评论
打印
Let's talk about how the narrative of Africa is being told, and who is doing the telling.
咱们来谈谈非洲的故事是怎么被诉说的，以及是由谁来诉说的。
I want to share with you the selection of work by contemporary artists from Africa and its diaspora.
我想要和各位分享来自非洲及离乡背井的当代艺术家的作品集。
I love this art. I find it beautiful and inspiring and thrilling, and I really hope I am able to pique your interest.
我爱这件艺术品。我觉得它很美丽、鼓舞人心、令人兴奋，我真的很希望我能激起你们的兴趣。
I want to share something about myself and why art matters to me.
我想要分享关于我自己的事，以及为何艺术对我这么重要。
I'm the daughter of an artist, so that means that growing up, I had the chance to see my father do artwork in his studio.
我是艺术家的女儿，那意味着，成长过程中，我有机会看我父亲在他的工作室里创作艺术。
My home was surrounded by art, and I had an early art education, being dragged to museums and exhibitions over the summer holidays.
我的家中都是艺术品，我很早就接受到艺术教育，夏天假期我会被拉去参观博物馆和展览。
What I did not understand, really, at the time, is that this also gave me an early understanding about why art is important,
那时，其实我并不了解，这也让我很早就学到为什么艺术是很重要的、
how to look at it, how to understand it, but also how to love it.
如何去看艺术、如何去了解艺术及如何去爱艺术。
So art matters to me on a personal level,
对我个人而言，艺术是重要的，
and not only because it's beautiful and inspiring and thrilling, but because art tells powerful stories.
不单单是因为它很美丽、鼓舞人心、令人兴奋，也因为艺术能够诉说强大的故事。
All these artists have stories to tell you about what it means to be African,
所有这些艺术家都有故事要告诉你，诉说身为非洲人之意义的故事，
stories that tell you and touches about our African identity,
诉说能让你了解接触我们非洲身份的故事，
but also stories that tell us about who we are as Africans, but also stories that tell us about our complex history.
也诉说关于我们非洲人是什么人的故事、关于我们复杂历史的故事。
So how can art tell you powerful stories?
所以，艺术如何能向你诉说强大的故事？
I want to share with you this series by Senegalese artist Omar Victor Diop.
我想要和你们分享这系列作品，作者是塞内加尔艺术家奥马尔·维克多·迪奥普。
This is a series of self-portraits, and the artist in this particular series
这是一系列的自画像，在这独特系列中的艺术家，
is focusing on the representation of Africans in art history between the 15th to the 19th century.
把焦点放在十五到十九世纪艺术史上关于非洲人的画像。
I want to show you how, with one image, Diop is able to touch on our African identity,
我想让各位看看，迪奥普是如何用影像来触及我们的非洲身份、
on the politics of representation, but also on our social value system.
涉及再现政治，以及我们的社会价值系统。
In this particular self-portrait, Diop is actually referencing another portrait by Anne-Louis Girodet.
在这幅特别的自画像中，迪奥普其实是参考安-路易·吉罗代创作的另一幅自画像。
This picture is doing a portrait of Jean-Baptiste Belley.
这幅画是在描绘尚-巴提斯特·贝利。
Jean-Baptiste Belley was a native of Senegal, a former slave of Haiti,
尚-巴提斯特·贝利是塞内加尔原住民，曾是海地的奴隶，
but during his lifetime, he also was elected to represent the colony at the third government of the French Revolution,
但在他的一生中，他也被选出来代表殖民地，当时是法国革命的第三个政府执政，
and he advocated strongly for the abolition of slavery.
他强烈提倡要废除奴隶制度。
What is very smart and clever about Diop here is that he's going back to history.
迪奥普非常聪明且精明的地方在于，他回到过去的历史。
He's reclaiming this figure by restaging this beautiful royal blue uniform, where he is restaging also the pose,
他在重新利用这个人物，利用的方式是重新呈现这漂亮的皇家蓝色制服，同时他也重新呈现这个姿势，
and he's doing that to actually underline the issues that are still impacting individuals of color today.
