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.
我是一個當代藝術創作者 來自一個不太尋常的背景。 我在20幾歲的時候才第一次造訪一個美術館。 我在一個荒無一物的地方長大 在阿肯薩州一個鄉村的土道上, 距離我最近的電影院要車程一小時。 但我覺得這是個讓藝術創作者生長的最好的地方, 因為我被一群古怪,多彩的人們環繞著 這些人擅於用他們的手創造東西。 我的童年是很鄉土氣的 我甚至沒辦法完全的讓你們瞭解, 同時它也是你認知無法想像接受的事情。 比如說,我跟我的妹妹,當我們年紀還小的時候, 我們會比賽看誰可以吃最多松鼠的腦。 (笑聲) 但另一方面, 我們在家時也大量的閱讀。 如果電視是開著的,我們會看紀錄片。 我爸爸是我所認識最大量閱讀的人。 他可以在一天到兩天之內看完一本小說。
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.
但是我記得當我還小得時候, 他會用我的BB彈槍打死我們在家裡的蒼蠅。 而讓我最驚奇的是-- 他會在他的躺椅上,叫我把BB彈槍拿來, 然後我會去拿。 然後讓我驚奇的是-- 這個很厲害;他真的用這把槍打死蒼蠅-- 然後讓我更驚奇的是-- 是他知道怎麼施壓。 他可以從兩個房間外射擊 而不破壞到那面牆, 因為他知道要怎麼施壓可以足夠殺死那隻蒼蠅 而不破壞到蒼蠅在的地方。
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.
我應該要談一談藝術創作。 (笑聲) 不然我們一整天都會在這裡講我小時候的故事。 我愛當代藝術, 但我時常對當代藝術的領域 以及它的圈子感到沮喪。 幾年前, 我花了幾個月的時間在歐洲 去那裡看幾個重要的國際藝術展 這些藝術展有所謂的脈動 呈現了藝術圈裡正在發生的趨勢。 我很驚喜 看到這麼多,一個接著一個的藝術家, 很清楚的呈現 我所期待的。 以及我所希望看到卻從沒辦法得到的, 或者是不充足的。 但主要是兩件事: 其一,我想要做更多的作品 能更吸引大眾的喜歡, 並且能更容易被大眾所接受。 其二, 我想要達到更精巧的手工技巧 及技術。
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.
所以我開始發想並且條列 什麼作品是我認為能夠為我組織一個完美的雙年展。 於是我決定, 我要作一個我自己的雙年展。 我要自己組織並且指導這個展覽 並讓它傳到全世界。 因此我想, 我必須要有一些選擇作品的必要條件。 這些所謂的必要條件 必須包含兩件事。 第一,我叫它做'婆婆的試驗'。 也就是 當我試著解釋這件創作時,我會想像 用五分鐘的時間向我的婆婆解釋這件作品。 如果我不能用五分鐘的時間解釋的話, 就代表這個作品還是太粗糙 或是不明確 還沒有仔細的琢磨。 需要更多的心思 直到能更順暢的把作品的創意表達出來。 然後我的第二個規則-- 我不喜歡叫它做'規則'因為我們現在討論的是藝術-- 我的第二條件就是 三個英文字母H的準則 也就是頭(head),心(heart)跟手(hands)。 一個好的藝術創作作品要有第一個H, 頭(Head): 這指的是有趣的想法, 和概念。 同時這樣的作品會有第二個H, 心(heart), 所以有熱情 跟精神靈魂。 最後它會有第三個H, 手(hand), 所以有精巧製作的作品。
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.
所以我開始想 我要怎麼開始做這個雙年展, 我要怎麼旅遊世界 去找到那些藝術創作者。 於是我突然有一天瞭解到,有一個最容易的方式。 我乾脆自己做這些作品。 (笑聲) 後來這就是我做的。 於是我想, 一個雙年展需要藝術家。 我要做一個國際的雙年展,我需要來自世界各地的藝術家。 所以我做的是, 我虛擬了上百位來自國際的藝術家。 我創作了這些藝術家的簡歷,還有他們的興趣 以及他們的創作風格, 然後我開始創作他們的作品。
(Laughter)
(笑聲)
(Applause)
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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.
