Use art to turn the world inside out | JR

譯者: Suet Mei Hau 審譯者: Dxm Online大小媒體

Two weeks ago I was in my studio in Paris,

二星期前, 我在巴黎的工作室,

and the phone rang and I heard,

電話響起, 我接到消息說：

"Hey, JR,

「喂, JR,

you won the TED Prize 2011.

你贏得了 TED2011 大獎。

You have to make a wish to save the world."

你要為拯救世界而許願。」

I was lost.

我頓時不知所措。

I mean, I can't save the world. Nobody can.

我無法拯救世界, 沒有人可以。

The world is fucked up.

世界整個亂了套。

Come on, you have dictators ruling the world,

我們看到獨裁者統治世界，

population is growing by millions,

人口以百萬增加,

there's no more fish in the sea,

海裡已經沒有魚了,

the North Pole is melting

北極也在融化,

and as the last TED Prize winner said,

上個 TED 大獎得主還說

we're all becoming fat.

每個人都愈來愈胖。

(Laughter)

（笑聲）

Except maybe French people.

也許除了法國人罷。

Whatever.

諸如此類。

So I called back

於是, 我回覆電話

and I told her,

我告訴她,

"Look, Amy,

「聽著, Amy,

tell the TED guys I just won't show up.

告訴 TED 那群人我不會出席，

I can't do anything to save the world."

我沒辦法拯救世界。」

She said, "Hey, JR,

她說: 喂, 「JR,

your wish is not to save the world, but to change the world."

你的願望不是拯救世界, 而是改變世界。」

"Oh, all right."

「噢, 那好的。」

(Laughter)

（笑聲）

"That's cool."

「這很好。」

I mean, technology, politics, business

我的意思是, 科技、政治、商業

do change the world --

可以改變世界--

not always in a good way, but they do.

並非總是有益，但的確在改變世界。

What about art?

那麼藝術呢？

Could art change the world?

藝術可以改變世界嗎?

I started when I was 15 years old.

我十五歲開始創作,

And at that time, I was not thinking about changing the world.

那時我並不是為了想改變世界。

I was doing graffiti --

我喜歡塗鴉，

writing my name everywhere,

在四處畫下自己的名字

using the city as a canvas.

把城市當做畫布。

I was going in the tunnels of Paris,

我與朋友走過巴黎的地下道

on the rooftops with my friends.

和屋頂。

Each trip was an excursion,

每一次都是短途的旅行，

was an adventure.

是一場探險。

It was like leaving our mark on society,

就像在社會各處留下我們的印記，

to say, "I was here," on the top of a building.

在城市頂端宣稱：「我曾在此。」

So when I found a cheap camera on the subway,

我在地鐵上發現了一台便宜的相機後

I started documenting those adventures with my friends

就開始記錄那些 與朋友同行的冒險經歷，

and gave them back as photocopies --

並以照片影印的方式跟朋友們分享，

really small photos just that size.

大約是這種大小的照片。

That's how, at 17 years old,

接著在十七歲，

I started pasting them.

我開始張貼這些照片

And I did my first "expo de rue,"

這是我第一個街頭博覽會,

which means sidewalk gallery.

意思是街頭畫廊。

And I framed it with color

我用顏色把照片框起來

so you would not confuse it with advertising.

你就不會以為這是廣告了。

I mean, the city's the best gallery I could imagine.

我是說: 城市是我想像中最棒的畫廊。

I would never have to make a book and then present it to a gallery

我從不需要製作畫冊，呈現給畫廊看，

and let them decide

讓他們評判我的創作是否夠好，

if my work was nice enough to show it to people.

是否足以秀給大眾來欣賞。

I would control it directly with the public

我會把它們直接在街上

in the streets.

向公眾展示。

So that's Paris.

這是巴黎。

I would change --

我會改變 ---

depending on the places I would go --

我的創作隨著旅行的地方、

the title of the exhibition.

畫展的主題而改變。

That's on the Champs-Elysees.

這是香榭大道。

I was quite proud of that one.

我對這個展覽相當自豪。

Because I was just 18

因為當時我只是十八歲，

and I was just up there on the top of the Champs-Elysees.

