Inside Africa's thriving art scene | Touria El Glaoui

譯者: Lilian Chiu 審譯者: Marssi Draw

Let's talk about how the narrative of Africa is being told,

咱們來談談非洲的故事 是怎麼被訴說的，

and who is doing the telling.

以及是由誰來訴說的。

I want to share with you the selection of work

我想要和各位分享來自非洲

by contemporary artists from Africa and its diaspora.

及離鄉背井的當代藝術家的作品集。

I love this art.

我愛這件藝術品。

I find it beautiful and inspiring and thrilling,

我覺得它很美麗、 鼓舞人心、令人興奮，

and I really hope I am able to pique your interest.

我真的很希望我能激起你們的興趣。

I want to share something about myself and why art matters to me.

我想要分享關於我自己的事， 以及為何藝術對我這麼重要。

I'm the daughter of an artist, so that means that growing up,

我是藝術家的女兒， 那意味著，成長過程中，

I had the chance to see my father do artwork in his studio.

我有機會看我父親 在他的工作室裡創作藝術。

My home was surrounded by art,

我的家中都是藝術品，

and I had an early art education,

我很早就接受到藝術教育，

being dragged to museums and exhibitions over the summer holidays.

夏天假期我會被拉去 參觀博物館和展覽。

What I did not understand, really, at the time,

那時，其實我並不了解，

is that this also gave me an early understanding

這也讓我很早就學到

about why art is important,

為什麼藝術是很重要的、

how to look at it,

如何去看藝術、

how to understand it, but also how to love it.

如何去了解藝術，及如何去愛藝術。

So art matters to me on a personal level,

對我個人而言，藝術是重要的，

and not only because it's beautiful and inspiring and thrilling,

不單單是因為它很美麗、 鼓舞人心、令人興奮，

but because art tells powerful stories.

也因為藝術能夠訴說強大的故事。

All these artists have stories to tell you about what it means to be African,

所有這些藝術家都有故事要告訴你， 訴說身為非洲人之意義的故事，

stories that tell you and touches about our African identity,

訴說能讓你了解接觸 我們非洲身分的故事，

but also stories that tell us about who we are as Africans,

也訴說關於我們非洲人 是什麼人的故事、

but also stories that tell us about our complex history.

關於我們複雜歷史的故事。

So how can art tell you powerful stories?

所以，藝術如何能 向你訴說強大的故事？

I want to share with you this series

我想要和你們分享這系列作品，

by Senegalese artist Omar Victor Diop.

作者是塞內加爾藝術家 奧馬爾．維克多．迪奧普。

This is a series of self-portraits,

這是一系列的自畫像，

and the artist in this particular series

在這獨特系列中的藝術家，

is focusing on the representation of Africans in art history

把焦點放在十五到十九世紀藝術史上

between the 15th to the 19th century.

關於非洲人的畫像。

I want to show you how, with one image,

我想讓各位看看，迪奧普是如何

Diop is able to touch on our African identity,

用影像來觸及我們的非洲身分、

on the politics of representation,

涉及再現政治，

but also on our social value system.

以及我們的社會價值系統。

In this particular self-portrait,

在這幅特別的自畫像中，

Diop is actually referencing another portrait by Anne-Louis Girodet.

迪奧普其實是參考安-路易．吉羅代 創作的另一幅自畫像。

This picture is doing a portrait of Jean-Baptiste Belley.

這幅畫是在描繪尚-巴提斯特．貝利。

Jean-Baptiste Belley was a native of Senegal,

尚-巴提斯特．貝利是塞內加爾原住民，

a former slave of Haiti,

曾是海地的奴隸，

but during his lifetime, he also was elected to represent the colony

但在他的一生中， 他也被選出來代表殖民地，

at the third government of the French Revolution,

當時是法國革命的第三個政府執政，

and he advocated strongly for the abolition of slavery.

他強烈提倡要廢除奴隸制度。

What is very smart and clever about Diop here

迪奧普非常聰明且精明的地方在於，

is that he's going back to history.

他回到過去的歷史。

He's reclaiming this figure

他在重新利用這個人物，

by restaging this beautiful royal blue uniform,

利用的方式是重新呈現 這漂亮的皇家藍色制服，

where he is restaging also the pose,

同時他也重新呈現這個姿勢，

and he's doing that to actually underline the issues

他這麼做的目的其實是要強調那些

that are still impacting individuals of color today.

