沙多·宾大维的录像装置《艺术》的解说词译文 (中文、英文)

     

“艺术学校”:我要告诉你的一个故事


    这个关于我的故事发生在20多年以前。那时我还是学生,在伦敦附近的一个小镇的大学里学习艺术。
    那时我很少说英语。我的一个特别要好的朋友叫莫里斯,他是我们美术系的清洁工。我的英语这么差,我想他一定觉得这样对他来说很舒服,没有威胁感。我  还记得,有一天早上他发现我能够读报,这令他感觉好象受骗了似的。
    我想,对于一个美术系的清洁工来说,最大的难题就是要能判断什么是艺术作品,什么是垃圾。在我就读的大学里,他们想出一个简单的办法:在每间工作室里放一个大的垃圾桶,学生们把他们不要的东西都扔进垃圾桶里,清洁工只需清垃圾桶就可以了。这个办法其实只是理论上挺好而已,因为工作室的地面大部分时间都是很乱的。
    一天上午,莫里斯来到我的工作室。他站在我的工作台的另一端给我讲了个关于一个清道夫变成百万富翁的有趣故事。他给我讲故事的时候,我发现他手里拿着一支又长又细的铝棍,他正在把它给弄直。直到他把它给弄得象根直尺了,我才意识到我们要闯祸了。
    “你从哪捡来的?”我问。“这里,地面上”,他紧张地说。“你知道那是什么吗?”他说“不知道”。
    我说,“哦,那是和我同一间工作室的同学朱利安的,这是他正在做的一个大型抽象雕塑的模型,他仔细摆弄这东西有三个星期了!他今天早上去买几根大的铝管子来把这个模型放大成室外的大型尺寸。” “啊,天哪!!!”,莫理斯说,“我怎么这么傻啊! 我不该碰它才对!请你什么也别告诉他,”他求我说,然后他把棍子折来折去的,又扔到地上,还踩了几脚,然后马上冲出工作室。
    晚上朱利安带着管子回来,我什么也没说。
    第二天,朱利安把模型放在桌上,我吃惊地发现他开始很科学地放大它。
    两个星期之后,朱利安完成了这件作品,这个二年级的项目也就结束了。这件作品和其他大型的作品一起放在学校的大草坪上,准备接受艺术批评。好热闹的一天!来了几位伦敦的艺术学院的讲师。我们都去了,边听边争论。莫里斯和我一块去,他站在我旁边,靠在一棵树上听。系主任克里斯·莱因开始发表意见了。令我和莫里斯很吃惊的是,他一开始就说朱利安的作品是他几年来在我们学校里看到的最令人振奋的雕塑!这作品又新鲜又自然、既自由又有活力,最重要的是,大胆而又原创!而其他老师都完全赞同他的意见。
    莫里斯不敢相信他的耳朵。“根本就是一大堆垃圾!”他对我说。然后他点头表示不相信地走开。
    三年之后,我在伦敦一个画廊见到克里斯·莱因。我问他还记不记得朱利安的大雕塑。他说,“当然记得!多好的一件作品!这是我们留在大草坪上的唯一一件作品,现在还在呢!”
    我把上面的故事告诉他,他笑了,作为一个很有幽默感的真正的英国人,他把那件作品留在了那里。

 

Art School: the story I am about to tell you


    The story I am about to tell you happened more than 20 years ago. I was then an Art student at a university in a small town near London.
    I hardly spoke English; one of my best friends was Morris, the cleaner of the fine art department. I assume that he felt quiet comfortable and unthreatened with my poor English. I remember how he felt betrayed one morning when he discovered that I could read newspapers.
    I think that the biggest dilemma of a cleaner in a fine art department is to decide what is art, or what is rubbish. In my University they found a simple solution, in every studio there was a big rubbish bin so the students could throw away everything they don’t need, and the cleaners would only clear the bins. It worked better in theory as most of the time the studios floors were untidy.
    One late morning Morris visited my studio. He stood on the other side of my working table and told me a funny story about a street cleaner who became a millionaire. While he was telling me the story I noticed that he was holding a long thin aluminium rod and straightening it, it was almost straight as a ruler when I realized that we might be approaching a little disaster.
    “Where did you pick it up from?” I asked him. “From here, from the floor” he answered nervously. Do you know what is it? “No” he answered.
    “Well” I said: “It belongs to Julian, the student I shared the studio with, it’s a model for a project of a large abstract sculpture which he was bending and twisting carefully during the past three weeks! He went this morning to buy a few large aluminium pipes so he can enlarge this model to a massive out door piece”.
    “Oh my god!!!” said Morris, “How stupid of me! I shouldn’t have touched it! Please don’t tell him anything,” he pleaded, and then he twisted, bent and threw the piece on the floor and even stepped on it couple of times then he rushed out of the studio.
    Later, in the evening when Julian came back with the pipes, I didn’t say a word.
    The following day Julian put the model on his table and to my astonishment he started enlarging it almost scientifically.
    Two weeks later this second year project had ended and Julian’s piece was ready. It was placed among other large pieces on the main lawn of the university ready for an art criticism. A great day! A few lecturers arrived from London’s art schools. We all went to listen and to argue, Morris came with me, he stood next to me, leaning by a tree and listening.
    Chris Lane who was the head of the Department, sadly he is no longer with us, started the review. To Morris’s and my astonishment he started by saying that it was the most exciting sculpture that he had seen in the University for some years! It was fresh and spontaneous, free and dynamic and above all daring and original! The rest of the teachers couldn’t agree more. 
    Morris couldn’t believe his ears. “What a load of rubbish!” he said to me. Then he walked away nodding his head in disbelief.
    Three years later I met Chris Lane at the private view of Terry Frost exhibition at the Serpentine gallery in London. I asked him if he remembered Julian large sculpture. “Sure!” he said, “such a wonderful piece! It is the only piece that we left on the lawn, in fact it is still there!”
    I told him the story, he laughed, but as a true Englishman with a great sense of humour, he left the piece there.



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