在香榭大道上遊走。

Then when the photo left,

照片沒了之後，

the frame was still there.

框框仍在那裡。

(Laughter)

（笑聲）

November 2005:

2005 年 11 月:

the streets are burning.

整條街道熊火蔓延。

A large wave of riots

發生的一場大暴動

had broken into the first projects of Paris.

後來變成我在巴黎的第一個藝術計畫。

Everyone was glued to the TV,

每個人都黏在電視機旁,

watching disturbing, frightening images

觀看那些在周遭拍攝的

令人不安、令人恐懼的圖像。

taken from the edge of the neighborhood.

I mean, these kids, without control,

我是說: 那些失控的孩子,

throwing Molotov cocktails,

抛著汽油彈,

attacking the cops and the firemen,

襲擊警察和消防員,

looting everything they could in the shops.

打刼商店裡所有搶得走的東西。

These were criminals, thugs, dangerous,

這些是罪犯、惡棍、危險的人，

destroying their own environment.

破壞他們自己的環境。

And then I saw it -- could it be possible? --

然後我看見了──真的嗎？──

my photo on a wall

我貼在牆上的照片

revealed by a burning car --

被燃燒汽車的熊熊烈火照映著──

a pasting I'd done a year earlier --

我一年前貼上去的

an illegal one -- still there.

違法的創作仍留在牆上。

I mean, these were the faces of my friends.

那些是我朋友的臉孔。

I know those guys.

我認識這些人。

All of them are not angels,

他們不全是天使,

but they're not monsters either.

但他們也不是惡魔。

So it was kind of weird to see

很詭異地看到

those images and those eyes stare back at me through a television.

那些影像和眼睛 竟然透過電視回望我。

So I went back there

於是我回到那裡，

with a 28 mm lens.

帶著 28mm 的鏡頭。

It was the only one I had at that time.

那是我當時唯一僅有的鏡頭

But with that lens,

但用這鏡頭

you have to be as close as 10 inches from the person.

我必須很靠近那些人， 大概是 25 公分左右。

So you can do it only with their trust.

只有他們信任，我才能夠靠得那麼近。

So I took full portraits of people from Le Bosquet.

於是我拍了四個 在 Le Bosquet 的人像照。

They were making scary faces

他們做出恐佈的表情

to play the caricature of themselves.

將自己扮成怪誕的人物。

然後我張貼巨大的海報，

And then I pasted huge posters everywhere

in the bourgeois area of Paris

貼在巴黎資產階級區的各個角落，

with the name, age, even building number

上頭有這幾個人的名字、年齡，

甚至住所建物的號碼。

of these guys.

A year later,

一年之後,

the exhibition was displayed in front of the city hall of Paris.

這個展覽在巴黎市政府前展出。

And we go from thug images,

這些原本被媒體盜用、 扭曲的惡棍形象，

who've been stolen and distorted by the media,

轉換而成

who's now proudly taking over his own image.

如今卻能以自己的原貌為榮。

That's where I realized

這時我才領悟到

the power of paper and glue.

紙張和膠水的力量。

So could art change the world?

那麼，藝術是否可以改變世界？

A year later,

一年之後,

I was listening to all the noise

我聽到許多

about the Middle East conflict.

關於中東衝突的聲音。

I mean, at that time, trust me,

相信我，那時的中東衝突

they were only referring to the Israeli and Palestinian conflict.

只是指以色列和巴基斯坦的衝突。

So with my friend Marco,

我和我的朋友 Marco

we decided to go there

決定去那裡，

and see who are the real Palestinians and who are the real Israelis.

去看看誰是真正的巴勒斯坦人， 誰是真正的以色列人。

Are they so different?

他們是否真的很不同？

When we got there, we just went in the street,

我們到了那裡，直接走到街上，

started talking with people everywhere,

隨處跟人閒聊，

and we realized that things were a bit different

我們發現事實

from the rhetoric we heard in the media.

和從媒體聽到的不太一樣。

So we decided to take portraits

於是我們決定去拍人像照，

of Palestinians and Israelis

是巴勒斯坦和以色列

doing the same jobs --

職業相同的人：

taxi-driver, lawyer, cooks.

計程車司機、律師、廚師。

Asked them to make a face as a sign of commitment.