他这么做的目的其实是要强调那些现今仍然会影响到有色人种的议题。
There was nothing special about this very typical political portrait of the time,
在那个时代，这种政治画像非常典型，没有什么特别的，
except that for the first time, an individual of color, in that case, Jean-Baptiste Belley, was actually named and acknowledged in a painting.
除了一点，这是第一次，有一位有名字且被认可的有色人种出现在画作中，也就是尚-巴提斯特·贝利。
What Diop is adding to this picture is this crucial element, which is the football under his arm,
迪奥普在这幅画中加上了一个关键元素，也就是手臂下面的足球，
and by doing that, Diop is actually touching at our hero worship culture of African football stars,
迪奥普这么做，目的是要触及我们对非洲足球员的英雄崇拜文化，
who unfortunately, despite their fame, their immense talent, and their royalty status, they are still invisible.
很不幸的，那些足球员虽然很有名、非常有才华，还有皇家身分，但他们仍然是不被看见的。
Diop is asking us to dig deeper, to go beyond history and what has been written,
迪奥普在要求我们挖深一点，超越历史以及书面的记录，
and, basically, see how it still influences and impacts us in the present.
去探究现今它如何继续影响和冲击我们。
I want to share this other beautiful series called "Kesh Angels," by artist Hassan Hajjaj.
我还想分享另一个美丽的系列，叫做《长发天使》，创作者是哈山·哈查吉。
So in this particular series, the artist is really pushing on the boundaries of stereotype and cliché.
在这个系列当中，艺术家真的在挑战刻板印象和老式作风的极限。
Hassan Hajjaj is a friend, and honestly, I admire him dearly, but this particular series is talking to me directly as a Muslim woman.
哈山·哈查吉是我的朋友，老实说，我非常欣赏他，但这个系列，直接在对着身为穆斯林女性的我传达信息。
I experience this all the time, where, you know, people have a lot of expectations, religious ones and cultural ones,
我总是在经历这类状况，人们有很多的期望，宗教、文化上的期望，
but what I love about this artist is that he's putting all this on its head.
但我之所以很喜欢这位艺术家，是因为他把焦点都放在头部，
He's actually challenging every representation of Muslim, Arabic women that there is.
他在挑战每一种他能够看到的对于穆斯林、阿拉伯女性的表现方式。
Hassan Hajjaj is a child of the diaspora.
哈山·哈查吉是离乡背井者的孩子。
He grew up in Morocco amongst bright logo goods, you know, counterfeit originals being sold at the souks.
他在摩洛哥一堆商标明亮的商品中长大，你们知道的，在露天市场中销售的盗版货。
So to see those symbols representing in his work a celebration of the global culture, a critic of the global urban culture, is no surprise,
所以，看到他的作品中有些象征，如对于全球文化的赞颂、对于全球都市文化的批评，并不让人意外，
but really at the heart of his work is his desire of a nuanced representation.
但他作品的核心，是他想要做出有细微差异之表现的欲望。
He wants us to interrupt ourselves and all the perception that we might have on people, on a culture, and on environment.
他希望我们能打断自己以及我们可能拥有的所有感知，对于人、对于文化以及对于环境的感知。
And for example, this particular picture, your common association would be,
举例来说，针对这张图，常见的联想会是，
you know, certain street brand for a certain Western distinctive consumer.
某种街头品牌，对象是某种西方的特殊消费者。
Well, he mashes it all up, where he is daring to imagine a female biker culture
嗯，他把一切都搞乱，他敢于想象一个女性骑士的文化，
where actually Chanel or Louis Vuitton is designing the djellaba, and Nike, the babouche, and this is actually the standard uniform.
而香奈儿或路易威登却还在设计阿拉伯宽长袍，而耐克在设计拖鞋，这其实就是标准制服。
What I love about the women in "Kesh Angels" is that they are able to hold your gaze.
