Béatrice Coron: Stories cut from paper

Prevoditelj: Ivana Kordic Recezent: Tilen Pigac - EFZG

(Applause)

(Pljesak)

(Applause)

(Pljesak)

I am a papercutter.

Ja sam Izrezivačica Papira.

(Laughter)

(Smijeh)

I cut stories.

Izrezujem priče.

So my process is very straightforward.

Moj je proces zapravo vrlo izravan i razumljiv.

I take a piece of paper,

Uzmem list papira,

I visualize my story,

predočim si svoju priču,

sometimes I sketch, sometimes I don't.

ponekad skiciram, ponekad ne.

And as my image

No kako je moja priča

is already inside the paper,

već skrivena u papiru,

I just have to remove

sve što ja moram napraviti jest ukloniti

what's not from that story.

one dijeliće koji ne pripadaju toj priči.

So I didn't come to papercutting

No, nisam došla do rezuckanja papira

in a straight line.

pravocrtno.

In fact,

Zapravo,

I see it more as a spiral.

vidim to kao spiralu.

I was not born

Nisam rođena

with a blade in my hand.

s oštricom u svojoj ruci.

And I don't remember papercutting as a child.

I ne sjećam se da sam kao dijete rezuckala papir.

As a teenager,

Kao tinejdžerka,

I was sketching, drawing,

skicirala sam, crtala,

and I wanted to be an artist.

i priželjkivala postati umjetnicom.

But I was also a rebel.

Ali to je jednako tako bila i pobuna.

And I left everything

Ostavila sam se svega,

and went for a long series of odd jobs.

i prošla kroz niz neobičnih poslova.

So among them,

Među ostalim,

I have been a shepherdess,

bila sam pastirica,

a truck driver,

vozačica kamiona,

a factory worker,

tvornička radnica,

a cleaning lady.

čistačica.

I worked in tourism for one year

Radila sam u turizmu jednu godinu,

in Mexico,

u Meksiku,

one year in Egypt.

jednu godinu u Egiptu.

I moved for two years

Na dvije sam se godine preselila

in Taiwan.

u Taiwan.

And then I settled in New York

Da bih se potom skrasila u New Yorku

where I became a tour guide.

gdje sam postala vodička.

And I still worked as a tour leader,

I još sam uvijek radila kao vođa grupe,

traveled back and forth

putovala amo i tamo,

in China, Tibet and Central Asia.

kroz Kinu, Tibet i središnju Aziju.

So of course, it took time, and I was nearly 40,

To je, dakako, uzelo nešto vremena, i navršila sam gotovo 40,

and I decided it's time

kada sam odlučila da je vrijeme

to start as an artist.

da napokon započnem biti umjetnica.

(Applause)

(Pljesak)

I chose papercutting

Odabrala sam izrezivanje papira,

because paper is cheap,

jer papir je jefin,

it's light,

lagan,

and you can use it

i može se koristiti

in a lot of different ways.

na mnoge različite načine.

And I chose the language of silhouette

Odabrala sam jezik silueta,

because graphically it's very efficient.

jer je u grafičkom smislu vrlo efikasan.

And it's also just getting to the essential of things.

I isto tako, vodi u samu bit stvari.

So the word "silhouette"

Riječ ''silueta''

comes from a minister of finance,

dolazi zapravo od ministra financija,

Etienne de Silhouette.

koji se zvao Etienne de Silhouette.

And he slashed so many budgets

On je skresao toliko budžeta

that people said they couldn't afford

da bi ljudi govorili kako si više ne mogu priuštiti

paintings anymore,

kupovinu slika

and they needed to have their portrait

te da im treba njihov portret

"a la silhouette."

"a la silhouette."

(Laughter)

(Smijeh)

So I made series of images, cuttings,

Tako sam izradila niz slika, izrezaka,

and I assembled them in portfolios.

i od njih sastavila mape.

And people told me --

Ljudi bi mi govorili --

like these 36 views of the Empire State building --

poput ovih 36 pogleda na zgradu Empire State --

they told me, "You're making artist books."

govorili bi mi, ''Radiš umjetničke knjige.''

So artist books have a lot of definitions.