要求他們做出「承諾奉獻」的表情。

Not a smile -- that really doesn't tell

不是笑臉，因為笑容無法顯現

about who you are and what you feel.

你是誰、你的感受如何。

They all accepted

他們全都同意

to be pasted next to the other.

自己的照片與另一人的並列。

I decided to paste

我決定去貼在

in eight Israeli and Palestinian cities

八個以色列和巴勒斯坦的城市

and on both sides of the wall.

兩邊的牆壁上。

We launched the biggest illegal art exhibition ever.

我們發起史上首次 規模最大的違法畫展，

We called the project Face 2 Face.

取名為「面對面」。

The experts said, "No way.

專家說：「不可能！

The people will not accept.

人們不會接受。

The army will shoot you, and Hamas will kidnap you."

軍隊會對你開槍，哈馬斯會綁架你。」

We said, "Okay, let's try and push as far as we can."

我們說：「好， 看看我們能做到什麼程度。」

I love the way that people will ask me,

很開心人們問我：

"How big will my photo be?"

「我的照片會有多大？」

"It will be as big as your house."

我回答：「會跟你的房子一樣大。」

When we did the wall, we did the Palestinian side.

當我們貼在牆上, 在巴勒斯坦那邊，

So we arrived with just our ladders

我們只帶著自己的梯子，

and we realized that they were not high enough.

然後, 我們發現那張梯子並不够高。

And so Palestinians guys say,

於是, 巴勒斯坦人說：

"Calm down. No wait. I'm going to find you a solution."

「冷靜，等等，我們會幫你想辦法。」

So he went to the Church of Nativity

於是他到聖誕教堂去

and brought back an old ladder

帶來了一張很舊的梯子，

that was so old that it could have seen Jesus being born.

那張梯子舊得應該曾見証耶穌出生。

(Laughter)

（笑聲）

We did Face 2 Face with only six friends,

「面對面」計畫，只動用了六個朋友、

two ladders, two brushes,

二張梯子、兩把刷子、

a rented car, a camera

一輛租來的汽車、一台相機，

and 20,000 square feet of paper.

以及二萬平方英尺的紙。

We had all sorts of help

我們獲得各種鼎力相助

from all walks of life.

來自不同階層的人。

Okay, for example, that's Palestine.

例如這是巴勒斯坦的拉姆安拉。

We're in Ramallah right now.

我們當時就在拉姆安拉張貼人像，

We're pasting portraits --

在擁擠市場的街上兩張人像都貼。

so both portraits in the streets in a crowded market.

People come around us and start asking,

人們靠過來問：

"What are you doing here?"

「你們在做什麼?」

"Oh, we're actually doing an art project

「噢，我們其實在做一個藝術計畫，

and we are pasting an Israeli and a Palestinian doing the same job.

把職業相同的巴勒斯坦人 和以色列人的照片貼在一起。

And those ones are actually two taxi-drivers."

實際上這兩位都是計程車司機。」

And then there was always a silence.

通常他們一開始沉默，然後問：

"You mean you're pasting an Israeli face --

「你是說，你在這裡

doing a face -- right here?"

張貼以色列人的頭像？」

"Well, yeah, yeah, that's part of the project."

「對，這是我們計畫的一部份。」

And I would always leave that moment,

我總是讓沈默持續片刻，

and we would ask them,

然後問他們：

"So can you tell me who is who?"

「你看得出誰是以色列人， 誰是巴勒斯坦人嗎？」

And most of them couldn't say.

大部份人分辨不出來。

(Applause)

（笑聲）

We even pasted on Israeli military towers,

我們甚至貼在以色列的軍事塔上，

and nothing happened.

沒怎麼樣。 （註：原先被警告軍隊會開槍。）

When you paste an image, it's just paper and glue.

你貼的照片只是紙張和膠水。

People can tear it, tag on it, or even pee on it --

人們可以撕它、塗它，甚至向它撒尿 --

some are a bit high for that, I agree --

我承認有一些高到尿搆不著--

but the people in the street,

但在街上的人們就是監護人，

they are the curator.

The rain and the wind will take them off anyway.

風和雨終究會弄掉這些照片，

They are not meant to stay.

