Antony Gormley: Sculpted space, within and without

Translator: Joseph Geni Reviewer: Morton Bast

譯者: Ambrose Lam 審譯者: Candice Wang

I'm going to tell you about why I became a sculptor,

我想告訴大家我為何成為雕塑家

and you may think that sculptors,

你或者覺得雕塑家

well, they deal with meta, they deal with objects,

與概念打交道，與物件打交道

they deal with bodies,

與身體打交道

but I think, really, what I care about most

但我真的認為，我最關心的是

is making space, and that's what I've called this talk:

創造空間，這也是我這個演說的題目

Making Space.

創造空間

Space that exists within us,

那存在於我們之內

and without us.

和我們之外的空間

So, when I was a child,

我還是小孩時

I don't know how many of you grew up in the '50s,

我不知道在座有多少人成長於50年代

but I was sent upstairs for an enforced rest. (Laughter)

我會被迫到樓上睡午覺

It's a really bad idea. I mean, after lunch, you're, you know,

這真是一個鬼主意。我的意思是，在午飯後

you're six, and you want to go and climb a tree.

你不過六歲，你會想出去爬樹

But I had to go upstairs, this tiny little room

但我要到樓上去，到一間細小房間

that was actually made out of an old balcony,

它其實是舊陽臺改建的

so it was incredibly hot, small and light,

因此它極之悶熱、狹小和明亮

and I had to lie there. It was ridiculous.

而我要躺在那裏，真是荒謬

But anyway, for some reason, I promised myself

無論如何，為了某些原因，我答應自己

that I wasn't going to move,

我要靜止不動

that I was going to do this thing that Mummy

我要做媽咪要我做的

wanted me to do.

這件事

And there I was, lying there in this tiny space,

於是我躺在這細小的空間裏

hot, dark, claustrophobic, matchbox-sized, behind my eyes,

又熱又黑，火柴盒大小的幽閉空間

but it was really weird, like, after this went on

但真是不可思議的是

for days, weeks, months, that space would get bigger

這樣子持續了多日、星期和月後

and darker and cooler

那空間變得越來越大、黑和清涼

until I really looked forward to that half an hour

直至我簡直渴望那半小時

of enforced immobility and rest,

被迫午睡和休息的時間

and I really looked forward to going to that place

我真的期望去到那個

of darkness.

黑暗的空間

Do you mind if we do something completely different?

大家介意做些完全另類的事嗎？

Can we all just close our eyes for a minute?

大家可否閉上眼睛一分鐘？

Now, this isn't going to be freaky.

我不會要大家做怪異的事情

It isn't some cultic thing. (Laughter)

這不是甚麼邪教勾當

It's just, it's just, I just would like us all to go there.

這不過是，我只想大家一起到那裏去

So I'm going to do it too. We'll all be there together.

我會跟大家一起做，我們會一起到那裏去

So close your eyes for a minute.

請閉上眼睛一分鐘

Here we are, in a space,

我們現在身處一個空間

the subjective, collective space of the darkness of the body.

身體內那個主觀、集體的黑暗空間

I think of this as the place of imagination,

我覺得這是個充滿想像

of potential,

和潛能的空間

but what are its qualities?

但這空間有何特質？

It is objectless. There are no things in it.

它空無一物，甚麼都沒有

It is dimensionless. It is limitless.

它沒有維度，無邊無界

It is endless.

無窮無盡

Okay, open your eyes.

好了，大家張開眼睛

That's the space that I think sculpture --

就是這個空間，我認為雕塑就是

which is a bit of a paradox, sculpture that is about

這說法有點弔詭，雕塑就是

making material propositions --

要造出實體的陳述

but I think that's the space

而我認為雕塑可以

that sculpture can connect us with.

把我們與那空間聯繫起來

So, imagine we're in the middle of America.

試想像我們身處美國中部

You're asleep. You wake up,

你睡着了。然後你醒來

and without lifting your head from the earth

你不用抬起頭，離開地面

on your sleeping bag, you can see for 70 miles.

離開睡袋，便可以望見70哩之內的東西

This is a dry lake bed.

這是一個乾涸的河牀

I was young. I'd just finished art school.

那時我年輕，剛從藝術學院畢業

I wanted to do something that was working

我希望從事與世界

directly with the world, directly with place.

