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

翻译人员: xie ruohan 校对人员: Twisted Meadows

I'm a potter,

我是一名陶艺家。

which seems like a fairly humble vocation.

听起来不是什么了不起的职业。

I know a lot about pots.

我对于各种陶器了如指掌，

I've spent about 15 years making them.

我在这一行干了差不多15年。

One of the things that really excites me in my artistic practice

在我艺术实践的历程中， 有一件事儿很让我为之兴奋，

and being trained as a potter

正是这件事儿让我成为一名陶艺师。

那就是：你能够快速地学到， 怎样从无到有地做出很棒的作品；

is that you very quickly learn how to make great things out of nothing;

that I spent a lot of time at my wheel with mounds of clay trying stuff;

这使我日复一日地在转轮上 用黏土制作着各种试作品；

and that the limitations of my capacity, my ability,

我能力与才华的唯一限制，

was based on my hands and my imagination;

就是我的双手和想象力；

that if I wanted to make a really nice bowl

如果我想做一个漂亮的碗，

and I didn't know how to make a foot yet,

但我甚至连碗的底座怎么做都还不知道，

I would have to learn how to make a foot;

那我就得去学习如何制作底座；

that that process of learning has been very, very helpful to my life.

这种学习的过程， 对我的人生来说大有裨益。

I feel like, as a potter,

我认为，作为一名陶艺家，

you also start to learn how to shape the world.

你也要逐渐学着 去塑造我们的世界。

There have been times in my artistic capacity

很多时候，我希望通过我的艺术创作

that I wanted to reflect

去反映出另外一些

on other really important moments

非常重要的时刻。

in the history of the U.S., the history of the world

在美国历史、世界历史里

where tough things happened,

那些艰苦的年代。

but how do you talk about tough ideas

但你怎么能在脱离实物的情况下，

without separating people from that content?

去和人谈论那些困难的话题呢？

我能否使用这些来自 阿拉巴马州的一些老旧废弃的消防管，

Could I use art like these old, discontinued firehoses from Alabama,

to talk about the complexities of a moment of civil rights in the '60s?

来表现上世纪60年代人权运动的复杂性？

Is it possible to talk about my father and I doing labor projects?

能否让我谈谈父亲和我所做的一些项目？

My dad was a roofer, construction guy, he owned small businesses,

我的父亲是一名屋顶工，建筑工人。他的生意不大。

and at 80, he was ready to retire and his tar kettle was my inheritance.

在他80岁的时候，他准备退休了。 于是我继承了他留下的沥青锅。

Now, a tar kettle doesn't sound like much of an inheritance. It wasn't.

如今，沥青锅听起来真不像 一个像样的传家品，它确实不是。

It was stinky and it took up a lot of space in my studio,

它会散发出阵阵恶臭，并且挤占了我工作室的许多空间。

but I asked my dad if he would be willing to make some art with me,

但是，我曾询问父亲是否愿意 与我合作，创造一些艺术作品，

if we could reimagine this kind of nothing material

如果我们能够重塑 这块看似无用的材料，

as something very special.

把它变成很特别的东西。

And by elevating the material and my dad's skill,

并且通过材质的提升 和我父亲娴熟的技术，

could we start to think about tar just like clay, in a new way,

我们能否以新的方式， 把沥青当成黏土，

shaping it differently, helping us to imagine what was possible?

用另外的方式去塑造它， 帮我们发现新的可能性？

After clay, I was then kind of turned on to lots of different kinds of materials,

在黏土之后，我开始 尝试使用各种不同的材料，

and my studio grew a lot because I thought, well,

我的工作室也在日益扩大，因为我觉得

it's not really about the material, it's about our capacity to shape things.

这不仅仅关乎材料的选用， 更是关于我们塑造事物的能力。

I became more and more interested in ideas

我对于「创意」越来越感兴趣，

and more and more things that were happening just outside my studio.

也越来越多地在工作室之外进行创作。

Just to give you a little bit of context, I live in Chicago.

先给大家提供一些背景，我居住在芝加哥。

I live on the South Side now. I'm a West Sider.

我现在住在南边。 但我是西边的人。

For those of you who are not Chicagoans, that won't mean anything,

如果你不是芝加哥人， 这些信息对你可能没什么意义。

but if I didn't mention that I was a West Sider,

但是，如果我不提及我是西边的人，

there would be a lot of people in the city that would be very upset.

