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

142,774 views

2015-03-26 ใƒป TED


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

142,774 views ใƒป 2015-03-26

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Jina Bae ๊ฒ€ํ† : Jeong-Lan Kinser
00:14
I'm a potter,
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์ €๋Š” ๋„์˜ˆ๊ฐ€์ž…๋‹ˆ๋‹ค.
00:17
which seems like a fairly humble vocation.
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๊ฝค ์†Œ๋ฐ•ํ•œ ์ง์—…์ฒ˜๋Ÿผ ๋ณด์ด์ฃ .
00:21
I know a lot about pots.
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์ „ ๋„์ž๊ธฐ์— ๋Œ€ํ•ด ๋งŽ์ด ์•Œ๊ณ  ์žˆ์–ด์š”.
00:24
I've spent about 15 years making them.
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๋„์ž๊ธฐ๋ฅผ ๊ตฝ๋Š”๋ฐ 15๋…„์„ ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
00:28
One of the things that really excites me in my artistic practice
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์ €์˜ ์˜ˆ์ˆ ํ™œ๋™๊ณผ ๋„์˜ˆ๊ฐ€๋กœ ๊ต์œก์„ ๋ฐ›์€ ๊ฒƒ์ค‘ ์ €๋ฅผ ๊ฐ€์žฅ ํฅ๋ถ„ํ•˜๊ฒŒ ํ•˜๋Š” ๊ฑด
00:31
and being trained as a potter
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๋ฌด(็„ก)์—์„œ ๊ต‰์žฅํžˆ ๋ฉ‹์ง„ ๊ฒƒ์„ ๋งŒ๋“œ๋Š” ๋ฒ•์„ ๋นจ๋ฆฌ ๋ฐฐ์šด๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
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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๋‹ค๋ฃจ๊ธฐ ํž˜๋“  ํ™ ๋”๋ฏธ๋“ค๊ณผ ํ•จ๊ป˜ ์ˆ˜๋ ˆ์—์„œ ๋งŒ๋“ค๊ธฐ๋ฅผ ์‹œ๋„ํ•˜๋ฉฐ ๋งŽ์ด ์‹œ๊ฐ„์„ ๋ณด๋‚ด์ฃ .
00:46
and that the limitations of my capacity, my ability,
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์ €์˜ ์ˆ˜์šฉ๋ ฅ๊ณผ ๋Šฅ๋ ฅ์˜ ํ•œ๊ณ„๋Š” ์ œ ์†๊ณผ ์ƒ์ƒ๋ ฅ์— ๋‹ฌ๋ ค์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
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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์ •๋ง ๋ฉ‹์ง„ ๊ทธ๋ฆ‡์„ ๋งŒ๋“ค๊ณ  ์‹ถ์„ ๋•Œ ๋ฐœ์„ ์–ด๋””์—์„œ ๊ตด๋ฆด ์ง€๋ฅผ ๋ชจ๋ฅธ๋‹ค๋ฉด,
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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๋จผ์ € ์–ด๋–ป๊ฒŒ ๋ฐœ์„ ๋†“์•„์•ผ ํ•˜๋Š”์ง€ ๋ฐฐ์›Œ์—ฌ๋งŒ ํ• ๊ฒ๋‹ˆ๋‹ค.
00:59
that that process of learning has been very, very helpful to my life.
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๊ทธ ๋ฐฐ์›€์˜ ๊ณผ์ •์€ ์ œ ์ธ์ƒ์—์„œ ๊ต‰์žฅํ•œ ๋„์›€์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:04
I feel like, as a potter,
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์ €๋Š” ๋„์˜ˆ๊ฐ€๋กœ์„œ, ์„ธ์ƒ์„ ๋งŒ๋“œ๋Š” ๋ฒ•๋„ ๋ฐฐ์šฐ๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ๊ฒƒ ๊ฐ™์•„์š”.
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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์ €์˜ ์˜ˆ์ˆ ์  ์ˆ˜์šฉ๋ ฅ์œผ๋กœ ๋ฏธ๊ตญ ์—ญ์‚ฌ์ƒ ํž˜๋“  ์ผ์ด ๋ฒŒ์–ด์กŒ๋˜
01:14
that I wanted to reflect
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01:17
on other really important moments
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๊ทธ๋ฆฌ๊ณ  ์„ธ๊ณ„ ์—ญ์‚ฌ์ƒ ํž˜๋“  ์ผ์ด ๋ฒŒ์–ด์กŒ๋˜ ์ค‘์š”ํ•œ ์ˆœ๊ฐ„๋“ค์„
01:19
in the history of the U.S., the history of the world
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๋ฐ˜์˜ํ•˜๊ณ  ์‹ถ์€ ์‹œ๊ฐ„๋“ค์ด ์žˆ์—ˆ์ฃ .
01:23
where tough things happened,
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01:25
but how do you talk about tough ideas
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ํ•˜์ง€๋งŒ ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋žŒ๋“ค์„ ๊ทธ ์ˆœ๊ฐ„์˜ ์ƒํ™ฉ์—์„œ ์ œ์™ธ์‹œํ‚ค๊ณ 
01:28
without separating people from that content?
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๊ทธ ํž˜๋“  ์ผ๋“ค์„ ์ด์•ผ๊ธฐ ํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
01:32
Could I use art like these old, discontinued firehoses from Alabama,
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์•Œ๋ผ๋ฐ”๋งˆ์—์„œ ์‚ฌ์šฉ์ด ์ค‘๋‹จ๋œ ๋‚ก์€ ์†Œ๋ฐฉํ˜ธ์Šค ๊ฐ™์€ ์˜ˆ์ˆ  ์ž‘ํ’ˆ์„
01:37
to talk about the complexities of a moment of civil rights in the '60s?
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60๋…„๋Œ€ ๋ฏผ๊ถŒ ์šด๋™์˜ ๋ณต์žกํ•œ ์ˆœ๊ฐ„์„ ์ด์•ผ๊ธฐํ•˜๋Š” ๋ฐ ์ด์šฉํ•  ์ˆ˜ ์žˆ์—ˆ์„๊นŒ์š”?
01:43
Is it possible to talk about my father and I doing labor projects?
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๊ทธ๋ฆฌ๊ณ  ์ €์™€ ์ œ ์•„๋ฒ„์ง€์˜ ๊ทผ๋กœ ๊ณ„ํš์„ ์ด์•ผ๊ธฐ ํ•˜๋Š” ๊ฒƒ์ด ๊ฐ€๋Šฅํ• ๊นŒ์š”?
01:48
My dad was a roofer, construction guy, he owned small businesses,
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์ œ ์•„๋ฒ„์ง€๋Š” ์ž‘์€ ์‚ฌ์—…์„ ์šด์˜ํ•˜๋Š” ์ง€๋ถ• ์ˆ˜๋ฆฌ๊ณต์ด๋ฉฐ ๊ณต์‚ฌ์žฅ ์ผ๊พผ์ด์—ˆ์–ด์š”.
01:52
and at 80, he was ready to retire and his tar kettle was my inheritance.
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80์„ธ์— ๊ทธ๊ฐ€ ์€ํ‡ดํ•  ์ค€๋น„๊ฐ€ ๋˜์—ˆ์„ ๋•Œ
๊ทธ์˜ ํƒ€๋ฅด ์ฃผ์ „์ž๋Š” ์ œ๊ฐ€ ์œ ์‚ฐ์œผ๋กœ ๋ฌผ๋ ค๋ฐ›์€ ๊ฒƒ์ด์—ˆ์ฃ .
01:59
Now, a tar kettle doesn't sound like much of an inheritance. It wasn't.
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ํฐ ์žฌ์‚ฐ์ด ์•„๋‹Œ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค. ๋„ค, ํฐ ์žฌ์‚ฐ์€ ์•„๋‹ˆ์—ˆ์ฃ .
02:03
It was stinky and it took up a lot of space in my studio,
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๊ทธ๊ฒƒ์€ ๋ƒ„์ƒˆ๊ฐ€ ์‹ฌํ•˜๊ฒŒ ๋‚ฌ๊ณ  ์ œ ์ž‘์—…์‹ค ๊ณต๊ฐ„์„ ๋งŽ์ด ์ฐจ์ง€ํ–ˆ์–ด์š”.
02:07
but I asked my dad if he would be willing to make some art with me,
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๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ์•„๋ฒ„์ง€๊ป˜ ํ•จ๊ป˜ ์˜ˆ์ˆ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค๊ณ  ์‹ถ์œผ๋ƒ๊ณ  ์—ฌ์ญธ์–ด์š”.
02:11
if we could reimagine this kind of nothing material
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์šฐ๋ฆฌ๋Š” ์•„๋ฌด๊ฒƒ๋„ ์•„๋‹Œ ์žฌ๋ฃŒ๋ฅผ ํŠน๋ณ„ํ•œ ๊ฒƒ์œผ๋กœ ์žฌํ•ด์„ ํ•  ์ˆ˜ ์žˆ์—ˆ์ฃ .