Umjetničke knjige mogu se definirati na brojne načine.

They come in a lot of different shapes.

Dolaze u brojnim i različitim oblicima.

But to me,

No za mene,

they are fascinating objects

oni su facsinantni predmeti

to visually narrate a story.

koji mogu vizualno ispričati priču.

They can be with words

Mogu sadržavati riječi

or without words.

ili biti bez teksta.

And I have a passion

A ja imam strast

for images and for words.

za slike i riječi.

I love pun

Volim doskočice

and the relation to the unconscious.

i poveznice s podsvijesnim.

I love oddities of languages.

Volim neobičnosti jezika.

And everywhere I lived, I learned the languages,

I gdje god da sam živjela, naučila bih jezike,

but never mastered them.

no nikada nisam njima u potpunosti ovladala.

So I'm always looking

Tako da neprestano tražim

for the false cognates

lažne srodnike

or identical words in different languages.

ili identične riječi u različitim jezicima.

So as you can guess, my mother tongue is French.

Kako vjerojatno možete primijetiti, moj je materinji jezik francuski.

And my daily language is English.

A jezik kojeg dnevno koristim je engleski.

So I did a series of work

Tako sam napravila niz djela

where it was identical words

u kojima sam koristila identične riječi

in French and in English.

u francuskom i engleskom jeziku.

So one of these works

Jedno od ovih djela zove se

is the "Spelling Spider."

''Pauk Slovko''.

So the Spelling Spider

Pauk Slovko je, znači,

is a cousin of the spelling bee.

rođak pčelice slovkarice.

(Laughter)

(Smijeh)

But it's much more connected to the Web.

Ali puno je više od nje umrežen u Web.

(Laughter)

(Smijeh)

And this spider

I, sad, ovaj pauk

spins a bilingual alphabet.

plete bilingualnu abecedu.

So you can read "architecture active"

Možete pročitati ''arhitektura aktivna''

or "active architecture."

ili ''aktivna arhitektura.''

So this spider goes through the whole alphabet

Tako ovaj pauk prolazi čitavu abecedu

with identical adjectives and substantives.

s identičnim pridjevima i imenicama.

So if you don't know one of these languages,

Pa ako ne poznajete jedan od ovih jezika,

it's instant learning.

događa se instantno učenje.

And one ancient form of the book

Jedan od najstarijih oblika u kojima dolaze knjige

is scrolls.

je svitak.

So scrolls are very convenient,

Svici su vrlo praktični,

because you can create a large image

jer mogu stvoriti veliku sliku

on a very small table.

na vrlo malenom stolu.

So the unexpected consequences of that

Neočekivana posljedica toga jest

is that you only see one part of your image,

da možeš vidjeti samo jedan dio svoje slike,

so it makes a very freestyle architecture.

pa to stvara jednu arhitekturu slobodnog stila.

And I'm making all those kinds of windows.

I izrađujem puno sličnih vrsta prozora.

So it's to look beyond the surface.

Oni pomažu da se pogleda ispod površine.

It's to have a look

Pomažu da se pogleda

at different worlds.

različite riječi.

And very often I've been an outsider.

Vrlo sam često i sama bila stranac.

So I want to see how things work

I željela sam vidjeti kako stvari funkcioniraju

and what's happening.

i što se događa.

So each window

Stoga je svaki prozor

is an image

slika

and is a world

i svijet

that I often revisit.

kojeg često posjećujem.

And I revisit this world

Često posjećujem ovaj svijet

thinking about the image

razmišljajući o slici

or cliché about what we want to do,

ili klišeju vezanim uz ono što želimo napraviti,

and what are the words, colloquialisms,

i o tome koje riječi i specifične izraze

that we have with the expressions.

koristimo s određenim izričajima.

It's all if.

To je sve o čemu se radi.

So what if we were living in balloon houses?

Dakle, što da živimo u kućama-balonima?

It would make a very uplifting world.

To bi bio jedan vrlo poletan svijet.

And we would leave a very low footprint on the planet.

A mi bismo ostavljali vrlo plitak otisak na planetu.

It would be so light.

Bilo bi to tako lagano.