與地方直接有關的工作

This was a wonderful place, because it was a place

這是個奇妙的地方，因為在那裏

where you could imagine that you were the

你可以想像自己是

first person to be there.

第一個來到那裏的人

It was a place where nothing very much had happened.

那是一個藉藉無聞的地方

Anyway, bear with me.

無論如何，請聽我說

I picked up a hand-sized stone,

我撿起一塊拳頭大小的石頭

threw it as far as I was able,

盡力擲了出去

it was about 22 meters.

它落在約22公尺之外

I then cleared all the stones within that radius

然後我清除了那半徑範圍內的石頭

and made a pile.

把它們堆在一處

And that was the pile, by the way.

這就是那堆石頭

And then, I stood on the pile,

之後，我站在那堆石上

and threw all of those rocks out again,

再次把那些石擲出去

and here is rearranged desert.

形成這個重新排列的沙漠

You could say, well, it doesn't look very different

你或會說，唔，這跟他開始之時

from when he started.

沒有甚麼不同啊

(Laughter)

（笑聲）

What's all the fuss about?

有甚麼值得大驚小怪？

In fact, Chris was worried and said,

事實上，基斯有點擔心地說

"Look, don't show them that slide,

“不要給他們看那張幻燈片

because they're just going to think you're another one of

因為他們會覺得你不過是另一個

those crazy modern artists who doesn't do much.

無所事事的現代瘋狂藝術家＂

(Laughter)

（笑聲）

But the fact is, this is evidence

但事實上

of a living body on other bodies,

這是一個活體在其他物體上存在的憑證

rocks that have been the subject of geological formation,

那些石頭是地質形成

erosion, the action of time on objects.

風化，被時光磨蝕的東西

This is a place, in a way, that I just

這個地方，某意義上

would like you to, in a way, look at differently

我想大家會以不同目光去看它

because of this event that has happened in it,

因着這件曾在那裏發生的事情

a human event,

一件人為的事情

and in general, it just asks us to look again

大體而言，它只要求我們

at this world, so different from, in a way,

以不同的目光再看這個世界

the world that we have been sharing with each other,

這個我們與其他人共享的世界

the technological world,

這個科技的世界

to look again at the elemental world.

再看看這個最根本的世界

The elemental world that we all live in is that space

我們存在於其中的根本世界

that we all visited together, the darkness of the body.

就是那個我們曾一起探訪的空間，身體的黑暗

I wanted to start again with that environment,

我想在那個處境裏再一次開始

the environment of the intimate, subjective space

那處境是一個熟悉和主觀的空間

that each of us lives in, but from the other side

我們每人都活在那處境裏

of appearance.

卻在表相的另一邊

So here is a daily activity of the studio.

這是我工作室的日常工作

You can see I don't do much. I'm just standing there,

大家見到我沒有做些甚麼，我只是站在那裏

again with my eyes closed, and other people

我閉上眼睛

are molding me, evidential.

讓其他人為我造模

This is an indexical register of a lived moment

這是一個身體在某個時刻

of a body in time.

存活的標示記錄

Can we map that space, using the language of neutrinos

我們可以描繪出那空間嗎，利用中微子

or cosmic rays, taking the bounding condition of the body

或宇宙射線，以身體的界限為這空間的邊界

as its limit, but in complete reversal of, in a way,

以與傳統希臘有關指向的思想完全相反的方法

the most traditional Greek idea of pointing?

去描繪它，可以嗎？

In the old days they used to take a lump of Pentelic marble

在古時，他們採用一塊潘泰列克大理石

and drill from the surface in order to identify the skin,

在表面上鑽挖，以塑造出皮膚

the appearance,

樣貎

what Aristotle defined as the distinction

亞里士多德所界定的

between substance and appearance,

本質與表相的分別

the thing that makes things visible,

他們造出了肉眼可見的物件

but here we're working from the other side.

但現在我們卻從另一邊開始

Or can we do it as an exclusive membrane?

我們可以把它當作一塊排斥外物的薄膜？

This is a lead case made around the space

這是一個鉛鑄的外殼，它包圍着

that my body occupied, but it's now void.

我身體佔據的空間，但它是中空的

This is a work called "Learning To See."

