Theaster Gates: How to revive a neighborhood: with imagination, beauty and art

143,402 views ・ 2015-03-26

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Jina Bae κ²€ν† : Jeong-Lan Kinser
00:14
I'm a potter,
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μ €λŠ” λ„μ˜ˆκ°€μž…λ‹ˆλ‹€.
00:17
which seems like a fairly humble vocation.
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κ½€ μ†Œλ°•ν•œ μ§μ—…μ²˜λŸΌ 보이죠.
00:21
I know a lot about pots.
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μ „ λ„μžκΈ°μ— λŒ€ν•΄ 많이 μ•Œκ³  μžˆμ–΄μš”.
00:24
I've spent about 15 years making them.
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λ„μžκΈ°λ₯Ό κ΅½λŠ”λ° 15년을 λ³΄λƒˆμŠ΅λ‹ˆλ‹€.
00:28
One of the things that really excites me in my artistic practice
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μ €μ˜ μ˜ˆμˆ ν™œλ™κ³Ό λ„μ˜ˆκ°€λ‘œ κ΅μœ‘μ„ 받은 것쀑 μ €λ₯Ό κ°€μž₯ ν₯λΆ„ν•˜κ²Œ ν•˜λŠ” 건
00:31
and being trained as a potter
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무(η„‘)μ—μ„œ ꡉμž₯히 멋진 것을 λ§Œλ“œλŠ” 법을 빨리 λ°°μš΄λ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€.
00:34
is that you very quickly learn how to make great things out of nothing;
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00:39
that I spent a lot of time at my wheel with mounds of clay trying stuff;
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닀루기 νž˜λ“  흙 더미듀과 ν•¨κ»˜ μˆ˜λ ˆμ—μ„œ λ§Œλ“€κΈ°λ₯Ό μ‹œλ„ν•˜λ©° 많이 μ‹œκ°„μ„ 보내죠.
00:46
and that the limitations of my capacity, my ability,
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μ €μ˜ 수용λ ₯κ³Ό λŠ₯λ ₯의 ν•œκ³„λŠ” 제 손과 상상λ ₯에 λ‹¬λ €μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:49
was based on my hands and my imagination;
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00:52
that if I wanted to make a really nice bowl
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정말 멋진 그릇을 λ§Œλ“€κ³  싢을 λ•Œ λ°œμ„ μ–΄λ””μ—μ„œ ꡴릴 지λ₯Ό λͺ¨λ₯Έλ‹€λ©΄,
00:54
and I didn't know how to make a foot yet,
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00:56
I would have to learn how to make a foot;
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λ¨Όμ € μ–΄λ–»κ²Œ λ°œμ„ 놓아야 ν•˜λŠ”μ§€ λ°°μ›Œμ—¬λ§Œ ν• κ²λ‹ˆλ‹€.
00:59
that that process of learning has been very, very helpful to my life.
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κ·Έ λ°°μ›€μ˜ 과정은 제 μΈμƒμ—μ„œ ꡉμž₯ν•œ 도움이 λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
01:04
I feel like, as a potter,
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μ €λŠ” λ„μ˜ˆκ°€λ‘œμ„œ, 세상을 λ§Œλ“œλŠ” 법도 배우기 μ‹œμž‘ν•˜λŠ” 것 κ°™μ•„μš”.
01:06
you also start to learn how to shape the world.
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01:11
There have been times in my artistic capacity
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μ €μ˜ 예술적 수용λ ₯으둜 λ―Έκ΅­ 역사상 νž˜λ“  일이 λ²Œμ–΄μ‘Œλ˜
01:14
that I wanted to reflect
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01:17
on other really important moments
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그리고 세계 역사상 νž˜λ“  일이 λ²Œμ–΄μ‘Œλ˜ μ€‘μš”ν•œ μˆœκ°„λ“€μ„
01:19
in the history of the U.S., the history of the world
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λ°˜μ˜ν•˜κ³  싢은 μ‹œκ°„λ“€μ΄ μžˆμ—ˆμ£ .
01:23
where tough things happened,
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01:25
but how do you talk about tough ideas
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ν•˜μ§€λ§Œ μ–΄λ–»κ²Œ μš°λ¦¬κ°€ μ‚¬λžŒλ“€μ„ κ·Έ μˆœκ°„μ˜ μƒν™©μ—μ„œ μ œμ™Έμ‹œν‚€κ³ 
01:28
without separating people from that content?
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κ·Έ νž˜λ“  일듀을 이야기 ν•  수 μžˆμ„κΉŒμš”?
01:32
Could I use art like these old, discontinued firehoses from Alabama,
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μ•ŒλΌλ°”λ§ˆμ—μ„œ μ‚¬μš©μ΄ μ€‘λ‹¨λœ 낑은 μ†Œλ°©ν˜ΈμŠ€ 같은 예술 μž‘ν’ˆμ„
01:37
to talk about the complexities of a moment of civil rights in the '60s?
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60λ…„λŒ€ 민ꢌ μš΄λ™μ˜ λ³΅μž‘ν•œ μˆœκ°„μ„ μ΄μ•ΌκΈ°ν•˜λŠ” 데 μ΄μš©ν•  수 μžˆμ—ˆμ„κΉŒμš”?
01:43
Is it possible to talk about my father and I doing labor projects?
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그리고 저와 제 μ•„λ²„μ§€μ˜ 근둜 κ³„νšμ„ 이야기 ν•˜λŠ” 것이 κ°€λŠ₯ν• κΉŒμš”?
01:48
My dad was a roofer, construction guy, he owned small businesses,
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제 μ•„λ²„μ§€λŠ” μž‘μ€ 사업을 μš΄μ˜ν•˜λŠ” 지뢕 수리곡이며 곡사μž₯ μΌκΎΌμ΄μ—ˆμ–΄μš”.
01:52
and at 80, he was ready to retire and his tar kettle was my inheritance.
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80세에 κ·Έκ°€ 은퇴할 μ€€λΉ„κ°€ λ˜μ—ˆμ„ λ•Œ
그의 타λ₯΄ μ£Όμ „μžλŠ” μ œκ°€ μœ μ‚°μœΌλ‘œ 물렀받은 κ²ƒμ΄μ—ˆμ£ .
01:59
Now, a tar kettle doesn't sound like much of an inheritance. It wasn't.
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큰 μž¬μ‚°μ΄ μ•„λ‹Œ 것 κ°™μŠ΅λ‹ˆλ‹€. λ„€, 큰 μž¬μ‚°μ€ μ•„λ‹ˆμ—ˆμ£ .
02:03
It was stinky and it took up a lot of space in my studio,
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그것은 λƒ„μƒˆκ°€ μ‹¬ν•˜κ²Œ 났고 제 μž‘μ—…μ‹€ 곡간을 많이 μ°¨μ§€ν–ˆμ–΄μš”.
02:07
but I asked my dad if he would be willing to make some art with me,
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κ·ΈλŸ¬λ‚˜ μ €λŠ” μ•„λ²„μ§€κ»˜ ν•¨κ»˜ μ˜ˆμˆ μž‘ν’ˆμ„ λ§Œλ“€κ³  μ‹ΆμœΌλƒκ³  μ—¬μ­Έμ–΄μš”.
02:11
if we could reimagine this kind of nothing material
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μš°λ¦¬λŠ” 아무것도 μ•„λ‹Œ 재료λ₯Ό νŠΉλ³„ν•œ κ²ƒμœΌλ‘œ μž¬ν•΄μ„ ν•  수 μžˆμ—ˆμ£ .
02:15
as something very special.
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그의 κΈ°μˆ λ•μ— μž¬λ£Œλ“€μ„ μ •μ œν•¨μœΌλ‘œμ¨
02:18
And by elevating the material and my dad's skill,
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02:21
could we start to think about tar just like clay, in a new way,
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μš°λ¦¬λŠ” 타λ₯΄λ₯Ό μ§„ν™μ²˜λŸΌ μƒˆλ‘­κ²Œ 생각할 수 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
λͺ¨μ–‘을 달리 λ§Œλ“œλŠ” 것은 무엇이 κ°€λŠ₯ν•  지λ₯Ό μƒκ°ν•˜λ„λ‘ 도왔죠.
