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In the Paris of the 1920s,Mondrian simplified and magnified.
在二十世紀二十年代的巴黎 蒙德里安的畫風簡化而又夸大
Panels of primary colours were hung on a grid,depth was ironed flat.
由三原色組成的面板被掛在網格上 視覺深度被撫平
Everything on the grid was so perfectly calibrated for balance that you could stare and stare and cross a threshold of sensation into Mondrian's self-contained universe.
網格上的一切 經過精準的調整以達到平衡 這樣你可以一直看下去 跨過感官的門檻 進入蒙德里安自成一體的世界
For the artists, the grids were more than just decorative games.
對于藝術家來說 網格不僅僅起著裝飾作用
They were meditation exercises,entryways to a place of deep harmony.
而是冥想練習 通向深層和諧入口
And they weren't meant just for galleries or living rooms but as a whole programme of visual re-education,capable of healing the world.
網格不僅僅出現在美術館和起居室 而是一種視覺再教育的完整體系 能夠治愈整個世界
Though the grids seem simple,they're actually miracles of fine-tuned optical calculation.
盡管這些網格看起來簡單 但實際上是經過精密調節的 光學計算的奇跡
The colours swell and press against the black rods of the armature,or else they lie captive to their confinement.
色彩飽滿和黑色支架線條形成對比 或者說它們安靜地位于自己的格子中
And those colour planes,which ought to seem inert and gridded to death,are a living forcefield.
這些色彩構圖 本應看似沒有生氣 受到禁錮 但卻是活躍的力場
In 1940, to escape the rolling disaster of the war in Europe,Mondrian moved to New York,a city built entirely around a grid.
一九四零年 為了躲避 歐洲災難性的戰爭 蒙德里安到了紐約 這是一座圍繞著網格建立的城市
But this grid moved and shook with lights and business and music.
但這個網格隨著燈光 商業和音樂移動與搖擺
So how could he not respond to a city rocking with syncopated energy?
他如何能不回應 這座隨著音樂節奏搖擺的城市呢
The painting represents as revolutionary a departure for Mondrian as Pier And Ocean did all those years ago.
這幅畫代表著 蒙德里安革命性的新開端 正如《碼頭和海洋》多年前一樣
It takes the classic formulae of his grid paintings and it throws it out of the 30th-storey window.
雖然使用的仍是經典網格繪畫風格 又好像是從三十層高樓的窗戶扔下般不同