這件作品名為 “學習去看”

It's a bit of, well, we could call it night,

它有點，嗯，我們可稱之為黑夜

we could call it the 96 percent of gravity

我們可稱之為我們所不認識

that we don't know about, dark matter,

那百分之九十六的重力，黑暗物質

placed in space, anyway, another version of a human space

存在於太空，是人類空間的另一個版本

in space at large, but I don't know if you can see,

存在於外太空，但我不知大家可否看到

the eyes are indicated, they're closed.

那雙眼意有所指，它們是閉上的

It's called "Learning To See" because it's about an object

這作品名 “學習去看” 因為它關乎一件物體

that hopefully works reflexively and talks about that

我們希望它能讓人反省，讓人論及

vision or connection with the darkness of the body

它與身體的黑暗之間的關連和意像

that I see as a space of potential.

這就是我認為充滿潛能的空間

Can we do it another way, using the language

讓我們換另一種表達方式

of particles around a nucleus, and talk about the body

例如環繞原子核的粒子，而我們的身體

as an energy center?

就是能量的中心？

No longer about statues, no longer having to take that

我們不再談雕像，不再需要有人

duty of standing, the standing of a human body,

站在那裏，要人的身體站起來

or the standing of a statue, release it,

或豎立一個雕像，放開這想法

allow it to be an energy field, a space in space

讓它成為一個力場，空間中的空間

that talks about human life, between becoming an entropy

這力場論及人的生命，生命成為熵的歷程

as a sort of concentration of attention,

成為一種關注的焦點

a human place of possibility in space at large.

在外太空充滿可能的人類空間

Is there another way?

還有其他表達方式嗎？

Dark matter now placed against a horizon.

這黑暗物質現在被擺放在水平線上

If minds live in bodies, if bodies live in clothes,

如果心智存活於身體之內，如果身體存活於衣服下面

and then in rooms, and then in buildings,

然後存活於房間之內，建築物之內

and then in cities, do they also have a final skin,

然後城市之內，那麼它是否也有一個最終的表皮

and is that skin perceptual?

而這表皮是永恆的？

The horizon.

水平線

And is art about

藝術是否在於

trying to imagine what lies beyond the horizon?

試圖去想像水平線之外有甚麼東西？

Can we use, in a way, a body as an empty catalyst

我們可否把身體當作一種空無的催化劑

for a kind of empathy with the experience

對身體在時空下的經歷

of space-time as it is lived, as I am standing here

產生移情作用，正如我現在站在

in front of you trying to feel and make a connection

大家面前，嘗試去感覺和連接

in this space-time that we are sharing,

我們所共享的這個時空一樣

can we use, at it were, the memory of a body,

我們可否利用身體對人體在空間

of a human space in space to catalyze

中的記憶去催化

an experience, again, firsthand experience,

一種經驗，一種第一手的

of elemental time.

對根本時間的經驗

Human time, industrial time, tested against

人類的時間、工業的時間，與潮汐的時間

the time of the tides, in which these memories

來比併時，某個身體的這些記憶

of a particular body, that could be any body,

這可以是任何一個身體

multiplied as in the time of mechanical reproduction,

在機械生產的時間下倍增

many times, placed over three square miles,

把這些身體放在方圓三哩之地

a mile out to sea,

海外一哩的地方

disappearing, in different conditions of day and night.

在日夜不同的條件下它們會消失

You can see this work. It's on the mouth of the Mersey,

你可以看見這件作品，它就在默西河的河口

just outside Liverpool.

就在利勿浦的外圍

And there you can see what a Liverpool sea looks like

在那裏你可以看到利勿浦的海

on a typical afternoon.

在平日下午是甚麼樣子

The pieces appear and disappear,

這些雕塑會出現然後消失

but maybe more importantly --

但可能更重要的是

this is just looking north from the center of the installation --

這只是從這些裝置的中心向北望的情形

they create a field, a field that involves

它們營造了一個場域，場域裏包含了

living and the surrogate bodies in a kind of relation,

生物體和代替物，它們之間有某種關係

a relation with each other and a relation with that limit,

這是它們每個之間的關係

the edge, the horizon.

亦是與極限、與邊陲、水平線之間的關係

Just moving on, is it possible,

讓我們繼續，我們可不可以

taking that idea of mind, body, body-building,

將這個關乎心智、身體和營造身體的想法

to supplant the first body,

將第一個身體

the biological body, with the second,

即生物體，給第二個身體

the body of architecture and the built environment.

即建築的實體和人建造的環境所取代

This is a work called "Room for the Great Australian Desert."