这个城市里的很多人可能会很不高兴。

The neighborhood that I live in is Grand Crossing.

我居住在芝加哥的 “Grand Crossing”街区。

It's a neighborhood that has seen better days.

那是一个美景不再的社区。

It is not a gated community by far.

它完全不是个高级社区。

There is lots of abandonment in my neighborhood,

我们附近有很多废弃建筑物，

and while I was kind of busy making pots and busy making art

当我忙于制作我的器皿、忙于创造

and having a good art career,

和享受艺术的时候，

there was all of this stuff that was happening

这一切都在周围发生着

just outside my studio.

就在我的工作室之外。

All of us know about failing housing markets

我们都了解房地产市场的低迷，

and the challenges of blight,

和它面临的衰落的挑战，

and I feel like we talk about it with some of our cities more than others,

我们时常谈论自己的城市，而不是别的，

but I think a lot of our U.S. cities and beyond

但是我常思考美国的城市， 以及别的国家的城市

have the challenge of blight,

都面临着日益衰落的挑战。

abandoned buildings that people no longer know what to do anything with.

人们不知道该如何处置这些被废弃的建筑。

And so I thought, is there a way that I could start to think

因此，我开始设想， 是否有一种方式能使我

about these buildings as an extension or an expansion of my artistic practice?

把这些建筑，作为我 艺术实践的延伸与扩展呢？

And that if I was thinking along with other creatives --

如果我能和其他创意人士一起协同思考——

architects, engineers, real estate finance people --

建筑家、工程师、房地产和金融人士——

that us together might be able to kind of think

这样我们可能一起想出

in more complicated ways about the reshaping of cities.

更多元的方式，去重塑我们的城市。

And so I bought a building.

所以我买下了一栋建筑物。

The building was really affordable.

这栋建筑非常便宜。

We tricked it out.

我们给它精心打扮了一番。

We made it as beautiful as we could to try to just get some activity happening

我们想尽办法把它弄得有吸引力， 让更多的活动发生在我的街区。

on my block.

Once I bought the building for about 18,000 dollars,

我花1万8千美元买下这栋房子之后，

I didn't have any money left.

就没剩什么钱了。

So I started sweeping the building as a kind of performance.

所以我开始打扫这幢房子 并将其作为一种表演。

This is performance art, and people would come over,

这是一种行为艺术， 其他人也可以参与进来，

and I would start sweeping.

我就这样开始打扫。

Because the broom was free and sweeping was free.

但是因为扫帚是免费的， 打扫也是免费（自由）的。

It worked out.

它就这么奏效了。

(Laughter)

（笑）

But we would use the building, then, to stage exhibitions, small dinners,

我们接下来用这个房子 举办了一些展览和小型餐会，

and we found that that building on my block, Dorchester --

我发现这栋建筑——我们给它 取名叫多切斯特（Dorchester）计划

we now referred to the block as Dorchester projects --

——开始成为街区里的 一个人群聚集的场所。

that in a way that building became a kind of gathering site

for lots of different kinds of activity.

各类活动都在这里举办。

We turned the building into what we called now the Archive House.

后来我们改造并给这栋房子命名「资料馆」。

The Archive House would do all of these amazing things.

资料馆有许多惊人的功用。

Very significant people in the city and beyond

许多来自城里城外的达官贵人

would find themselves in the middle of the hood.

都会跑到这里来。

And that's when I felt like

这时候我会觉得

也许我做陶土的经历， 和这里正在发生的新鲜事

maybe there was a relationship between my history with clay

and this new thing that was starting to develop,

有着某种特殊的联系。

that we were slowly starting

我们逐渐开始

to reshape how people imagined the South Side of the city.

重塑人们心中的芝加哥南区。

One house turned into a few houses,

从一栋房子到很多房子，

and we always tried to suggest

我们不断地试图强调：

that not only is creating a beautiful vessel important,

重要的不仅是造出一些好看的容器，

but the contents of what happens in those buildings is also very important.

而是在这些建筑里，会发生什么？

So we were not only thinking about development,

所以我们不只是关注它的建造，

but we were thinking about the program,

我们还要思考它的整个程序，

thinking about the kind of connections that could happen

考虑在这栋房子和那栋房子之间、 在这个社区和那个社区之间，

between one house and another, between one neighbor and another.