So sometimes I view from the inside,

Tako ponekad promatram iznutra,

like EgoCentriCity

kao EgoCentroGrad,

and the inner circles.

i unutrašnje krugove.

Sometimes it's a global view,

Ponekad je to globalna perspektiva,

to see our common roots

koja traži zajedničke korijene

and how we can use them to catch dreams.

i kako ih možemo iskoristiti da uhvatimo snove.

And we can use them also

I možemo ih isto tako koristiti

as a safety net.

kao sigurnosnu mrežu.

And my inspirations

Moje su inspiracije

are very eclectic.

vrlo eklektične.

I'm influenced by everything I read,

Na mene utječe sve što pročitam,

everything I see.

sve što vidim.

I have some stories that are humorous,

Neke od mojih priča su smiješne,

like "Dead Beats."

kao, na primjer, ''Protuhe.''

(Laughter)

(Smijeh)

Other ones are historical.

Neke su povijesne.

Here it's "CandyCity."

Ovo je ''Slatkograd.''

It's a non-sugar-coated

Priča o šećeru

history of sugar.

bez šećerne glazure.

It goes from slave trade

Počinje od trgovine ropstvom

to over-consumption of sugar

i ide do pretjerane konzumacije šećera,

with some sweet moments in between.

prolazeći pritom kroz neke slađe trenutke između.

And sometimes I have an emotional response to news,

Ponekad, pak, doživim emocionalnu reakciju na vijesti,

such as the 2010 Haitian earthquake.

poput potresa na Haitiju 2010. godine.

Other times, it's not even my stories.

Ponekad se zapravo uopće ne radi o mojim pričama.

People tell me their lives,

Ljudi mi pričaju o svojim životima,

their memories, their aspirations,

svojim sjećanjima, svojim nadanjima,

and I create a mindscape.

i ja od toga stvorim krajolik uma.

I channel their history

Kanaliziram njihovu povijest

[so that] they have a place to go back

[tako da] bi oni dobili mjesto kojemu se mogu vratiti

to look at their life and its possibilities.

kako bi pogledali na svoj život i mogućnosti koje pruža.

I call them Freudian cities.

Zovem ih Freudovi gradovi.

I cannot speak for all my images,

Kako ne mogu govoriti u ime svih svojih priča,

so I'll just go through a few of my worlds

dotaknut ću samo kroz poneke od njih,

just with the title.

putem njihovih naslova.

"ModiCity."

''ModoGrad''

"ElectriCity."

''ElektroGrad.''

"MAD Growth on Columbus Circle."

''SULUD Rast na Kolumbusuvom krugu.''

"ReefCity."

''ReljefoGrad.''

"A Web of Time."

''Mreža Vremena''

"Chaos City."

''Grad Kaosa.''

"Daily Battles."

''Dnevne Bitke.''

"FeliCity."

''SrećoGrad.''

"Floating Islands."

''Plutajući Otoci.''

And at one point,

I, u jednom trenutku,

I had to do "The Whole Nine Yards."

morala sam izraditi i ''The Whole Nine Yards.'' (''Od glave do pete'')

So it's actually a papercut that's nine yards long.

To je izrezutak papira dugačak punih 9 yarda. (8.22 metrra)

(Laughter)

(Smijeh.)

So in life and in papercutting,

Kako u životu, tako i kod izrezivanja papira,

everything is connected.

sve je povezano.

One story leads to another.

Jedna priča vodi drugoj.

I was also interested

Zanimala me isto tako,

in the physicality of this format,

tjelesnost ovog izričaja,

because you have to walk to see it.

jer morate hodati kako bi ste ga ugledali.

And parallel to my cutting

S mojim izrezivanjem usporedno teče

is my running.

moje trčanje.

I started with small images,

Započela sam s malim slikama,

I started with a few miles.

započela sam s malim brojem kilometara.

Larger images, I started to run marathons.

S većim slikama došli su i maratoni.

Then I went to run 50K, then 60K.

Otrčala sam 50K pa potom 60K maraton.

Then I ran 50 miles -- ultramarathons.

Potom sam počela trčati ultramaratone od preko 80 kilometara.