它們本來就不會永久存在。

But exactly four years after,

但恰好四年之後，

the photos, most of them are still there.

那些照片, 大部份都仍在。

Face 2 Face demonstrated

「面對面」證明了

that what we thought impossible was possible --

我們以為的不可能, 其實是可能的。

and, you know what, even easy.

知道嗎, 甚至可說是輕而易舉，

We didn't push the limit;

我們還沒有推到極限,

we just showed that they were further than anyone thought.

我們只是展示了我們已經走得 比任何人所預期的還要遠。

In the Middle East, I experienced my work

我在中東經驗到

in places without [many] museums.

在沒（多少）美術館的地方做。

So the reactions in the street

街上的反應相當有意思。

were kind of interesting.

So I decided to go further in this direction

所以我決定往這方向更進一步，

and go in places where there were zero museums.

到完全沒有美術館的地方去。

When you go in these developing societies,

踏進這些開發中國家的社區，

women are the pillars of their community,

女人是他們社會的支柱，

but the men are still the ones holding the streets.

但街上依然是男人說了算。

So we were inspired to create a project

於是這啟發了我們創造一個計畫，

where men will pay tribute to women

讓男人向女性致敬，

by posting their photos.

用張貼女性的照片的方式。

I called that project Women Are Heroes.

我稱這次的計畫為「女人是英雄」。

When I listened to all the stories

當我聽過當中所有的故事，

everywhere I went on the continents,

在我所到過的各大洲的每一處，

I couldn't always understand

我並非總能理解

the complicated circumstances of their conflict.

他們那些矛盾的複雜狀態，

I just observed.

我只是觀察。

Sometimes there was no words,

有時沈默無語，

no sentence, just tears.

沒有任何字句，只有流淚。

I just took their pictures

我只為他們拍照，

and pasted them.

然後貼出來。

Women Are Heroes took me around the world.

「女人是英雄」這計畫 讓我走到世界各地。

Most of the places I went to,

在我去過的大部份地方,

I decided to go there

我決定去那裡

because I've heard about it through the media.

是因為我在傳媒之中聽說過。

So for example, in June 2008,

例如 2008 年 6 月，

I was watching TV in Paris,

我在巴黎看電視，

and then I heard about this terrible thing

跟著我就聽到這可怕的事

that happened in Rio de Janeiro --

發生在里約熱內盧，

the first favela of Brazil named Providencia.

巴西第一個貧民區，叫做 Providencia。

Three kids -- that was three students --

三個孩子，就是三個學生，

were [detained] by the army

被軍隊拘留了，

because they were not carrying their papers.

因為他們未攜帶證件。

And the army took them,

軍隊逮捕他們，

and instead of bringing them to the police station,

沒把他們送到警察局，

they brought them to an enemy favela

反而是帶到敵對的貧民區。

where they get chopped into pieces.

在那裡, 他們被斬成數段。

I was shocked.

我十分震驚。

All Brazil was shocked.

整個巴西震驚。

I heard it was one of the most violent favelas,

據說這是最多暴力的貧民區之一，

because the largest drug cartel controls it.

因為最大的販毒集團控制那裡。

So I decided to go there.

所以我決定要去到那裡。

When I arrived --

我到達該地——

I mean, I didn't have any contact with any NGO.

我並不認識任何 非政府組織（NGO）的人。

There was none in place -- no association, no NGOs, nothing --

那裡沒有NGO，

沒有協會、沒有NGO，什麼也沒有，

no eyewitnesses.

沒有目擊者。

So we just walked around,

我們只是隨處走動，

and we met a woman,

然後遇到了一名婦女，

and I showed her my book.

我給她看我的書。

And she said, "You know what?

她說：「你知嗎？

We're hungry for culture.

我們渴望文化。

We need culture out there."

我們這裡需要文化。」

So I went out and I started with the kids.

於是我走出去，從孩子開始。

I just took a few photos of the kids,

我只是拍了一些孩子們的照片，

and the next day I came with the posters and we pasted them.

第二天我們就帶著海報回來貼在牆上。

The day after, I came back and they were already scratched.

第三天我再回去，海報已經被抓破了。

But that's okay.