02:15
as something very special.
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๊ทธ์˜ ๊ธฐ์ˆ ๋•์— ์žฌ๋ฃŒ๋“ค์„ ์ •์ œํ•จ์œผ๋กœ์จ
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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์šฐ๋ฆฌ๋Š” ํƒ€๋ฅด๋ฅผ ์ง„ํ™์ฒ˜๋Ÿผ ์ƒˆ๋กญ๊ฒŒ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
๋ชจ์–‘์„ ๋‹ฌ๋ฆฌ ๋งŒ๋“œ๋Š” ๊ฒƒ์€ ๋ฌด์—‡์ด ๊ฐ€๋Šฅํ•  ์ง€๋ฅผ ์ƒ๊ฐํ•˜๋„๋ก ๋„์™”์ฃ .
02:27
shaping it differently, helping us to imagine what was possible?
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์ง„ํ™์„ ์‚ฌ์šฉํ•œ ํ›„์—, ์ €๋Š” ๋งŽ์€ ๋‹ค๋ฅธ ์ข…๋ฅ˜์˜ ์žฌ๋ฃŒ๋“ค์— ๊ด€์‹ฌ์ด ์ ๋ ธ์ฃ .
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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๊ทธ๋ฆฌ๊ณ  ์ œ ์ž‘์—…์‹ค์€ ๋งŽ์ด ์„ฑ์žฅํ–ˆ๊ณ  ์ €๋Š” ์ด๊ฒƒ์ด ์žฌ๋ฃŒ ๋•Œ๋ฌธ์ด ์•„๋‹ˆ๋ผ,
02:40
it's not really about the material, it's about our capacity to shape things.
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์–ด๋–ค ๊ฒƒ์„ ํ˜•์„ฑํ•  ์ˆ˜ ์žˆ๋Š” ์ˆ˜์šฉ๋ ฅ์— ๋Œ€ํ•œ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
02:44
I became more and more interested in ideas
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์ €๋Š” ์—ฌ๋Ÿฌ ์•„์ด๋””์–ด๋“ค๊ณผ
02:47
and more and more things that were happening just outside my studio.
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์ž‘์—…์‹ค ๋ฐ–์—์„œ ๋ฒŒ์–ด์ง€๋Š” ์ผ๋“ค์— ๋”์šฑ ๋” ํฅ๋ฏธ๋ฅผ ๊ฐ€์ง€๊ฒŒ ๋์–ด์š”.
02:53
Just to give you a little bit of context, I live in Chicago.
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์•ฝ๊ฐ„์˜ ์ „ํ›„ ์ƒํ™ฉ์„ ์•Œ๋ ค๋“œ๋ฆฌ์ž๋ฉด, ์ „ ์‹œ์นด๊ณ ์— ์‚ฝ๋‹ˆ๋‹ค.
02:57
I live on the South Side now. I'm a West Sider.
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์ง€๊ธˆ์€ ๋‚จ์ชฝ์— ์‚ด์ง€๋งŒ, ์ „ ์„œ๋ถ€ ์ถœ์‹ ์ž…๋‹ˆ๋‹ค.
03:00
For those of you who are not Chicagoans, that won't mean anything,
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์ด๊ณณ ์‹œ์นด๊ณ  ์ถœ์‹ ์ด ์•„๋‹Œ ์‚ฌ๋žŒ๋“ค์—๊ฒ ๋ณ„ ์˜๋ฏธ๋„ ์—†๊ฒ ์ง€๋งŒ
03:03
but if I didn't mention that I was a West Sider,
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์ œ๊ฐ€ ์„œ์ชฝ ์ถœ์‹ ์ธ๊ฑธ ์–ธ๊ธ‰ํ•˜์ง€ ์•Š๋Š”๋‹ค๋ฉด,
๋งŽ์€ ์ด์›ƒ ์‚ฌ๋žŒ๋“ค์ด ์„œ์šดํ•ด ํ•  ๊ฒ๋‹ˆ๋‹ค.
03:06
there would be a lot of people in the city that would be very upset.
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์ œ๊ฐ€ ์‚ฌ๋Š” ๋™๋„ค๋Š” ๊ทธ๋žœ๋“œ ํฌ๋กœ์‹ฑ์ž…๋‹ˆ๋‹ค. ์ €ํฌ ๋™๋„ค๋Š” ๋” ์ข‹์•„๋ณด์ด๋Š” ๊ณณ์ด์ฃ .
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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์•„์ง๊นŒ์ง€๋Š” ์™ธ๋ถ€์ธ ์ถœ์ž… ํ†ต์ œ ๊ตฌ์—ญ์ด ์•„๋‹™๋‹ˆ๋‹ค.
03:21
There is lots of abandonment in my neighborhood,
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์ œ ์ด์›ƒ์—๋Š” ๋งŽ์€ ํ๊ฐ€๊ฐ€ ์žˆ์ฃ .
03:24
and while I was kind of busy making pots and busy making art
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๋„์ž๊ธฐ๋ฅผ ๋งŒ๋“ค๊ณ  ์˜ˆ์ˆ ํ™œ๋™์„ ํ•˜๊ณ 
๊ทธ๋ฆฌ๊ณ  ์˜ˆ์ˆ ์  ๋ฐœ์ „์œผ๋กœ ๋ฐ”์œ ๋™์•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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๋ฐ”๋กœ ์ œ ์ž‘์—…์‹ค ๋ฐ–์—์„œ ์ด ๋ชจ๋“  ์ผ๋“ค์ด ๋ฒŒ์–ด์กŒ์Šต๋‹ˆ๋‹ค.
03:31
just outside my studio.
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03:34
All of us know about failing housing markets
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๋ชจ๋‘๊ฐ€ ํ•˜๋ฝํ•˜๋Š” ์ฃผํƒ์‹œ์žฅ์— ๋Œ€ํ•ด
03:37
and the challenges of blight,
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๋˜ํ•œ ๊ทธ ํ™ฉํ์˜ ๋ฌธ์ œ๋“ค์— ๋Œ€ํ•ด ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:39
and I feel like we talk about it with some of our cities more than others,
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์šฐ๋ฆฌ๋Š” ์ผ๋ถ€ ๋„์‹œ์— ๋Œ€ํ•ด ๋‹ค๋ฅธ ๋„์‹œ๋ณด๋‹ค ๋” ๋งŽ์ด ์ด์•ผ๊ธฐ ํ•˜๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ๋ฏธ๊ตญ์„ ๋„˜์–ด์„  ๋งŽ์€ ๋„์‹œ์—์„œ ํ™ฉํ์˜ ๋ฌธ์ œ๋ฅผ ๊ฐ€์กŒ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
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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๋”์ด์ƒ ์–ด๋–ป๊ฒŒ ํ•ด์•ผํ•  ์ง€ ์•Œ์ˆ˜ ์—†๋Š” ํํ—ˆ๋œ ๊ฑด๋ฌผ๋“ค์— ๋Œ€ํ•ด ๋ง์ด์ฃ .
03:52
And so I thought, is there a way that I could start to think
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์ €๋Š” '์˜ˆ์ˆ ์  ์ˆ˜๋ จ์˜ ํ™•์žฅ์œผ๋กœ์จ
03:55
about these buildings as an extension or an expansion of my artistic practice?
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๊ทธ๋Ÿฐ ๊ฑด๋ฌผ๋“ค์— ๋Œ€ํ•ด ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์ด ์žˆ์„๊นŒ'๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์–ด์š”.
04:00
And that if I was thinking along with other creatives --
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๊ฑด์ถ•๊ฐ€, ๊ธฐ์ˆ ์ž, ๋ถ€๋™์‚ฐ์—…์ž์™€ ๊ฐ™์€ ์ฐฝ์˜์ ์ธ ์‚ฌ๋žŒ๋“ค๊ณผ ํ•จ๊ป˜ ๊ณ ๋ฏผํ–ˆ๋‹ค๋ฉด
04:03
architects, engineers, real estate finance people --
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ํ•จ๊ป˜ ๋„์‹œ๋ฅผ ์žฌํ˜•์„ฑํ•˜๋Š”๋ฐ ์–ด์ฉŒ๋ฉด ์ข€ ๋” ๋ณตํ•ฉ์ ์ธ ๋ฐฉ๋ฒ•์„ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ๋„๋ก์ด์š”.
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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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ๊ฑด๋ฌผ ํ•œ ์ฑ„๋ฅผ ์ƒ€์ฃ .
04:16
The building was really affordable.
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๊ทธ ๊ฒƒ์€ ์ €๋ ดํ•œ ๊ฐ€๊ฒฉ์ด์—ˆ์–ด์š”.
