I'm a contemporary artist with a bit of an unexpected background. I was in my 20s before I ever went to an art museum. I grew up in the middle of nowhere on a dirt road in rural Arkansas, an hour from the nearest movie theater. And I think it was a great place to grow up as an artist because I grew up around quirky, colorful characters who were great at making with their hands. And my childhood is more hick than I could ever possibly relate to you, and also more intellectual than you would ever expect. For instance, me and my sister, when we were little, we would compete to see who could eat the most squirrel brains. (Laughter) But on the other side of that, though, we were big readers in our house. And if the TV was on, we were watching a documentary. And my dad is the most voracious reader I know. He can read a novel or two a day.
Ja sam savremeni umetnik iz pomalo neuobičajene sredine. Bio sam u kasnim 20-im kada sam prvi put posetio galeriju. Odrastao sam u nedođiji na seoskom putu u ruralnom Arkanzasu, sat vremena udaljenom od najbližeg bioskopa. I mislim da je to odlično mesto za odrastanje jednog umetnika, jer sam odrastao okružen osobenim i živopisnim likovima koji su bili vešti u ručnoj izradi stvari. I moje detinjstvo je bilo više seljačko nego što bih vam ikada mogao preneti, ali takođe i intelektualnije nego što biste ikada očekivali. Na primer, moja sestra i ja kada smo bili mali, takmičili smo se u jedenju mozgova veverica. (Smeh) Međutim sa druge strane, svi smo obožavali da čitamo u našoj kući. Ako je televizor bio uključen, gledali bismo dokumentarac. Moj otac je najstrastveniji čitalac kojeg ja poznajem. Dnevno pročita roman ili dva.
But when I was little, I remember, he would kill flies in our house with my BB gun. And what was so amazing to me about that -- well he would be in his recliner, would holler for me to fetch the BB gun, and I'd go get it. And what was amazing to me -- well it was pretty kickass; he was killing a fly in the house with a gun -- but what was so amazing to me was that he knew just enough how to pump it. And he could shoot it from two rooms away and not damage what it was on because he knew how to pump it just enough to kill the fly and not damage what it landed on.
Ali sećam se da je kada sam bio mali ubijao muve u našoj kući vazdušnom puškom. Ali ono što je bilo neverovatno u vezi sa tim je- to što bi iz svoje fotelje viknuo da mu donesem vazdušnu pušku, i ja bih mu je doneo. I bilo mi je neverovatno, zapravo bilo je super, to što je ubijao muve puškom po kući, ali ono što je meni bilo toliko neverovatno je da je znao tačno koliko da je napuni. A mogao je da je upuca i kada je dve sobe dalje, a da ne ošteti ono na čemu je, jer je znao tačno koliko da je napuni da bi ubio muvu, a da ne ošteti mesto gde je sletela.
So I should talk about art. (Laughter) Or we'll be here all day with my childhood stories. I love contemporary art, but I'm often really frustrated with the contemporary art world and the contemporary art scene. A few years ago, I spent months in Europe to see the major international art exhibitions that have the pulse of what is supposed to be going on in the art world. And I was struck by going to so many, one after the other, with some clarity of what it was that I was longing for. And I was longing for several things that I wasn't getting, or not getting enough of. But two of the main things: one of it, I was longing for more work that was appealing to a broad public, that was accessible. And the second thing that I was longing for was some more exquisite craftsmanship and technique.
Trebalo bi da govorim o umetnosti. (Smeh) Ili ćemo ostati ovde ceo dan uz moje priče iz detinjstva. Volim savremenu umetnost, ali me često frustrira svet savremene umetnosti i savremena umetnička scena. Pre nekoliko godina, proveo sam nekoliko meseci u Evropi da bih video glavne međunarodne umetničke izložbe koje imaju puls onoga što bi trebalo da se događa u umetničkom svetu. I dobio sam, posle brojnih, uzastopnih poseta, jasnu ideju o tome šta je to za čim sam žudeo. A žudeo sam za nekoliko stvari koje nisam dobijao, ili bar ne u dovoljnoj meri. Ovo su dve glavne stvari: prvo, žudeo sam za više radova koji se obraćaju široj javnosti, koji bi bili razumljivi. Druga stvar za kojom sam žudeo bila je impresivnija izrada i tehnika.