我想,這就是我可以花一輩子的時間做的作品。 我決定,我要把這個計畫作成一個真正的雙年展。 這將是一個值兩年時間作品的展覽。 而我將真正用兩年的時間完成。 然後我的確做到了。 我應該開始談一談這些創作的藝術家。 我創作的範圍很廣。 我是一個很講技術的創作者,所以我愛這些創作想法, 讓我可以運用各種的技術。 所以比如說,在畫作的創作上, 從這種 有點傳統畫匠式的, 到這種實體靜物式的, 到這個我只用一根頭髮作成的畫筆所創作的畫作。 然後令一方面,我也創作了表演藝術, 短片 以及室內裝置藝術 像這一個室內裝置作品 還有這一個, 還有戶外的裝置藝術作品,像這一個 還有這個。 我想我應該要提到,我實際上創作了這些作品。 這並不是用電腦繪製的。 我實際的下水去了。
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.
現在讓我為您介紹一些來自我的虛擬藝術家。 這位是Nell Remmel。 Nell對於農業的發展有興趣, 她的作品是關於這些農業的主題上。 這一件作品叫做"倒過來的地球" 她把天空 當作裝飾荒蕪一物的地面。 這是用一面鏡子做的-- (掌聲) 在這個作品,她拿一個大型的鏡子 放在土裡。 這個是22英尺長。 我喜歡她的作品的原因是 當我在這個作品旁, 向下可以看到天空, 往下望的天空, 是一個全新的面向。 關於這個作品最棒的地方 就是凌晨跟黃昏 當天際逐漸暗,地面也昏暗, 但天空仍然是亮的。 你處在的地方是暗的 但只有你站在的位置是亮的,讓你想要往下跳進。 這個作品很棒。這是在我父母親在阿肯薩州的家中後院。 我喜歡挖洞。 所以做這個作品是很好玩的。 因為我花了兩天挖上一個洞。
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.
下一位藝術家是Kay Overstry, 她對於短暫的時間與瞬間的概念有興趣。 她最近的創作 叫做"我製作的天氣"。 所謂她製作的天氣 是用她的身體製作的。 這一片是霜 她在一個天氣冷的晚上 到外面來用呼吸來回在草地上 留下-- 留下她生命存在的痕跡, 生命的痕跡。 (掌聲) 所以這個就是她所留下的 五尺五吋長的霜。 太陽一起,這個霜也就隨之融化。 這是我媽媽所扮演的。
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.
下一位創作者,是一個由日本藝術家組成的團體, 這是一個日本藝術家的大集合-- (笑聲) 在東京。 他們對於開發新的藝術創作空間有興趣。 他們需要一些資金, 所以他們決定要做一個有趣的資金援助企劃。 這個作品是即刮即中的藝術品。 (笑聲) 他們在做的是-- 每一個創作者在一張9x7英吋的卡片上, 他們畫上原創的畫, 每個作品可以賣10元。 當你買一幅作品的時候,你可能拿到一幅真品,或許不會。 這在日本造成很大的轟動, 因為每個人都想擁有一幅原創的藝術品。 而最叫座的一些作品 是最不容易被刮中的 而這些作品從某的角度來說, 討論的是命運或機會。 這前面的兩幅 是贏得頭彩得贏家在贏前幾年跟贏後幾年的畫像。
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.
而這一幅則稱作"畫一個短支" 。 (笑聲) 我喜歡這個作品因為我在家有一個表親 他會這樣介紹我--而我覺得這真是一個太棒的介紹-- 他向朋友這樣介紹我,"這是我的親戚Shea" 他很會畫棍子。" (笑聲) 這真的是最好的一個稱讚。
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.