04:19
We tricked it out.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์„ ๋‹จ์žฅ์‹œ์ผฐ์ฃ .
04:21
We made it as beautiful as we could to try to just get some activity happening
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ํ•  ์ˆ˜ ์žˆ๋Š” ๋งŒํผ ์•„๋ฆ„๋‹ต๊ฒŒ ๋งŒ๋“ค์–ด,
๋™๋„ค ๊ทผ์ฒ˜์—์„œ ๋ฒŒ์–ด์ง€๋Š” ํ™œ๋™๋“ค์— ์ด์šฉํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.
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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์•ฝ 18,000 ๋‹ฌ๋Ÿฌ๋กœ ๊ทธ๊ฒƒ์„ ์‚ฐ ๋‹ค์Œ์— ์ €๋Š” ๋ฌด์ผํ‘ผ์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
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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๊ฑด๋ฌผ์„ ๊ณต์—ฐ์„ ํ•˜๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ์“ธ์—ˆ์–ด์š”.
04:37
This is performance art, and people would come over,
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"์ด๊ฒƒ์€ ๊ณต์—ฐ ์˜ˆ์ˆ ์ž…๋‹ˆ๋‹ค."๋ผ๊ณ  ํ–ˆ์ฃ .
์‚ฌ๋žŒ๋“ค์€ ์™€์„œ ๊ตฌ๊ฒฝํ–ˆ์–ด์š”.
04:40
and I would start sweeping.
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๊ทธ๋ฆฌ๊ณ  ๋น—์ž๋ฃจ ์งˆ์„ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:41
Because the broom was free and sweeping was free.
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๋น—์ž๋ฃจ์™€ ๋น—์ž๋ฃจ์งˆ์ด ๋ฌด๋ฃŒ์˜€์œผ๋‹ˆ๊นŒ์š”.
04:44
It worked out.
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์ด๊ฒƒ์€ ํšจ๊ณผ๊ฐ€ ์žˆ์—ˆ์ฃ .
04:46
(Laughter)
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(์›ƒ์Œ)
04:48
But we would use the building, then, to stage exhibitions, small dinners,
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์šฐ๋ฆฌ๋Š” ์ด ๊ฑด๋ฌผ์„ ๋ฌด๋Œ€ ์ „์‹œ๋‚˜ ๊ฐ„๋‹จํ•œ ์ €๋…์‹์‚ฌ์˜ ์žฅ์†Œ๋กœ ์‚ฌ์šฉํ–ˆ์ฃ .
04:54
and we found that that building on my block, Dorchester --
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ๋™๋„ค์—์„œ ๋„์ฒด์Šคํ„ฐ๋ผ๋Š” ๊ฑด๋ฌผ์ด,
04:58
we now referred to the block as Dorchester projects --
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-์šฐ๋ฆฌ๋Š” ๊ทธ ๊ตฌ์—ญ์„ ๋„์ฒด์Šคํ„ฐ ํ”„๋กœ์ ํŠธ๋ผ๊ณ  ์ง€์นญํ–ˆ๋Š”๋ฐ์š”-
๊ทธ ๊ฑด๋ฌผ์ด ์—ฌ๋Ÿฌ ํ™œ๋™๋“ค์„ ํ•  ์ˆ˜ ์žˆ๋Š” ๋ชจ์ž„ ๊ณต๊ฐ„์ด๋ผ๋Š” ๊ฑธ ์•Œ๊ฒŒ ๋˜์—ˆ์–ด์š”.
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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์šฐ๋ฆฌ๋Š” ๊ทธ ๊ฑด๋ฌผ์„ ์ง€๊ธˆ์€ ๊ธฐ๋ก๋ณด๊ด€์†Œ๋ผ ๋ถ€๋ฅด๋Š” ๊ณณ์œผ๋กœ ๋ฐ”๊พธ์—ˆ์Šต๋‹ˆ๋‹ค.
์ €์žฅ ์ฃผํƒ์€ ์ด๋Ÿฌํ•œ ๋ฉ‹์ง„ ์ผ๋“ค์„ ๋งŽ์ด ํ•ด๋ƒˆ์–ด์š”.
05:11
The Archive House would do all of these amazing things.
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๋„์‹œ ์•ˆ๊ณผ ๋ฐ–์˜ ๊ต‰์žฅํ•œ ์‚ฌ๋žŒ๋“ค์ด ๋™๋„ค์•ˆ์—์„œ ํ™œ๋™ํ•˜๊ฒŒ ๋˜์—ˆ์–ด์š”.
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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๊ทธ ๋•Œ ์ €๋Š” ์ ํ† ์™€ ํ•จ๊ป˜ํ•œ ์ €์˜ ์ƒ์• ์™€
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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์ƒˆ๋กœ ๋ฐœ์ „ํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ๊ฒƒ ์‚ฌ์ด์— ์—ฐ๊ด€์ด ์žˆ๋‹ค๊ณ  ๋Š๊ผˆ์–ด์š”.
05:28
that we were slowly starting
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์šฐ๋ฆฌ๊ฐ€ ๋„์‹œ ๋‚จ๋ถ€์˜ ์‚ฌ๋žŒ๋“ค์ด ์ƒ๊ฐํ–ˆ๋˜ ๋„์‹œ๋ฅผ ์„œ์„œํžˆ ์žฌํ˜•์„ฑํ•˜๊ธฐ ์‹œ์ž‘ํ•œ ๊ฑฐ์ฃ .
05:30
to reshape how people imagined the South Side of the city.
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ํ•˜๋‚˜๊ฐ€ ์—ฌ๋Ÿฌ๊ฐœ์˜ ์ง‘๋“ค๋กœ ๋ณ€ํ–ˆ๊ณ 
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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์šฐ๋ฆฌ๋Š” ํ•ญ์ƒ ์•„๋ฆ„๋‹ค์šด ๊ทธ๋ฆ‡์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์„ ์ค‘์š”ํžˆ ์—ฌ๊ธธ ๋ฟ๋งŒ์•„๋‹ˆ๋ผ
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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๊ทธ ๊ณณ์—์„œ ์ผ์–ด๋‚˜๋Š” ์ผ๋“ค ๋˜ํ•œ ์ค‘์š”ํžˆ ์—ฌ๊ฒผ์Šต๋‹ˆ๋‹ค.
05:47
So we were not only thinking about development,
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๋ฐœ์ „๋งŒ ์ƒ๊ฐํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ํ”„๋กœ๊ทธ๋žจ์— ๋Œ€ํ•˜์—ฌ ์ƒ๊ฐํ–ˆ๊ณ 
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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์ง‘ ๋“ค๊ณผ ์ด์›ƒ ์‚ฌ์ด์˜ ์ผ์–ด๋‚  ์ˆ˜ ์žˆ๋Š” ๊ด€๊ณ„์— ๋Œ€ํ•ด์„œ ์ƒ๊ฐํ–ˆ์ฃ .
05:56
between one house and another, between one neighbor and another.
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๊ทธ ๊ฑด๋ฌผ์€ '๊ฒฝ์ฒญ์˜ ์ง‘'์ด ๋˜์—ˆ์–ด์š”.
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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์ด๊ณณ์— ์กด์Šจ ์ถœํŒ์‚ฌ์—์„œ ํ๊ธฐ๋œ ์ฑ…๋“ค์„ ๋ชจ์•„๋†“์•˜์–ด์š”.
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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๋˜ํ•œ ํ์—…์ „์˜ ์„œ์ ์— ๋‚จ์•˜๋˜ ๋‚ก์€ ์ฑ…๋“ค๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
์ €๋Š” ์ด ๊ฑด๋ฌผ์„ ๊ฐ€๋Šฅํ•œ ํ•œ ์–ด๋–ค ๊ฒƒ์ด๋“  ํ™œ๋™์ ์œผ๋กœ ๋งŒ๋“ค๊ณ  ์‹ถ์—ˆ์–ด์š”.
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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๋ฌด์—‡์ด๋“ , ๋ˆ„๊ตฐ๋“  ์ฐธ์—ฌํ•˜๋„๋ก ๋ง์ด์ฃ .
06:23
In Chicago, there's amazing building stock.
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์‹œ์นด๊ณ ์— ๋ฉ‹์ง„ ์ฐฝ๊ณ ๊ฐ€ ์žˆ์–ด์š”.
06:26
This building, which had been the former crack house on the block,
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๊ทธ ๊ณณ์€ ๊ทธ ์ „์—๋Š” ๊ทธ ๊ตฌ์—ญ์—์„œ ๋งˆ์•ฝ์„ ํŒŒ๋Š” ๊ณณ์ด์—ˆ์ฃ .