02:27
shaping it differently, helping us to imagine what was possible?
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진흙을 μ‚¬μš©ν•œ 후에, μ €λŠ” λ§Žμ€ λ‹€λ₯Έ μ’…λ₯˜μ˜ μž¬λ£Œλ“€μ— 관심이 쏠렸죠.
02:33
After clay, I was then kind of turned on to lots of different kinds of materials,
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02:37
and my studio grew a lot because I thought, well,
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그리고 제 μž‘μ—…μ‹€μ€ 많이 μ„±μž₯ν–ˆκ³  μ €λŠ” 이것이 재료 λ•Œλ¬Έμ΄ μ•„λ‹ˆλΌ,
02:40
it's not really about the material, it's about our capacity to shape things.
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μ–΄λ–€ 것을 ν˜•μ„±ν•  수 μžˆλŠ” 수용λ ₯에 λŒ€ν•œ 것이기 λ•Œλ¬Έμ΄λΌκ³  μƒκ°ν–ˆμ£ .
02:44
I became more and more interested in ideas
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μ €λŠ” μ—¬λŸ¬ 아이디어듀과
02:47
and more and more things that were happening just outside my studio.
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μž‘μ—…μ‹€ λ°–μ—μ„œ λ²Œμ–΄μ§€λŠ” 일듀에 λ”μš± 더 ν₯λ―Έλ₯Ό κ°€μ§€κ²Œ λμ–΄μš”.
02:53
Just to give you a little bit of context, I live in Chicago.
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μ•½κ°„μ˜ μ „ν›„ 상황을 μ•Œλ €λ“œλ¦¬μžλ©΄, μ „ μ‹œμΉ΄κ³ μ— μ‚½λ‹ˆλ‹€.
02:57
I live on the South Side now. I'm a West Sider.
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μ§€κΈˆμ€ 남μͺ½μ— μ‚΄μ§€λ§Œ, μ „ μ„œλΆ€ μΆœμ‹ μž…λ‹ˆλ‹€.
03:00
For those of you who are not Chicagoans, that won't mean anything,
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이곳 μ‹œμΉ΄κ³  μΆœμ‹ μ΄ μ•„λ‹Œ μ‚¬λžŒλ“€μ—κ² 별 μ˜λ―Έλ„ μ—†κ² μ§€λ§Œ
03:03
but if I didn't mention that I was a West Sider,
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μ œκ°€ μ„œμͺ½ μΆœμ‹ μΈκ±Έ μ–ΈκΈ‰ν•˜μ§€ μ•ŠλŠ”λ‹€λ©΄,
λ§Žμ€ 이웃 μ‚¬λžŒλ“€μ΄ μ„œμš΄ν•΄ ν•  κ²λ‹ˆλ‹€.
03:06
there would be a lot of people in the city that would be very upset.
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μ œκ°€ μ‚¬λŠ” λ™λ„€λŠ” κ·Έλžœλ“œ ν¬λ‘œμ‹±μž…λ‹ˆλ‹€. 저희 λ™λ„€λŠ” 더 μ’‹μ•„λ³΄μ΄λŠ” 곳이죠.
03:10
The neighborhood that I live in is Grand Crossing.
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03:13
It's a neighborhood that has seen better days.
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03:16
It is not a gated community by far.
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μ•„μ§κΉŒμ§€λŠ” 외뢀인 μΆœμž… ν†΅μ œ ꡬ역이 μ•„λ‹™λ‹ˆλ‹€.
03:21
There is lots of abandonment in my neighborhood,
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제 μ΄μ›ƒμ—λŠ” λ§Žμ€ 폐가가 있죠.
03:24
and while I was kind of busy making pots and busy making art
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λ„μžκΈ°λ₯Ό λ§Œλ“€κ³  μ˜ˆμˆ ν™œλ™μ„ ν•˜κ³ 
그리고 예술적 λ°œμ „μœΌλ‘œ λ°”μœ λ™μ•ˆ
03:27
and having a good art career,
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03:29
there was all of this stuff that was happening
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λ°”λ‘œ 제 μž‘μ—…μ‹€ λ°–μ—μ„œ 이 λͺ¨λ“  일듀이 λ²Œμ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
03:31
just outside my studio.
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03:34
All of us know about failing housing markets
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λͺ¨λ‘κ°€ ν•˜λ½ν•˜λŠ” μ£Όνƒμ‹œμž₯에 λŒ€ν•΄
03:37
and the challenges of blight,
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λ˜ν•œ κ·Έ ν™©νμ˜ λ¬Έμ œλ“€μ— λŒ€ν•΄ μ•Œκ³  μžˆμŠ΅λ‹ˆλ‹€.
03:39
and I feel like we talk about it with some of our cities more than others,
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μš°λ¦¬λŠ” 일뢀 λ„μ‹œμ— λŒ€ν•΄ λ‹€λ₯Έ λ„μ‹œλ³΄λ‹€ 더 많이 이야기 ν•˜λŠ” 것 κ°™μŠ΅λ‹ˆλ‹€.
κ·ΈλŸ¬λ‚˜ μ €λŠ” 미ꡭ을 λ„˜μ–΄μ„  λ§Žμ€ λ„μ‹œμ—μ„œ ν™©νμ˜ 문제λ₯Ό κ°€μ‘Œλ‹€κ³  μƒκ°ν•©λ‹ˆλ‹€.
03:43
but I think a lot of our U.S. cities and beyond
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03:45
have the challenge of blight,
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03:48
abandoned buildings that people no longer know what to do anything with.
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더이상 μ–΄λ–»κ²Œ ν•΄μ•Όν•  지 μ•Œμˆ˜ μ—†λŠ” νν—ˆλœ 건물듀에 λŒ€ν•΄ 말이죠.
03:52
And so I thought, is there a way that I could start to think
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μ €λŠ” '예술적 수련의 ν™•μž₯으둜써
03:55
about these buildings as an extension or an expansion of my artistic practice?
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그런 건물듀에 λŒ€ν•΄ 생각할 수 μžˆλŠ” 방법이 μžˆμ„κΉŒ'라고 μƒκ°ν–ˆμ–΄μš”.
04:00
And that if I was thinking along with other creatives --
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건좕가, 기술자, λΆ€λ™μ‚°μ—…μžμ™€ 같은 창의적인 μ‚¬λžŒλ“€κ³Ό ν•¨κ»˜ κ³ λ―Όν–ˆλ‹€λ©΄
04:03
architects, engineers, real estate finance people --
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ν•¨κ»˜ λ„μ‹œλ₯Ό μž¬ν˜•μ„±ν•˜λŠ”λ° μ–΄μ©Œλ©΄ μ’€ 더 볡합적인 방법을 생각할 수 μžˆλ„λ‘μ΄μš”.
04:07
that us together might be able to kind of think
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04:10
in more complicated ways about the reshaping of cities.
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04:15
And so I bought a building.
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그리고 μ €λŠ” 건물 ν•œ 채λ₯Ό 샀죠.
04:16
The building was really affordable.
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κ·Έ 것은 μ €λ ΄ν•œ κ°€κ²©μ΄μ—ˆμ–΄μš”.
04:19
We tricked it out.
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그리고 이것을 단μž₯μ‹œμΌ°μ£ .
04:21
We made it as beautiful as we could to try to just get some activity happening
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ν•  수 μžˆλŠ” 만큼 μ•„λ¦„λ‹΅κ²Œ λ§Œλ“€μ–΄,
동넀 κ·Όμ²˜μ—μ„œ λ²Œμ–΄μ§€λŠ” ν™œλ™λ“€μ— μ΄μš©ν•˜λ € ν–ˆμŠ΅λ‹ˆλ‹€.
04:25
on my block.