這件作品名為 “澳大利亞沙漠中的空間”

It's in an undefined location

它沒有被標明位置

and I've never published where it is.

我也從沒有說出它的所在

It's an object for the mind.

這作品的主題是心智

I think of it as a 21st-century Buddha.

我覺得它相當於21世紀的佛佗

Again, the darkness of the body,

再一次，身體的幽暗

now held within this bunker shape

被存放在這個箱狀

of the minimum position that a body needs to occupy,

身體所需佔據的最少空間裏

a crouching body.

當然是捲曲的身體

There's a hole at the anus, penis level.

在肛門和陽莖的高度有一個孔

There are holes at ears. There are no holes at the eyes.

在耳朵高度也有孔。但在眼睛位置卻沒有孔

There's a slot for the mouth. It's two and a half inches thick,

它有一個槽當作口。這槽厚兩吋半

concrete with a void interior.

它由水泥所造，中間是空的

Again, a site found with a completely flat

再一次，這地點完全平坦

360-degree horizon.

有360度視野

This is just simply asking, again,

再一次，這只是提出一個問題

as if we had arrived for the first time,

我們當作第一次去到那裏

what is the relationship of the human project

那究竟這個人為的作物

to time and space?

與時空有何關係？

Taking that idiom of, as it were,

將這個慣用語，就是

the darkness of the body transferred to architecture,

身體的黑暗，轉移到建築物上時

can you use architectural space not for living

你能否不把建築用作生活的空間

but as a metaphor,

而是用作一個比喻

and use its systolic, diastolic

利用它的收縮、舒張

smaller and larger spaces to provide a kind of

或大或小的空間去提出一種第一手

firsthand somatic narrative for a journey through space,

穿越空間、光明和黑暗

light and darkness?

的身體故事？

This is a work of some proportion and some weight

這件作品有相當份量和重量

that makes the body into a city, an aggregation of cells

它把身體造成一個城市

that are all interconnected

由互相牽連的細胞所組成

and that allow certain visual access

這件作品可讓人有某些位置

at certain places.

可讓人望進去

The last work that I just wanted to share with you

最後一件要和大家分享的作品

is "Blind Light," which is perhaps

名 “令人目眩的光”

the most open work,

它可能是最開放的作品

and in a conference of radical openness,

在一個激進開放的會議裏

I think maybe this is as radical as I get,

我相信它或許是我最激進的表達

using light and water vapor as my materials.

我用了光和水氣為原材料

Here is a box

這是一個盒

filled at one and a half atmospheres of atmospheric pressure,

內裏有一個半大氣壓力

with a cloud and with very bright light.

裏面有雲霧和非常強的光

As you walk towards the ever-open threshold,

你走近那常開的門檻時

you disappear, both to yourselves and to others.

你自己和其他人都會看不見你

If you hold your hand out in front of you,

如果你把手伸向前方

you can't see it.

你不能看到它。

If you look down, you can't see your feet.

如果你往下看，你不能看到你的腳。

You are now consciousness without an object,

你現在只剩下意識，沒有軀體

freed from the dimensionful

你再沒有維度

and measured way in which life links us

和其他生活上被迫要有

to the obligatory.

所有計量方式

But this is a space that is actually filled with people,

但這個空間其實擠滿了人

disembodied voices,

充斥着脫離軀體的聲音

and out of that ambient environment,

在這樣的環境底下

when people come close to your own body zone,

若有人走近你身體

very close, they appear to you as representations.

走得非常接近時，他們看來就像雕像一樣

When they appear close to the edge,

他們在接近邊沿地方出現時

they are representations, representations in which

他們成為了雕像，而觀看雕像的人

the viewers have become the viewed.

本身亦成為被觀看的雕像

For me, art is not about objects of high monetary exchange.

對我來說，藝術不在於可高價交易的物件

It's about reasserting our firsthand experience

藝術是關乎重新肯定我們在當下

in present time.

的親身經驗

As John Cage said,

正如約翰凱奇說

"We are not moving towards some kind of goal.

"我們並非向目標邁進

We are at the goal, and it is changing with us.

我們已到達目標，而它正跟我們一起轉變

If art has any purpose, it is to open our eyes to that fact."

如果藝術有任何作用，這作用就是要幫我們認清這事實"

Thank you very much.

謝謝大家。

(Applause)

（掌聲）