So I started thinking and listing what all it was that I thought would make a perfect biennial. So I decided, I'm going to start my own biennial. I'm going to organize it and direct it and get it going in the world. So I thought, okay, I have to have some criteria of how to choose work. So amongst all the criteria I have, there's two main things. One of them, I call my Mimaw's Test. And what that is is I imagine explaining a work of art to my grandmother in five minutes, and if I can't explain it in five minutes, then it's too obtuse or esoteric and it hasn't been refined enough yet. It needs to worked on until it can speak fluently. And then my other second set of rules -- I hate to say "rules" because it's art -- my criteria would be the three H's, which is head, heart and hands. And great art would have "head": it would have interesting intellectual ideas and concepts. It would have "heart" in that it would have passion and heart and soul. And it would have "hand" in that it would be greatly crafted.
Tako sam počeo da razmišljam i popisujem šta je to što bi po mom mišljenju činilo savršen bijenale. Tako sam odlučio da započnem sopstveni bijenale. Organizovaću ga i voditi ga, i pokrenuti ga u svetu. Zatim sam pomislio, dobro, moram da imam određeni kriterijum za odabir dela. Među svim kriterijumima koje imam, dve stvari su glavne. Jedna od njih je ono što ja nazivam Baba-test. A to je da ja zamišljam kako objašnjavam umetničko delo mojoj babi tokom pet minuta. Ako ne mogu da ga objasnim za pet minuta, to znači da je previše glupo ili ezoterično i da nije još dovoljno pročišćeno. Potrebno je još raditi na njemu dok ne progovori tečno. Zatim moj drugi skup pravila -- mrzim da kažem "pravila" jer je to umetnost -- moj kriterijum bio bi tri slova: GSR, koja označavaju glavu, srce i ruke. Kvalitetna umetnost treba da ima glavu: interesantne intelektualne ideje i koncepte. Treba da ima srce, tj. strast, kao i srce i dušu. I treba da ima ruke u smislu da je vešto izrađena.
So I started thinking about how am I going to do this biennial, how am I going to travel the world and find these artists? And then I realized one day, there's an easier solution to this. I'm just going to make the whole thing myself. (Laughter) And so this is what I did. So I thought, a biennial needs artists. I'm going to do an international biennial; I need artists from all around the world. So what I did was I invented a hundred artists from around the world. I figured out their bios, their passions in life and their art styles, and I started making their work.
Tako sam ja počeo da razmišljam kako ću ja da priredim ovaj bijenale. da putujem po svetu i pronađem ove umetnike. A zatim sam jednoga dana shvatio da postoji lakše rešenje. Sam ću da osmislim čitavu stvar. (Smeh) Evo šta sam uradio. Razmišljao sam, za bijenale su potrebni umetnici. Moj bijenale će biti međunarodni, te su mi potrebni umetnici iz celog sveta. U skladu sa tim izmislio sam stotinu umetnika iz celog sveta smislio njihove biografije, životne strasti i njihove umetničke stilove, i započeo izradu njihovih radova.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
I felt, oh this is the kind of project that I could spend my whole life doing. So I decided, I'm going to make this a real biennial. It's going to be two years of studio work. And I'm going to create this in two years, and I have. So I should start to talk about these guys. Well the range is quite a bit. And I'm such a technician, so I loved this project, getting to play with all the techniques. So for example, in realist paintings, it ranges from this, which is kind of old masters style, to really realistic still-life, to this type of painting where I'm painting with a single hair. And then at the other end, there's performance and short films and indoor installations like this indoor installation and this one, and outdoor installations like this one and this one. I know I should mention: I'm making all these things. This isn't Photoshopped. I'm under the river with those fish.