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04:27
Once I bought the building for about 18,000 dollars,
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μ•½ 18,000 λ‹¬λŸ¬λ‘œ 그것을 μ‚° λ‹€μŒμ— μ €λŠ” 무일푼이 λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
04:30
I didn't have any money left.
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04:32
So I started sweeping the building as a kind of performance.
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건물을 곡연을 ν•˜λŠ” κ²ƒμ²˜λŸΌ μ“Έμ—ˆμ–΄μš”.
04:37
This is performance art, and people would come over,
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"이것은 곡연 μ˜ˆμˆ μž…λ‹ˆλ‹€."라고 ν–ˆμ£ .
μ‚¬λžŒλ“€μ€ μ™€μ„œ κ΅¬κ²½ν–ˆμ–΄μš”.
04:40
and I would start sweeping.
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그리고 λΉ—μžλ£¨ μ§ˆμ„ μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
04:41
Because the broom was free and sweeping was free.
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λΉ—μžλ£¨μ™€ λΉ—μžλ£¨μ§ˆμ΄ λ¬΄λ£Œμ˜€μœΌλ‹ˆκΉŒμš”.
04:44
It worked out.
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이것은 νš¨κ³Όκ°€ μžˆμ—ˆμ£ .
04:46
(Laughter)
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(μ›ƒμŒ)
04:48
But we would use the building, then, to stage exhibitions, small dinners,
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μš°λ¦¬λŠ” 이 건물을 λ¬΄λŒ€ μ „μ‹œλ‚˜ κ°„λ‹¨ν•œ μ €λ…μ‹μ‚¬μ˜ μž₯μ†Œλ‘œ μ‚¬μš©ν–ˆμ£ .
04:54
and we found that that building on my block, Dorchester --
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그리고 μš°λ¦¬λŠ” λ™λ„€μ—μ„œ λ„μ²΄μŠ€ν„°λΌλŠ” 건물이,
04:58
we now referred to the block as Dorchester projects --
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-μš°λ¦¬λŠ” κ·Έ ꡬ역을 λ„μ²΄μŠ€ν„° ν”„λ‘œμ νŠΈλΌκ³  μ§€μΉ­ν–ˆλŠ”λ°μš”-
κ·Έ 건물이 μ—¬λŸ¬ ν™œλ™λ“€μ„ ν•  수 μžˆλŠ” λͺ¨μž„ κ³΅κ°„μ΄λΌλŠ” κ±Έ μ•Œκ²Œ λ˜μ—ˆμ–΄μš”.
05:01
that in a way that building became a kind of gathering site
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05:04
for lots of different kinds of activity.
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05:06
We turned the building into what we called now the Archive House.
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μš°λ¦¬λŠ” κ·Έ 건물을 μ§€κΈˆμ€ κΈ°λ‘λ³΄κ΄€μ†ŒλΌ λΆ€λ₯΄λŠ” 곳으둜 λ°”κΎΈμ—ˆμŠ΅λ‹ˆλ‹€.
μ €μž₯ 주택은 μ΄λŸ¬ν•œ 멋진 일듀을 많이 ν•΄λƒˆμ–΄μš”.
05:11
The Archive House would do all of these amazing things.
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λ„μ‹œ μ•ˆκ³Ό λ°–μ˜ ꡉμž₯ν•œ μ‚¬λžŒλ“€μ΄ λ™λ„€μ•ˆμ—μ„œ ν™œλ™ν•˜κ²Œ λ˜μ—ˆμ–΄μš”.
05:14
Very significant people in the city and beyond
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05:17
would find themselves in the middle of the hood.
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05:20
And that's when I felt like
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κ·Έ λ•Œ μ €λŠ” 점토와 ν•¨κ»˜ν•œ μ €μ˜ 생애와
05:22
maybe there was a relationship between my history with clay
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05:25
and this new thing that was starting to develop,
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μƒˆλ‘œ λ°œμ „ν•˜κΈ° μ‹œμž‘ν•˜λŠ” 것 사이에 연관이 μžˆλ‹€κ³  λŠκΌˆμ–΄μš”.
05:28
that we were slowly starting
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μš°λ¦¬κ°€ λ„μ‹œ λ‚¨λΆ€μ˜ μ‚¬λžŒλ“€μ΄ μƒκ°ν–ˆλ˜ λ„μ‹œλ₯Ό μ„œμ„œνžˆ μž¬ν˜•μ„±ν•˜κΈ° μ‹œμž‘ν•œ κ±°μ£ .
05:30
to reshape how people imagined the South Side of the city.
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ν•˜λ‚˜κ°€ μ—¬λŸ¬κ°œμ˜ μ§‘λ“€λ‘œ λ³€ν–ˆκ³ 
05:35
One house turned into a few houses,
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05:37
and we always tried to suggest
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μš°λ¦¬λŠ” 항상 μ•„λ¦„λ‹€μš΄ 그릇을 λ§Œλ“œλŠ” 것을 μ€‘μš”νžˆ μ—¬κΈΈ λΏλ§Œμ•„λ‹ˆλΌ
05:40
that not only is creating a beautiful vessel important,
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05:44
but the contents of what happens in those buildings is also very important.
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κ·Έ κ³³μ—μ„œ μΌμ–΄λ‚˜λŠ” 일듀 λ˜ν•œ μ€‘μš”νžˆ μ—¬κ²ΌμŠ΅λ‹ˆλ‹€.
05:47
So we were not only thinking about development,
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λ°œμ „λ§Œ μƒκ°ν•œ 것이 μ•„λ‹ˆλΌ ν”„λ‘œκ·Έλž¨μ— λŒ€ν•˜μ—¬ μƒκ°ν–ˆκ³ 
05:50
but we were thinking about the program,
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05:52
thinking about the kind of connections that could happen
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집 λ“€κ³Ό 이웃 μ‚¬μ΄μ˜ 일어날 수 μžˆλŠ” 관계에 λŒ€ν•΄μ„œ μƒκ°ν–ˆμ£ .
05:56
between one house and another, between one neighbor and another.
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κ·Έ 건물은 '경청의 집'이 λ˜μ—ˆμ–΄μš”.
06:02
This building became what we call the Listening House,
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06:05
and it has a collection of discarded books
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이곳에 쑴슨 μΆœνŒμ‚¬μ—μ„œ 폐기된 책듀을 λͺ¨μ•„λ†“μ•˜μ–΄μš”.
06:08
from the Johnson Publishing Corporation,
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06:11
and other books from an old bookstore that was going out of business.
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λ˜ν•œ νμ—…μ „μ˜ μ„œμ μ— λ‚¨μ•˜λ˜ 낑은 책듀도 μžˆμŠ΅λ‹ˆλ‹€.
μ €λŠ” 이 건물을 κ°€λŠ₯ν•œ ν•œ μ–΄λ–€ 것이든 ν™œλ™μ μœΌλ‘œ λ§Œλ“€κ³  μ‹Άμ—ˆμ–΄μš”.
06:15
I was actually just wanting to activate these buildings as much as I could
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06:19
with whatever and whoever would join me.
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무엇이든, λˆ„κ΅°λ“  μ°Έμ—¬ν•˜λ„λ‘ 말이죠.
06:23
In Chicago, there's amazing building stock.
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μ‹œμΉ΄κ³ μ— 멋진 μ°½κ³ κ°€ μžˆμ–΄μš”.
06:26
This building, which had been the former crack house on the block,
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κ·Έ 곳은 κ·Έ μ „μ—λŠ” κ·Έ κ΅¬μ—­μ—μ„œ λ§ˆμ•½μ„ νŒŒλŠ” κ³³μ΄μ—ˆμ£ .
06:30
and when the building became abandoned,
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κ·Έ 곳이 λ²„λ €μ‘Œμ„ λ•Œ κ·Έ μž₯μ†Œλ‘œ 무엇을 ν•  수 μžˆμ„μ§€
06:33
it became a great opportunity to really imagine what else could happen there.
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상상할 수 μžˆλŠ” 쒋은 κΈ°νšŒκ°€ λ˜μ—ˆμ£ .
