-
我在柏林有個工作室,給你們看一下圖片。這是它上週末在雪中的景象。我們在工作室做了很多實驗,我認為這個工作室更像個實驗室。我偶爾與科學家聚會。我有一個學院,它屬於柏林藝術大學,我們每年舉辦聚會,就是所謂的「空間生活」。事實上,「空間生活」並非關於我們如何做,而是為什麼我們要做。
你不介意與我一起觀看中心的小十字符號吧?繼續觀察,別理會我。你會看到一個黃色的圓圈,我們將做一個視覺殘像實驗。當圓圈消失,你將看到另一種顏色,即互補色。我給了些東西,你的眼睛和大腦做出回應。整個共用的想法,構成現實的想法,藉由重疊你我的想法得出。想成這是一部電影。
兩年來,使用來自柏林科技部的補助,我一直創作這些影像,我們一起製作這些影像。我並不認為這些影像非常有趣,顯然,這敍述起來一點也不有趣。儘管如此,潛在的意義是,繼續看這裡吧!潛在的意義是,很顯然,是某種將誰是作者,誰是接收者的疆界轉移。如果你希望的話,誰是消費者?誰對人們看到的東西有責任?我認為這是一個在社交層面,某種疆界的轉移。誰決定真實是什麼?
展開英文
收合英文
-
以下為系統擷取之英文原文
I have a studio in Berlin -- let me cue on here -- which is down there in the snow, just last weekend. In the studio we do a lot of experiments. I would consider the studio more like a laboratory. I have occasional meetings with scientists. And I have an academy, a part of the University of Fine Arts in Berlin. We have an annual gathering of people, and that is called Life in Space. Life in Space is really not necessarily about how we do things, but why we do things.
Do you mind looking, with me, at that little cross in the center there? So just keep looking. Don't mind me. So you will see a yellow circle. And we will do an after-image experiment. When the circle goes away you will have another color, the complementary color. I am saying something. And your eyes and your brain are saying something back. This whole idea of sharing, the idea of constituting reality by overlapping what I say and what you say -- think of this as a movie.
Since two years now, with some stipends from the science ministry in Berlin, I've been working on these films where we produce the film together. I don't necessarily think the film is so interesting. Obviously this is not interesting at all in the sense of the narrative. But nevertheless, what the potential is -- and just keep looking there -- what the potential is, obviously, is to kind of move the border of who is the author, and who is the receiver. Who is the consumer, if you want, and who has responsibility for what one sees? I think there is a socializing dimension in, kind of, moving that border. Who decides what reality is?
-
這是倫敦泰特現代藝術館。這個展覽,在某種意義上,是關於這個。我把半個黃色半圓形盤放入一個空間中,我也將一面鏡子放在天花板上,加上一些霧、一些煙霞。我的想法是讓空間變成有形。在這麼大的空間中,問題顯然是差異,在你的身體可以擁抱的範圍之間,以及在這個意義上,空間是什麼。所以我希望藉由插入一些自然元素。如果你想要的話,加上一些霧,我可以使空間為有形。
結果是,這些人開始在這個空間看到自己。看這個,看看這個女孩。當然,他們必須透過博物館中血淋淋的鏡頭看到,對嗎?這就博物館目前所進行的。但看看她的臉,她正在審視,看著鏡中的自己,「噢,那是我的腳!」她並不真的確定是否正看著自己。(問題是):我們如何配置身體和空間之間的關係?我們如何重新配置它?我們怎麼知道在空間中會有所差異?
你瞭解我在開場時說的,這是關於為什麼,而不是如何嗎?「為什麼」事實上意指,「當我邁進一步時,會有什麼後果?這有什麼重要性?我是否存在這個世界中重要嗎?這重要嗎?我的行動是否滲入責任意識重要嗎?」這與藝術有關嗎?如果你問我的話,我會說是的,這顯然不只是裝飾世界,使它看起來更美或更糟。
展開英文
收合英文
-
This is the Tate Modern in London. The show was, in a sense, about that. It was about a space in which I put half a semi-circular yellow disk. I also put a mirror in the ceiling, and some fog, some haze. And my idea was to make the space tangible. With such a big space, the problem is obviously that there is a discrepancy between what your body can embrace, and what the space, in that sense, is. So here I had the hope that by inserting some natural elements, if you want, some fog, I could make the space tangible.
And what happens is that people, they start to see themselves in this space. So look at this. Look at the girl. Of course they have to look through a bloody camera in a museum. Right? That's how museums are working today. But look at her face there, as she's checking out, looking at herself in the mirror. "Oh! That was my foot there!" She wasn't really sure whether she was seeing herself or not. And [the question is]: how do we configure the relationship between our body and the space? How do we reconfigure it? How do we know that being in a space makes a difference?
