Shea Hembrey: How I became 100 artists

譯者: aileen liao 審譯者: Sean Chuang

I'm a contemporary artist

我是一個當代藝術創作者

with a bit of an unexpected background.

來自一個不太尋常的背景。

I was in my 20s before I ever went to an art museum.

我在20幾歲的時候才第一次造訪一個美術館。

I grew up in the middle of nowhere

我在一個荒無一物的地方長大

on a dirt road in rural Arkansas,

在阿肯薩州一個鄉村的土道上,

an hour from the nearest movie theater.

距離我最近的電影院要車程一小時。

And I think it was a great place to grow up as an artist

但我覺得這是個讓藝術創作者生長的最好的地方,

because I grew up around quirky, colorful characters

因為我被一群古怪,多彩的人們環繞著

who were great at making with their hands.

這些人擅於用他們的手創造東西。

And my childhood is more hick

我的童年是很鄉土氣的

than I could ever possibly relate to you,

我甚至沒辦法完全的讓你們瞭解,

and also more intellectual than you would ever expect.

同時它也是你認知無法想像接受的事情。

For instance, me and my sister, when we were little,

比如說,我跟我的妹妹,當我們年紀還小的時候,

we would compete to see who could eat the most squirrel brains.

我們會比賽看誰可以吃最多松鼠的腦。

(Laughter)

(笑聲)

But on the other side of that, though,

但另一方面,

we were big readers in our house.

我們在家時也大量的閱讀。

And if the TV was on, we were watching a documentary.

如果電視是開著的,我們會看紀錄片。

And my dad is the most voracious reader I know.

我爸爸是我所認識最大量閱讀的人。

He can read a novel or two a day.

他可以在一天到兩天之內看完一本小說。

But when I was little, I remember,

但是我記得當我還小得時候,

he would kill flies in our house with my BB gun.

他會用我的BB彈槍打死我們在家裡的蒼蠅。

And what was so amazing to me about that --

而讓我最驚奇的是--

well he would be in his recliner, would holler for me to fetch the BB gun,

他會在他的躺椅上,叫我把BB彈槍拿來,

and I'd go get it.

然後我會去拿。

And what was amazing to me --

然後讓我驚奇的是--

well it was pretty kickass; he was killing a fly in the house with a gun --

這個很厲害;他真的用這把槍打死蒼蠅--

but what was so amazing to me

然後讓我更驚奇的是--

was that he knew just enough how to pump it.

是他知道怎麼施壓。

And he could shoot it from two rooms away

他可以從兩個房間外射擊

and not damage what it was on

而不破壞到那面牆,

because he knew how to pump it just enough to kill the fly

因為他知道要怎麼施壓可以足夠殺死那隻蒼蠅

and not damage what it landed on.

而不破壞到蒼蠅在的地方。

So I should talk about art.

我應該要談一談藝術創作。

(Laughter)

(笑聲)

Or we'll be here all day with my childhood stories.

不然我們一整天都會在這裡講我小時候的故事。

I love contemporary art,

我愛當代藝術,

but I'm often really frustrated with the contemporary art world

但我時常對當代藝術的領域

and the contemporary art scene.

以及它的圈子感到沮喪。

A few years ago,

幾年前,

I spent months in Europe

我花了幾個月的時間在歐洲

to see the major international art exhibitions

去那裡看幾個重要的國際藝術展

that have the pulse

這些藝術展有所謂的脈動

of what is supposed to be going on in the art world.

呈現了藝術圈裡正在發生的趨勢。

And I was struck

我很驚喜

by going to so many, one after the other,

看到這麼多,一個接著一個的藝術家,

with some clarity of what it was

很清楚的呈現

that I was longing for.

我所期待的。

And I was longing for several things that I wasn't getting,

以及我所希望看到卻從沒辦法得到的,

or not getting enough of.

或者是不充足的。

But two of the main things:

但主要是兩件事:

one of it, I was longing for more work

其一,我想要做更多的作品

that was appealing to a broad public,

能更吸引大眾的喜歡,

that was accessible.

並且能更容易被大眾所接受。

And the second thing that I was longing for

其二,

was some more exquisite craftsmanship

我想要達到更精巧的手工技巧

and technique.