06:37
So this space we converted into what we call Black Cinema House.
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이 곳은 μš°λ¦¬κ°€ λΈ”λž™ μ‹œλ„€λ§ˆ ν•˜μš°μŠ€λΌκ³  λΆ€λ₯΄λŠ” 곳으둜 λ³€κ²½ν•œ 곳이죠.
06:41
Black Cinema House was an opportunity in the hood to screen films
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이곳은 λ™λ„€μ—μ„œ μ£Όλ―Όλ“€μ—κ²Œ
μ€‘μš”ν•˜κ³  μ—°κ΄€ κΉŠμ€ μ˜ν™”λ₯Ό μƒμ˜ν•  수 μžˆλŠ” κΈ°νšŒκ°€ 됐죠.
06:45
that were important and relevant to the folk who lived around me,
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06:49
that if we wanted to show an old Melvin Van Peebles film, we could.
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λŠ™μ€ 말빈 λ²€ νŽ˜λΈ”μŠ€μ˜ μ˜ν™”λ₯Ό μƒμ˜ν•˜κ³  μ‹ΆμœΌλ©΄ ν•˜λ©΄ λ˜μ—ˆκ³ ,
06:53
If we wanted to show "Car Wash," we could.
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'μ„Έμ°¨'λ₯Ό μƒμ˜ν•˜κ³  μ‹ΆμœΌλ©΄ ν•  수 μžˆμ—ˆμ£ .
06:56
That would be awesome.
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정말 λ©‹μ§„μΌμ΄μ—ˆμ–΄μš”.
06:57
The building we soon outgrew,
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이내 κ·Έ μ˜ν™”κ΄€μ€ λ„ˆλ¬΄ 크게 μ„±μž₯ν•΄μ„œ 넓은 κ³΅κ°„μœΌλ‘œ 이사 ν•΄μ•Όλ§Œ ν–ˆμŠ΅λ‹ˆλ‹€.
07:00
and we had to move to a larger space.
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단지 μž‘μ€ 점토 μ‘°κ°λ“€λ‘œ λ§Œλ“€μ–΄μ§„ λΈ”λž™ μ‹œλ„€λ§ˆ ν•˜μš°μŠ€λŠ”
07:03
Black Cinema House, which was made from just a small piece of clay,
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07:07
had to grow into a much larger piece of clay, which is now my studio.
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ν˜„μž¬λŠ” μ €μ˜ μž‘μ—…μ‹€μ΄λ©°, 큰 쑰각의 μ ν† λ‘œ μ„±μž₯ν–ˆμŠ΅λ‹ˆλ‹€.
07:14
What I realized was that for those of you who are zoning junkies,
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κ·Έ νν—ˆ ꡬ역을 λ‹€μ‹œ μž¬κ΅¬μ„±ν•˜λŠ” κ±Έ μ’‹μ•„ν•˜λŠ” μ‚¬λžŒλ“€μ—κ²ŒλŠ”
07:18
that some of the things that I was doing
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μ œκ°€ κ·Έ κ±΄λ¬Όλ“€μ—μ„œ ν–ˆλ˜ 일이 λ©ˆμΆ°μ‘Œλ‹€λŠ” 것을 κΉ¨λ‹¬μ•˜μ£ .
07:20
in these buildings that had been left behind,
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07:23
they were not the uses by which the buildings were built,
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건물이 그런 것을 ν•  μš©λ„λ‘œ λ§Œλ“€μ–΄μ§„ 게 μ•„λ‹Œκ²ƒλ“€μ΄μ—ˆμ£ .
07:27
and that there are city policies that say,
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그리고 λ„μ‹œ 정책가듀은 λ§ν–ˆμ£ ,
07:29
"Hey, a house that is residential needs to stay residential."
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'μ΄λ΄μš”, 집은 거주민듀이 μ‚΄κΈ° μœ„ν•œ κ³³μ΄λ‹ˆ 계속 κ·Έλ ‡κ²Œ μœ μ§€λ˜μ•Ό ν•΄μš”.'
07:33
But what do you do in neighborhoods when ain't nobody interested in living there?
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ν•˜μ§€λ§Œ 아무도 κ·Έ 곳에 μ‚΄κΈ° μ›ν•˜μ§€ μ•ŠλŠ” 경우 κ±°κΈ°μ„œ 뭘 ν•  수 μžˆκ² μ–΄μš”?
07:38
That the people who have the means to leave have already left?
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또, κ±°κΈ°μ„œ μ‚΄ μ—¬λ ₯이 μžˆλŠ” μ‚¬λžŒλ“€μ€ 이미 λ– λ‚œ 후인 κ²½μš°μ—λŠ”μš”?
07:42
What do we do with these abandoned buildings?
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버렀진 건물둜 무엇을 ν•  수 μžˆμ„κΉŒμš”?
07:44
And so I was trying to wake them up using culture.
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κ·Έλž˜μ„œ λ¬Έν™”λ₯Ό μ΄μš©ν•΄μ„œ 그듀이 κ°μ„±ν•˜λ„λ‘ λΆ€μΆ”κ²Όμ£ .
07:47
We found that that was so exciting for folk,
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κ·Έ 일은 μ£Όλ―Όλ“€μ—κ²Œ 맀우 신났고
07:50
and people were so responsive to the work, that we had to then find bigger buildings.
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우리의 μž‘μ—…μ— 맀우 재빨리 μ‘λ‹΅ν•΄μ„œ 더 큰 건물을 μ°Ύμ•„μ•Όλ§Œ ν–ˆμŠ΅λ‹ˆλ‹€.
07:55
By the time we found bigger buildings,
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더 큰 λΉŒλ”©μ„ 찾을 λ•ŒκΉŒμ§€ λΆ€λΆ„μ μœΌλ‘œ 생각해야 ν•  μžμ›λ“€μ΄ μžˆμ—ˆμ–΄μš”.
07:57
there was, in part, the resources necessary to think about those things.
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08:01
In this bank that we called the Arts Bank, it was in pretty bad shape.
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μš°λ¦¬κ°€ μ•„νŠΈ 뱅크라고 λΆ€λ₯΄λŠ” 은행 μ•ˆμ€ μ•„μ£Ό μ•ˆμ’‹μ€ μƒνƒœμ˜€μ£ .
08:05
There was about six feet of standing water.
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6ν”ΌνŠΈ μ •λ„μ˜ 물이 μ°¨μžˆμ—ˆμ–΄μš”.
08:09
It was a difficult project to finance,
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자금 쑰달이 μ–΄λ €μš΄ κΈ°νšμ΄μ—ˆμ£ .
08:11
because banks weren't interested in the neighborhood
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은행도, μ‚¬λžŒλ“€λ„ 동넀에 관심이 μ—†μ—ˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
08:14
because people weren't interested in the neighborhood
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08:16
because nothing had happened there.
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그곳에 아무 일도 μΌμ–΄λ‚˜μ§€ μ•Šμ•˜κΈ° λ•Œλ¬Έμ΄μ—ˆμ£ .
08:18
It was dirt. It was nothing. It was nowhere.
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그건 먼지 κ°™μ•˜μ£ . 아무 μ˜λ―Έλ„ μ—†κ³  μ–΄λ–€ μž₯μ†Œλ„ μ•„λ‹ˆμ—ˆμ–΄μš”.
08:22
And so we just started imagining, what else could happen in this building?
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κ·Έλž˜μ„œ 이 건물에 μ–΄λ–€ λ‹€λ₯Έ 일을 ν•  수 μžˆμ„μ§€ μƒμƒν•˜κΈ° μ‹œμž‘ν–ˆμ–΄μš”.