但是那沒關係，

我想讓他們感到

I wanted them to feel that this art belongs to them.

這些藝術屬於他們。

Then the next day, I held a meeting on the main square

第四天，我在廣場上舉辦一場會議

and some women came.

來了一些婦女。

They were all linked to the three kids that got killed.

這些婦女都跟那三個被殺的孩子有關。

There was the mother, the grandmother, the best friend --

有他們的媽媽、祖母、最好的朋友。

they all wanted to shout the story.

她們都想大聲說出這個故事。

After that day,

這天之後，

everyone in the favela gave me the green light.

貧民窟的每個人都允許我做。

I took more photos, and we started the project.

我拍了更多的照片，開始著手計畫。

The drug lords were kind of worried

毒梟對我們在這裡拍攝有些疑慮。

about us filming in the place,

so I told them, "You know what?

我告訴他們；「知道嗎？

I'm not interested in filming the violence and the weapons.

我沒興趣拍攝暴力和武器。

You see that enough in the media.

這些在媒體上够多了。

What I want to show is the incredible life and energy.

我想展示驚人的生命與活力，

I've been seeing it around me the last few days."

這些就是我在這些日子所看到的東西。」

So that's a really symbolic pasting,

這是極具代表性的圖貼。

because that's the first one we did that you couldn't see from the city.

因為這是我的創舉， 你在城市是無法看到的。

And that's where the three kids got arrested,

這是三個孩子被捉的地方，

and that's the grandmother of one of them.

這是他們其中一個的祖母。

And on that stairs,

那些階梯

that's where the traffickers always stand

就是毒販時常佔據的地方，

and there's a lot of exchange of fire.

有不少槍戰火拼。

Everyone there understood the project.

當地人全都明白這個計畫。

And then we pasted everywhere -- the whole hill.

我們把照片張貼在山丘上的各個角落。

(Applause)

（掌聲）

What was interesting is that the media couldn't get in.

有趣的是，媒體無法走進那個地帶。

I mean, you should see that.

你應該看看。

They would have to film us from a really long distance by helicopter

他們必須從遠距離用直昇機拍攝，

and then have a really long lens,

用很長的鏡頭，

and we would see ourselves, on TV, pasting.

我們在電視上看到 自己在張貼海報的樣子，

And they would put a number: "Please call this number

還放了電話號碼：

「如果你知道 Providencia 是怎麼一回事，歡迎來電。」

if you know what's going on in Providencia."

We just did a project and then left

我們完成計畫後就走人了。

so the media wouldn't know.

媒體毫無頭緒，

So how can we know about the project?

要怎麼了解這個計畫？

So they had to go and find the women

他們必需找出那些女人，

and get an explanation from them.

從她們身上得到解釋。

So you create a bridge between the media

於是你為媒體

and the anonymous women.

和那些不知名女人之間搭了橋樑。

We kept traveling.

我們繼續旅程。

We went to Africa, Sudan, Sierra Leone,

我們去到非洲、蘇丹、獅子山、

Liberia, Kenya.

利比亞、肯亞。

In war-torn places like Monrovia,

在像蒙羅維亞這樣的戰亂地方，

people come straight to you.

人們直接走到你跟前。

I mean, they want to know what you're up to.

他們想知道你在做什麼?

They kept asking me, "What is the purpose of your project?

不停問：「你計畫的目的是什麼？

Are you an NGO? Are you the media?"

你是 NGO 嗎？是記者嗎？」

Art. Just doing art.

藝術, 只在搞藝術。

Some people question, "Why is it in black and white?

有些人問：「為什麼全是黑白照片？

Don't you have color in France?"

你們在法國沒有彩色嗎？」

(Laughter)

（笑聲）

Or they tell you, "Are these people all dead?"

或是問你：「這些人死了嗎？」

Some who understood the project would explain it to others.

有些了解計畫的人向不懂的人解釋。

And to a man who did not understand, I heard someone say,

我聽到有人對不懂的人這樣解釋：

"You know, you've been here for a few hours

「你在這裡待了幾個小時試圖理解，

trying to understand, discussing with your fellows.

與你的同伴討論。

During that time, you haven't thought about

在那段時間裡，

你沒有想過明天你會吃什麼。

what you're going to eat tomorrow.