06:30
and when the building became abandoned,
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๊ทธ ๊ณณ์ด ๋ฒ„๋ ค์กŒ์„ ๋•Œ ๊ทธ ์žฅ์†Œ๋กœ ๋ฌด์—‡์„ ํ•  ์ˆ˜ ์žˆ์„์ง€
06:33
it became a great opportunity to really imagine what else could happen there.
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์ƒ์ƒํ•  ์ˆ˜ ์žˆ๋Š” ์ข‹์€ ๊ธฐํšŒ๊ฐ€ ๋˜์—ˆ์ฃ .
06:37
So this space we converted into what we call Black Cinema House.
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์ด ๊ณณ์€ ์šฐ๋ฆฌ๊ฐ€ ๋ธ”๋ž™ ์‹œ๋„ค๋งˆ ํ•˜์šฐ์Šค๋ผ๊ณ  ๋ถ€๋ฅด๋Š” ๊ณณ์œผ๋กœ ๋ณ€๊ฒฝํ•œ ๊ณณ์ด์ฃ .
06:41
Black Cinema House was an opportunity in the hood to screen films
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์ด๊ณณ์€ ๋™๋„ค์—์„œ ์ฃผ๋ฏผ๋“ค์—๊ฒŒ
์ค‘์š”ํ•˜๊ณ  ์—ฐ๊ด€ ๊นŠ์€ ์˜ํ™”๋ฅผ ์ƒ์˜ํ•  ์ˆ˜ ์žˆ๋Š” ๊ธฐํšŒ๊ฐ€ ๋์ฃ .
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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๋Š™์€ ๋ง๋นˆ ๋ฒค ํŽ˜๋ธ”์Šค์˜ ์˜ํ™”๋ฅผ ์ƒ์˜ํ•˜๊ณ  ์‹ถ์œผ๋ฉด ํ•˜๋ฉด ๋˜์—ˆ๊ณ ,
06:53
If we wanted to show "Car Wash," we could.
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'์„ธ์ฐจ'๋ฅผ ์ƒ์˜ํ•˜๊ณ  ์‹ถ์œผ๋ฉด ํ•  ์ˆ˜ ์žˆ์—ˆ์ฃ .
06:56
That would be awesome.
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์ •๋ง ๋ฉ‹์ง„์ผ์ด์—ˆ์–ด์š”.
06:57
The building we soon outgrew,
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์ด๋‚ด ๊ทธ ์˜ํ™”๊ด€์€ ๋„ˆ๋ฌด ํฌ๊ฒŒ ์„ฑ์žฅํ•ด์„œ ๋„“์€ ๊ณต๊ฐ„์œผ๋กœ ์ด์‚ฌ ํ•ด์•ผ๋งŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:00
and we had to move to a larger space.
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๋‹จ์ง€ ์ž‘์€ ์ ํ†  ์กฐ๊ฐ๋“ค๋กœ ๋งŒ๋“ค์–ด์ง„ ๋ธ”๋ž™ ์‹œ๋„ค๋งˆ ํ•˜์šฐ์Šค๋Š”
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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ํ˜„์žฌ๋Š” ์ €์˜ ์ž‘์—…์‹ค์ด๋ฉฐ, ํฐ ์กฐ๊ฐ์˜ ์ ํ† ๋กœ ์„ฑ์žฅํ–ˆ์Šต๋‹ˆ๋‹ค.
07:14
What I realized was that for those of you who are zoning junkies,
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๊ทธ ํํ—ˆ ๊ตฌ์—ญ์„ ๋‹ค์‹œ ์žฌ๊ตฌ์„ฑํ•˜๋Š” ๊ฑธ ์ข‹์•„ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋Š”
07:18
that some of the things that I was doing
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์ œ๊ฐ€ ๊ทธ ๊ฑด๋ฌผ๋“ค์—์„œ ํ–ˆ๋˜ ์ผ์ด ๋ฉˆ์ถฐ์กŒ๋‹ค๋Š” ๊ฒƒ์„ ๊นจ๋‹ฌ์•˜์ฃ .
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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๊ฑด๋ฌผ์ด ๊ทธ๋Ÿฐ ๊ฒƒ์„ ํ•  ์šฉ๋„๋กœ ๋งŒ๋“ค์–ด์ง„ ๊ฒŒ ์•„๋‹Œ๊ฒƒ๋“ค์ด์—ˆ์ฃ .
07:27
and that there are city policies that say,
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๊ทธ๋ฆฌ๊ณ  ๋„์‹œ ์ •์ฑ…๊ฐ€๋“ค์€ ๋งํ–ˆ์ฃ ,
07:29
"Hey, a house that is residential needs to stay residential."
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'์ด๋ด์š”, ์ง‘์€ ๊ฑฐ์ฃผ๋ฏผ๋“ค์ด ์‚ด๊ธฐ ์œ„ํ•œ ๊ณณ์ด๋‹ˆ ๊ณ„์† ๊ทธ๋ ‡๊ฒŒ ์œ ์ง€๋˜์•ผ ํ•ด์š”.'
07:33
But what do you do in neighborhoods when ain't nobody interested in living there?
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ํ•˜์ง€๋งŒ ์•„๋ฌด๋„ ๊ทธ ๊ณณ์— ์‚ด๊ธฐ ์›ํ•˜์ง€ ์•Š๋Š” ๊ฒฝ์šฐ ๊ฑฐ๊ธฐ์„œ ๋ญ˜ ํ•  ์ˆ˜ ์žˆ๊ฒ ์–ด์š”?
07:38
That the people who have the means to leave have already left?
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๋˜, ๊ฑฐ๊ธฐ์„œ ์‚ด ์—ฌ๋ ฅ์ด ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ด๋ฏธ ๋– ๋‚œ ํ›„์ธ ๊ฒฝ์šฐ์—๋Š”์š”?
07:42
What do we do with these abandoned buildings?
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๋ฒ„๋ ค์ง„ ๊ฑด๋ฌผ๋กœ ๋ฌด์—‡์„ ํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
07:44
And so I was trying to wake them up using culture.
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๊ทธ๋ž˜์„œ ๋ฌธํ™”๋ฅผ ์ด์šฉํ•ด์„œ ๊ทธ๋“ค์ด ๊ฐ์„ฑํ•˜๋„๋ก ๋ถ€์ถ”๊ฒผ์ฃ .
07:47
We found that that was so exciting for folk,
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๊ทธ ์ผ์€ ์ฃผ๋ฏผ๋“ค์—๊ฒŒ ๋งค์šฐ ์‹ ๋‚ฌ๊ณ 
07:50
and people were so responsive to the work, that we had to then find bigger buildings.
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์šฐ๋ฆฌ์˜ ์ž‘์—…์— ๋งค์šฐ ์žฌ๋นจ๋ฆฌ ์‘๋‹ตํ•ด์„œ ๋” ํฐ ๊ฑด๋ฌผ์„ ์ฐพ์•„์•ผ๋งŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:55
By the time we found bigger buildings,
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๋” ํฐ ๋นŒ๋”ฉ์„ ์ฐพ์„ ๋•Œ๊นŒ์ง€ ๋ถ€๋ถ„์ ์œผ๋กœ ์ƒ๊ฐํ•ด์•ผ ํ•  ์ž์›๋“ค์ด ์žˆ์—ˆ์–ด์š”.
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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์šฐ๋ฆฌ๊ฐ€ ์•„ํŠธ ๋ฑ…ํฌ๋ผ๊ณ  ๋ถ€๋ฅด๋Š” ์€ํ–‰ ์•ˆ์€ ์•„์ฃผ ์•ˆ์ข‹์€ ์ƒํƒœ์˜€์ฃ .
08:05
There was about six feet of standing water.
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6ํ”ผํŠธ ์ •๋„์˜ ๋ฌผ์ด ์ฐจ์žˆ์—ˆ์–ด์š”.
08:09
It was a difficult project to finance,
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์ž๊ธˆ ์กฐ๋‹ฌ์ด ์–ด๋ ค์šด ๊ธฐํš์ด์—ˆ์ฃ .
08:11
because banks weren't interested in the neighborhood
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์€ํ–‰๋„, ์‚ฌ๋žŒ๋“ค๋„ ๋™๋„ค์— ๊ด€์‹ฌ์ด ์—†์—ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
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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๊ทธ๊ณณ์— ์•„๋ฌด ์ผ๋„ ์ผ์–ด๋‚˜์ง€ ์•Š์•˜๊ธฐ ๋•Œ๋ฌธ์ด์—ˆ์ฃ .
08:18
It was dirt. It was nothing. It was nowhere.
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๊ทธ๊ฑด ๋จผ์ง€ ๊ฐ™์•˜์ฃ . ์•„๋ฌด ์˜๋ฏธ๋„ ์—†๊ณ  ์–ด๋–ค ์žฅ์†Œ๋„ ์•„๋‹ˆ์—ˆ์–ด์š”.
08:22
And so we just started imagining, what else could happen in this building?