這位創作家叫Gus Weinmueller, 他做的一個企劃,大型的企劃,叫做"給大眾的藝術。" 而在這個作品裡,他又做了一個小型的作品, 叫做"常駐藝術家"。 他所做的是-- (笑聲) 他花一個星期的時間跟一個家庭相處, 他出現在這家人的門口, 帶著一支牙刷跟一件睡衣, 就準備好跟這家人相處一星期。 用當時可以取得的材料, 他進而開始就像在工作室裡一樣的創作。 他還用這一星期的時間跟這家人聊天 討論他們覺得藝術是什麼。 他跟這些家人討論了許多。 然後他到處翻找這家人有的東西, 讓他可以創作的材料。 然後他根據這些創作 回答他們什麼示藝術的這個問題。 對於這家人,他所創造的是靜物的畫作。 不論他做的是什麼, 他總是回歸到規律跟空間 以及個人資產。
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)
而下一個企劃, 是由這位藝術家Jaochim Parisvega帶來, 他有興趣的主題是-- 他相信藝術在各個角落待命-- 需要一點刺激讓它發生。 而他使力的方法是透過大自然的力量, 就像他在這個系列當中,用雨來創作他的繪畫。 這個作品叫"愛之巢"。 他所做的是讓戶外的野鳥來幫他創作。 他把材料放在那些野鳥會去取集的地方, 然後牠們為他做出作品。 而這個作品叫做"假髮之愛巢"。 這個叫"錄音帶之愛巢"。 (笑聲) 而這個叫"做愛巢"。 (笑聲)
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.
下一位是Sylvia Slater。 Sylvia對於藝術訓練有興趣。 她是位很認真的瑞士籍藝術家。 (笑聲) 她在想對於那些她在 仍處雜亂發展中國家工作的親友, 她在想 要怎麼樣作對他們有意義的事, 以用在將來萬一有任何不幸事情發生時 他們可以用花錢的方式跨過國界 或是買通一個槍手。 然後她想到這個創作。 這些口袋大小的創作品 是這個會隨身帶著這個作品的人的肖像。 你會隨身帶著這個作品, 如果碰到意外了,你就會用這個東西當作有值物品 拿來換取你的生命。 所以這個作品 是謂一位公益團體總監所做的。 希望你永遠都用不到, 而且這是一個你可以傳承的資產。 她把這些作品作成可以拆開的方式,所以可以被分開來,當作散鈔的方式來用, 或者他們可以像這樣,葉子一樣的可以拿來當作付錢的方式。 所以這些作品都是有價的,這是稀有的金屬跟石材。 這個需要被分開。 他需要用其中的一塊,讓他可以離開埃及。
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.
這是一對創作的藝術家, Michael Abernathy跟Bud Holland。 他們對於創造文化 傳統有興趣。 所以他們做的是,他們移居到這個地區, 並且試著要創造一個新的文化傳統,在這個小的地區。 這裡是田納西的東邊, 他們決定 要創造一個對死亡積極正面的 文化傳統。 所以他們想到一種舞蹈。 至於這個舞-- 這個舞蹈儀式就是 當一個紀念或是生日的儀式, 你把所有的親朋好友都找在一起 然後你在你死後會被埋葬的地方跳舞慶祝。 (笑聲) 當我們在做這個作品時得到很多的關注, 當我跟我的家人講到做這個作品,他們不了解我想做的事。 然後我說 “ 快去梳妝打理好,我們要去一個葬禮,我們有工作要做。" 所以我們去了墓園做了這個,很好笑的-- 當我們發現我們一直被注意。 我們做的是,有人在墳墓上跳舞。 當你跳完之後, 每個人就會來跟你祝賀,並且告訴你你跳得很好。 所以其實你就是舉辦了一個葬禮 而你自己也在現場。 這是我媽媽和爸爸。
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.
這是Jason Birdsong。 他對於我們人類作為動物的視覺有興趣, 我們如何對於模仿與偽裝有興趣。 大家都知道,當我們走在暗巷 或是叢林裡, 我們都自然的試著從視覺拼湊出一個臉或是一個東西。 這些是隨視覺自然而來的。 而他以這個為他的計畫基礎。 這一個作品:這些不是真的葉子。 這些是蝶類,牠們有自然的偽裝。 所以他把這些配對起來。 這是一堆葉子。 而這些是真的蝴蝶。 他把這些用畫作組合起來。 就像這個有隻蛇在盒子裡的畫作。 你打開盒子,你想"嘩,有一隻蛇。" 但這其實是一件畫作。 所以他創作這些介於真實與摹仿 之間有趣的對話。 以及我們被視覺偽裝誤導的自然趨向。
(Laughter)
(笑聲)
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.