可能发生什么样的联结。

这座建筑被我们做成了“聆听屋”，

This building became what we call the Listening House,

and it has a collection of discarded books

这里收集了许多废弃的书籍

from the Johnson Publishing Corporation,

它们都来自于Johnson出版社，

and other books from an old bookstore that was going out of business.

还有一些其他的书， 来自一些快要倒闭的旧书店。

I was actually just wanting to activate these buildings as much as I could

我其实就是想要和任何愿意 参与的人一起，用各种方式

with whatever and whoever would join me.

尽量激发这些建筑的活力。

In Chicago, there's amazing building stock.

在芝加哥，有许多令人惊叹的建筑。

This building, which had been the former crack house on the block,

这座建筑过去是这一带的吸毒屋，

and when the building became abandoned,

当它逐渐被遗弃的时候，

it became a great opportunity to really imagine what else could happen there.

也为我们提供了绝佳的机会去设想： 这儿还能发生些什么不一样的事？

So this space we converted into what we call Black Cinema House.

所以我们将这片空间改造为 一幢名叫"黑色影院"的房子。

Black Cinema House was an opportunity in the hood to screen films

黑色影院为邻居们 提供了很好的观影机会，

that were important and relevant to the folk who lived around me,

这对于居住在周围的人来说 十分重要，也与他们密切相关。

that if we wanted to show an old Melvin Van Peebles film, we could.

假如我想要和大家分享Melvin Van Peebles 的老电影,我能在这里放映。

If we wanted to show "Car Wash," we could.

假如我想要放映《洗车场》， 我也能在这儿做到。

That would be awesome.

真是太棒了。

The building we soon outgrew,

这些建筑很快就不够用了，

and we had to move to a larger space.

我们不得不搬去更大的地方。

Black Cinema House, which was made from just a small piece of clay,

黑色电影屋的构想一开始 仅仅来自于一小块黏土（的创意），

had to grow into a much larger piece of clay, which is now my studio.

（这个创意）不断的成长壮大， 最终成为了我的工作室。

What I realized was that for those of you who are zoning junkies,

我意识到，对于那些 热衷于给建筑分类的人来说，

that some of the things that I was doing

我所做的这些工作

in these buildings that had been left behind,

——在废弃建筑中做的事，

they were not the uses by which the buildings were built,

并不是那些建筑原本的用途。

and that there are city policies that say,

一些城市的法规中声明：

"Hey, a house that is residential needs to stay residential."

”嘿，房子应该保持它作为住宅的特性”

But what do you do in neighborhoods when ain't nobody interested in living there?

但是如果都没人愿意住在 这些无聊建筑里了怎么办？

That the people who have the means to leave have already left?

能搬走的人都已经搬走了。

What do we do with these abandoned buildings?

我们该如何处理这些废弃的建筑？

And so I was trying to wake them up using culture.

于是我开始尝试用文化来唤醒它们。

We found that that was so exciting for folk,

我发现大家对于这事很兴奋，

and people were so responsive to the work, that we had to then find bigger buildings.

人们对我们的工作反响热烈， 我们不得不搬去更大的建筑。

By the time we found bigger buildings,

当我们找到更大建筑的时候，

there was, in part, the resources necessary to think about those things.

某种程度上，我们就有了 一些资源来满足更多需求。

In this bank that we called the Arts Bank, it was in pretty bad shape.

我们管这个银行叫「艺术银行」， 它已经十分破败。

There was about six feet of standing water.

里面大约有六英尺的积水。

It was a difficult project to finance,

这个项目很难筹到资金，

because banks weren't interested in the neighborhood

因为邻居们对银行没有什么兴趣，

because people weren't interested in the neighborhood

当然，人们也对自身所处的社区毫无兴趣，

because nothing had happened there.

因为那儿没有什么有趣的事发生。

It was dirt. It was nothing. It was nowhere.

这里很脏，什么也没有， 简直什么都不是。

And so we just started imagining, what else could happen in this building?

于是我们开始想象， 这个建筑里能发生些什么？

(Applause)

（掌声）

And so now that the rumor of my block has spread,

于是有关这幢建筑的传闻 迅速在我的街区传开了，

and lots of people are starting to visit,

许多人来这里参观，

we've found that the bank can now be a center

我们觉得，现在可以将 这个地方作为社区的中心

for exhibition, archives, music performance,

用来做展览，放置档案资料， 以及举办音乐表演等，

and that there are people who are now interested

一些人开始对住在周围产生兴趣，

in being adjacent to those buildings because we brought some heat,

这是因为我们为它带来了一点温度，

that we kind of made a fire.