及技術。

So I started thinking and listing

所以我開始發想並且條列

what all it was that I thought would make a perfect biennial.

什麼作品是我認為能夠為我組織一個完美的雙年展。

So I decided,

於是我決定,

I'm going to start my own biennial.

我要作一個我自己的雙年展。

I'm going to organize it and direct it

我要自己組織並且指導這個展覽

and get it going in the world.

並讓它傳到全世界。

So I thought, okay,

因此我想,

I have to have some criteria of how to choose work.

我必須要有一些選擇作品的必要條件。

So amongst all the criteria I have,

這些所謂的必要條件

there's two main things.

必須包含兩件事。

One of them, I call my Mimaw's Test.

第一,我叫它做'婆婆的試驗'。

And what that is

也就是

is I imagine explaining a work of art

當我試著解釋這件創作時,我會想像

to my grandmother in five minutes,

用五分鐘的時間向我的婆婆解釋這件作品。

and if I can't explain it in five minutes,

如果我不能用五分鐘的時間解釋的話,

then it's too obtuse

就代表這個作品還是太粗糙

or esoteric

或是不明確

and it hasn't been refined enough yet.

還沒有仔細的琢磨。

It needs to worked on

需要更多的心思

until it can speak fluently.

直到能更順暢的把作品的創意表達出來。

And then my other second set of rules --

然後我的第二個規則--

I hate to say "rules" because it's art --

我不喜歡叫它做'規則'因為我們現在討論的是藝術--

my criteria would be

我的第二條件就是

the three H's,

三個英文字母H的準則

which is head, heart and hands.

也就是頭(head),心(heart)跟手(hands)。

And great art would have "head":

一個好的藝術創作作品要有第一個H, 頭(Head):

it would have interesting intellectual ideas

這指的是有趣的想法,

and concepts.

和概念。

It would have "heart" in that it would have passion

同時這樣的作品會有第二個H, 心(heart), 所以有熱情

and heart and soul.

跟精神靈魂。

And it would have "hand" in that it would be greatly crafted.

最後它會有第三個H, 手(hand), 所以有精巧製作的作品。

So I started thinking about

所以我開始想

how am I going to do this biennial,

我要怎麼開始做這個雙年展,

how am I going to travel the world

我要怎麼旅遊世界

and find these artists?

去找到那些藝術創作者。

And then I realized one day, there's an easier solution to this.

於是我突然有一天瞭解到,有一個最容易的方式。

I'm just going to make the whole thing myself.

我乾脆自己做這些作品。

(Laughter)

(笑聲)

And so this is what I did.

後來這就是我做的。

So I thought, a biennial needs artists.

於是我想, 一個雙年展需要藝術家。

I'm going to do an international biennial; I need artists from all around the world.

我要做一個國際的雙年展,我需要來自世界各地的藝術家。

So what I did was

所以我做的是,

I invented a hundred artists from around the world.

我虛擬了上百位來自國際的藝術家。

I figured out their bios, their passions in life

我創作了這些藝術家的簡歷,還有他們的興趣

and their art styles,

以及他們的創作風格,

and I started making their work.

然後我開始創作他們的作品。

(Laughter)

(笑聲)

(Applause)

(掌聲)

I felt, oh this is the kind of project that I could spend my whole life doing.

我想,這就是我可以花一輩子的時間做的作品。

So I decided, I'm going to make this a real biennial.

我決定,我要把這個計畫作成一個真正的雙年展。

It's going to be two years of studio work.

這將是一個值兩年時間作品的展覽。

And I'm going to create this in two years,

而我將真正用兩年的時間完成。

and I have.

然後我的確做到了。

So I should start to talk about these guys.

我應該開始談一談這些創作的藝術家。

Well the range is quite a bit.

我創作的範圍很廣。

And I'm such a technician, so I loved this project,

我是一個很講技術的創作者,所以我愛這些創作想法,

getting to play with all the techniques.

讓我可以運用各種的技術。

So for example, in realist paintings,

所以比如說,在畫作的創作上,

it ranges from this,

從這種

which is kind of old masters style,

有點傳統畫匠式的,

to really realistic still-life,

到這種實體靜物式的,

to this type of painting where I'm painting with a single hair.

