評論
打印
But the two properties of gunpowder -exhilaration and damage -hang in space,along with a lingering smoke.
但火藥的兩種特性 抖擻與摧殘 在空間里揮之不去的霧靄中彌漫
This is beauty,but of the terrible kind.
這的確是美 卻令人悲嘆
Chinese history, distant and present, is full of grieving as well as rejoicing.
一直以來 在中國古老亦或近代的歷史上悲痛與歡樂共存
And there are some artists for whom the woes not just of China,but of the whole world, weigh on their creative conscience.
一些藝術家不僅對中國 還對全世界的傷痛 感同身受 這些因素也影響他們的創作意識
Slowly, slowly, slowly!
慢點 慢點 慢點
There are some contemporary artists for whom art for art's sake is not only not enough,it actually amounts to a kind of betrayal of their vocation.
對一些當代藝術家而言 僅專注于純粹藝術 不僅不夠 它實際上等于對他們職業的一種背叛
For as our own world slips ever more into destruction and distress,they want art to mount a resistance to complacency,to catastrophe fatigue.
因為隨著我們自己的世界 越來越多地陷入破壞和危難 他們希望藝術能夠抵抗自滿情緒 抵抗災難疲勞
They want to shock us out of our expectations that, every day on the nightly news and every day in newsprint,we're going to see dead body after dead body.
他們想通過出乎意料的方式 來讓我們警醒 在每天的晚間新聞中每天的報紙上 我們都能看到一個又一個生命離開我們
Now, for Ai Weiwei,the calamity of our time right now is the disaster of the multitudes of displaced,
現在 對于艾未未來說 我們現在這個時代的不幸 就是群眾流離失所
those who are uprooted through no fault of their own,cast adrift on an infinite ocean of terror and despair.
無辜的人們被迫離開自己的家 在恐怖和絕望的無邊海洋上漂泊
Ai Weiwei's Law Of The Journey packs 258 inflatable figures, large and small,into an inflatable raft.
艾未未的《法道》將258個大大小小的充氣人物 裝在充氣筏上
They are the shipwrecked of civilisation.
他們代表著文明的毀滅
But doesn't Ai Weiwei, always so sharply attuned to history,have something else in mind as well?
但是艾未未這個對歷史如此敏銳的人 是不是還有其他的想法呢
The very beginnings of human representation in the Chinese tradition, another mass of figures,
中國傳統中 人形塑像的起源 是兩千多年前
made more than 2,000 years ago -a whole army created to accompany the Qin emperor into the afterlife.
另一組大規模的人物塑像 古人塑造了一整個軍隊 來為秦始皇陪葬