我们创造了一个火种。

One of the archives that we'll have there is this Johnson Publishing Corporation.

我们的一些藏品来自于Johnson出版社。

We've also started to collect memorabilia from American history,

我们也开始收集一些 与美国历史有关的纪念物品，

from people who live or have lived in that neighborhood.

它们来自曾经或现在居住在这里的邻居们。

Some of these images are degraded images of black people,

其中有一些资料是关于歧视黑人的图片，

kind of histories of very challenging content,

这些充满争议的内容所讲述的历史，

and where better than a neighborhood

是不是要比邻里间的年轻人 不断追问其自身身份定位时，

with young people who are constantly asking themselves about their identity

to talk about some of the complexities

谈论到的一些错综复杂的 种族和阶级问题，要更直观一些？

of race and class?

In some ways, the bank represents a hub,

在某种程度上，这银行相当于一个枢纽，

that we're trying to create a pretty hardcore node of cultural activity,

一个我们努力去创造的， 能够承载文化活动的核心节点，

and that if we could start to make multiple hubs

如果我们可以创造出多个枢纽，

and connect some cool green stuff around there,

并在周围布置上酷炫的绿色植物，

that the buildings that we've purchased and rehabbed,

凭借我们购买和修复的这些建筑，

which is now around 60 or 70 units,

——现在这一大片建筑被分为了60-70个区域，

that if we could land miniature Versailles on top of that,

如果我们能在其上加上类似 一种微型凡尔赛宫的设计，

and connect these buildings by a beautiful greenbelt --

用美丽的绿化带连接这些建筑——

(Applause) --

（掌声）

that this place where people never wanted to be

这些人们以前不想再待的地方，

would become an important destination

最终会变成全国、全世界的 人们都想前往的目的地。

for folk from all over the country and world.

有时候,我觉得自己 确实很像一个陶艺师，

In some ways, it feels very much like I'm a potter,

that we tackle the things that are at our wheel,

我们在处理自己转轮上的事情，

we try with the skill that we have

我们用自己所拥有的技能

to think about this next bowl that I want to make.

去思考下一个想要做的器皿的模样。

And it went from a bowl to a singular house to a block to a neighborhood

从一个陶罐到一幢建筑， 到一个街区、一个社区，

to a cultural district to thinking about the city,

再到一个文化区， 直至整个城市。

and at every point, there were things that I didn't know that I had to learn.

在每一次尝试上，我都有 自己需要不断学习的盲区。

I've never learned so much about zoning law in my life.

我原先从未学过如此之多 和区域法律有关的知识。

I never thought I'd have to.

我也不曾设想过有一天 我会不得不面对这些知识。

But as a result of that, I'm finding that there's not just room

最终，我发现那里不仅仅是一个

for my own artistic practice,

为我提供艺术实践的空间，

there's room for a lot of other artistic practices.

他是一个可以提供 许许多多不同艺术实践的场域。

So people started asking us,

于是就有朋友开始问我：

"Well, Theaster, how are you going to go to scale?"

“那么，西亚斯特，你打算怎么扩大规模呢？”

and, "What's your sustainability plan?"

以及“你的战略规划是什么呢？”

(Laughter) (Applause)

（笑）（掌声）

And what I found was that I couldn't export myself,

我发现我无法「输出」我自己，

that what seems necessary in cities like Akron, Ohio,

对俄亥俄州的阿克伦市来说， 什么是必不可少的？

and Detroit, Michigan, and Gary, Indiana,

对密歇根州的底特律市呢？ 还有印第安纳州的盖瑞市？

is that there are people in those places who already believe in those places,

这些地方的人里，是否已经 有人对他们的社区怀有信心？

that are already dying to make those places beautiful,

是否已经有人在竭力使其变得更美好？

and that often, those people who are passionate about a place

这些对自己生活的地方充满激情的人，

are disconnected from the resources necessary to make cool things happen,

往往缺乏必要的资源去做那些很酷的事，

or disconnected from a contingency of people

或者缺乏一些人脉

that could help make things happen.