到這個我只用一根頭髮作成的畫筆所創作的畫作。

And then at the other end, there's performance and short films

然後令一方面,我也創作了表演藝術, 短片

and indoor installations

以及室內裝置藝術

like this indoor installation

像這一個室內裝置作品

and this one,

還有這一個,

and outdoor installations like this one

還有戶外的裝置藝術作品,像這一個

and this one.

還有這個。

I know I should mention: I'm making all these things.

我想我應該要提到,我實際上創作了這些作品。

This isn't Photoshopped.

這並不是用電腦繪製的。

I'm under the river with those fish.

我實際的下水去了。

So now let me introduce some of my fictional artists to you.

現在讓我為您介紹一些來自我的虛擬藝術家。

This is Nell Remmel.

這位是Nell Remmel。

Nell is interested in agricultural processes,

Nell對於農業的發展有興趣,

and her work is based in these practices.

她的作品是關於這些農業的主題上。

This piece, which is called "Flipped Earth" --

這一件作品叫做"倒過來的地球"

she was interested in taking the sky

她把天空

and using it to cleanse barren ground.

當作裝飾荒蕪一物的地面。

And by taking giant mirrors --

這是用一面鏡子做的--

(Applause)

(掌聲)

and here she's taking giant mirrors

在這個作品,她拿一個大型的鏡子

and pulling them into the dirt.

放在土裡。

And this is 22 feet long.

這個是22英尺長。

And what I loved about her work

我喜歡她的作品的原因是

is, when I would walk around it

當我在這個作品旁,

and look down into the sky,

向下可以看到天空,

looking down to watch the sky,

往下望的天空,

and it unfolded in a new way.

是一個全新的面向。

And probably the best part of this piece

關於這個作品最棒的地方

is at dusk and dawn

就是凌晨跟黃昏

when the twilight wedge has fallen and the ground's dark,

當天際逐漸暗,地面也昏暗,

but there's still the light above, bright above.

但天空仍然是亮的。

And so you're standing there and everything else is dark,

你處在的地方是暗的

but there's this portal that you want to jump in.

但只有你站在的位置是亮的,讓你想要往下跳進。

This piece was great. This is in my parents' backyard in Arkansas.

這個作品很棒。這是在我父母親在阿肯薩州的家中後院。

And I love to dig a hole.

我喜歡挖洞。

So this piece was great fun

所以做這個作品是很好玩的。

because it was two days of digging in soft dirt.

因為我花了兩天挖上一個洞。

The next artist is Kay Overstry,

下一位藝術家是Kay Overstry,

and she's interested in ephemerality and transience.

她對於短暫的時間與瞬間的概念有興趣。

And in her most recent project,

她最近的創作

it's called "Weather I Made."

叫做"我製作的天氣"。

And she's making weather

所謂她製作的天氣

on her body's scale.

是用她的身體製作的。

And this piece is "Frost."

這一片是霜

And what she did was she went out on a cold, dry night

她在一個天氣冷的晚上

and breathed back and forth on the lawn

到外面來用呼吸來回在草地上

to leave --

留下--

to leave her life's mark,

留下她生命存在的痕跡,

the mark of her life.

生命的痕跡。

(Applause)

(掌聲)

And so this is five-foot, five-inches of frost

所以這個就是她所留下的

that she left behind.

五尺五吋長的霜。

The sun rises, and it melts away.

太陽一起,這個霜也就隨之融化。

And that was played by my mom.

這是我媽媽所扮演的。

So the next artist, this is a group of Japanese artists,

下一位創作者,是一個由日本藝術家組成的團體,

a collective of Japanese artists --

這是一個日本藝術家的大集合--

(Laughter)

(笑聲)

in Tokyo.

在東京。

And they were interested in developing a new, alternative art space,

他們對於開發新的藝術創作空間有興趣。

and they needed funding for it,

他們需要一些資金,

so they decided to come up with some interesting fundraising projects.

所以他們決定要做一個有趣的資金援助企劃。

One of these is scratch-off masterpieces.