Do you see when I said in the beginning, it's about why, rather than how? The why meant really, "What consequences does it have when I take a step?" "What does it matter?" "Does it matter if I am in the world or not?" "And does it matter whether the kind of actions I take filter into a sense of responsibility?" Is art about that? I would say yes. It is obviously not just about decorating the world, and making it look even better. Or even worse, if you ask me.
-
這顯然也與承擔責任有關。就像我在這裡做的,將一些綠色染料丟入洛杉磯、斯德哥爾摩、挪威和東京的河中,還有其他地方。這綠色染料對環境並不危險,但顯然看起來很令人觸目驚心,另一方面,我認為,它也相當漂亮。在某種程度上,這顯示了在世界不同地方,這類市中心區的湍流。
「綠河」是一種激進的想法,不是展覽的一部分,這事實上是向城市中的人們展示,當他們走過時,展示空間擁有維度,空間擁有時間。水隨著時間流過城市,水有能力使城市成為流通的、有形的。流通意味著它會有所不同,不論你是否做了什麼,它都會有所不同。不論你是否會說,「我是這城市的一部分,如果我贊同它,它會有所不同;如果我挺它,它會有所不同」。
這城市的整體概念不是一張圖片,我認為,在某種意義上,藝術總是參與其中。這個想法,就是藝術確實可以評估在一張圖片中的意義,與在一個空間中的意義之間的關係,其中有什麼差異?想法和做法間的差異。這些是不同的實驗,我不會在此詳談。冰島,在右下角,是我最喜歡的地方。
這類型實驗,它們滲入建築模型中,這些是正在進行中的實驗。其中之一是我為BMW做的實驗,試圖造出一輛汽車,由冰製成,主要以冰晶堆疊在頂端中心。我試圖將它變成一個在冰島的音樂廳。在丹麥的一個博物館頂端,一種運行軌道,或走道,它由彩色玻璃製成,環繞一圈。因此,你腿部的運動會改變你視野中的顏色。(兩個夏天前),在倫敦海德公園,這是蛇形畫廊,一種臨時涼亭,移動是唯一可以看到整個涼亭的方式。今年夏天,在紐約,這是一種使水落下的裝置。使水落下的原理與時間大有關係,它非常簡單和基本。
展開英文
收合英文
-
It's obviously also about taking responsibility, like I did here when throwing some green dye in the river in L.A., Stockholm, Norway and Tokyo, among other places. The green dye is not environmentally dangerous, but it obviously looks really rather frightening. And it's on the other side also, I think, quite beautiful. It somehow shows the turbulence in these kind of downtown areas, in these different places of the world.
The "Green river," as a kind of activist idea, not a part of an exhibition, iwas really about showing people, in this city, as they walk by, that space has dimensions. A space has time. And the water flows through the city with time. The water has an ability to make the city negotiable, tangible. Negotiable meaning that it makes a difference whether you do something or not. It makes a difference whether you say, "I'm a part of this city. And if I vote it makes a difference. If I take a stand, it makes a difference."
This whole idea of a city not being a picture is, I think, something that art, in a sense, was always working with. The idea that art can actually evaluate the relationship between what it means to be in a picture, and what it means to be in a space. What is the difference? The difference between thinking and doing. So these are different experiments with that. I won't go into them. Iceland, lower right corner, my favorite place.
These kinds of experiments, they filter into architectural models. They are ongoing experiments. One is an experiment I did for BMW, an attempt to make a car. It's made out of ice. A crystaline stackable principle in the center on the top, which I am trying to turn into a concert hall in Iceland. A sort of a run track, or a walkway, on the top of a museum in Denmark, which is made of colored glass, going [all the way] around. So the movement with your legs will change the color of your horizon. And [two summers ago], at the Hyde Park in London, with the Serpentine Gallery: A kind of a temporal pavilion where moving was the only way you could see the pavilion. This summer, in New York: There is one thing about falling water which is very much about the time it takes for water to fall. It's quite simple and fundamental.
-
我常在冰島的山中步行。當你來到一個新的山谷,當你來到一個新的景點,你會看到特定景觀。如果你駐足,你不會知道景點有多大規模,你不會真正知道自己看的到底是什麼。當你開始移動,山也開始移動,遠處的大山移動較少,眼前的小山移動較多。如果你再度停下,你會疑惑,「這是一小時路程的山谷?還是三小時路程?或是我得走一整天的山谷?」
如果有一個瀑布,就在遠方地平線,你看著瀑布,然後你走動,「哦,水下降的真緩慢。」你繼續走動,「我的天,它還真遠,這是一個巨大的瀑布」。如果一個瀑布下降速度較快,這會是一個近處的小瀑布,因為水下降的速度在任何地方都是不變的,你身體多少知道這一點。這意味著瀑布是一種測量空間的方式。
當然,像紐約這種指標性城市,會有某種有趣味,在進行空間感的運作上,可以說,紐約希望看起來盡可能的大。將測量裝置加入其中是有趣的。下降的水會在剎那間給你一種感受,「哦,布魯克林就是這麼大;布魯克林和曼哈頓之間的距離,以這樣看來,東河較低處是這麼大」。
它不僅是將自然放入城市中,也給了城市空間維度感。我們為什麼要那樣做?因為我認為它會造成一些不同。你是否有一個可以感覺空間中某部分的身體?不只是在一張圖片前的身體。「哈哈,這是一張圖片,這是我;這有什麼含意呢?」存在有因果關係嗎?