来帮他们创造出美好的事物。

So now, we're starting to give advice around the country

所以现在，我们开始 为全国提供一些建议，

on how to start with what you got,

教他们如何利用 现有的资源开始行动，

how to start with the things that are in front of you,

如何解决面前最紧要的问题，

how to make something out of nothing,

如何从无到有做出成果，

how to reshape your world at a wheel or at your block

如何在你的转轮上、或你住的街区里、 或者在整个城市范围内

or at the scale of the city.

重塑这个世界。

Thank you so much.

非常感谢。

(Applause)

(掌声）

June Cohen: Thank you. So I think many people watching this

June Cohen: 谢谢，我想 许多人在看这一段的时候，

will be asking themselves the question you just raised at the end:

会问自己，你在最后提出的那个问题：

How can they do this in their own city?

“他们该怎么在自己的城市做这些？”

You can't export yourself.

你无法「输出」自己。 （他们不能重复你的做法）

Give us a few pages out of your playbook about what someone who is inspired

能否从你的剧本里提供几页建议，给那些

about their city can do to take on projects like yours?

渴望在自己城市里 发起类似项目的人？

Theaster Gates: One of the things I've found that's really important

西亚斯特·盖茨：我发现 其中一件真的很重要的事

is giving thought to not just the kind of individual project,

就是不要只考虑到单独的项目，

like an old house,

例如一幢旧房子。

but what's the relationship between an old house,

而更应该着眼于 不同建筑之间的相互关系，

a local school, a small bodega,

一座当地的学校、一家小酒窖，

and is there some kind of synergy between those things?

他们之间是否存在着某种协同关系？

Can you get those folk talking?

你能否让它们彼此交流起来？

I've found that in cases where neighborhoods have failed,

我发现一个社区即使废弃了，

they still often have a pulse.

它们也仍然拥有脉搏。

How do you identify the pulse in that place, the passionate people,

人们是怎样找出一个地方的脉搏的？ 找出那些仍有热情的人们？

and then how do you get folk who have been fighting,

以及你如何找到那些，二十年来

slogging for 20 years, reenergized about the place that they live?

一直在努力复苏社区的人？

And so someone has to do that work.

总要有人去整合这些资源。

If I were a traditional developer, I would be talking about buildings alone,

如果我是一个传统的开发商， 我就只会关注于建筑本身。

and then putting a "For Lease" sign in the window.

然后在玻璃窗上放一块“出租”的牌子。

I think that you actually have to curate more than that,

我想，其实大家需要做得比这更多一些，

that there's a way in which you have to be mindful about,

你们需要留心思考一种发展路径。

what are the businesses that I want to grow here?

我希望能在这里发展些什么？

And then, are there people who live in this place

然后，居住在这个地方的人们

who want to grow those businesses with me?

是否愿意和我一道 去经营和扩大这个事？

Because I think it's not just a cultural space or housing;

因为我觉得这不仅仅是一个文化空间或是住宅；

there has to be the recreation of an economic core.

它自身要有一个重塑的经济内核。

So thinking about those things together feels right.

所以把所有这些一起考虑进去会更好。

JC: It's hard to get people to create the spark again

JC：再度点燃人们的激情是非常困难的，

when people have been slogging for 20 years.

尤其在他们已经走了差不多20年的弯路之后。

Are there any methods you've found that have helped break through?

你有什么方法可以帮助他们进行突破吗？

TG: Yeah, I think that now there are lots of examples

TG：是的，我觉得现在已经有非常多的例子，

of folk who are doing amazing work,

关于人们所做的一些令人惊讶的工作。

but those methods are sometimes like, when the media is constantly saying

但是说到方法，其实有点像… 假设当媒体在不断的说

that only violent things happen in a place,

暴力事件总是发生在某处，

then based on your skill set and the particular context,

那么，基于你自己的能力和具体的情况，

what are the things that you can do in your neighborhood

你能在你的社区做些什么

to kind of fight some of that?

去以某种方式对抗它？

So I've found that if you're a theater person,

所以，我想 如果你是一名戏剧工作者，

you have outdoor street theater festivals.

你办了一个户外的街头戏剧节（来呼吁这个事情）。

In some cases, we don't have the resources in certain neighborhoods

有时，我们在社区里 没有足够的资源

to do things that are a certain kind of splashy,

去使得这件事足够的引人注目，

but if we can then find ways of making sure that people

但是，如果我们能 找到正确的方法来

who are local to a place,

让当地的居民

plus people who could be supportive of the things that are happening locally,

以及那些支持当地活动的人们，

when those people get together,

当这些人同心协力，

I think really amazing things can happen.