這個作品是即刮即中的藝術品。

(Laughter)

(笑聲)

And so what they're doing --

他們在做的是--

each of these artists on a nine-by-seven-inch card,

每一個創作者在一張9x7英吋的卡片上,

which they sell for 10 bucks,

他們畫上原創的畫,

they drew original works of art.

每個作品可以賣10元。

And you buy one, and maybe you get a real piece, and maybe not.

當你買一幅作品的時候,你可能拿到一幅真品,或許不會。

Well this has sparked a craze in Japan,

這在日本造成很大的轟動,

because everyone's wanting a masterpiece.

因為每個人都想擁有一幅原創的藝術品。

And the ones that are the most sought after

而最叫座的一些作品

are the ones that are only barely scratched off.

是最不容易被刮中的

And all these works, in some way,

而這些作品從某的角度來說,

talk about luck or fate or chance.

討論的是命運或機會。

Those first two

這前面的兩幅

are portraits of mega-jackpot winners years before and after their win.

是贏得頭彩得贏家在贏前幾年跟贏後幾年的畫像。

And in this one it's called "Drawing the Short Stick."

而這一幅則稱作"畫一個短支" 。

(Laughter)

(笑聲)

I love this piece because I have a little cousin at home

我喜歡這個作品因為我在家有一個表親

who introduced me -- which I think is such a great introduction --

他會這樣介紹我--而我覺得這真是一個太棒的介紹--

to a friend one day as, "This is my cousin Shea.

他向朋友這樣介紹我,"這是我的親戚Shea"

He draws sticks real good."

他很會畫棍子。"

(Laughter)

(笑聲)

Which is one of the best compliments ever.

這真的是最好的一個稱讚。

This artist is Gus Weinmueller,

這位創作家叫Gus Weinmueller,

and he's doing a project, a large project, called "Art for the Peoples."

他做的一個企劃,大型的企劃,叫做"給大眾的藝術。"

And within this project, he's doing a smaller project

而在這個作品裡,他又做了一個小型的作品,

called "Artists in Residence."

叫做"常駐藝術家"。

And what he does is --

他所做的是--

(Laughter)

(笑聲)

he spends a week at a time with a family.

他花一個星期的時間跟一個家庭相處,

And he shows up on their porch, their doorstep,

他出現在這家人的門口,

with a toothbrush and pajamas,

帶著一支牙刷跟一件睡衣,

and he's ready to spend the week with them.

就準備好跟這家人相處一星期。

And using only what's present,

用當時可以取得的材料,

he goes in and makes a little abode studio to work out of.

他進而開始就像在工作室裡一樣的創作。

And he spends that week talking to the family

他還用這一星期的時間跟這家人聊天

about what do they think great art is.

討論他們覺得藝術是什麼。

He has all these discussions with their family,

他跟這些家人討論了許多。

and he digs through everything they have,

然後他到處翻找這家人有的東西,

and he finds materials to make work.

讓他可以創作的材料。

And he makes a work

然後他根據這些創作

that answers what they think great art is.

回答他們什麼示藝術的這個問題。

For this family, he made this still-life painting.

對於這家人,他所創造的是靜物的畫作。

And whatever he makes

不論他做的是什麼,

somehow references nesting and space

他總是回歸到規律跟空間

and personal property.

以及個人資產。

This next project,

而下一個企劃,

this is by Jaochim Parisvega,

是由這位藝術家Jaochim Parisvega帶來,

and he's interested in --

他有興趣的主題是--

he believes art is everywhere waiting --

他相信藝術在各個角落待命--

that it just needs a little bit of a push to happen.

需要一點刺激讓它發生。

And he provides this push by harnessing natural forces,

而他使力的方法是透過大自然的力量,

like in his series where he used rain to make paintings.

就像他在這個系列當中,用雨來創作他的繪畫。

This project is called "Love Nests."

這個作品叫"愛之巢"。

What he did was to get wild birds to make his art for him.

他所做的是讓戶外的野鳥來幫他創作。

So he put the material in places where the birds were going to collect them,

他把材料放在那些野鳥會去取集的地方,

and they crafted his nests for him.

然後牠們為他做出作品。

And this one's called "Lovelock's Nest."