Osetio sam da je ovo vrsta projekta na kojoj bih mogao da radim ceo život. Odlučio sam da ću od ovoga napraviti stvarni bijenale. Biće to dve godine umetničkog posla. Stvoriću to za dve godine. I jesam. Trebalo bi da počnem da pričam o ovim ljudima. Poprilično su različiti. Pošto sam vičan raznim tehnikama, dopao mi se projekat, ta prilika da se igram sa različitim tehnikama. Na primer, na slikama realista, kreću se od ovakve, naslikane u stilu starih majstora, preko zaista realističke mrtve prirode, do ove vrste slike gde slikam četkicom sa jednom dlakom. S druge strane, postoje performansi i kratki filmovi, unutrašnje instalacije, poput ove, ili ove, i spoljašnje instalacije poput ove i ove. Trebalo bi da napomenem da sve ovo sam stvaram. Ovo nije obrađeno u fotošopu. Ja sam pod vodom sa ovim ribama.
So now let me introduce some of my fictional artists to you. This is Nell Remmel. Nell is interested in agricultural processes, and her work is based in these practices. This piece, which is called "Flipped Earth" -- she was interested in taking the sky and using it to cleanse barren ground. And by taking giant mirrors -- (Applause) and here she's taking giant mirrors and pulling them into the dirt. And this is 22 feet long. And what I loved about her work is, when I would walk around it and look down into the sky, looking down to watch the sky, and it unfolded in a new way. And probably the best part of this piece is at dusk and dawn when the twilight wedge has fallen and the ground's dark, but there's still the light above, bright above. And so you're standing there and everything else is dark, but there's this portal that you want to jump in. This piece was great. This is in my parents' backyard in Arkansas. And I love to dig a hole. So this piece was great fun because it was two days of digging in soft dirt.
Dozvolite mi da vam predstavim neke od svojih fiktivnih umetnika. Ovo je Nel Remel. Nel se interesuje za poljoprivredne procese, i njen rad je baziran na ovakvim praksama. Ovo delo se zove "Preokrenuta Zemlja" -- Želela je da uzme nebo i njime pročisti jalovo tlo. Pomoću ogromnih ogledala -- (Aplauz) Ovde uzima džinovska ogledala i uronjava ih u zemlju. Ovo je dugačko 6,7 metara. Ono što mi se dopalo u njenom radu je kada bih šetao oko njega i pogledao dole u nebo, gledao dole da bih gledao nebo, ono bi mi se prikazalo na nov način. Verovatno je ovo delo najbolje u sumrak ili zoru kada se sumrak spustio i tlo je tamno, ali odozgo još dolazi svetlost, Stojite tamo i sve ostalo je u tami, ali postoji taj portal u koji želite da uskočite. Ovo delo je sjajno. U Arkanzasu je u dvorištu mojih roditelja. A ja volim da kopam rupe. Zato je ovo delo bilo zabavno, jer se sastojalo od dva dana kopanja mekane zemlje.
The next artist is Kay Overstry, and she's interested in ephemerality and transience. And in her most recent project, it's called "Weather I Made." And she's making weather on her body's scale. And this piece is "Frost." And what she did was she went out on a cold, dry night and breathed back and forth on the lawn to leave -- to leave her life's mark, the mark of her life. (Applause) And so this is five-foot, five-inches of frost that she left behind. The sun rises, and it melts away. And that was played by my mom.
Sledeća umetnica je Kej Overstri, koja se bavi prolaznošću i kratkotrajnošću. U njenom najnovijem projektu nazvanom "Vreme koje sam stvorila" Ona stvara vreme u opsegu svoga tela. Ovo delo se naziva "Mraz". Jedne hladne, suve noći izašla je i disala na travnjaku da bi ostavila -- trag svog života. trag svog daha. (Aplauz) Ovo je 1,6 metara mraza koji je ostavila za sobom. Sunce izađe i on se otopi. To je glumila moja mama.
So the next artist, this is a group of Japanese artists, a collective of Japanese artists -- (Laughter) in Tokyo. And they were interested in developing a new, alternative art space, and they needed funding for it, so they decided to come up with some interesting fundraising projects. One of these is scratch-off masterpieces. (Laughter) And so what they're doing -- each of these artists on a nine-by-seven-inch card, which they sell for 10 bucks, they drew original works of art. And you buy one, and maybe you get a real piece, and maybe not. Well this has sparked a craze in Japan, because everyone's wanting a masterpiece. And the ones that are the most sought after are the ones that are only barely scratched off. And all these works, in some way, talk about luck or fate or chance. Those first two are portraits of mega-jackpot winners years before and after their win.