展開英文
收合英文
-
I've walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesn't necessarily tell you how big it is. It doesn't really tell you what you're looking at. The moment you start to move the mountain starts to move. The big mountains far away, they move less. The small mountains in the foreground, they move more. And if you stop again, you wonder, "Is that a one-hour valley? Or is that a three-hour hike, or is that a whole day I'm looking at?"
If you have a waterfall in there, right out there at the horizon; you look at the waterfall and you go, "Oh, the water is falling really slowly." And you go, "My god it's really far away and it's a giant waterfall." If a waterfall is falling faster it's a smaller waterfall which is closer by -- because the speed of falling water is pretty constant everywhere. And your body somehow knows that. So this means a waterfall is a way of measuring space.
Of course being an iconic city like New York, that has had an interest in somehow playing around with the sense of space, you could say that New York wants to seem as big as possible. Adding a measurement to that is interesting: the falling water suddenly gives you a sense of, "Oh, Brooklyn is exactly this much -- the distance between Brooklyn and Manhattan, in this case the lower East River is this big."
So it was not just necessarily about putting nature into the cities. It was also about giving the city a sense of dimension. And why would we want to do that? Because I think it makes a difference whether you have a body that feels a part of a space rather than having a body which is just in front of a picture. And "Ha-ha, there is a picture and here is I. And what does it matter?" Is there a sense of consequences?
-
如果我有一種空間感,如果我感到空間是有形的,如果我感到時間的存在,如果有一個召喚時間的維度,我也會感到可以改變空間,它在剎那間造成一些不同,使空間成為可以進入。你可以說這是關於社群、集體、關於凝聚感。我們如何創造公共空間?「公共」這個詞在今日是指什麼?以這種方式提問,我認為它引發了大議題,關於議會觀念、民主、公共空間、凝聚、或是個體。
我們如何創造一個想法,既能包容個體,也能包容集體,不會將兩者分化成兩個不同的對立陣營?當然,世界的政治議程非常沉迷將兩者分化成彼此對立的不同陣營,這是一般的概念。
我會說是藝術和文化,這就是為什麼藝術和文化如此有趣。在我們身處的這個時期,已證明人們可以創造一種空間,它是很敏感的,對個體和集體來說都是。這與因果、結果有很大關係,這對於思想和行為的聯繫方式來說,也有很大關係。因此,在思想和行為之間的是什麼?正處於思想和行為之間的,我會說,是經驗。經驗不僅是一種含糊的娛樂方式,經驗與責任有關,擁有經驗就是成為世界的一份子,成為世界的一份子與分擔責任有關。藝術,在這個意義上來說,我認為它擁有一種驚人的相關性,存在於我們正進入的世界中,尤其在此時此刻,這就是我要說的,非常感謝。(掌聲)
展開英文
收合英文
-
So if I have a sense of the space, if I feel that the space is tangible, if I feel there is time, if there is a dimension I could call time, I also feel that I can change the space. And suddenly it makes a difference in terms of making space accessible. One could say this is about community, collectivity. It's about being together.
How do we create public space? What does the word "public" mean today anyway? So, asked in that way, I think it raises great things about parliamentary ideas, democracy, public space, being together, being individual. How do we create an idea which is both tolerant to individuality, and also to collectivity, without polarizing the two into two different opposites? Of course the political agendas in the world has been very obsessed, polarizing the two against each other into different, very normative ideas.
I would claim that art and culture, and this is why art and culture are so incredibly interesting in the times we're living in now, have proven that one can create a kind of a space which sensitive to both individuality and to collectivity. It's very much about this causality, consequences. It's very much about the way we link thinking and doing. So what is between thinking and doing? And right in-between thinking and doing, I would say, there is experience. And experience is not just a kind of entertainment in a non-committal way. Experience is about responsibility. Having an experience is taking part in the world. Taking part in the world is really about sharing responsibility. So art, in that sense, I think holds an incredible relevance in the world in which we're moving into. Particularly right now. That's all I have. Thank you very much. (Applause)