而這個作品叫做"假髮之愛巢"。

This one's called "Mixtape Love Song's Nest."

這個叫"錄音帶之愛巢"。

(Laughter)

(笑聲)

And this one's called "Lovemaking Nest."

而這個叫"做愛巢"。

(Laughted)

(笑聲)

Next is Sylvia Slater.

下一位是Sylvia Slater。

Sylvia's interested in art training.

Sylvia對於藝術訓練有興趣。

She's a very serious Swiss artist.

她是位很認真的瑞士籍藝術家。

(Laughter)

(笑聲)

And she was thinking about her friends and family

她在想對於那些她在

who work in chaos-ridden places and developing countries,

仍處雜亂發展中國家工作的親友,

and she was thinking,

她在想

what can I make that would be of value to them,

要怎麼樣作對他們有意義的事,

in case something bad happens

以用在將來萬一有任何不幸事情發生時

and they have to buy their way across the border

他們可以用花錢的方式跨過國界

or pay off a gunman?

或是買通一個槍手。

And so she came up with creating

然後她想到這個創作。

these pocket-sized artworks

這些口袋大小的創作品

that are portraits of the person that would carry them.

是這個會隨身帶著這個作品的人的肖像。

And you would carry this around with you,

你會隨身帶著這個作品,

and if everything went to hell, you could make payments

如果碰到意外了,你就會用這個東西當作有值物品

and buy your life.

拿來換取你的生命。

So this life price

所以這個作品

is for an irrigation non-profit director.

是謂一位公益團體總監所做的。

So hopefully what happens is you never use it,

希望你永遠都用不到,

and it's an heirloom that you pass down.

而且這是一個你可以傳承的資產。

And she makes them so they could either be broken up into payments,

她把這些作品作成可以拆開的方式,所以可以被分開來,當作散鈔的方式來用,

or they could be like these, which are leaves that can be payments.

或者他們可以像這樣,葉子一樣的可以拿來當作付錢的方式。

And so they're valuable. This is precious metals and gemstones.

所以這些作品都是有價的,這是稀有的金屬跟石材。

And this one had to get broken up.

這個需要被分開。

He had to break off a piece to get out of Egypt recently.

他需要用其中的一塊,讓他可以離開埃及。

This is by a duo, Michael Abernathy and Bud Holland.

這是一對創作的藝術家, Michael Abernathy跟Bud Holland。

And they're interested in creating culture,

他們對於創造文化

just tradition.

傳統有興趣。

So what they do is they move into an area

所以他們做的是,他們移居到這個地區,

and try to establish a new tradition in a small geographic area.

並且試著要創造一個新的文化傳統,在這個小的地區。

So this is in Eastern Tennessee,

這裡是田納西的東邊,

and what they decided was

他們決定

that we need a positive tradition

要創造一個對死亡積極正面的

that goes with death.

文化傳統。

So they came up with "dig jigs."

所以他們想到一種舞蹈。

And a dig jig --

至於這個舞--

a dig jig is where,

這個舞蹈儀式就是

for a milestone anniversary or a birthday,

當一個紀念或是生日的儀式,

you gather all your friends and family together

你把所有的親朋好友都找在一起

and you dance on where you're going to be buried.

然後你在你死後會被埋葬的地方跳舞慶祝。

(Laughter)

(笑聲)

And we got a lot of attention when we did it.

當我們在做這個作品時得到很多的關注,

I talked my family into doing this, and they didn't know what I was doing.

當我跟我的家人講到做這個作品,他們不了解我想做的事。

And I was like, "Get dressed for a funeral. We're going to go do some work."

然後我說 “ 快去梳妝打理好,我們要去一個葬禮,我們有工作要做。"

And so we got to the grave and made this, which was hilarious --

所以我們去了墓園做了這個,很好笑的--

the attention that we got.

當我們發現我們一直被注意。

So what happens is you dance on the grave,

我們做的是,有人在墳墓上跳舞。

and after you've done your dance,

當你跳完之後,

everyone toasts you and tells you how great you are.

每個人就會來跟你祝賀,並且告訴你你跳得很好。

And you in essence have a funeral

所以其實你就是舉辦了一個葬禮

that you get to be present for.