08:28
(Applause)
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(λ°•μˆ˜)
08:33
And so now that the rumor of my block has spread,
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이제 저희 ꡬ역에 λŒ€ν•œ μ†Œλ¬Έμ΄ λ‚˜μ„œ λ§Žμ€ μ‚¬λžŒλ“€μ΄ λ°©λ¬Έν•˜κΈ° μ‹œμž‘ν•˜μž,
08:36
and lots of people are starting to visit,
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08:38
we've found that the bank can now be a center
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κ·Έ 은행은 μ „μ‹œ, κΈ°λ‘λ³΄κ΄€μ†Œ, μŒμ•… κ³΅μ—°μ˜ 쀑심지가 λ˜μ—ˆκ³ ,
08:40
for exhibition, archives, music performance,
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08:43
and that there are people who are now interested
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μ΄μ œλŠ” κ·Έ 건물 λ°”λ‘œ κ±΄λ„ˆνŽΈμ— μ‚΄κΈ°λ₯Ό μ›ν•˜λŠ” μ‚¬λžŒλ“€μ΄ μƒκ²ΌμŠ΅λ‹ˆλ‹€.
08:46
in being adjacent to those buildings because we brought some heat,
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μš°λ¦¬κ°€ 열기같은 것을 일으켰고 λΆˆμ„ μ§€νˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
08:50
that we kind of made a fire.
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08:52
One of the archives that we'll have there is this Johnson Publishing Corporation.
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μš°λ¦¬λŠ” 거기에 쑴슨 μΆœνŒμ‚¬μ˜ κΈ°λ‘λ³΄κ΄€μ†Œλ₯Ό λ§Œλ“€κ²ƒμž…λ‹ˆλ‹€.
08:56
We've also started to collect memorabilia from American history,
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λ˜ν•œ λ―Έκ΅­ 역사와 동넀에 μ‚΄κ±°λ‚˜ μ‚΄λ˜ μ‚¬λžŒλ“€μ˜ κΈ°λ…ν’ˆμ„ λͺ¨μœΌκΈ° μ‹œμž‘ν–ˆμ–΄μš”.
09:00
from people who live or have lived in that neighborhood.
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이 사진듀 쀑 μΌλΆ€λŠ” 흑인을 λΉ„ν•˜ν•˜λŠ” 것인데 맀우 도전적인 μ—­μ‚¬μ˜ λ‚΄μš©μ΄μ£ .
09:04
Some of these images are degraded images of black people,
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09:08
kind of histories of very challenging content,
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09:11
and where better than a neighborhood
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μš°λ¦¬λŠ” μ–΄λ¦° 청년듀이 λŠμž„μ—†μ΄ 인쒅과 κ³„μΈ΅μ˜ λ³΅μž‘μ„±μ„ μ•ΌκΈ°μ‹œν‚€λŠ”
09:13
with young people who are constantly asking themselves about their identity
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κ·Έλ“€μ˜ 정체성에 μ˜λ¬Έμ„ κ°–λŠ” λ‹€λ₯Έ 동넀보닀 더 λ‚«μŠ΅λ‹ˆλ‹€.
09:18
to talk about some of the complexities
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09:20
of race and class?
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09:22
In some ways, the bank represents a hub,
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μ–΄λ–€ μ˜λ―Έμ—μ„œλŠ”, κ·Έ 은행은 μ€‘μ‹¬μ§€λ‘œ ν‘œν˜„λ  수 μžˆμ–΄μš”.
09:26
that we're trying to create a pretty hardcore node of cultural activity,
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μš°λ¦¬λŠ” 문화적 ν™œλ™μ˜ μ•„μ£Ό 쀑심적인 ꡐ점을 λ§Œλ“€μ–΄ λ‚΄λ €κ³  ν•˜κ³  있고,
09:31
and that if we could start to make multiple hubs
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만일 μš°λ¦¬κ°€ μ—¬λŸ¬κ°œμ˜ 쀑심지λ₯Ό λ§Œλ“€μ–΄ 주변에 μ•„μ£Ό 멋진 녹색 곡간을 μ—°κ²°ν•˜λ©΄
09:34
and connect some cool green stuff around there,
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09:37
that the buildings that we've purchased and rehabbed,
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μš°λ¦¬κ°€ κ΅¬μž…ν•΄ λ‹€μ‹œ ꡬ좕해 이제 60-70 개 정도가 λ˜λŠ”λ°μš”,
09:40
which is now around 60 or 70 units,
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μž‘μ€ λ² λ₯΄μ‚¬μœ  ꢁ전을 κ·Έ μœ„μ— λ‚΄λ €λ†“λŠ” 것이죠.
09:44
that if we could land miniature Versailles on top of that,
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09:49
and connect these buildings by a beautiful greenbelt --
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κ·Έ 건물듀을 μ•„λ¦„λ‹€μš΄ λ…Ήμ§€λ‹¨μ§€λ‘œ μ—°κ²°ν•˜λŠ” κ±°μ£ ...
09:52
(Applause) --
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(λ°•μˆ˜)
09:55
that this place where people never wanted to be
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μ‚¬λžŒλ“€μ΄ μ›ν•˜μ§€ μ•Šλ˜ μž₯μ†Œκ°€ μ€‘μš”ν•œ λͺ©μ μ§€λ‘œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
09:59
would become an important destination
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10:01
for folk from all over the country and world.
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μ „κ΅­κ³Ό μ„Έκ³„μ˜ μ£Όλ―Όλ“€μ—κ²Œ 말이죠.
10:05
In some ways, it feels very much like I'm a potter,
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μ–΄λ–€ λ©΄μ—μ„œ, λ°”ν€΄μœ„μ—μ„œ λ¬Έμ œλ“€μ„ ν•΄κ²°ν•˜λ €λŠ” λ„μ˜ˆκ°€λ‘œ λŠκ»΄μ§‘λ‹ˆλ‹€.
10:08
that we tackle the things that are at our wheel,
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10:12
we try with the skill that we have
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μš°λ¦¬λŠ” 가진 기술둜 λ‹€μŒμ— λ§Œλ“€λ €λŠ” 그릇에 λŒ€ν•΄ 생각해 봐야 ν•˜μ£ .
10:14
to think about this next bowl that I want to make.
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그것은 ν•œκ°œμ˜ κ·Έλ¦‡μ—μ„œ 집 ν•˜λ‚˜λ‘œ, λ‹¨μ§€λ‘œ, μ΄μ›ƒμœΌλ‘œ, λ¬Έν™” κ΅¬μ—­μœΌλ‘œ,
10:19
And it went from a bowl to a singular house to a block to a neighborhood
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10:23
to a cultural district to thinking about the city,
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또 λͺ¨λ“  λ©΄μ—μ„œ λͺ°λΌμ„œ λ°°μ›Œμ•Όλ§Œ ν–ˆλ˜ λ„μ‹œμ˜ λͺ¨λ“  방면으둜 λ°œμ „ν–ˆμ£ .
10:26
and at every point, there were things that I didn't know that I had to learn.
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10:30
I've never learned so much about zoning law in my life.
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μΌμƒμ—μ„œ κ΅¬μ—­μ§“λŠ” 법을 μ΄λ ‡κ²Œ 많이 배운적이 μ—†μ£ ,
10:33
I never thought I'd have to.
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λ°°μ›Œμ•Όλ§Œ ν•œλ‹€κ³  μƒκ°ν–ˆλ˜ 적이 μ—†μ£ .
10:35
But as a result of that, I'm finding that there's not just room
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ν•˜μ§€λ§Œ κ·Έ 결과둜써, μ €λŠ” κ·Έ 곳에 μ €μ˜ 예술적 μ‹€μ²œ 뿐만 μ•„λ‹ˆλΌ
10:38
for my own artistic practice,
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10:40
there's room for a lot of other artistic practices.
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λ§Žμ€ λ‹€λ₯Έ μ΄λ“€μ˜ μ‹€μ²œμ„ μœ„ν•œ 곡간이 μžˆλ‹€λŠ” κ±Έ μ•Œμ•˜μ£ .
10:43
So people started asking us,
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μ‚¬λžŒλ“€μ€ 묻기 μ‹œμž‘ν–ˆμ£ , "ν…ŒμŠ€ν„°μ”¨, 규λͺ¨λŠ” μ–΄λ–»κ²Œ ν•˜μ‹€κ±΄κ°€μš”?"