And I still feel I'm running,

Još uvijek se osjećam kao da trčim,

it's just the training

kao da je to tek trening

to become a long-distance papercutter.

da postanem dugoprugaška izrezivačica papira.

(Laughter)

(Smijeh.)

And running gives me a lot of energy.

Trčanje mi daje mnogo energije.

Here is a three-week papercutting marathon

Evo trotjednog maratona u izrezivanju papira

at the Museum of Arts and Design

u Muzeju umjetnosti i dizajna

in New York City.

u New York City-ju.

The result is "Hells and Heavens."

Rezultat su ''Paklovi i rajevi.''

It's two panels 13 ft. high.

To su dva panela visoka gotovo 4 metra.

They were installed in the museum on two floors,

Bili su postavljeni na dva kata muzeja,

but in fact, it's a continuous image.

no zapravo se radi o slici bez prekida.

And I call it "Hells and Heavens"

Zovem ju ''Paklovi i rajevi''

because it's daily hells and daily heavens.

jer se radi o dnevnim paklenskim i rajskim trenucima.

There is no border in between.

Bez granice među njima.

Some people are born in hells,

Neki se ljudi rađaju u paklu,

and against all odds, they make it to heavens.

i uspiju, svim izgledima usprkos, stići do raja.

Other people make the opposite trip.

Drugi ljudi prijđu upravo suprotan put.

That's the border.

To je granica.

You have sweatshops in hells.

U paklu ćete naći tvornice koje iskorištavaju radnike.

You have people renting their wings in the heavens.

U raju ćete naći ljude koji iznajmljuju svoja krila.

And then you have all those individual stories

Nadalje imate sve te priče pojedinaca

where sometimes we even have the same action,

u kojima vidimo jednako djelovanje

and the result puts you in hells or in heavens.

ali rezultat vas stavlja u pakao ili raj.

So the whole "Hells and Heavens"

Čitav se koncept ''Paklova i rajeva''

is about free will

odnosi na slobodu volje

and determinism.

i determinizam.

And in papercutting,

A u izrezivanju papira

you have the drawing as the structure itself.

nalazite crtež kao strukturu za sebe.

So you can take it off the wall.

Tako ga možete skinuti sa zida.

Here it's an artist book installation

Ovdje je umjetnička knjiga kao instalacija

called "Identity Project."

nazvana ''Projekt: Identitet.''

It's not autobiographical identities.

Ne radi se o autobiografskim identitetima.

They are more our social identities.

Već prije o našim društvenim identitetima.

And then you can just walk behind them

Oni vam dopuštaju da odšetate iza njih

and try them on.

i isprobate ih.

So it's like the different layers

Radi se, znači, o različitim slojevima

of what we are made of

onoga od čega smo napravljeni

and what we present to the world

i onoga što predstavljamo svijetu

as an identity.

kao svoj identitet.

That's another artist book project.

To je još jedan projekt umjetničke knjige.

In fact, in the picture, you have two of them.

Zapravo na ovoj slici ih imate dva.

It's one I'm wearing

Jedan kojeg nosim ja

and one that's on exhibition

i jedan koji se nalazi na izložbi

at the Center for Books Arts in New York City.

u Centru za umjetnost knjige u New York City-ju.

Why do I call it a book?

Zašto to nazivam knjigom?

It's called "Fashion Statement,"

Zove se ''Iskaz mode''

and there are quotes about fashion,

i sadrži citate o modi,

so you can read it,

tako da ih možete pročitati,

and also,

ali, isto tako,

because the definition of artist book

radi toga što je definicija umjetničke knjige

is very generous.

vrlo širokogrudna.

So artist books, you take them off the wall.

Tako umjetničke knjige možete skinuti sa zida.

You take them for a walk.

Možete ih izvesti u šetnju.

You can also install them as public art.

A isto ih tako možete postaviti kao umjetničko djelo.

Here it's in Scottsdale, Arizona,

Ovdje se nalazi u Scottsdale-u, u Arizoni,

and it's called "Floating Memories."

i zove se ''Plutajuća sjećanja''.