現今仍然會影響到有色人種的議題。

There was nothing special

在那個時代，

about this very typical political portrait of the time,

這種政治畫像非常典型， 沒有什麼特別的，

except that for the first time,

除了一點，這是第一次，

an individual of color, in that case, Jean-Baptiste Belley,

有一位有名字且被認可的有色人種

was actually named and acknowledged in a painting.

出現在畫作中， 也就是尚-巴提斯特．貝利。

What Diop is adding to this picture is this crucial element,

迪奧普在這幅畫中 加上了一個關鍵元素，

which is the football under his arm,

也就是手臂下面的足球，

and by doing that,

迪奧普這麼做，

Diop is actually touching at our hero worship culture

目的是要觸及我們對非洲足球員的

of African football stars,

英雄崇拜文化，

who unfortunately, despite their fame,

很不幸的，那些足球員雖然很有名、

their immense talent, and their royalty status,

非常有才華，還有皇家身分，

they are still invisible.

但他們仍然是不被看見的。

Diop is asking us to dig deeper,

迪奧普在要求我們挖深一點，

to go beyond history and what has been written,

超越歷史以及書面的記錄，

and, basically, see how it still influences and impacts us in the present.

去探究現今它如何 繼續影響和衝擊我們。

I want to share this other beautiful series

我還想分享另一個美麗的系列，

called "Kesh Angels," by artist Hassan Hajjaj.

叫做「長髮天使」， 創作者是哈山．哈查吉。

So in this particular series,

在這個系列當中，

the artist is really pushing on the boundaries

藝術家真的在挑戰刻板印象

of stereotype and cliché.

和老式作風的極限。

Hassan Hajjaj is a friend,

哈山．哈查吉是我的朋友，

and honestly, I admire him dearly,

老實說，我非常欣賞他，

but this particular series is talking to me directly as a Muslim woman.

但這個系列，直接在對著 身為穆斯林女性的我傳達訊息。

I experience this all the time,

我總是在經歷這類狀況，

where, you know, people have a lot of expectations,

人們有很多的期望，

religious ones and cultural ones,

宗教、文化上的期望，

but what I love about this artist is that he's putting all this on its head.

但，我之所以很喜歡這位藝術家， 是因為他把焦點都放在頭部，

He's actually challenging every representation

他在挑戰每一種他能夠看到的對於

of Muslim, Arabic women that there is.

穆斯林、阿拉伯女性的表現方式。

Hassan Hajjaj is a child of the diaspora.

哈山．哈查吉是離鄉背井者的孩子。

He grew up in Morocco amongst bright logo goods,

他在摩洛哥一堆 商標明亮的商品中長大，

you know, counterfeit originals being sold at the souks.

你們知道的，在露天市場中 銷售的盜版貨。

So to see those symbols representing in his work

所以，看到他的作品中有些象徵，

a celebration of the global culture, a critic of the global urban culture,

如對於全球文化的讚頌、 對於全球都市文化的批評，

is no surprise,

並不讓人意外，

but really at the heart of his work is his desire of a nuanced representation.

但，他作品的核心，是他想要 做出有細微差異之表現的慾望。

He wants us to interrupt ourselves

他希望我們能打斷自己，

and all the perception that we might have

以及我們可能擁有的所有感知，

on people, on a culture, and on environment.

對於人、對於文化， 以及對於環境的感知。

And for example,

舉例來說，

this particular picture, your common association would be,

針對這張圖，常見的聯想會是，

you know, certain street brand for a certain Western distinctive consumer.

某種街頭品牌，對象是 某種西方的特殊消費者。

Well, he mashes it all up,

嗯，他把一切都搗亂，

where he is daring to imagine a female biker culture

他敢於想像一個女性騎士的文化，

where actually Chanel or Louis Vuitton is designing the djellaba,

而香奈兒或路易威登 卻還在設計阿拉伯寬長袍，

and Nike, the babouche,

而耐吉在設計拖鞋，

and this is actually the standard uniform.