This is art."

這就是藝術。」

I think it's people's curiosity

我想這是人的好奇心

that motivates them

鼓動了他們

to come into the projects.

跟我們合作這些計畫。

And then it becomes more.

然後它變更多。

It becomes a desire, a need, an armor.

變成了渴望、需求、盔甲。

On this bridge that's in Monrovia,

在 Monrovia 的這段橋上，

ex-rebel soldiers helped us pasting a portrait

前叛軍幫我們貼上這人像照，

of a woman that might have been raped during the war.

這女人可能曾在戰亂中遭受強暴。

Women are always the first ones targeted

女人通常在衝突中最先受害。

during conflict.

This is Kibera, Kenya,

這是肯亞的基貝拉，

one of the largest slums of Africa.

非洲最大的貧民窟之一。

You might have seen images about the post-election violence

你可能看過選舉後發生的暴動影片，

that happened there in 2008.

那發生在 2008 年。

This time we covered the roofs of the houses,

這次我們貼在屋頂上,

but we didn't use paper,

但我們不用紙張,

because paper doesn't prevent the rain

因為紙張不能防止雨水

from leaking inside the house --

滲漏到屋內，

vinyl does.

而塑膠就可以。

Then art becomes useful.

於是, 藝術又變得有用了。

So the people kept it.

也令那些人繼續保存它。

You know what I love is, for example, when you see the biggest eye there,

例如，你看到最大張的那雙眼睛

there are so [many] houses inside.

底下遮蔽著許多房子。

And I went there a few months ago --

我幾個月前去過，

photos are still there -- and it was missing a piece of the eye.

那些照片仍在，

只是眼睛遺失了一片。

So I asked the people what happened.

我去問人們發生了什麼事。

"Oh, that guy just moved."

「噢，那個人搬走了。」

(Laughter)

（笑聲）

When the roofs were covered, a woman said as a joke,

屋頂蓋上海報之後，一位婦女打趣地說：

"Now God can see me."

「現在上帝看得見我了。」

When you look at Kibera now,

當你現在看基貝拉，

they look back.

基貝拉那些眼睛回看你。

Okay, India.

這裡是印度

Before I start that, just so you know,

在我往下講之前，先說明，

each time we go to a place, we don't have authorization,

每次去一個地方，我們沒有授權，

so we set up like commandos --

我們好像是突擊隊——

we're a group of friends who arrive there,

一群朋友走到那裡,

and we try to paste on the walls.

試著把照片貼在牆上。

But there are places where you just can't paste on a wall.

但有些地方是, 你不能在那些牆上貼東西。

In India it was just impossible to paste.

在印度, 我們就是無法張貼。

I heard culturally and because of the law,

我聽說是因為文化上, 也因為這是法律,

they would just arrest us at the first pasting.

我們一貼就會被拘捕。

So we decided to paste white,

於是,我們決定去貼白色的,

white on the walls.

貼白紙在牆上。

So imagine white guys pasting white papers.

想像白人貼著白紙的模樣。

So people would come to us and ask us,

於是人們走過來問：

"Hey, what are you up to?"

「喂，你們在做什麼？」

"Oh, you know, we're just doing art." "Art?"

「噢, 我們只是在做藝術。」「藝術?」

Of course, they were confused.

當然, 這令他們很迷惘。

But you know how India has a lot of dust in the streets,

你知道印度的街道上有許多灰塵。

and the more dust you would have

灰塵越多

going up in the air,

飄到空氣中,

on the white paper you can almost see,

附在白紙那些黏貼的部份,

but there is this sticky part

於是, 你便可以看到影像了，

like when you reverse a sticker.

就像貼紙的背面一樣。

So the more dust you have, the more it will reveal the photo.

於是, 愈多灰塵, 影像愈清晰。

So we could just walk in the street during the next days

隔天我們走到街上

and the photos would get revealed by themselves.

那些照片便自動顯現了。

(Applause)

（掌聲）

Thank you.

謝謝。

So we didn't get caught this time.

所以那次我們沒有被捕。

Each project -- that's a film

每一個計畫——那是一齣影片。

from Women Are Heroes.