10:45
"Well, Theaster, how are you going to go to scale?"
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10:47
and, "What's your sustainability plan?"
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"μœ μ§€ κ°€λŠ₯ν•œ κ³„νšμ€ μ–΄λ–€κ²ƒμΈκ°€μš”?"
10:49
(Laughter) (Applause)
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(μ›ƒμŒ) (λ°•μˆ˜)
10:54
And what I found was that I couldn't export myself,
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사싀 μ €λŠ” μ € μžμ‹ μ„ μˆ˜μΆœν•΄μ„œ νŒ”λ € λ‚˜κ°ˆ μˆ˜λŠ” μ—†λ‹€λŠ” κ±Έ μ•Œμ•˜μ£ .
10:58
that what seems necessary in cities like Akron, Ohio,
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μ˜€ν•˜μ΄μ˜€μ£Όμ˜ μ• ν¬λ‘ μ‹œ, λ―Έμ‹œκ°„ 주의 λ””νŠΈλ‘œμ΄νŠΈμ‹œμ™€
11:02
and Detroit, Michigan, and Gary, Indiana,
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μΈλ””μ•„λ‚˜μ£Όμ˜ κ²Œλ¦¬μ‹œκ°™μ€ κ³³μ—μ„œ ν•„μš”ν•œ κ²ƒμ²˜λŸΌ λ³΄μ΄λŠ”λ°,
11:04
is that there are people in those places who already believe in those places,
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κ±°κΈ° μ‚¬λŠ” μ‚¬λžŒλ“€μ€ 이미 그곳을 λ―Ώκ³  정말 μ•„λ¦„λ‹΅κ²Œ λ§Œλ“€λ €λŠ” μ‚¬λžŒλ“€μ΄μ£ .
11:08
that are already dying to make those places beautiful,
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11:11
and that often, those people who are passionate about a place
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보톡 κ·Έ μž₯μ†Œμ— 열정적인 μ‚¬λžŒλ“€μ€ 멋진 것을 λ§Œλ“œλŠ”λ° ν•„μš”ν•œ μžμ›κ³ΌλŠ”
11:15
are disconnected from the resources necessary to make cool things happen,
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λ™λ–¨μ–΄μ Έμžˆκ±°λ‚˜ κ·Έλ ‡κ²Œ λ˜λ„λ‘ λ•λŠ” μ‚¬λžŒλ“€κ³Ό 동떨어진 μ‚¬λžŒλ“€μ΄μ£ .
11:19
or disconnected from a contingency of people
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11:22
that could help make things happen.
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11:23
So now, we're starting to give advice around the country
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μš°λ¦¬λŠ” λ‚˜λΌ 곳곳에 도움말을 μ£ΌκΈ° μ‹œμž‘ν–ˆμ–΄μš”.
11:28
on how to start with what you got,
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이미 가진 κ²ƒλ“€λ‘œ μ–΄λ–»κ²Œ μ‹œμž‘ν•˜λŠ”μ§€, μ•žμ— 놓여진 κ²ƒμœΌλ‘œ μ–΄λ–»κ²Œ μ‹œμž‘ν•˜λŠ”μ§€,
11:30
how to start with the things that are in front of you,
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λ¬΄μ—μ„œ 유λ₯Ό μ–΄λ–»κ²Œ μ°½μ‘°ν•˜λŠ”μ§€,
11:33
how to make something out of nothing,
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11:35
how to reshape your world at a wheel or at your block
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μ—¬λŸ¬λΆ„μ˜ 바퀴, κ΅¬μ—­μ—μ„œ, λ„μ‹œμ˜ λ²”μœ„ λ‚΄μ—μ„œ μ–΄λ–»κ²Œ 세상을 μž¬ν˜•μ„±ν•˜λŠ”μ§€μš”.
11:40
or at the scale of the city.
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정말 κ°μ‚¬ν•©λ‹ˆλ‹€.
11:42
Thank you so much.
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(λ°•μˆ˜)(ν™˜ν˜Έ)
11:44
(Applause)
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11:51
June Cohen: Thank you. So I think many people watching this
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μ€€ μ½”ν—¨: κ°μ‚¬ν•΄μš”.
이것을 λ³Έ λ§Žμ€ μ‚¬λžŒλ“€μ€ λ§ˆμ§€λ§‰μ— 제기된 μ§ˆλ¬Έμ— λŒ€ν•΄ 슀슀둜 μƒκ°ν•˜κ² μ£ .
11:55
will be asking themselves the question you just raised at the end:
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11:58
How can they do this in their own city?
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그듀이 μžμ‹ λ“€μ˜ λ„μ‹œ λ‚΄μ—μ„œ μ–΄λ–»κ²Œ ν•  수 μžˆμ„κΉŒ?
12:00
You can't export yourself.
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λ‹Ήμ‹  μžμ‹ μ„ μˆ˜μΆœν•΄μ„œ λ‚˜κ°ˆ μˆ˜λŠ” μ—†μ–΄μš”.
12:02
Give us a few pages out of your playbook about what someone who is inspired
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λ‹Ήμ‹  같이 μ˜κ°μ„ λ°›μ•„ 이런 κΈ°νšμ— 착수 ν•˜λ €λŠ” μ‚¬λžŒλ“€μ„ μœ„ν•΄
12:05
about their city can do to take on projects like yours?
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κΈ°νšμ•ˆμ˜ 예λ₯Ό λͺ‡ κ°€μ§€λ§Œ λ“€μ–΄μ£Όμ„Έμš”.
12:08
Theaster Gates: One of the things I've found that's really important
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λ μ•„μŠ€ν„° 게이츠: μ œκ°€ 깨달은 것 쀑 ν•œκ°€μ§€ μ€‘μš”ν•œ 것은
12:11
is giving thought to not just the kind of individual project,
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ν•˜λ‚˜μ˜ 낑은 집을 κ°œλ³„μ μœΌλ‘œ 여기지 μ•ŠλŠ” 것 λΏμ•„λ‹ˆλΌ
12:16
like an old house,
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12:18
but what's the relationship between an old house,
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κ·Έ 낑은 집과 지역 학ꡐ μž‘μ€ μƒμ λ“€μ˜ μ‚¬μ΄μ˜ 관계λ₯Ό 생각해 λ³΄λŠ” 것이죠.
12:21
a local school, a small bodega,
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12:24
and is there some kind of synergy between those things?
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κ·Έ 사이에 μ‹œλ„ˆμ§€νš¨κ³Όκ°€ μžˆλŠ”μ§€ 주민듀이 이것을 쒋아할지 말이죠.
12:27
Can you get those folk talking?
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12:30
I've found that in cases where neighborhoods have failed,
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μ‹€νŒ¨ν•œ λ™λ„€λ“€μ˜ μ‚¬λ‘€μ—μ„œ μ œκ°€ μ•ˆκ²ƒμ€ 그곳에 μ—¬μ „νžˆ 생기가 μžˆμ—ˆμ–΄μš”.
12:34
they still often have a pulse.
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12:36
How do you identify the pulse in that place, the passionate people,
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μ–΄λ–»κ²Œ 거기에 μƒκΈ°μžˆμŒκ³Ό 열정적인 μ‚¬λžŒμ„ κ΅¬λΆ„ν•˜κ³ 
12:40
and then how do you get folk who have been fighting,
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μ–΄λ–»κ²Œ 20μ—¬λ…„κ°„ 묡묡히 μΌν•˜λ©° μ‹Έμ›Œμ˜¨ 주민듀이
12:43
slogging for 20 years, reenergized about the place that they live?
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그듀이 μ‚¬λŠ” μž₯μ†Œμ— λŒ€ν•œ 열정을 뢁돋을 수 있게 ν•˜λŠλƒ μž…λ‹ˆλ‹€.
12:47
And so someone has to do that work.
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κ·Έλž˜μ„œ λˆ„κ΅°κ°€λŠ” κ·Έ 일을 ν•΄μ•Όν•©λ‹ˆλ‹€.