Sledeći umetnik je zapravo grupa japanskih umetnika, kolektiv japanskih umetnika -- (Smeh) u Tokiju. Želeli su da osnuju novi, alternativni umetnički prostor. Za to im je trebao novac, pa su odlučili da sprovedu veoma interesantne projekte za prikupljanje novca. Jedno od tih greb-greb remek-dela (Smeh) Dakle, šta su radili -- svaki od njih na kartici dimenzija 22 sa 17 centimetara koje prodaju za deset dolara, nacrtao je originalno umetničko delo. Kada kupite jednu, možda ćete dobiti originalno delo, a možda i ne. To je izazvalo ludnicu u Japanu, jer su svi želeli remek-delo. Najtraženija dela bila su ona koja su retko bila izgrebana. Sva ova dela na neki način govore o sreći, sudbini ili slučajnosti. Ove prve dve su portreti dobitnika na lutriji godinama pre i posle dobitka.
And in this one it's called "Drawing the Short Stick." (Laughter) I love this piece because I have a little cousin at home who introduced me -- which I think is such a great introduction -- to a friend one day as, "This is my cousin Shea. He draws sticks real good." (Laughter) Which is one of the best compliments ever.
Ovo delo se zove "Izvući kraću slamku." (Smeh) Volim ovo delo jer imam malu rođaku kod kuće koja me je predstavila--što smatram sjajnim predstavljanjem -- svom drugaru "Ovo je moj rođak Šej. On odlično crta štapove." (Smeh) Što je od najboljih komplimenata.
This artist is Gus Weinmueller, and he's doing a project, a large project, called "Art for the Peoples." And within this project, he's doing a smaller project called "Artists in Residence." And what he does is -- (Laughter) he spends a week at a time with a family. And he shows up on their porch, their doorstep, with a toothbrush and pajamas, and he's ready to spend the week with them. And using only what's present, he goes in and makes a little abode studio to work out of. And he spends that week talking to the family about what do they think great art is. He has all these discussions with their family, and he digs through everything they have, and he finds materials to make work. And he makes a work that answers what they think great art is. For this family, he made this still-life painting. And whatever he makes somehow references nesting and space and personal property.
Ovo je umetnik Gas Vajnmiler, koji radi na velikom projektu "Umetnost za narode." U okviru ovog projekta, on radi manji projekat pod nazivom "Boravište umetnika." Ono što radi -- (Smeh) on provede nedelju dana sa porodicom. Pojavi se na njihovom tremu, pragu, sa četkicom za zube i pidžamom, i spreman je da provede nedelju dana sa njima. Koristeći samo ono što se tamo nalazi, uđe i napravi mali privremeni atelje u kojem radi. provede tu nedelju u razgovoru sa porodicom o tome šta oni misle da je sjajna umetnost. On raspravlja sa porodicom. Kopa po svemu što oni imaju, i nalazi materijal za svoj rad. Stvori delo koje odgovara na pitanje šta oni misle da je sjajna umetnost. Za ovu porodicu naslikao je ovu sliku mrtve prirode. Šta god da napravi ima veze sa gnežđenjem i prostorom ličnom svojinom.
