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When he cannot attend protests himself, Mr Kebadian reproduces photos that have circulated online. There has been no shortage. In 2019, for instance, over 2,000 protests were recorded in Paris alone, compared with about 280 in the whole of Britain. The past two years have been especially busy. Most notably, Mr Kebadian has documented the rise of the gilets jaunes, a movement born of anger over an increase in the carbon tax on fuel that grew into nationwide anti-government demonstrations. With the help of Black Lines, an artists’ collective that he co-founded, he produced “L’Hiver Jaune” (“The Yellow Winter”), a 300-metre-long mural that commemorated the gilets jaunes, some of whom were seriously injured during riots.
當凱巴迪安無法親自參加抗議活動時，他會描摹網(wǎng)上流傳的照片。繪畫素材從不缺乏。例如，2019年，相較于英國全國爆發(fā)的約280起抗議活動，僅在巴黎地區(qū)就有2000多起抗議活動。過去兩年的抗議活動層出不窮。最值得注意的是，凱巴迪安先生記錄了“黃背心”抗議活動的興起，這一運動源于對上調(diào)燃料碳稅的憤怒，后來演變成全國性的反政府示威。凱巴迪安是藝術(shù)家聯(lián)盟“黑色線條”的聯(lián)合創(chuàng)始人之一，在“黑色線條”的幫助下，他創(chuàng)作了一幅300米長的壁畫《黃色的冬天》來紀念在“黃背心”騷亂中一些身受重傷的抗議者們。
This huge undertaking attracted media attention and helped raise his profile. But not everyone is a fan. “L’Hiver Jaune” was promptly painted over. In fact, although he uses legal graffiti walls, almost all Mr Kebadian’s murals have been covered up by the Parisian authorities.
這項巨大的事業(yè)吸引了媒體的關(guān)注，并幫助提高了凱巴迪安的知名度。但不是所有人都是他的粉絲。《黃色的冬天》很快被粉刷了一遍。事實上，盡管凱巴迪安使用了合法的涂鴉墻，但當局還是掩蓋了幾乎所有的壁畫。
That disapproval has not hurt his reputation, which has flourished and spread online. “Eye for an Eye”, one of his latest projects, is a series of 50 Indian-ink paintings that are sold on Instagram. They are based on the events of 2020, when in France, as in America, long-standing debates about police misconduct came to a head. The reverberations of Floyd’s death were followed in the autumn by the violent dismantling of a migrant camp and the beating of a black music producer, both of which sparked protests.
這樣的反對并沒有損害凱巴迪安的聲譽，他依舊在網(wǎng)絡上風生水起，聲名遠揚?！兑匝圻€眼》是凱巴迪安最新的項目之一，這一由50幅印度墨水畫組成的系列畫作正在Instagram上出售。這些畫是以2020年的事件為基礎的，當時在法國和美國，關(guān)于警察不當行為的長期爭議達到了白熱化的程度。弗洛伊德之死造成了廣泛的消極影響，隨后引發(fā)了秋季的移民營地遭暴力拆除事件以及一名黑人音樂制作人遭毆打事件，這兩起事件都引發(fā)了抗議活動。
One illustration in the series portrays a man standing on top of a car and waving a black flag as other people riot. The scene is reminiscent of Eugene Delacroix’s “Liberty Leading the People”, a painting of 1830 that shows a bare-chested Marianne (a personification of France) brandishing a tricolour amid a crowd. Like Delacroix’s, Mr Kebadian’s art strives to capture the essence of his times—but also to change them.
這個系列的一個插圖中，描繪了一個男人站在汽車頂上揮舞著一面黑色的旗幟，其他人正在發(fā)起暴動。這一場景讓人想起了1830年歐仁·德拉克羅瓦的《自由引導人民》，畫中赤裸著胸膛的瑪麗安（法國的化身）在人群中揮舞著三色旗。與德拉克羅瓦一樣，凱巴迪安的藝術(shù)力求捕捉時代的精髓，同時也力求改變時代。
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