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๊ทธ๋ž˜์„œ ์ด ๊ฑด๋ฌผ์— ์–ด๋–ค ๋‹ค๋ฅธ ์ผ์„ ํ•  ์ˆ˜ ์žˆ์„์ง€ ์ƒ์ƒํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
08:28
(Applause)
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(๋ฐ•์ˆ˜)
08:33
And so now that the rumor of my block has spread,
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์ด์ œ ์ €ํฌ ๊ตฌ์—ญ์— ๋Œ€ํ•œ ์†Œ๋ฌธ์ด ๋‚˜์„œ ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ๋ฐฉ๋ฌธํ•˜๊ธฐ ์‹œ์ž‘ํ•˜์ž,
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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๊ทธ ์€ํ–‰์€ ์ „์‹œ, ๊ธฐ๋ก๋ณด๊ด€์†Œ, ์Œ์•… ๊ณต์—ฐ์˜ ์ค‘์‹ฌ์ง€๊ฐ€ ๋˜์—ˆ๊ณ ,
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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์ด์ œ๋Š” ๊ทธ ๊ฑด๋ฌผ ๋ฐ”๋กœ ๊ฑด๋„ˆํŽธ์— ์‚ด๊ธฐ๋ฅผ ์›ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
08:46
in being adjacent to those buildings because we brought some heat,
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์šฐ๋ฆฌ๊ฐ€ ์—ด๊ธฐ๊ฐ™์€ ๊ฒƒ์„ ์ผ์œผ์ผฐ๊ณ  ๋ถˆ์„ ์ง€ํˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
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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์šฐ๋ฆฌ๋Š” ๊ฑฐ๊ธฐ์— ์กด์Šจ ์ถœํŒ์‚ฌ์˜ ๊ธฐ๋ก๋ณด๊ด€์†Œ๋ฅผ ๋งŒ๋“ค๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:56
We've also started to collect memorabilia from American history,
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๋˜ํ•œ ๋ฏธ๊ตญ ์—ญ์‚ฌ์™€ ๋™๋„ค์— ์‚ด๊ฑฐ๋‚˜ ์‚ด๋˜ ์‚ฌ๋žŒ๋“ค์˜ ๊ธฐ๋…ํ’ˆ์„ ๋ชจ์œผ๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
09:00
from people who live or have lived in that neighborhood.
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์ด ์‚ฌ์ง„๋“ค ์ค‘ ์ผ๋ถ€๋Š” ํ‘์ธ์„ ๋น„ํ•˜ํ•˜๋Š” ๊ฒƒ์ธ๋ฐ ๋งค์šฐ ๋„์ „์ ์ธ ์—ญ์‚ฌ์˜ ๋‚ด์šฉ์ด์ฃ .
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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์šฐ๋ฆฌ๋Š” ์–ด๋ฆฐ ์ฒญ๋…„๋“ค์ด ๋Š์ž„์—†์ด ์ธ์ข…๊ณผ ๊ณ„์ธต์˜ ๋ณต์žก์„ฑ์„ ์•ผ๊ธฐ์‹œํ‚ค๋Š”
09:13
with young people who are constantly asking themselves about their identity
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๊ทธ๋“ค์˜ ์ •์ฒด์„ฑ์— ์˜๋ฌธ์„ ๊ฐ–๋Š” ๋‹ค๋ฅธ ๋™๋„ค๋ณด๋‹ค ๋” ๋‚ซ์Šต๋‹ˆ๋‹ค.
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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์–ด๋–ค ์˜๋ฏธ์—์„œ๋Š”, ๊ทธ ์€ํ–‰์€ ์ค‘์‹ฌ์ง€๋กœ ํ‘œํ˜„๋  ์ˆ˜ ์žˆ์–ด์š”.
09:26
that we're trying to create a pretty hardcore node of cultural activity,
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์šฐ๋ฆฌ๋Š” ๋ฌธํ™”์  ํ™œ๋™์˜ ์•„์ฃผ ์ค‘์‹ฌ์ ์ธ ๊ต์ ์„ ๋งŒ๋“ค์–ด ๋‚ด๋ ค๊ณ  ํ•˜๊ณ  ์žˆ๊ณ ,
09:31
and that if we could start to make multiple hubs
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๋งŒ์ผ ์šฐ๋ฆฌ๊ฐ€ ์—ฌ๋Ÿฌ๊ฐœ์˜ ์ค‘์‹ฌ์ง€๋ฅผ ๋งŒ๋“ค์–ด ์ฃผ๋ณ€์— ์•„์ฃผ ๋ฉ‹์ง„ ๋…น์ƒ‰ ๊ณต๊ฐ„์„ ์—ฐ๊ฒฐํ•˜๋ฉด
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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์šฐ๋ฆฌ๊ฐ€ ๊ตฌ์ž…ํ•ด ๋‹ค์‹œ ๊ตฌ์ถ•ํ•ด ์ด์ œ 60-70 ๊ฐœ ์ •๋„๊ฐ€ ๋˜๋Š”๋ฐ์š”,
09:40
which is now around 60 or 70 units,
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์ž‘์€ ๋ฒ ๋ฅด์‚ฌ์œ  ๊ถ์ „์„ ๊ทธ ์œ„์— ๋‚ด๋ ค๋†“๋Š” ๊ฒƒ์ด์ฃ .
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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๊ทธ ๊ฑด๋ฌผ๋“ค์„ ์•„๋ฆ„๋‹ค์šด ๋…น์ง€๋‹จ์ง€๋กœ ์—ฐ๊ฒฐํ•˜๋Š” ๊ฑฐ์ฃ ...
09:52
(Applause) --
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(๋ฐ•์ˆ˜)
09:55
that this place where people never wanted to be
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์‚ฌ๋žŒ๋“ค์ด ์›ํ•˜์ง€ ์•Š๋˜ ์žฅ์†Œ๊ฐ€ ์ค‘์š”ํ•œ ๋ชฉ์ ์ง€๋กœ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
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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์ „๊ตญ๊ณผ ์„ธ๊ณ„์˜ ์ฃผ๋ฏผ๋“ค์—๊ฒŒ ๋ง์ด์ฃ .
10:05
In some ways, it feels very much like I'm a potter,
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์–ด๋–ค ๋ฉด์—์„œ, ๋ฐ”ํ€ด์œ„์—์„œ ๋ฌธ์ œ๋“ค์„ ํ•ด๊ฒฐํ•˜๋ ค๋Š” ๋„์˜ˆ๊ฐ€๋กœ ๋Š๊ปด์ง‘๋‹ˆ๋‹ค.
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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์šฐ๋ฆฌ๋Š” ๊ฐ€์ง„ ๊ธฐ์ˆ ๋กœ ๋‹ค์Œ์— ๋งŒ๋“ค๋ ค๋Š” ๊ทธ๋ฆ‡์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ด ๋ด์•ผ ํ•˜์ฃ .
10:14
to think about this next bowl that I want to make.
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๊ทธ๊ฒƒ์€ ํ•œ๊ฐœ์˜ ๊ทธ๋ฆ‡์—์„œ ์ง‘ ํ•˜๋‚˜๋กœ, ๋‹จ์ง€๋กœ, ์ด์›ƒ์œผ๋กœ, ๋ฌธํ™” ๊ตฌ์—ญ์œผ๋กœ,
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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๋˜ ๋ชจ๋“  ๋ฉด์—์„œ ๋ชฐ๋ผ์„œ ๋ฐฐ์›Œ์•ผ๋งŒ ํ–ˆ๋˜ ๋„์‹œ์˜ ๋ชจ๋“  ๋ฐฉ๋ฉด์œผ๋กœ ๋ฐœ์ „ํ–ˆ์ฃ .
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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์ผ์ƒ์—์„œ ๊ตฌ์—ญ์ง“๋Š” ๋ฒ•์„ ์ด๋ ‡๊ฒŒ ๋งŽ์ด ๋ฐฐ์šด์ ์ด ์—†์ฃ ,
10:33
I never thought I'd have to.
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๋ฐฐ์›Œ์•ผ๋งŒ ํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋˜ ์ ์ด ์—†์ฃ .
10:35
But as a result of that, I'm finding that there's not just room
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ํ•˜์ง€๋งŒ ๊ทธ ๊ฒฐ๊ณผ๋กœ์จ, ์ €๋Š” ๊ทธ ๊ณณ์— ์ €์˜ ์˜ˆ์ˆ ์  ์‹ค์ฒœ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
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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๋งŽ์€ ๋‹ค๋ฅธ ์ด๋“ค์˜ ์‹ค์ฒœ์„ ์œ„ํ•œ ๊ณต๊ฐ„์ด ์žˆ๋‹ค๋Š” ๊ฑธ ์•Œ์•˜์ฃ .