這是「女人是英雄」的紀錄影片。

(Music)

（音樂）

Okay.

好了。

For each project we do

我們用攝影機記錄

a film.

每一個藝術計畫。

And most of what you see -- that's a trailer from "Women Are Heroes" --

大部份你所看見的

來自「女人是英雄」的簡介短片。

its images, photography,

是影像、照片，

taken one after the other.

一張接著一張。

And the photos kept traveling even without us.

即使沒有我們， 那些照片也會繼續旅行下去。

(Laughter)

(笑聲)

(Applause)

(掌聲)

Hopefully, you'll see the film,

希望你們看到影片之後

and you'll understand the scope of the project

能了解這些藝術計畫的規模，

and what the people felt when they saw those photos.

以及感受到人們怎樣去看這些照片。

Because that's a big part of it. There's layers behind each photo.

因為每張照片背後, 還有不同的層次，

Behind each image is a story.

在每個影像背後都是故事。

Women Are Heroes created a new dynamic

「女人是英雄」在每一個社區 啟動了社區的新動力。

in each of the communities,

and the women kept that dynamic after we left.

我們走後，當地婦女仍保持著那動力。

For example, we did books -- not for sale --

例如, 我們製做書本，非賣品，

that all the community would get.

所有的社區都會得到。

But to get it, they would have to [get] it signed by one of the women.

但要得到, 他們需要 讓其中一位婦女簽名。

We did that in most of the places.

我們在許多地方都是這樣做。

We go back regularly.

我們定期回去。

And so in Providencia, for example, in the favela,

例如在 Providencia 貧民窟，

we have a cultural center running there.

我們設立了一個管理中心。

In Kibera, each year we cover more roofs.

我們每年會回基貝拉 去蓋更多的塑膠海報屋頂。

Because of course, when we left, the people who were just at the edge of the project

因為當我們離開時， 位於計畫周邊的民眾會問：

said, "Hey, what about my roof?"

「喂，那我的屋頂呢？」

So we decided to come the year after

於是, 我們決定第二年再去

and keep doing the project.

繼續這項計畫。

A really important point for me

對我來說最重要的

is that I don't use any brand or corporate sponsors.

是我沒用任何的品牌或是商業的贊助。

So I have no responsibility

所以除了我自己和主題，

to anyone but myself

我對任何人都沒有責任。

and the subjects.

(Applause)

（掌聲）

And that is for me

這對我來說

one of the more important things in the work.

是工作中最重要的事情之一。

I think, today,

我想, 今天

as important as the result is the way you do things.

做事的過程和結果都是同樣重要。

And that has always been a central part of the work.

而這一直是處事的重心。

And what's interesting is that fine line that I have

好玩的是

我的創作與圖像和廣告之間

with images and advertising.

有著細微差別。

We just did some pasting in Los Angeles

我們剛剛在洛杉機張貼了一些，

on another project in the last weeks.

在過去的數個星期，是有關另外一個計畫的。

And I was even invited to cover the MOCA museum.

我甚至被邀請去覆蓋整個 當代美術館（MOCA）。

But yesterday the city called them and said,

可是昨天市政府打電話給美術館，說：

"Look, you're going to have to tear it down.

「你們必須撕下來，

Because this can be taken for advertising,

因為這能被用來做廣告。

and because of the law,

根據法令，

it has to be taken down."

必須撕下來。」

But tell me, advertising for what?

你告訴我，這到底可以廣告什麼？

The people I photograph

我所拍攝的對象

were proud to participate in the project

都非常自豪能參與這計畫，

and to have their photo in the community.

讓社區貼有他們的照片。

But they asked me for a promise basically.

但他們基本上要一個承諾。

They asked me, "Please, make our story travel with you."

他們要求我：

「請讓我的故事跟隨你去旅行。」

So I did. That's Paris.

於是我照做了。

這是巴黎，

That's Rio.

這裡是里約熱內盧。

In each place, we built exhibitions with a story, and the story traveled.

我們在各方透過照片展覽故事， 讓故事旅行，

You understand the full scope of the project.

讓人了解整個藝術計畫的規模。

That's London.

這是倫敦、

New York.

紐約，

And today, they are with you in Long Beach.