12:50
If I were a traditional developer, I would be talking about buildings alone,
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μ œκ°€ 전톡적인 κ°œλ°œμžμ˜€λ‹€λ©΄ κ·Έ ν•œ κ±΄λ¬Όλ§Œμ„ κ³ λ €ν•΄μ„œ,
12:54
and then putting a "For Lease" sign in the window.
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창문에 μ „μ„Έ κ΄‘κ³ λ₯Ό λ‚΄κ±Έμ—ˆκ² μ£ .
12:58
I think that you actually have to curate more than that,
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제 생각엔 그것보닀 더 쑰직적인 관리λ₯Ό ν•΄μ•Ό ν•΄μš”.
13:01
that there's a way in which you have to be mindful about,
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더 염두해 두어야 ν•˜λŠ”κ²ƒμ€ 당신이 μ„±μž₯μ‹œν‚€κΈΈ λ°”λΌλŠ” 사업이죠.
13:03
what are the businesses that I want to grow here?
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13:06
And then, are there people who live in this place
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λ˜ν•œ ν•¨κ»˜ κ·Έ 사업을 μ„±μž₯μ‹œν‚€κ³ μž λ°”λΌλŠ” μ‚¬λžŒλ“€μ΄ 거기에 μ‚¬λŠ”κ°€μ£ .
13:09
who want to grow those businesses with me?
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13:11
Because I think it's not just a cultural space or housing;
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κ·Έμ € 문화적 κ³΅κ°„μ΄λ‚˜ 주택이 μ•„λ‹ˆλΌ
13:14
there has to be the recreation of an economic core.
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경제적 μ€‘μ‹¬μ˜ μ—¬κ°€ν™œλ™ μž₯μ†Œκ°€ μžˆμ–΄μ•Ό ν•˜κΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
13:17
So thinking about those things together feels right.
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이런 것듀을 ν•¨κ»˜ κ³ λ €ν•˜λ©΄ μ μ ˆν•˜κ²Œ λŠκ»΄μ§‘λ‹ˆλ‹€.
13:20
JC: It's hard to get people to create the spark again
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λ‹€λ₯Έ μ‚¬λžŒλ“€μ˜ λΆˆκ½ƒμ„ λ‹€μ‹œ μΌμœΌν‚€κΈ°λŠ” 힘이 λ“­λ‹ˆλ‹€.
13:23
when people have been slogging for 20 years.
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20μ—¬λ…„ λ™μ•ˆ λ‹€λ₯ΈμΌμ„ μ—΄μ‹¬νžˆ ν•΄ 온 κ²½μš°μ— 말이죠.
13:25
Are there any methods you've found that have helped break through?
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λ‹€λ₯Έ μ‚¬λžŒλ“€μ˜ 돌파ꡬλ₯Ό μ°ΎλŠ” 방법을 μ°ΎμœΌμ…¨λ‚˜μš”?
13:28
TG: Yeah, I think that now there are lots of examples
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멋진일을 ν•˜κ³  μžˆλŠ” μ‚¬λžŒλ“€μ˜ λ§Žμ€ 사둀가 μžˆμŠ΅λ‹ˆλ‹€.
13:31
of folk who are doing amazing work,
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13:33
but those methods are sometimes like, when the media is constantly saying
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이런 방법듀은 λ•Œλ‘œλŠ”,
λŒ€μ€‘λ§€μ²΄κ°€ μ–΄λ–€ μž₯μ†Œμ—μ„œ 폭λ ₯적 μ‚¬κ±΄λ§Œ 계속 μΌμ–΄λ‚œλ‹€κ³  λ°©μ˜ν•˜λŠ” 경우
13:38
that only violent things happen in a place,
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13:41
then based on your skill set and the particular context,
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λ‹Ήμ‹ μ˜ 기술과 νŠΉμ •ν•œ 상황에 κΈ°λ°˜ν•˜μ—¬
13:44
what are the things that you can do in your neighborhood
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κ·ΈλŸ°κ²ƒλ“€κ³Ό μ‹Έμš°κΈ° μœ„ν•΄ λ™λ„€μ—μ„œ 무엇을 ν•  수 μžˆλŠ”κ°€λ₯Ό 생각해 λ³΄μ„Έμš”.
13:47
to kind of fight some of that?
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13:49
So I've found that if you're a theater person,
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λ§Œμ•½ μ—¬λŸ¬λΆ„μ΄ κ·Ήμž₯을 μ’‹μ•„ν•œλ‹€λ©΄ μ•Όμ™Έ κ·Ήμž₯ νŽ˜μŠ€ν‹°λ²Œμ„ μ—΄ 수 μžˆμŠ΅λ‹ˆλ‹€.
13:52
you have outdoor street theater festivals.
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13:54
In some cases, we don't have the resources in certain neighborhoods
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νŠΉμ • 지역듀은 그런 일듀에 κΌ­ ν•„μš”ν•œ μžμ›μ΄ μ—†μŠ΅λ‹ˆλ‹€.
13:58
to do things that are a certain kind of splashy,
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μš°λ¦¬λŠ” κ·Έ μ§€μ—­μ˜ μ‚¬λžŒλ“€μ„ μ°Ύκ³ ,
14:02
but if we can then find ways of making sure that people
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14:05
who are local to a place,
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14:06
plus people who could be supportive of the things that are happening locally,
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κ·Έ μ§€μ—­μ•ˆμ—μ„œ μΌμ–΄λ‚˜λŠ” 일듀에 지원적인 μ‘°λ ₯μžλ“€μ„ ν™•μ‹€νžˆ 찾으면,
14:10
when those people get together,
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이런 μ‚¬λžŒλ“€μ΄ ν˜‘λ ₯ν–ˆμ„ λ•Œ 정말 멋진 일이 λ²Œμ–΄μ§ˆ 수 μžˆμŠ΅λ‹ˆλ‹€.
14:12
I think really amazing things can happen.
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14:14
JC: So interesting.
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μ€€ μ½”ν—¨: μ•„μ£Ό ν₯λ―Έλ‘­λ„€μš”.
14:16
And how can you make sure that the projects you're creating
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μš°λ¦¬κ°€ μ–΄λ–»κ²Œ 보μž₯ν•  수 있죠?
당신이 μ°½μ‘°ν•œ κ³„νšμ•ˆλ“€μ΄ μ†Œμˆ˜μžλ₯Ό μœ„ν•œ 것이고
14:18
are actually for the disadvantaged
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14:20
and not just for the sort of vegetarian indie movie crowd
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이런 κ²ƒμ˜ μ΄μœ€μ„ μ–»μœΌλŸ¬ μž…μ£Όν•˜λŠ” μ±„μ‹μ£Όμ˜μž λ₯Ό μœ„ν•œ 것이 μ•„λ‹ˆλΌ 말이죠.
14:24
that might move in to take advantage of them.
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14:26
TG: Right on. So I think this is where it starts to get into the thick weeds.
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κ·Έλ ‡μ£ , 이게 λ¬΄μ„±ν•œ 작초 μ†μœΌλ‘œ λ“€μ–΄κ°€λŠ” κ²ƒμ²˜λŸΌ νž˜λ“€μ–΄μ§€λŠ” 뢀뢄이죠.
14:31
JC: Let's go there. TG: Right now, Grand Crossing
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μ€€ μ½”ν—¨: ν•œλ²ˆ 이야기λ₯Ό λ“€μ–΄λ΄…μ‹œλ‹€.
μ§€κΈˆ κ·Έλžœλ“œ ν¬λ‘œμ‹±μ—λŠ” 적어도 99%κ°€ 흑인 인ꡬ가 μ‚½λ‹ˆλ‹€.
14:33
is 99 percent black, or at least living,
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14:36
and we know that maybe who owns property in a place
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μš°λ¦¬λŠ” μ§‘μ˜ μ†Œμœ μ£Όμ™€ 거리λ₯Ό κ±·λŠ” 거주민이 μ–΄μ©Œλ©΄ λ‹€λ₯΄λ‹€λŠ” 것을 μ•Œμ£ .
