bones from cast resin. Here he envisions the carcass of an autorickshaw he once witnessed burning in a riot.
卡拉擅長攝影 雕塑、油畫、裝置藝術 像你所看到的,他受 塗鴉及街頭藝術影響 而他居住的城市,孟買,經常出現在他的藝術作品裡 他掌握了那種濃厚 有活力的孟買特色 卡拉也創作幻影似的雕塑 以樹脂鑄造骨骼 這作品的靈感來自 一次暴亂中,看到嘟嘟車燒毀
This next artist, N.S. Harsha, actually has a studio right here in Mysore. He's putting a contemporary spin on the miniature tradition. He creates these fine, delicate images which he then repeats on a massive scale. He uses scale to more and more spectacular effect, whether on the roof of a temple in Singapore, or in his increasingly ambitious installation work, here with 192 functioning sewing machines, fabricating the flags of every member of the United Nations.
下一位藝術家,哈夏 (N.S.Harsha) 其實在邁索爾這裡有畫室 他打破傳統的畫風 創造又小又精緻的圖像 然後複製為更大規模 他創作規模越來越大 不管是在新加坡寺廟的屋頂 或在裝置藝術上,越來越雄心勃勃 在這畫面裡有192台可運行的縫紉機 正縫製每一個聯合國成員的國旗
Mumbai-based Dhruvi Acharya builds on her love of comic books and street art to comment on the roles and expectations of modern Indian women. She too mines the rich source material of amar chitra kathas, but in a very different way than Chitra Ganesh. In this particular work, she actually strips out the images and leaves the actual text to reveal something previously unseen, and provocative.
阿恰雅(Dhruvi Acharya),居住在孟買 以最愛的漫畫和街頭藝術 表達對現代印度女性 角色的看法和期待 她也採用《亞瑪‧齊塔拉‧卡撒》這類擁有豐富題材的漫畫 但風格和甘納許不一樣 在這個作品裡,她將圖片刪掉 只留下文字 揭開大家前所未見或富爭議的一面
Raqib Shaw is Kolkata-born, Kashmir-raised, and London-trained. He too is reinventing the miniature tradition. He creates these opulent tableaus inspired by Hieronymus Bosch, but also by the Kashmiri textiles of his youth. He actually applies metallic industrial paints to his work using porcupine quills to get this rich detailed effect.
拉齊(Raqib Shaw) 出生於加爾各答 在克什米爾長大 倫敦受教育 他給予傳統新的生命 受波希(Hieronymus Bosch)啟發,創作出既華麗又生動的作品 當然,靈感也來自年少時所接觸的克什米爾紡織品 他會用金屬工業油漆在作品上 用豪豬刺做的筆,畫出細膩的細節
I'm kind of cheating with this next artist since Raqs Media Collective are really three artists working together. Raqs are probably the foremost practitioners of multimedia art in India today, working across photography, video and installation. They frequently explore themes of globalization and urbanization, and their home of Delhi is a frequent element in their work. Here, they invite the viewer to analyze a crime looking at evidence and clues embedded in five narratives on these five different screens, in which the city itself may have been the culprit.
說到下一位藝術家,我有點騙了大家 其實Raqs媒體小組 有三位藝術家共同在創作 Raqs 應該是現今印度媒體藝術 原始創造者 由攝影、影片到裝置藝術 經常以探討全球化及都市化為主題 而所居住的城市,德里,也常常出現在作品中 在這圖裡,他們邀請觀看的人,分析犯罪現場 注意出現的證據及線索 五個畫面分別藏有五個故事 其實,這城市本身或許就是兇手
This next artist is probably the alpha male of contemporary Indian art, Subodh Gupta. He was first known for creating giant photo-realistic canvases, paintings of everyday objects, the stainless steel kitchen vessels and tiffin containers known to every Indian. He celebrates these local and mundane objects globally, and on a grander and grander scale, by incorporating them into ever more colossal sculptures and installations. And finally number 10, last and certainly not least,
下一位藝術家,算是第一把交椅 在印度當代藝術裡,庫普塔塔 以創作類似相片的巨大油畫成名 題材圍繞日常會遇到的東西 還有不銹鋼餐具跟便當盒 都是印度人最熟悉的 他將平凡、地道的東西,向全球展現 而且作品越做越大 他將這些東西與巨大的 雕塑或裝置藝術融為一體 第十位,雖然最後但也很重要
Ranjani Shettar, who lives and works here in the state of Karnataka, creates ethereal sculptures and installations that really marry the organic to the industrial, and brings, like Subodh, the local global. These are actually wires wrapped in muslin and steeped in vegetable dye. And she arranges them so that the viewer actually has to navigate through the space, and interact with the objects. And light and shadow are a very important part of her work. She also explores themes of consumerism, and the environment, such as in this work, where these basket-like objects look organic and woven, and are woven, but with the strips of steel, salvaged from cars that she found in a Bangalore junkyard.
謝塔爾 (Ranjani Shettar) 在印度的卡纳塔克邦(Karnataka)工作及居住 她創造空氣般的雕塑和裝置藝術 結合了有機塑材與製造品 就像庫普塔,帶來了全球性藝術 這個作品其實是由棉布包裹鐵絲 然後染色而成的 她在擺設作品時 希望讓看的人摸索作品 與作品有所互動 燈光及影子是她創作裡的重要部分 她也探索消費主義 還有環境,好比說 這些類似籃子有機物編織品, 也確實是紡織而成 用從舊車找來的鋼條 就是邦加羅爾的廢物堆積場來的舊車
10 artists, six minutes, I know that was a lot to take in. But I can only hope I've whet your appetite to go out and see and learn more about the amazing things that are happening in art in India today. Thank you very much for looking and listening. (Applause)
六分鐘內介紹10位藝術家,確實很難全部吸收 但希望能夠引起大家對藝術的興趣 有機會多看多學 一些現今印度精彩優秀的藝術作品 非常謝謝大家的觀賞 (掌聲)