This next project, this is by Jaochim Parisvega, and he's interested in -- he believes art is everywhere waiting -- that it just needs a little bit of a push to happen. And he provides this push by harnessing natural forces, like in his series where he used rain to make paintings. This project is called "Love Nests." What he did was to get wild birds to make his art for him. So he put the material in places where the birds were going to collect them, and they crafted his nests for him. And this one's called "Lovelock's Nest." This one's called "Mixtape Love Song's Nest." (Laughter) And this one's called "Lovemaking Nest." (Laughted)
Ovaj naredni projekat, uradio je Žaokim Parisvega, on je zainteresaovan za -- on misli da umetnost svuda čeka -- da treba samo malo da je poguramo kako bi se dogodila. On to čini koristeći prirodne snage, kao u seriji svojih radova gde je koristio kišu za slikanje. Ovaj projekat se zove "Ljubavna gnezda". Ovde je iskoristio divlje ptice da stvaraju umetnost za njega. Ostavio je materijal na mestima gde su ga price sakupljele, i one su za njega pravile svoja gnezda. Tako se ovo zove "Ljubavno gnezdo". Ovo gnezdo se zove "Kaseta sa nasnimljenom muzikom" (Smeh) Ovo gnezdo se zove "Gnezdo za vođenje ljubavi". (Smeh)
Next is Sylvia Slater. Sylvia's interested in art training. She's a very serious Swiss artist. (Laughter) And she was thinking about her friends and family who work in chaos-ridden places and developing countries, and she was thinking, what can I make that would be of value to them, in case something bad happens and they have to buy their way across the border or pay off a gunman? And so she came up with creating these pocket-sized artworks that are portraits of the person that would carry them. And you would carry this around with you, and if everything went to hell, you could make payments and buy your life. So this life price is for an irrigation non-profit director. So hopefully what happens is you never use it, and it's an heirloom that you pass down. And she makes them so they could either be broken up into payments, or they could be like these, which are leaves that can be payments. And so they're valuable. This is precious metals and gemstones. And this one had to get broken up. He had to break off a piece to get out of Egypt recently.
Sledeća je Silvija Slejter. Silviju interesuje obuka u umetnosti. Ona je veoma ozbiljna švajcarska umetnica. (Smeh) Ona je mislila na svoje prijatelje i porodicu koji rade na haotičnim mestima i zemljama u razvoju, i razmišljala je, šta bih mogla da stvorim od vrednosti za njih, u slučaju da se nešto loše desi ako su prinuđeni da plate da pređu granicu ili da potplate razbojnike. Došla je na ideju da napravi ove umetnine džepne veličine koje su portreti osobe koja ih nosi.. Ovo biste nosili sa sobom, i ako bi sve krenulo po zlu, imali biste sredstva da otkupite svoj život. Ovo je životna cena direktora neprofitne organizacije za navodnjavanje. Uz malo sreće nikada je nećete upotrebiti, i postaće deo vašeg nasleđa. Ona ih tako pravi da mogu da se razbiju na komade, ili mogu biti kao ovo lišće koje može biti sredstvo plaćanja. Oni su vredni, izrađeni od dragocenih metala i dragulja. Ovaj je morao da se razbije na delove. Nedavno je morao da uzme deo kako bi pobegao iz Egipta.
This is by a duo, Michael Abernathy and Bud Holland. And they're interested in creating culture, just tradition. So what they do is they move into an area and try to establish a new tradition in a small geographic area. So this is in Eastern Tennessee, and what they decided was that we need a positive tradition that goes with death. So they came up with "dig jigs." And a dig jig -- a dig jig is where, for a milestone anniversary or a birthday, you gather all your friends and family together and you dance on where you're going to be buried. (Laughter) And we got a lot of attention when we did it. I talked my family into doing this, and they didn't know what I was doing. And I was like, "Get dressed for a funeral. We're going to go do some work." And so we got to the grave and made this, which was hilarious -- the attention that we got. So what happens is you dance on the grave, and after you've done your dance, everyone toasts you and tells you how great you are. And you in essence have a funeral that you get to be present for. That's my mom and dad.
Ovo je delo dva umetnika, Majkla Abernatija i Bada Holanda. Oni se interesuju za stvaranje kulture, same tradicije. Oni se dosele u neko područje i pokušaju da osnuju novu tradiciju u nekoj maloj geografskoj oblasti. Ovo je u istočnom Tenesiju, oni su odlučili da nam je potrebna pozitivna tradicija povezana sa smrću. Izmislili su grobne plesove. Grobni ples -- grobni ples je kada kada za neku važnu godišnjicu ili rođendan, okupite sve svoje prijatelje i porodicu i plešete na mestu gde ćete biti sahranjeni. (Smeh) Privukli smo mnogo pažnje kada smo to izveli. Nagovorio sam svoju porodicu da to uradimo, a oni nisu znali šta radim. Samo sam im rekao: "Obucite se za sahranu. Idemo da obavimo neki posao." Otišli smo do groba i izveli ovo, što je bilo presmešno -- sva ta pažnja koju smo privukli. Vi plešete na grobu, i nakon plesa, svi vam nazdrave i kažu koliko ste sjajni. U suštini imate svoju sahranu na kojoj možete učestvovati. Ovo su moji mama i tata.