而你自己也在現場。

That's my mom and dad.

這是我媽媽和爸爸。

This is by Jason Birdsong.

這是Jason Birdsong。

He is interested in how we see as an animal,

他對於我們人類作為動物的視覺有興趣,

how we are interested in mimicry and camouflage.

我們如何對於模仿與偽裝有興趣。

You know, we look down a dark alley

大家都知道,當我們走在暗巷

or a jungle path,

或是叢林裡,

trying to make out a face or a creature.

我們都自然的試著從視覺拼湊出一個臉或是一個東西。

We just have that natural way of seeing.

這些是隨視覺自然而來的。

And he plays with this idea.

而他以這個為他的計畫基礎。

And this piece: those aren't actually leaves.

這一個作品:這些不是真的葉子。

They're butterfly specimens who have a natural camouflage.

這些是蝶類,牠們有自然的偽裝。

So he pairs these up.

所以他把這些配對起來。

There's another pile of leaves.

這是一堆葉子。

Those are actually all real butterfly specimens.

而這些是真的蝴蝶。

And he pairs these up with paintings.

他把這些用畫作組合起來。

Like this is a painting of a snake in a box.

就像這個有隻蛇在盒子裡的畫作。

So you open the box and you think, "Whoa, there's a snake in there."

你打開盒子,你想"嘩,有一隻蛇。"

But it's actually a painting.

但這其實是一件畫作。

So he makes these interesting conversations

所以他創作這些介於真實與摹仿

about realism and mimicry

之間有趣的對話。

and our drive to be fooled by great camouflage.

以及我們被視覺偽裝誤導的自然趨向。

(Laughter)

(笑聲)

The next artist is Hazel Clausen.

下一位藝術家是Hazel Clausen。

Hazel Clausen is an anthropologist who took a sabbatical

Hazel Clausen是一位人類學家,她度了一個假,

and decided, "You know, I would learn a lot about culture

並決定, "我應該可以學到很多文化,

if I created a culture that doesn't exist from scratch."

如果我從零開始創造一個文化。"

So that's what she did.

於是這就是她做的。

She created the Swiss people named the Uvulites,

她創造了一個在瑞士的族群叫"Uvulites",

and they have this distinctive yodeling song

他們有一種很獨特

that they use the uvula for.

用喉腔裡的小舌歌唱的歌曲。

And also they reference how the uvula --

還有他們如何用小舌--

everything they say is fallen

所有他們說的話都是降音結尾。

because of the forbidden fruit.

因為那指的是禁果。

And that's the symbol of their culture.

而那是他們文化的象徵物。

And this is from a documentary

這是一個紀錄片

called "Sexual Practices and Populations Control

叫"Ｕvulties人的性行為與人口控制"

Among the Uvulites."

。

This is a typical angora embroidery for them.

這是他們傳統的安哥拉毛刺繡。

This is one of their founders, Gert Schaeffer.

而這個是他們其中一個創始人, Gert Schaeffer。

(Laughter)

(笑聲)

And actually this is my Aunt Irene.

這其實是我的阿姨Irene。

It was so funny having a fake person

用一個假的人物

who was making fake things.

來創造假的事真的是很有趣的。

And I crack up at this piece,

我在做這個作品的時候,忍不住笑出來,

because when I see it I know that's French angora

因為當我看到這些東西的時候,我知道那是法國的安哥拉毛

and all antique German ribbons

而這些都是德國的古董緞帶

and wool that I got in a Nebraska mill

而這些羊毛是我在一個內布拉斯加的農場買的

and carried around for 10 years

這十年來一直都在身邊

and then antique Chinese skirts.

還有這塊古董的中國裙子。

The next is a collective of artists

下一個是一群藝術家

called the Silver Dobermans,

叫做Silver Dobermans。

and their motto is to spread pragmatism

他們的宗旨是傳播實用主義,

one person at a time.

以一次影響一個人的方式。

(Laughter)

(笑聲)

And they're really interested

他們對於

in how over-coddled we've become.

我們如何變成太過喜愛擁抱。

So this is one of their comments on how over-coddled we've become.

這個作品展現他們對於過於擁抱的批評。

And what they've done

他們所做的是

is they put a warning sign on every single barb on this fence.