我想一定会有很多惊人的事情发生。

JC: So interesting.

JC: 很有趣。

And how can you make sure that the projects you're creating

但是你是如何确保你所做的项目

are actually for the disadvantaged

都是为了帮助处于弱势的人，

and not just for the sort of vegetarian indie movie crowd

而不是为一些，为了这些好处

that might move in to take advantage of them.

专门搬家到这个社区的人。

TG: Right on. So I think this is where it starts to get into the thick weeds.

TG:你说得对，这也是 我们现在感到棘手的地方。

JC: Let's go there. TG: Right now, Grand Crossing

JC: 那就说说吧。

TG:目前，”Grand Crossing“街区里99%的 居民都是黑人，至少住在那里的人里是这样。

is 99 percent black, or at least living,

and we know that maybe who owns property in a place

我们知道，也许那些拥有财富的人们

is different from who walks the streets every day.

与整天在街上走来走去的人是不同的。

So it's reasonable to say that Grand Crossing is already

所以我们有理由说 ”Grand Crossing"正处在

in the process of being something different than it is today.

一个变革的过程中。

But are there ways to think about housing trusts or land trusts

但是能不能考虑 住房信托或土地信托呢？

or a mission-based development

或是以任务为基础的发展？

that starts to protect some of the space that happens,

通过这些方式来保护那里的一些地方？

because when you have 7,500 empty lots in a city,

因为当你的城市有7500块空地时，

you want something to happen there,

你就会想要在那里发展点什么，

but you need entities that are not just interested in the development piece,

但你需要的不是那些对开发地产有兴趣的单位，

but entities that are interested in the stabilization piece,

而是那些对区域稳定有兴趣的单位。

and I feel like often the developer piece is really motivated,

我觉得大家往往富有「开发」的积极性，

but the other work of a kind of neighborhood consciousness,

却对剩下的工作，比如邻里意识，

that part doesn't live anymore.

毫不关心。

So how do you start to grow up important watchdogs

所以，你该考虑怎样 培养重要的监督者，

that ensure that the resources that are made available

来确保，资源不完全是

to new folk that are coming in

方便了那些新搬进来的住户，

are also distributed to folk who have lived in a place for a long time.

而是同时也为原有的 长期住户带来了好处。

JC: That makes so much sense. One more question:

JC: 很有道理。 最后一个问题：

You make such a compelling case for beauty and the importance of beauty and the arts.

你对美和艺术的重要性 提出了许多令人信服的理由。

There would be others who would argue that funds would be better spent

但有些人会质疑说，把有限资金用在

on basic services for the disadvantaged.

提升弱势群体的基础服务上会更好。

How do you combat that viewpoint, or come against it?

你如何对抗或反抗这种观点？

TG: I believe that beauty is a basic service.

TG: 我认为，「美」就是一种基础服务。

(Applause)

（掌声）

我常见到的情况是 当有些资源没有被用在

Often what I have found is that when there are resources

that have not been made available to certain under-resourced cities

特定的缺乏资源的城市

or neighborhoods or communities,

或邻里、或社区时，

that sometimes culture is the thing that helps to ignite,

这种时候，「文化」正是 可以帮助点燃（资源流动趋势）的东西，

and that I can't do everything,

我无法做完所有的事，

but I think that there's a way in which if you can start with culture

但我觉得，如果你能 从文化开始突破，

and get people kind of reinvested in their place,

让人们愿意重新投资自己所在的地方，

other kinds of adjacent amenities start to grow,

那么这附近的很多基础设施 也会相应地成长起来。

and then people can make a demand that's a poetic demand,

这时候人们就会产生更多高雅的需求，

and the political demands that are necessary to wake up our cities,

以及必要的政治诉求， 去唤醒我们的城市。

they also become very poetic.

这些城市也会变的很有诗意。

JC: It makes perfect sense to me.

JC: 这对我而言真是大有裨益。

Theaster, thank you so much for being here with us today.

西亚斯特，非常感谢你今天的到来。

Thank you. Theaster Gates.

谢谢！西亚斯特·盖茨。

(Applause)

（掌声）