So it's regional memories,

Radi se o regionalnim sjećanjima

and they are just randomly moved by the wind.

koje nasumično pokreće vjetar.

I love public art.

Volim javnu umjetnost.

And I entered competitions

Dugo sam se vremena

for a long time.

javljala na različite natječaje.

After eight years of rejection,

Nakon što su me osam godina odbijali

I was thrilled to get my first commission

bila sam oduševljena svojom prvom narudžbom

with the Percent for Art in New York City.

s Postotkom za Umjetnost iz New York City-ja.

It was for a merger station

Radilo se o povezanoj postaji

for emergency workers and firemen.

za hitnu službu i vatrogasce.

I made an artist book

Izradila sam umjetničku knjigu

that's in stainless steel

od nehrđajućeg čelika

instead of paper.

umjesto od papira.

I called it "Working in the Same Direction."

Nazvala sam je ''Raditi u istom pravcu.''

But I added weathervanes on both sides

No dodala sam vjetrokaze s obje strane

to show that they cover all directions.

kako bih pokazala da pokriva sve smjerove.

With public art,

S javnom umjetnošću

I could also make cut glass.

isto sam tako mogla izrađivati izrezano staklo.

Here it's faceted glass in the Bronx.

Ovdje vidite rezbareno staklo u Bronxu.

And each time I make public art,

Svakoga puta kada stvaram javnu umjetnost,

I want something that's really relevant

želim staviti nešto uistinu relevantno

to the place it's installed.

na mjesto na kojemu je postavljena.

So for the subway in New York,

Za podzemnu željeznicu u New Yorku,

I saw a correspondence

vidjela sam poveznicu

between riding the subway

između vožnje podzemnom željeznicom

and reading.

i čitanja.

It is travel in time, travel on time.

Radi se o putovanju kroz vrijeme, putovanju na vrijeme.

And Bronx literature,

A u književnosti Bronxa,

it's all about Bronx writers

radi se uglavnom o piscima iz Bronxa

and their stories.

i njihovim pričama.

Another glass project

Još jedan od staklenih projekata

is in a public library

postavljen je u javnoj knjižnici

in San Jose, California.

u San Jose-u, u Kaliforniji.

So I made a vegetable point of view

Izradila sam pogled na rast San Jose-a

of the growth of San Jose.

iz perspektive biljaka.

So I started in the center

Započela sam u središtu

with the acorn

s kukuruzom

for the Ohlone Indian civilization.

posvećenim indijanskoj civilizaciji Ohlone.

Then I have the fruit from Europe

Zatim imam voćku iz Europe

for the ranchers.

za rančere.

And then the fruit of the world for Silicon Valley today.

I zatim voćku svijeta za Silikonsku dolinu danas.

And it's still growing.

I još uvijek raste.

So the technique, it's cut,

Tehnika je, dakle, izrezivanje,

sandblasted, etched

pjeskarenje, usjecanje,

and printed glass into architectural glass.

i otiskivanje stakla u arhitektonsko staklo.

And outside the library,

A izvan knjižnice

I wanted to make a place to cultivate your mind.

želja mi je bila stvoriti mjesto za kultiviranje uma.

I took library material

Uzela sam knjižničnu građu

that had fruit in their title

koja je u naslovu imala voće

and I used them to make an orchard walk

i iskoristila je u izradi voćnjaka i šetnice

with these fruits of knowledge.

s tim plodovima znanja.

I also planted the bibliotree.

Isto tako, posadila sam bibliodrvo.

So it's a tree,

To je drvo

and in its trunk you have the roots of languages.

čije deblo sadrži korijene jezika.

And it's all about international writing systems.

Radi se o međunarodnim sustavima pisanja.

And on the branches

Na granama

you have library material growing.

vidite knjižničnu građu kako raste.

You can also have function and form

Isto tako možete imati funkciju i oblik

with public art.

u javnoj umjetnosti.

So in Aurora, Colorado it's a bench.

U Aurori, Colorado, to je klupa.

But you have a bonus with this bench.

Ali klupa koja vam donosi bonus.