以及今天，和你們一起在長灘。

All right, recently I started a public art project

最近，我開始進行一項公共藝術計畫。

where I don't use my artwork anymore.

我不再只選用我自己的作品。

I use Man Ray, Helen Levitt,

我用了Man Ray、Helen Levitt、

Giacomelli, other people's artwork.

Giacomelli，以及其他人的藝術。

It doesn't matter today if it's your photo or not.

今天的重點不再是照片是不是你拍的，

The importance is what you do

重要的是你用這些圖像做什麼，

with the images,

the statement it makes where it's pasted.

張貼它們所釋出的聲明。

So for example, I pasted the photo of the minaret

例如，我在瑞士貼了 一張尖塔（喚拜塔）的照片，

in Switzerland

a few weeks after they voted the law forbidding minarets in the country.

就在這國家投票反對 清真寺喚拜塔後的數個星期。

(Applause)

（掌聲）

This image of three men wearing gas masks

圖片中戴著防毒面具的三個人

was taken in Chernobyl originally,

原本是在車諾比拍的，

and I pasted it in Southern Italy,

我把它貼在義大利南部，

where the mafia sometimes bury the garbage under the ground.

當地的黑手黨有時會惡霸橫行。

In some ways, art can change the world.

就某方面而言，藝術可以改變世界。

Art is not supposed to change the world,

藝術不應該改變世界、

to change practical things,

改變實際的東西，

but to change perceptions.

而是改變觀念。

Art can change

藝術可以改變我們看待世界的方式。

the way we see the world.

Art can create an analogy.

藝術可以創造類比。

Actually the fact that art cannot change things

事實上，藝術不能改變事物的事實

makes it a neutral place

使它成為交流和討論的中立場所，

for exchanges and discussions,

繼而使你能夠改變世界。

and then enables you to change the world.

When I do my work,

當我創作的時候

I have two kinds of reactions.

通常得到兩種反應。

People say, "Oh, why don't you go in Iraq or Afghanistan.

人會說：「為什麼你不去伊朗或是阿富汗？

They would be really useful."

這對他們一定很有用。」

Or, "How can we help?"

或是：「我們可以幫什麼忙？」

I presume that you belong to the second category,

我假設你大概會是屬於第二類，

and that's good,

那就好了，

because for that project,

因為這個計畫，

I'm going to ask you to take the photos

我想請各位拍照，

and paste them.

然後貼出來。

So now my wish is:

我的願望就是：

(mock drum roll)

（模擬擊鼓）

(Laughter)

（笑聲）

I wish for you to stand up

我希望各位為 自己關心的議題挺身而出。

for what you care about

by participating in a global art project,

透過參與這項全球性的藝術計畫，

and together we'll turn the world inside out.

一起顛覆世界。

And this starts right now.

這項計畫在此刻正式啟動

Yes, everyone in the room.

我邀請在座的各位、

Everyone watching.

每位觀眾，

來共襄盛舉。

I wanted that wish

我希望這願望

to actually start now.

可以由現在開始！

So a subject you're passionate about, a person who you want to tell their story

分享你所關心的議題、

某個人的故事，

or even your own photos --

甚至你自己的照片。

tell me what you stand for.

告訴我你所支持的事物；

Take the photos, the portraits,

拍照片、人像照；

upload it -- I'll give you all the details --

上傳。

我會提供詳細資訊。

and I'll send you back your poster. Join by groups

我會把你的海報寄給你。

通過團體加入，

and reveal things to the world.

向世界展示。

The full data is on the website --

所有的資料都在這網站:

insideoutproject.net --

insideoutproject.net

that is launching today.

今天正式登場！

What we see changes who we are.

我們的視野改變我們本身。

When we act together,

當我們擕手一起行動，

the whole thing is much more than the sum of the parts.

整體會大於所有部份的總和！

So I hope that, together, we'll create something

我希望經由團結一起，我們得以創造，

that the world will remember.

讓全世界可以記得。

And this starts right now and depends on you.

這個心願在此刻啟動，掌握在你手中。

Thank you.

謝謝。

(Applause)

（掌聲）

Thank you.

謝謝。

(Applause)

（掌聲）