This is by Jason Birdsong. He is interested in how we see as an animal, how we are interested in mimicry and camouflage. You know, we look down a dark alley or a jungle path, trying to make out a face or a creature. We just have that natural way of seeing. And he plays with this idea. And this piece: those aren't actually leaves. They're butterfly specimens who have a natural camouflage. So he pairs these up. There's another pile of leaves. Those are actually all real butterfly specimens. And he pairs these up with paintings. Like this is a painting of a snake in a box. So you open the box and you think, "Whoa, there's a snake in there." But it's actually a painting. So he makes these interesting conversations about realism and mimicry and our drive to be fooled by great camouflage.
Ovo je delo Džejsona Brdsonga. Njega interesuje kako gledamo poput životinja, kako nas zanima mimikrija i kamuflaža, Znate, mi gledamo niz mračnu ulicu ili stazu u džungli, i pokušavamo da razaznamo lice ili biće. Imamo taj prirodni način posmatranja. On se igra sa ovom idejom. Ovo zapravo nije lišće. To su leptiri sa prirodnom kamuflažom. On ih zatim spoji. Ovo je druga gomila lišća. Ovo su zaista pravi leptiri. On ih spaja sa slikama. Tako je ovo slika zmije u kutiji. Dakle, otvorite kutiju i pomislite da je unutra zmija. A to je u stvari slika. Tako on vodi ove interesante razgovore o realizmu i mimikriji i našem nagonu da nas prevari dobra kamuflaža.
(Laughter)
(Smeh)
The next artist is Hazel Clausen. Hazel Clausen is an anthropologist who took a sabbatical and decided, "You know, I would learn a lot about culture if I created a culture that doesn't exist from scratch." So that's what she did. She created the Swiss people named the Uvulites, and they have this distinctive yodeling song that they use the uvula for. And also they reference how the uvula -- everything they say is fallen because of the forbidden fruit. And that's the symbol of their culture. And this is from a documentary called "Sexual Practices and Populations Control Among the Uvulites." This is a typical angora embroidery for them. This is one of their founders, Gert Schaeffer. (Laughter) And actually this is my Aunt Irene. It was so funny having a fake person who was making fake things. And I crack up at this piece, because when I see it I know that's French angora and all antique German ribbons and wool that I got in a Nebraska mill and carried around for 10 years and then antique Chinese skirts.
Sledeća umetnica je Hejzel Klausen. Ona je antropolog koji pravi dužu pauzu na poslu i odlučila je: "Znate, naučila bih mnogo o kulturi kada bih od nule osmislila kulturu koja ne postoji" Tako da je to i učinila- Kreirala je švajcarski narod po imenu Uvuliti, koji jodluju na karakterističan način koristeći uvulu (resicu u grlu). Govore o tome kako uvula- Sve što kažu je nečasno zbog zabranjenog voća. To je simbol njihove kulture. Ovo je iz dokumentarca pod nazivom "Seksualni običaji i kontrola stanovništva kod Uvulita". Ovo je njihov tipični vez od angore. Ovo je jedna od osnivačica naroda, Gert Šefer. (Smeh) To je zapravo moja teka Irena. Bilo je zabavno imati lažnu osobu. koja radi lažne stvari. I ja umrem od smeha kad ga vidim jer znam da je to francuska angora i nemačke antičke trake i vuna koju sam nabavio u jednoj vodenici u Nebraski i nosio je okolo deset godina, onda antikvarna kineska suknja.
The next is a collective of artists called the Silver Dobermans, and their motto is to spread pragmatism one person at a time. (Laughter) And they're really interested in how over-coddled we've become. So this is one of their comments on how over-coddled we've become. And what they've done is they put a warning sign on every single barb on this fence. (Laughter) (Applause) And this is called "Horse Sense Fence."
Sledeći je kolektiv umetnika zvani Srebrni dobermani. Njihov moto je širenje pragmatizma od jedne do druge osobe. (Smeh) Njih zaista zanima zašto smo postali toliko razmaženi. ovo je jedan od njihovih komentara o našoj razmaženosti. Oni su stavili znak upozorenja na svaku bodlju na ovoj ogradi. (Smeh) (Aplauz) Ovo delo se zove "Ograda zdravog razuma".