Because if you sit a long time in summer in shorts,

Ako dugo vremena sjedite na klupi u kratkim hlačama,

you will walk away

odšetat ćete

with temporary branding of

s privremenim žigom

the story element on your thighs.

elementa priče na svojim bedrima.

(Laughter)

(Smijeh)

Another functional work,

Jedan drugi funkcionalni uradak

it's in the south side of Chicago

nalazi se s južne strane Chicaga

for a subway station.

na stanici podzemne željeznice.

And it's called "Seeds of the Future are Planted Today."

Zove se ''Sjemenke budućnosti siju se Danas.''

It's a story about transformation

Priča je to o transformaciji

and connections.

i poveznicama.

So it acts as a screen

Djeluje kao zastor

to protect the rail and the commuter,

koji štiti tračnice i putnika,

and not to have objects falling on the rails.

od toga da različite stvari padaju na prugu.

To be able to change fences

Moći pretvoriti ograde

and window guards into flowers,

i štitnike za prozore u cvijeće,

it's fantastic.

to je fantastično.

And here I've been working for the last three years

Radila sam kroz posljednje tri godine

with a South Bronx developer

s razvojnim radnikom iz Južnog Bronxa,

to bring art to life

na oživljavanju

to low-income buildings

zgrada koje koriste ljudi sa slabijim primanjima

and affordable housing.

kao i poticajne stanogradnje.

So each building has its own personality.

Tako svaka zgrada dobije svoju osobnost.

And sometimes it's about a legacy of the neighborhood,

Ponekad se pak radi o nasljeđu jednog susjedstva,

like in Morrisania, about the jazz history.

kao u Morrisaniji, o povijesti jazz-a.

And for other projects, like in Paris,

A kod drugih projekata, poput onog u Parizu,

it's about the name of the street.

radi se o nazivu ulice.

It's called Rue des Prairies -- Prairie Street.

Zove se Rue des Prairies -- Prerijska ulica.

So I brought back the rabbit,

Zato sam vratila zeca,

the dragonfly,

vilinskog konjica,

to stay in that street.

i postavila ih u tu ulicu.

And in 2009,

2009. godine

I was asked to make a poster

zatražili su me da napravim plakat

to be placed in the subway cars in New York City

koji bi bio postavljen u podzemnu garažu u new York City-ju

for a year.

tijekom godine dana.

So that was a very captive audience.

To je bila prilično zasužnjena publika.

And I wanted to give them an escape.

I željela sam im otvoriti prostor za bijeg.

I created "All Around Town."

Stvorila sam ''Po čitavom gradu.''

It is a papercutting,

To je bio izrezak papira,

and then after, I added color on the computer.

i potom sam dodala boju putem kompjutora.

So I can call it techno-crafted.

Tako da mogu reći da je bio tehnološki obojen.

And along the way,

Usput na neki način

I'm kind of making papercuttings

izrađujem izreske od papira

and adding other techniques.

i dodajem druge tehnike.

But the result is always to have stories.

No rezultat je uvijek isti .- dobiti priče.

So the stories, they have a lot of possibilities.

Priče, dakle, imaju puno različitih mogućnosti.

They have a lot of scenarios.

Imaju mnogo različitih scenarija.

I don't know the stories.

Ne znam priče.

I take images from our global imagination,

Uzimam slike iz globalne mašte,

from cliché, from things we are thinking about,

iz klišeja, iz stvari o kojima razmišljamo,

from history.

iz povijesti.

And everybody's a narrator,

Na taj način svatko je narator,

because everybody has a story to tell.

jer svatko ima priču koju želi ispričati.

But more important

No, što je važnije jest,

is everybody has to make a story

da svatko mora složiti priču

to make sense of the world.

kako bi svijet imao smisla.

And in all these universes,

I u svim ovim svemirima

it's like imagination is the vehicle

mašta kao da se nalazi na biciklu

to be transported with,

kojim se vozika okolo,

but the destination is our minds

no odredište je u našem umu

and how we can reconnect

i u načinu na koji se ponovno povezujemo

with the essential and with the magic.

s onim suštinskim, onim magičnim.

And it's what story cutting is all about.

Upravo je to u srcu smisla izrezivanja papira.

(Applause)

(Pljesak.)