10:43
So people started asking us,
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์‚ฌ๋žŒ๋“ค์€ ๋ฌป๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ , "ํ…Œ์Šคํ„ฐ์”จ, ๊ทœ๋ชจ๋Š” ์–ด๋–ป๊ฒŒ ํ•˜์‹ค๊ฑด๊ฐ€์š”?"
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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"์œ ์ง€ ๊ฐ€๋Šฅํ•œ ๊ณ„ํš์€ ์–ด๋–ค๊ฒƒ์ธ๊ฐ€์š”?"
10:49
(Laughter) (Applause)
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
10:54
And what I found was that I couldn't export myself,
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์‚ฌ์‹ค ์ €๋Š” ์ € ์ž์‹ ์„ ์ˆ˜์ถœํ•ด์„œ ํŒ”๋ ค ๋‚˜๊ฐˆ ์ˆ˜๋Š” ์—†๋‹ค๋Š” ๊ฑธ ์•Œ์•˜์ฃ .
10:58
that what seems necessary in cities like Akron, Ohio,
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์˜คํ•˜์ด์˜ค์ฃผ์˜ ์• ํฌ๋ก ์‹œ, ๋ฏธ์‹œ๊ฐ„ ์ฃผ์˜ ๋””ํŠธ๋กœ์ดํŠธ์‹œ์™€
11:02
and Detroit, Michigan, and Gary, Indiana,
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์ธ๋””์•„๋‚˜์ฃผ์˜ ๊ฒŒ๋ฆฌ์‹œ๊ฐ™์€ ๊ณณ์—์„œ ํ•„์š”ํ•œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋Š”๋ฐ,
11:04
is that there are people in those places who already believe in those places,
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๊ฑฐ๊ธฐ ์‚ฌ๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ด๋ฏธ ๊ทธ๊ณณ์„ ๋ฏฟ๊ณ  ์ •๋ง ์•„๋ฆ„๋‹ต๊ฒŒ ๋งŒ๋“ค๋ ค๋Š” ์‚ฌ๋žŒ๋“ค์ด์ฃ .
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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๋ณดํ†ต ๊ทธ ์žฅ์†Œ์— ์—ด์ •์ ์ธ ์‚ฌ๋žŒ๋“ค์€ ๋ฉ‹์ง„ ๊ฒƒ์„ ๋งŒ๋“œ๋Š”๋ฐ ํ•„์š”ํ•œ ์ž์›๊ณผ๋Š”
11:15
are disconnected from the resources necessary to make cool things happen,
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๋™๋–จ์–ด์ ธ์žˆ๊ฑฐ๋‚˜ ๊ทธ๋ ‡๊ฒŒ ๋˜๋„๋ก ๋•๋Š” ์‚ฌ๋žŒ๋“ค๊ณผ ๋™๋–จ์–ด์ง„ ์‚ฌ๋žŒ๋“ค์ด์ฃ .
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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์šฐ๋ฆฌ๋Š” ๋‚˜๋ผ ๊ณณ๊ณณ์— ๋„์›€๋ง์„ ์ฃผ๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
11:28
on how to start with what you got,
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์ด๋ฏธ ๊ฐ€์ง„ ๊ฒƒ๋“ค๋กœ ์–ด๋–ป๊ฒŒ ์‹œ์ž‘ํ•˜๋Š”์ง€, ์•ž์— ๋†“์—ฌ์ง„ ๊ฒƒ์œผ๋กœ ์–ด๋–ป๊ฒŒ ์‹œ์ž‘ํ•˜๋Š”์ง€,
11:30
how to start with the things that are in front of you,
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๋ฌด์—์„œ ์œ ๋ฅผ ์–ด๋–ป๊ฒŒ ์ฐฝ์กฐํ•˜๋Š”์ง€,
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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์—ฌ๋Ÿฌ๋ถ„์˜ ๋ฐ”ํ€ด, ๊ตฌ์—ญ์—์„œ, ๋„์‹œ์˜ ๋ฒ”์œ„ ๋‚ด์—์„œ ์–ด๋–ป๊ฒŒ ์„ธ์ƒ์„ ์žฌํ˜•์„ฑํ•˜๋Š”์ง€์š”.
11:40
or at the scale of the city.
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์ •๋ง ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:42
Thank you so much.
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(๋ฐ•์ˆ˜)(ํ™˜ํ˜ธ)
11:44
(Applause)
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11:51
June Cohen: Thank you. So I think many people watching this
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์ค€ ์ฝ”ํ—จ: ๊ฐ์‚ฌํ•ด์š”.
์ด๊ฒƒ์„ ๋ณธ ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์€ ๋งˆ์ง€๋ง‰์— ์ œ๊ธฐ๋œ ์งˆ๋ฌธ์— ๋Œ€ํ•ด ์Šค์Šค๋กœ ์ƒ๊ฐํ•˜๊ฒ ์ฃ .
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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๊ทธ๋“ค์ด ์ž์‹ ๋“ค์˜ ๋„์‹œ ๋‚ด์—์„œ ์–ด๋–ป๊ฒŒ ํ•  ์ˆ˜ ์žˆ์„๊นŒ?
12:00
You can't export yourself.
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๋‹น์‹  ์ž์‹ ์„ ์ˆ˜์ถœํ•ด์„œ ๋‚˜๊ฐˆ ์ˆ˜๋Š” ์—†์–ด์š”.
12:02
Give us a few pages out of your playbook about what someone who is inspired
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๋‹น์‹  ๊ฐ™์ด ์˜๊ฐ์„ ๋ฐ›์•„ ์ด๋Ÿฐ ๊ธฐํš์— ์ฐฉ์ˆ˜ ํ•˜๋ ค๋Š” ์‚ฌ๋žŒ๋“ค์„ ์œ„ํ•ด
12:05
about their city can do to take on projects like yours?
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๊ธฐํš์•ˆ์˜ ์˜ˆ๋ฅผ ๋ช‡ ๊ฐ€์ง€๋งŒ ๋“ค์–ด์ฃผ์„ธ์š”.
12:08
Theaster Gates: One of the things I've found that's really important
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๋ ์•„์Šคํ„ฐ ๊ฒŒ์ด์ธ : ์ œ๊ฐ€ ๊นจ๋‹ฌ์€ ๊ฒƒ ์ค‘ ํ•œ๊ฐ€์ง€ ์ค‘์š”ํ•œ ๊ฒƒ์€
12:11
is giving thought to not just the kind of individual project,
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ํ•˜๋‚˜์˜ ๋‚ก์€ ์ง‘์„ ๊ฐœ๋ณ„์ ์œผ๋กœ ์—ฌ๊ธฐ์ง€ ์•Š๋Š” ๊ฒƒ ๋ฟ์•„๋‹ˆ๋ผ
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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๊ทธ ๋‚ก์€ ์ง‘๊ณผ ์ง€์—ญ ํ•™๊ต ์ž‘์€ ์ƒ์ ๋“ค์˜ ์‚ฌ์ด์˜ ๊ด€๊ณ„๋ฅผ ์ƒ๊ฐํ•ด ๋ณด๋Š” ๊ฒƒ์ด์ฃ .
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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๊ทธ ์‚ฌ์ด์— ์‹œ๋„ˆ์ง€ํšจ๊ณผ๊ฐ€ ์žˆ๋Š”์ง€ ์ฃผ๋ฏผ๋“ค์ด ์ด๊ฒƒ์„ ์ข‹์•„ํ• ์ง€ ๋ง์ด์ฃ .
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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์‹คํŒจํ•œ ๋™๋„ค๋“ค์˜ ์‚ฌ๋ก€์—์„œ ์ œ๊ฐ€ ์•ˆ๊ฒƒ์€ ๊ทธ๊ณณ์— ์—ฌ์ „ํžˆ ์ƒ๊ธฐ๊ฐ€ ์žˆ์—ˆ์–ด์š”.
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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์–ด๋–ป๊ฒŒ ๊ฑฐ๊ธฐ์— ์ƒ๊ธฐ์žˆ์Œ๊ณผ ์—ด์ •์ ์ธ ์‚ฌ๋žŒ์„ ๊ตฌ๋ถ„ํ•˜๊ณ 
12:40
and then how do you get folk who have been fighting,
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์–ด๋–ป๊ฒŒ 20์—ฌ๋…„๊ฐ„ ๋ฌต๋ฌตํžˆ ์ผํ•˜๋ฉฐ ์‹ธ์›Œ์˜จ ์ฃผ๋ฏผ๋“ค์ด
12:43
slogging for 20 years, reenergized about the place that they live?
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๊ทธ๋“ค์ด ์‚ฌ๋Š” ์žฅ์†Œ์— ๋Œ€ํ•œ ์—ด์ •์„ ๋ถ๋‹์„ ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๋Š๋ƒ ์ž…๋‹ˆ๋‹ค.
12:47
And so someone has to do that work.