The next artist is K. M. Yoon, a really interesting South Korean artist. And he's reworking a Confucian art tradition of scholar stones. Next is Maynard Sipes. And I love Maynard Sipes, but he's off in his own world, and, bless his heart, he's so paranoid. Next is Roy Penig, a really interesting Kentucky artist, and he's the nicest guy. He even once traded a work of art for a block of government cheese because the person wanted it so badly.
Sledeći umetnik je K. M. Jun, veoma interesantan južnokorejski umetnik. On obnavlja konfučijansku umetničku tradiciju kamenja učenjaka. Sledeći je Majnard Sajps. I ja volim Majnarda Sajpsa, ali on je u svom svetu, i, bog mu pomogao, paranoičan je. Sledeći je Roj Penig, veoma interesantan umetnik iz Kentakija, on je najfiniji momak. Jednom je zamenio umetničko delo za parče sira jer ga je neko užasno želeo.
Next is an Australian artist, Janeen Jackson, and this is from a project of hers called "What an Artwork Does When We're Not Watching." (Laughter) Next is by a Lithuanian fortune teller, Jurgi Petrauskas. Next is Ginger Cheshire. This is from a short film of hers called "The Last Person." And that's my cousin and my sister's dog, Gabby. The next, this is by Sam Sandy. He's an Australian Aboriginal elder, and he's also an artist. And this is from a large traveling sculpture project that he's doing.
Sledeća je australijska umetnica Dženin Džekson, i ovo je deo njenog projekta koji se zove "Šta radi umetničko delo kad ne gledamo". (Smeh) Naredna je litvanska vračara Jurgi Petrauskas. Sledeći je Džindžer Češir, Ovo je iz njenog kratkog filma "Poslednja osoba". Ovo je moja rođaka i pas moje sestre, Gabi. Sledeće, ovo je uradio Sem Sendi. Vremešni australijski aboridžin, i takođe je umetnik. Ovo je iz projekta velike putujuće skulpture na kom on radi.
This is from Estelle Willoughsby. She heals with color. And she's one of the most prolific of all these hundred artists, even though she's going to be 90 next year. (Laughter) This is by Z. Zhou, and he's interested in stasis. Next is by Hilda Singh, and she's doing a whole project called "Social Outfits."
Ovo je Estel Vilobi. Ona leči bojama. I ona je najplodniji od svih ovih stotinu umetnika, iako će sledeće godine napuniti 90 godina. (Smeh) Ovo je delo Z. Zu, koji je zainteresovan za ravnotežu. Sledeća je Hilda Sing, i ona radi na projektu koji se zove "Društvena odeća".
Next is by Vera Sokolova. And I have to say, Vera kind of scares me. You can't look her directly in the eyes because she's kind of scary. And it's good that she's not real; she'd be mad that I said that. (Laughter) And she's an optometrist in St. Petersburg, and she plays with optics. Next, this is by Thomas Swifton. This is from a short film, "Adventures with Skinny." (Laughter) And this is by Cicily Bennett, and it's from a series of short films.
Sledeća je Vera Sokolova. Moram da kažem da se nje plašim. Ne možete je gledati direktno u oči, jer je nekako strašna. Dobro je da nije stvarna; naljutila bi se što sam ovo rekao. (Smeh) Ona je optometrista u Sankt Peterburgu igra se optikom. Sledeće, ovo je uradio Tomas Svifton. To je iz kratkog filma, "Mršine avanture". (Smeh) Ovo je rad Sisili Benet, iz serije kratkih filmova.
And after this one, there's 77 other artists. And all together with those other 77 you're not seeing, that's my biennial. Thank you. Thank you. Thanks. (Applause) Thank you. Thanks. (Applause)
I posle ovoga, tu je još 77 drugih umetnika. Svi zajedno, sa tih 77 koje ne vidite, čine moj bijenale. Hvala vam. Hvala. Hvala. (Aplauz) Hvala vam. Hvala. (Aplauz)