把警戒的標示放在這個圍籬的每一個倒刺上。

(Laughter)

(笑聲)

(Applause)

(掌聲)

And this is called "Horse Sense Fence."

而這個作品叫"馬匹感覺的圍籬"。

The next artist is K. M. Yoon,

下一位藝術家是K.M. Yoon,

a really interesting South Korean artist.

他是個有趣的南韓藝術家。

And he's reworking a Confucian art tradition

他的作品重做了孔式的藝術傳統

of scholar stones.

的供石。

Next is Maynard Sipes.

下一位是Maynard Sipes。

And I love Maynard Sipes,

我愛這位創作者Maynard Sipes,

but he's off in his own world,

但他活在自己的世界,

and, bless his heart, he's so paranoid.

願神保佑他,他太偏執了。

Next is Roy Penig,

下一位是Roy Penig,

a really interesting Kentucky artist,

他是個很有趣的來自肯達基州的藝術家,

and he's the nicest guy.

他是一個最好的人。

He even once traded a work of art for a block of government cheese

他甚至曾經用創作品去換一塊政府給的起士。

because the person wanted it so badly.

因為這個人真的想要它。

Next is an Australian artist, Janeen Jackson,

下一位是澳洲藝術家, Janeen Jackson,

and this is from a project of hers

這是一個她的作品

called "What an Artwork Does When We're Not Watching."

叫做"當我們不注意時這件藝術作品在做什麼"。

(Laughter)

(笑聲)

Next is by a Lithuanian fortune teller, Jurgi Petrauskas.

下一位是立陶宛的算命師, Jurgi Petrauskas。

Next is Ginger Cheshire.

下一位是Ginger Cheshire。

This is from a short film of hers called "The Last Person."

這是一段她的短片叫做"最後一個人"。

And that's my cousin and my sister's dog, Gabby.

這是我的表親,還有我妹的狗Gabby。

The next, this is by Sam Sandy.

下一位是Sam Sandy。

He's an Australian Aboriginal elder,

他是位來自澳州的原住民長老,

and he's also an artist.

他也是位藝術創作者。

And this is from a large traveling sculpture project

這是他的一個大型巡迴

that he's doing.

的雕塑作品。

This is from Estelle Willoughsby.

這是Estelle Willoughsby。

She heals with color.

她會顏色療法。

And she's one of the most prolific of all these hundred artists,

而這是這一百位藝術家中最多產的,

even though she's going to be 90 next year.

雖然她明年就90歲了。

(Laughter)

(笑聲)

This is by Z. Zhou,

這位是 Z. Zhou,

and he's interested in stasis.

他對於計算有興趣。

Next is by Hilda Singh,

下一位是Hilda Singh,

and she's doing a whole project called "Social Outfits."

她做了一個企劃叫"社群裝備"。

Next is by Vera Sokolova.

下一位是Vera Sokolova。

And I have to say, Vera kind of scares me.

我必須講, Vera有點讓我害怕。

You can't look her directly in the eyes

你不能直視她,

because she's kind of scary.

因為她有點嚇人。

And it's good that she's not real;

但沒關係,她不是真的;

she'd be mad that I said that.

她如果是真的一定會很生氣聽到我這樣講。

(Laughter)

(笑聲)

And she's an optometrist in St. Petersburg,

她是位在聖彼得堡的驗光師,

and she plays with optics.

所以她善用光學。

Next, this is by Thomas Swifton.

然後下一位是Thomas Swifton。

This is from a short film, "Adventures with Skinny."

這是一個短片作品叫"阿瘦的冒險"。

(Laughter)

(笑聲)

And this is by Cicily Bennett,

這是Cicily Bennett的創作,

and it's from a series of short films.

而這是一系列的短片。

And after this one, there's 77 other artists.

這個之後,總共有其他77位藝術家。

And all together with those other 77 you're not seeing,

這些所有,加上那77位創作者的作品你所沒看見的,

that's my biennial.

就是我的雙年展。

Thank you. Thank you.

謝謝。

Thanks.

謝謝。

(Applause)

(掌聲)

Thank you. Thanks.

謝謝。

(Applause)

(掌聲)