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๊ทธ๋ž˜์„œ ๋ˆ„๊ตฐ๊ฐ€๋Š” ๊ทธ ์ผ์„ ํ•ด์•ผํ•ฉ๋‹ˆ๋‹ค.
12:50
If I were a traditional developer, I would be talking about buildings alone,
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์ œ๊ฐ€ ์ „ํ†ต์ ์ธ ๊ฐœ๋ฐœ์ž์˜€๋‹ค๋ฉด ๊ทธ ํ•œ ๊ฑด๋ฌผ๋งŒ์„ ๊ณ ๋ คํ•ด์„œ,
12:54
and then putting a "For Lease" sign in the window.
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์ฐฝ๋ฌธ์— ์ „์„ธ ๊ด‘๊ณ ๋ฅผ ๋‚ด๊ฑธ์—ˆ๊ฒ ์ฃ .
12:58
I think that you actually have to curate more than that,
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์ œ ์ƒ๊ฐ์—” ๊ทธ๊ฒƒ๋ณด๋‹ค ๋” ์กฐ์ง์ ์ธ ๊ด€๋ฆฌ๋ฅผ ํ•ด์•ผ ํ•ด์š”.
13:01
that there's a way in which you have to be mindful about,
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๋” ์—ผ๋‘ํ•ด ๋‘์–ด์•ผ ํ•˜๋Š”๊ฒƒ์€ ๋‹น์‹ ์ด ์„ฑ์žฅ์‹œํ‚ค๊ธธ ๋ฐ”๋ผ๋Š” ์‚ฌ์—…์ด์ฃ .
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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๋˜ํ•œ ํ•จ๊ป˜ ๊ทธ ์‚ฌ์—…์„ ์„ฑ์žฅ์‹œํ‚ค๊ณ ์ž ๋ฐ”๋ผ๋Š” ์‚ฌ๋žŒ๋“ค์ด ๊ฑฐ๊ธฐ์— ์‚ฌ๋Š”๊ฐ€์ฃ .
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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๊ทธ์ € ๋ฌธํ™”์  ๊ณต๊ฐ„์ด๋‚˜ ์ฃผํƒ์ด ์•„๋‹ˆ๋ผ
13:14
there has to be the recreation of an economic core.
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๊ฒฝ์ œ์  ์ค‘์‹ฌ์˜ ์—ฌ๊ฐ€ํ™œ๋™ ์žฅ์†Œ๊ฐ€ ์žˆ์–ด์•ผ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
13:17
So thinking about those things together feels right.
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์ด๋Ÿฐ ๊ฒƒ๋“ค์„ ํ•จ๊ป˜ ๊ณ ๋ คํ•˜๋ฉด ์ ์ ˆํ•˜๊ฒŒ ๋Š๊ปด์ง‘๋‹ˆ๋‹ค.
13:20
JC: It's hard to get people to create the spark again
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ๋ถˆ๊ฝƒ์„ ๋‹ค์‹œ ์ผ์œผํ‚ค๊ธฐ๋Š” ํž˜์ด ๋“ญ๋‹ˆ๋‹ค.
13:23
when people have been slogging for 20 years.
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20์—ฌ๋…„ ๋™์•ˆ ๋‹ค๋ฅธ์ผ์„ ์—ด์‹ฌํžˆ ํ•ด ์˜จ ๊ฒฝ์šฐ์— ๋ง์ด์ฃ .
13:25
Are there any methods you've found that have helped break through?
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ๋ŒํŒŒ๊ตฌ๋ฅผ ์ฐพ๋Š” ๋ฐฉ๋ฒ•์„ ์ฐพ์œผ์…จ๋‚˜์š”?
13:28
TG: Yeah, I think that now there are lots of examples
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๋ฉ‹์ง„์ผ์„ ํ•˜๊ณ  ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์˜ ๋งŽ์€ ์‚ฌ๋ก€๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
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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์ด๋Ÿฐ ๋ฐฉ๋ฒ•๋“ค์€ ๋•Œ๋กœ๋Š”,
๋Œ€์ค‘๋งค์ฒด๊ฐ€ ์–ด๋–ค ์žฅ์†Œ์—์„œ ํญ๋ ฅ์  ์‚ฌ๊ฑด๋งŒ ๊ณ„์† ์ผ์–ด๋‚œ๋‹ค๊ณ  ๋ฐฉ์˜ํ•˜๋Š” ๊ฒฝ์šฐ
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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๋‹น์‹ ์˜ ๊ธฐ์ˆ ๊ณผ ํŠน์ •ํ•œ ์ƒํ™ฉ์— ๊ธฐ๋ฐ˜ํ•˜์—ฌ
13:44
what are the things that you can do in your neighborhood
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๊ทธ๋Ÿฐ๊ฒƒ๋“ค๊ณผ ์‹ธ์šฐ๊ธฐ ์œ„ํ•ด ๋™๋„ค์—์„œ ๋ฌด์—‡์„ ํ•  ์ˆ˜ ์žˆ๋Š”๊ฐ€๋ฅผ ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
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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๋งŒ์•ฝ ์—ฌ๋Ÿฌ๋ถ„์ด ๊ทน์žฅ์„ ์ข‹์•„ํ•œ๋‹ค๋ฉด ์•ผ์™ธ ๊ทน์žฅ ํŽ˜์Šคํ‹ฐ๋ฒŒ์„ ์—ด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
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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ํŠน์ • ์ง€์—ญ๋“ค์€ ๊ทธ๋Ÿฐ ์ผ๋“ค์— ๊ผญ ํ•„์š”ํ•œ ์ž์›์ด ์—†์Šต๋‹ˆ๋‹ค.
13:58
to do things that are a certain kind of splashy,
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์šฐ๋ฆฌ๋Š” ๊ทธ ์ง€์—ญ์˜ ์‚ฌ๋žŒ๋“ค์„ ์ฐพ๊ณ ,
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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๊ทธ ์ง€์—ญ์•ˆ์—์„œ ์ผ์–ด๋‚˜๋Š” ์ผ๋“ค์— ์ง€์›์ ์ธ ์กฐ๋ ฅ์ž๋“ค์„ ํ™•์‹คํžˆ ์ฐพ์œผ๋ฉด,
14:10
when those people get together,
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์ด๋Ÿฐ ์‚ฌ๋žŒ๋“ค์ด ํ˜‘๋ ฅํ–ˆ์„ ๋•Œ ์ •๋ง ๋ฉ‹์ง„ ์ผ์ด ๋ฒŒ์–ด์งˆ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:12
I think really amazing things can happen.
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14:14
JC: So interesting.
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์ค€ ์ฝ”ํ—จ: ์•„์ฃผ ํฅ๋ฏธ๋กญ๋„ค์š”.
14:16
And how can you make sure that the projects you're creating
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๋ณด์žฅํ•  ์ˆ˜ ์žˆ์ฃ ?
๋‹น์‹ ์ด ์ฐฝ์กฐํ•œ ๊ณ„ํš์•ˆ๋“ค์ด ์†Œ์ˆ˜์ž๋ฅผ ์œ„ํ•œ ๊ฒƒ์ด๊ณ 
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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์ด๋Ÿฐ ๊ฒƒ์˜ ์ด์œค์„ ์–ป์œผ๋Ÿฌ ์ž…์ฃผํ•˜๋Š” ์ฑ„์‹์ฃผ์˜์ž ๋ฅผ ์œ„ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ๋ง์ด์ฃ .
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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๊ทธ๋ ‡์ฃ , ์ด๊ฒŒ ๋ฌด์„ฑํ•œ ์žก์ดˆ ์†์œผ๋กœ ๋“ค์–ด๊ฐ€๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ํž˜๋“ค์–ด์ง€๋Š” ๋ถ€๋ถ„์ด์ฃ .
14:31
JC: Let's go there. TG: Right now, Grand Crossing
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์ค€ ์ฝ”ํ—จ: ํ•œ๋ฒˆ ์ด์•ผ๊ธฐ๋ฅผ ๋“ค์–ด๋ด…์‹œ๋‹ค.
์ง€๊ธˆ ๊ทธ๋žœ๋“œ ํฌ๋กœ์‹ฑ์—๋Š” ์ ์–ด๋„ 99%๊ฐ€ ํ‘์ธ ์ธ๊ตฌ๊ฐ€ ์‚ฝ๋‹ˆ๋‹ค.
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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์šฐ๋ฆฌ๋Š” ์ง‘์˜ ์†Œ์œ ์ฃผ์™€ ๊ฑฐ๋ฆฌ๋ฅผ ๊ฑท๋Š” ๊ฑฐ์ฃผ๋ฏผ์ด ์–ด์ฉŒ๋ฉด ๋‹ค๋ฅด๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์ฃ .