对于《长发天使》中的女人，我喜爱的一点是她们能够抓住你的视线。
We are completely participating in the image, but they are the one inviting us in, and on their own terms.
我们完完全全参与在图像中，但她们是根据她们的条件邀请我们进入的。
Hassan Hajjaj's "Kesh Angels" or "Project Diaspora" by Omar Victor Diop offer me two strong examples why art is so instrumental.
哈山·哈查吉的《长发天使》或奥马尔·维克多·迪奥普的《离乡背井计划》，是关于艺术为何是如此工具主义的两个很有力的例子。
It is instrumental as it really inspires us to ask questions, but it is also instrumental because it ignites change.
它能被当作工具手段，因为它能鼓舞我们去问问题，另一个原因则是因为它能激起改变。
Seeing diversity in race and ethnicity in contemporary art is the only way that we'll see changes in the art industry,
在当代艺术中看到种族及人种多样性，是我们能看到艺术产业中有所改变的唯一方式，
but also for the relations between Africa and the Western canon.
同时也是为了非洲和西方的重要艺术家及作品之间的关系。
How we will participate in all this is really up to us.
我们要如何参与其中，这由我们自己决定。
There's a lot of progress to be made, and honestly, we still need to support stronger voices,
还有很多的进展需要去做，老实说，我们还需要支持更强大的声音，
as they are the ones shaking things up and bringing new perspective.
因为是这些声音在造成撼动、带来新观点。
I want to share this beautiful old painting by younger emerging artist Kudzanai-Violet Hwami.
我想要分享这幅美丽的老画作，作者是位较年轻的新兴艺术家，库札奈-凡尔雷特·哈瓦米。
For me, when I see her work, it really represents freedom.
对我而言，当我看到她的作品，它真正呈现的是自由。
Hwami has fantastic takes on what it means to be an African and an African life.
哈瓦米对于身为非洲人的意义以及非洲生活的意义，有着很了不起的看法。
She has lived in three different countries: Zimbabwe, South Africa and Britain,
她曾经在三个不同的国家生活过：津巴布韦、南非和英国，
and therefore has been influenced by a multitude of layers of communities and cultures,
因此，她受到了很多不同层次的社群和文化所影响，
from LGBT to eco to Xhosa to emo to British cultures. And as she says herself,
从多元性倾向到生态到科萨人，到情绪摇滚，到英国文化。如她自己所言，
the beauty of being a child of the diaspora is really being able to reinvent ourselves and what it means to be African.
身为离乡背井者的孩子，最美好的就是能够重新改造自己，改造身为非洲人的意义。
I want to leave you with this powerful piece by South African artist Lawrence Lemaoana.
我想留给各位看一件强大的作品，作者是南非艺术家罗伦斯·雷莫纳。
Lawrence Lemaoana also criticized the influence of the media on our moral consciousness,
罗伦斯·雷莫纳也批判媒体对于我们道德意识的影响，
and he's doing that by using those fabrics like banners in political demonstrations, where he's asking us to reclaim our voices.
他的做法是采用政治示威布条的布料，他请我们要重新找回我们的声音。
I believe in the transformative power of art, as it is our only way to paint a nuanced image of Africa, but also its diaspora,
我相信艺术有着带来转变的力量，因为它是绘制出非洲以及其离乡背井者的微妙的形像的唯一方式，
one that will be painted by its artists and its cultural producers
由非洲的艺术家和非洲的文化制造者来绘制，
with their radical but also very unique view of seeing the world and their place in it.
他们用极端却也独特的观点来看世界及他们在世界中的位置。
It is really through art that we can regain our sense of agency and empowerment.
透过艺术，我们可以重新取回主动性和赋权；
It is through art that we can really tell our own story.
透过艺术，我们能够说出我们自己的故事。
So like Lawrence Lemaoana says, the power is ours. Thank you.
所以，就像罗伦斯·雷莫纳所说的，力量是我们的。谢谢你们。