下一位藝術家是Hazel Clausen。 Hazel Clausen是一位人類學家,她度了一個假, 並決定, "我應該可以學到很多文化, 如果我從零開始創造一個文化。" 於是這就是她做的。 她創造了一個在瑞士的族群叫"Uvulites", 他們有一種很獨特 用喉腔裡的小舌歌唱的歌曲。 還有他們如何用小舌-- 所有他們說的話都是降音結尾。 因為那指的是禁果。 而那是他們文化的象徵物。 這是一個紀錄片 叫"Uvulties人的性行為與人口控制" 。 這是他們傳統的安哥拉毛刺繡。 而這個是他們其中一個創始人, Gert Schaeffer。 (笑聲) 這其實是我的阿姨Irene。 用一個假的人物 來創造假的事真的是很有趣的。 我在做這個作品的時候,忍不住笑出來, 因為當我看到這些東西的時候,我知道那是法國的安哥拉毛 而這些都是德國的古董緞帶 而這些羊毛是我在一個內布拉斯加的農場買的 這十年來一直都在身邊 還有這塊古董的中國裙子。
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."
下一個是一群藝術家 叫做Silver Dobermans。 他們的宗旨是傳播實用主義, 以一次影響一個人的方式。 (笑聲) 他們對於 我們如何變成太過喜愛擁抱。 這個作品展現他們對於過於擁抱的批評。 他們所做的是 把警戒的標示放在這個圍籬的每一個倒刺上。 (笑聲) (掌聲) 而這個作品叫"馬匹感覺的圍籬"。
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.
下一位藝術家是K.M. Yoon, 他是個有趣的南韓藝術家。 他的作品重做了孔式的藝術傳統 的供石。 下一位是Maynard Sipes。 我愛這位創作者Maynard Sipes, 但他活在自己的世界, 願神保佑他,他太偏執了。 下一位是Roy Penig, 他是個很有趣的來自肯達基州的藝術家, 他是一個最好的人。 他甚至曾經用創作品去換一塊政府給的起士。 因為這個人真的想要它。
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.
下一位是澳洲藝術家, Janeen Jackson, 這是一個她的作品 叫做"當我們不注意時這件藝術作品在做什麼"。 (笑聲) 下一位是立陶宛的算命師, Jurgi Petrauskas。 下一位是Ginger Cheshire。 這是一段她的短片叫做"最後一個人"。 這是我的表親,還有我妹的狗Gabby。 下一位是Sam Sandy。 他是位來自澳州的原住民長老, 他也是位藝術創作者。 這是他的一個大型巡迴 的雕塑作品。
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."
這是Estelle Willoughsby。 她會顏色療法。 而這是這一百位藝術家中最多產的, 雖然她明年就90歲了。 (笑聲) 這位是 Z. Zhou, 他對於計算有興趣。 下一位是Hilda Singh, 她做了一個企劃叫"社群裝備"。
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.
下一位是Vera Sokolova。 我必須講, Vera有點讓我害怕。 你不能直視她, 因為她有點嚇人。 但沒關係,她不是真的; 她如果是真的一定會很生氣聽到我這樣講。 (笑聲) 她是位在聖彼得堡的驗光師, 所以她善用光學。 然後下一位是Thomas Swifton。 這是一個短片作品叫"阿瘦的冒險"。 (笑聲) 這是Cicily Bennett的創作, 而這是一系列的短片。
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)
這個之後,總共有其他77位藝術家。 這些所有,加上那77位創作者的作品你所沒看見的, 就是我的雙年展。 謝謝。 謝謝。 (掌聲) 謝謝。 (掌聲)