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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๊ทธ๋ž˜์„œ ๊ทธ๋žœ๋“œ ํฌ๋กœ์‹ฑ์€ ์˜ค๋Š˜๋‚ ๊ณผ๋Š” ์ด๋ฏธ ๋‹ค๋ฅธ ๊ณณ์ด ๋œ๋‹ค๊ณ  ๋งํ•  ์ˆ˜ ์žˆ์ฃ .
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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๊ทธ๋Ÿฌ๋‚˜ ์ƒ๊ฐํ•  ์–ด๋–ค ๋ฐฉ๋ฒ•์ด ์—†์„๊นŒ์š”? ์ฃผํƒ ์‹ ํƒ, ํ† ์ง€ ์‹ ํƒ,
14:55
or a mission-based development
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๋˜๋Š” ์ด๋ฏธ ์ผ๋ถ€๊ฐ€ ์‹œ์ž‘๋œ ์ด๋Ÿฐ ๋ฏธ์…˜์— ๊ธฐ๋ฐ˜์„ ๋‘” ๊ณต๊ฐ„์„ ๋ณดํ˜ธํ•˜๊ธฐ ์œ„ํ•ด์„œ์š”.
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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์—ฌ๋Ÿฌ๋ถ„์˜ ๋„์‹œ์— 7,500์ฑ„ ์ •๋„์˜ ๋นˆ ์ง‘์ด ์žˆ๋Š” ๊ฒฝ์šฐ
15:04
you want something to happen there,
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๊ฑฐ๊ธฐ์„œ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๊ณ  ์‹ถ์„๊ฒ๋‹ˆ๋‹ค.
15:06
but you need entities that are not just interested in the development piece,
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๋ฐœ์ „์—๋งŒ ํฅ๋ฏธ๋ฅผ ๋‘” ๊ฑด๋ฌผ์ด ์•„๋‹ˆ๋ผ ์•ˆ์ •์„ฑ์—๋„ ์ด์ ์„ ๋‘” ๊ฑด๋ฌผ์ด์–ด์•ผ ํ•˜์ฃ .
15:11
but entities that are interested in the stabilization piece,
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์ œ๊ฐ€ ์ž์ฃผ ๋Š๋ผ๋Š” ๊ฒƒ์€ ๋ฐœ์ „ ๋ถ€๋ฌธ์€ ๋™๊ธฐ๋ถ€์—ฌ๋ฅผ ๋งŽ์ด ๋ฐ›์ง€๋งŒ
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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์ด์›ƒ๋“ค์˜ ์ž๊ฐ์— ๋Œ€ํ•œ ๋ถ€๋ถ„์€ ๋”์ด์ƒ ์ง€์†๋˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
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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์ค‘์š”ํ•œ ๊ฐ์‹œ๊ธฐ๊ตฌ๋ฅผ ์ž์›๋“ค์ด ์ด์šฉ๊ฐ€๋Šฅ ํ•˜๋„๋ก ๋ณด์žฅํ•  ์ˆ˜ ์žˆ๋Š”
15:27
that ensure that the resources that are made available
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๊ธฐ๊ด€์œผ๋กœ ์„ฑ์žฅ ์‹œํ‚ฌ ์ˆ˜ ์žˆ์„๊นŒ์š”?
15:30
to new folk that are coming in
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์ƒˆ๋กœ์šด ์ฃผ๋ฏผ๋“ค์ด ์ด์šฉํ•  ์ˆ˜ ์žˆ๋„๋ก ๋ง์ด์ฃ .
15:31
are also distributed to folk who have lived in a place for a long time.
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๋˜ํ•œ ์ด๋ฏธ ๊ทธ ๊ณณ์— ์˜ค๋ž˜ ์‚ด๊ณ  ์žˆ๋˜ ์ฃผ๋ฏผ๋“ค์—๊ฒŒ๋„ ๋ถ„๋ฐฐ๋  ์ˆ˜ ์žˆ๋„๋ก ๋ง์ด์ฃ .
15:35
JC: That makes so much sense. One more question:
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์ค€ ์ฝ”ํ—จ: ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ์งˆ๋ฌธ์ด ํ•˜๋‚˜ ๋” ์žˆ์–ด์š”.
15:37
You make such a compelling case for beauty and the importance of beauty and the arts.
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๋ฏธ(็พŽ)์™€ ๊ทธ ์ค‘์š”์„ฑ, ๋˜ ์˜ˆ์ˆ ์— ๋Œ€ํ•œ ๋งค์šฐ ์ฃผ๋ชฉํ•  ๋งŒํ•œ ์‚ฌ๋ก€๋ฅผ ๋งŒ๋“œ์…จ์–ด์š”.
15:42
There would be others who would argue that funds would be better spent
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์†Œ์ˆ˜์ž๋ฅผ ์œ„ํ•œ ๊ธฐ๋ณธ ์„œ๋น„์Šค์— ์ž๊ธˆ์„ ์ด์šฉํ•˜๋Š” ๊ฒŒ ๋” ๋‚ซ๋‹ค๋Š” ์˜๊ฒฌ์ด ์žˆ์–ด์š”.
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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์ด ์˜๊ฒฌ์— ๋Œ€ํ•ด ์–ด๋–ป๊ฒŒ ๋ฐ˜๋ก ํ•˜์‹œ๊ฒ ์–ด์š”?
15:52
TG: I believe that beauty is a basic service.
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์ „ ๋ฏธ(็พŽ)๊ฐ€ ๊ธฐ๋ณธ์„œ๋น„์Šค๋ผ๊ณ  ๋ฏฟ์–ด์š”.
15:54
(Applause)
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(๋ฐ•์ˆ˜)
16:02
Often what I have found is that when there are resources
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์ œ๊ฐ€ ์ž์ฃผ ๋ฐœ๊ฒฌํ•˜๋Š” ๊ฒƒ์€ ํŠน์ • ์ž์›์ด ํŠน์ •ํ•œ ๋„์‹œ์—์„œ ์ด์šฉ์ด ๋ถˆ๊ฐ€๋Šฅํ•˜๊ฒŒ ๋˜๋ฉด,
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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์ด์›ƒ, ๋˜๋Š”์ง€์—ญ์—์„œ๋„ ๊ฐ€๋”์”ฉ ๋ฌธํ™”๊ฐ€ ๊ทธ ์ž์›์˜ ๋ถˆ๊ฝƒ์„ ํ”ผ์›๋‹ˆ๋‹ค.
16:11
that sometimes culture is the thing that helps to ignite,
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์ €๋Š” ๋ชจ๋“  ๊ฒƒ์„ ํ•  ์ˆ˜๋Š” ์—†์Šต๋‹ˆ๋‹ค.
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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ํ•˜์ง€๋งŒ ๊ทธ ๋ฐฉ์‹์€ ๋ฌธํ™”๋กœ ์‹œ์ž‘ํ•ด์„œ ์‚ฌ๋žŒ๋“ค์ด ๊ทธ ์žฅ์†Œ์— ์žฌํˆฌ์žํ•˜๊ฒŒ ํ•˜์ฃ .
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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๊ฐ€๊นŒ์ด ์žˆ๋Š” ์‹œ์„ค๋“ค์ด ์„ฑ์žฅํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
16:29
and then people can make a demand that's a poetic demand,
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์‚ฌ๋žŒ๋“ค์€ ์„œ์ •์  ์š”๊ตฌ๋ฅผ ํ•  ์ˆ˜ ์žˆ์–ด์š”.
16:33
and the political demands that are necessary to wake up our cities,
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๋˜ํ•œ ์šฐ๋ฆฌ์˜ ๋„์‹œ๋ฅผ ์ผ๊นจ์šฐ๋Š”๋ฐ ํ•„์ˆ˜์ ์ธ ์ •์น˜์  ์š”๊ตฌ๋„ ํ•˜๊ฒŒ ๋˜๊ณ ,
16:38
they also become very poetic.
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๊ทธ๊ฒƒ๋“ค ๋˜ํ•œ ์„œ์ •์ ์œผ๋กœ ๋ณ€ํ•ฉ๋‹ˆ๋‹ค.
16:40
JC: It makes perfect sense to me.
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์ค€ ์ฝ”ํ—จ: ์ •๋ง ์™„๋ฒฝํžˆ ๋…ผ๋ฆฌ์ ์œผ๋กœ ์ดํ•ด๊ฐ€ ๊ฐ‘๋‹ˆ๋‹ค.
16:42
Theaster, thank you so much for being here with us today.
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์˜ค๋Š˜ ๊ฐ•์—ฐ์— ๋Œ€ํ•ด ์ •๋ง ๊ฐ์‚ฌ๋“œ๋ฆฝ๋‹ˆ๋‹ค.
16:45
Thank you. Theaster Gates.
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๋ ์•„์Šคํ„ฐ ๊ฒŒ์ดํŠธ ์”จ์ž…๋‹ˆ๋‹ค!
16:46
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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