14:40
is different from who walks the streets every day.
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14:42
So it's reasonable to say that Grand Crossing is already
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κ·Έλž˜μ„œ κ·Έλžœλ“œ ν¬λ‘œμ‹±μ€ μ˜€λŠ˜λ‚ κ³ΌλŠ” 이미 λ‹€λ₯Έ 곳이 λœλ‹€κ³  말할 수 있죠.
14:45
in the process of being something different than it is today.
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14:49
But are there ways to think about housing trusts or land trusts
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κ·ΈλŸ¬λ‚˜ 생각할 μ–΄λ–€ 방법이 μ—†μ„κΉŒμš”? 주택 신탁, 토지 신탁,
14:55
or a mission-based development
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λ˜λŠ” 이미 일뢀가 μ‹œμž‘λœ 이런 λ―Έμ…˜μ— κΈ°λ°˜μ„ λ‘” 곡간을 λ³΄ν˜Έν•˜κΈ° μœ„ν•΄μ„œμš”.
14:57
that starts to protect some of the space that happens,
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15:00
because when you have 7,500 empty lots in a city,
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μ—¬λŸ¬λΆ„μ˜ λ„μ‹œμ— 7,500채 μ •λ„μ˜ 빈 집이 μžˆλŠ” 경우
15:04
you want something to happen there,
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κ±°κΈ°μ„œ 무언가λ₯Ό ν•˜κ³  μ‹Άμ„κ²λ‹ˆλ‹€.
15:06
but you need entities that are not just interested in the development piece,
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λ°œμ „μ—λ§Œ ν₯λ―Έλ₯Ό λ‘” 건물이 μ•„λ‹ˆλΌ μ•ˆμ •μ„±μ—λ„ 이점을 λ‘” 건물이어야 ν•˜μ£ .
15:11
but entities that are interested in the stabilization piece,
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μ œκ°€ 자주 λŠλΌλŠ” 것은 λ°œμ „ 뢀문은 동기뢀여λ₯Ό 많이 λ°›μ§€λ§Œ
15:14
and I feel like often the developer piece is really motivated,
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15:17
but the other work of a kind of neighborhood consciousness,
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μ΄μ›ƒλ“€μ˜ μžκ°μ— λŒ€ν•œ 뢀뢄은 더이상 μ§€μ†λ˜μ§€ μ•ŠμŠ΅λ‹ˆλ‹€.
15:21
that part doesn't live anymore.
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15:22
So how do you start to grow up important watchdogs
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μ€‘μš”ν•œ κ°μ‹œκΈ°κ΅¬λ₯Ό μžμ›λ“€μ΄ μ΄μš©κ°€λŠ₯ ν•˜λ„λ‘ 보μž₯ν•  수 μžˆλŠ”
15:27
that ensure that the resources that are made available
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κΈ°κ΄€μœΌλ‘œ μ„±μž₯ μ‹œν‚¬ 수 μžˆμ„κΉŒμš”?
15:30
to new folk that are coming in
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μƒˆλ‘œμš΄ 주민듀이 μ΄μš©ν•  수 μžˆλ„λ‘ 말이죠.
15:31
are also distributed to folk who have lived in a place for a long time.
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λ˜ν•œ 이미 κ·Έ 곳에 였래 μ‚΄κ³  있던 μ£Όλ―Όλ“€μ—κ²Œλ„ 뢄배될 수 μžˆλ„λ‘ 말이죠.
15:35
JC: That makes so much sense. One more question:
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μ€€ μ½”ν—¨: κ°μ‚¬ν•©λ‹ˆλ‹€. 질문이 ν•˜λ‚˜ 더 μžˆμ–΄μš”.
15:37
You make such a compelling case for beauty and the importance of beauty and the arts.
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λ―Έ(美)와 κ·Έ μ€‘μš”μ„±, 또 μ˜ˆμˆ μ— λŒ€ν•œ 맀우 μ£Όλͺ©ν•  λ§Œν•œ 사둀λ₯Ό λ§Œλ“œμ…¨μ–΄μš”.
15:42
There would be others who would argue that funds would be better spent
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μ†Œμˆ˜μžλ₯Ό μœ„ν•œ κΈ°λ³Έ μ„œλΉ„μŠ€μ— μžκΈˆμ„ μ΄μš©ν•˜λŠ” 게 더 λ‚«λ‹€λŠ” 의견이 μžˆμ–΄μš”.
15:45
on basic services for the disadvantaged.
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15:48
How do you combat that viewpoint, or come against it?
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이 μ˜κ²¬μ— λŒ€ν•΄ μ–΄λ–»κ²Œ λ°˜λ‘ ν•˜μ‹œκ² μ–΄μš”?
15:52
TG: I believe that beauty is a basic service.
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μ „ λ―Έ(美)κ°€ κΈ°λ³Έμ„œλΉ„μŠ€λΌκ³  λ―Ώμ–΄μš”.
15:54
(Applause)
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(λ°•μˆ˜)
16:02
Often what I have found is that when there are resources
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μ œκ°€ 자주 λ°œκ²¬ν•˜λŠ” 것은 νŠΉμ • μžμ›μ΄ νŠΉμ •ν•œ λ„μ‹œμ—μ„œ 이용이 λΆˆκ°€λŠ₯ν•˜κ²Œ 되면,
16:06
that have not been made available to certain under-resourced cities
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16:09
or neighborhoods or communities,
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이웃, λ˜λŠ”μ§€μ—­μ—μ„œλ„ 가끔씩 λ¬Έν™”κ°€ κ·Έ μžμ›μ˜ λΆˆκ½ƒμ„ ν”Όμ›λ‹ˆλ‹€.
16:11
that sometimes culture is the thing that helps to ignite,
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μ €λŠ” λͺ¨λ“  것을 ν•  μˆ˜λŠ” μ—†μŠ΅λ‹ˆλ‹€.
16:16
and that I can't do everything,
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16:19
but I think that there's a way in which if you can start with culture
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ν•˜μ§€λ§Œ κ·Έ 방식은 λ¬Έν™”λ‘œ μ‹œμž‘ν•΄μ„œ μ‚¬λžŒλ“€μ΄ κ·Έ μž₯μ†Œμ— μž¬νˆ¬μžν•˜κ²Œ ν•˜μ£ .
16:22
and get people kind of reinvested in their place,
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16:25
other kinds of adjacent amenities start to grow,
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κ°€κΉŒμ΄ μžˆλŠ” μ‹œμ„€λ“€μ΄ μ„±μž₯ν•˜κΈ° μ‹œμž‘ν•˜κ²Œ λ©λ‹ˆλ‹€.
16:29
and then people can make a demand that's a poetic demand,
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μ‚¬λžŒλ“€μ€ μ„œμ •μ  μš”κ΅¬λ₯Ό ν•  수 μžˆμ–΄μš”.
16:33
and the political demands that are necessary to wake up our cities,
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λ˜ν•œ 우리의 λ„μ‹œλ₯Ό μΌκΉ¨μš°λŠ”λ° ν•„μˆ˜μ μΈ μ •μΉ˜μ  μš”κ΅¬λ„ ν•˜κ²Œ 되고,
16:38
they also become very poetic.
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그것듀 λ˜ν•œ μ„œμ •μ μœΌλ‘œ λ³€ν•©λ‹ˆλ‹€.
16:40
JC: It makes perfect sense to me.
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μ€€ μ½”ν—¨: 정말 μ™„λ²½νžˆ λ…Όλ¦¬μ μœΌλ‘œ 이해가 κ°‘λ‹ˆλ‹€.
16:42
Theaster, thank you so much for being here with us today.
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였늘 강연에 λŒ€ν•΄ 정말 κ°μ‚¬λ“œλ¦½λ‹ˆλ‹€.
16:45
Thank you. Theaster Gates.
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λ μ•„μŠ€ν„° 게이트 μ”¨μž…λ‹ˆλ‹€!
16:46
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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