這其實就是標準制服。

What I love about the women in "Kesh Angels"

對於「長髮天使」中的女人， 我喜愛的一點是

is that they are able to hold your gaze.

她們能夠抓住你的視線。

We are completely participating in the image,

我們完完全全參與在圖像中，

but they are the one inviting us in, and on their own terms.

但，是她們是根據她們的條件 邀請我們進入的。

Hassan Hajjaj's "Kesh Angels" or "Project Diaspora" by Omar Victor Diop

哈山．哈查吉的「長髮天使」

或奧馬爾．維克多．迪奧普的 「離鄉背井計畫」，

offer me two strong examples why art is so instrumental.

是兩個很有力的例子，讓我說明 為何藝術如此能被當作工具手段。

It is instrumental as it really inspires us to ask questions,

它能被當作工具手段， 因為它能鼓舞我們去問問題，

but it is also instrumental because it ignites change.

另一個原因則是因為它能激起改變。

Seeing diversity in race and ethnicity in contemporary art

在當代藝術中看到種族及人種多樣性

is the only way that we'll see changes in the art industry,

是我們能看到藝術產業中 有所改變的唯一方式，

but also for the relations between Africa and the Western canon.

同時也是為了非洲和西方的 重要藝術家及作品之間的關係。

How we will participate in all this is really up to us.

我們要如何參與其中， 由我們自己決定。

There's a lot of progress to be made,

還有很多的進展需要去做，

and honestly, we still need to support stronger voices,

且，老實說，我們還 需要支持更強大的聲音，

as they are the ones shaking things up and bringing new perspective.

因為是這些聲音在 造成撼動、帶來新觀點。

I want to share this beautiful old painting

我想要分享這幅美麗的老畫作，

by younger emerging artist Kudzanai-Violet Hwami.

作者是位較年輕的新興藝術家， 庫札奈-凡爾雷特．哈瓦米。

For me, when I see her work, it really represents freedom.

對我而言，當我看到她的作品， 它真正呈現的是自由。

Hwami has fantastic takes on what it means to be an African

哈瓦米對於身為非洲人的意義， 以及非洲生活的意義，

and an African life.

有著很了不起的看法。

She has lived in three different countries:

她曾經住過三個不同的國家：

Zimbabwe, South Africa and Britain,

辛巴威、南非，和英國，

and therefore has been influenced by a multitude of layers

因此，她受到很多不同層次的

of communities and cultures,

社群和文化所影響，

from LGBT to eco to Xhosa to emo to British cultures.

從多元性傾向、到生態、到科薩人、 到情緒搖滾、到英國文化。

And as she says herself, the beauty of being a child of the diaspora

如她自己所言， 身為離鄉背井者的孩子，

is really being able to reinvent ourselves

最美好的就是能夠重新改造自己，

and what it means to be African.

改造身為非洲人的意義。

I want to leave you with this powerful piece

我想留給各位一件強大的作品，

by South African artist Lawrence Lemaoana.

作者是南非藝術家羅倫斯．雷莫納。

Lawrence Lemaoana also criticized

羅倫斯．雷莫納也批判

the influence of the media on our moral consciousness,

媒體對於我們道德意識的影響，

and he's doing that by using those fabrics like banners in political demonstrations,

他的做法是採用 政治示威布條的布料，

where he's asking us to reclaim our voices.

他請我們要重新找回我們的聲音。

I believe in the transformative power of art,

我相信藝術有著帶來轉變的力量，

as it is our only way to paint a nuanced image of Africa,

因為若要繪製出具細微差別之 非洲形像以及其離鄉背井者，

but also its diaspora,

它是唯一的方式，

one that will be painted by its artists and its cultural producers

由非洲的藝術家和非洲的 文化製造者來繪製，

with their radical but also very unique view of seeing the world

他們用極端卻也獨特的觀點來看世界

and their place in it.

及他們在世界中的位置。

It is really through art that we can regain

透過藝術，我們可以重新取回

our sense of agency and empowerment.

主動性和增強的權力；

It is through art that we can really tell our own story.

透過藝術，我們能夠 說出我們自己的故事。

So like Lawrence Lemaoana says, the power is ours.

所以，如羅倫斯．雷莫納 所說的，力量是我們的。

Thank you.

謝謝你們。

(Applause)

（掌聲）