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譯者: Lilian Chiu
審譯者: Helen Chang
00:12
In 1996, I was commissioned
by the Guggenheim Museum
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1996 年,古根漢美術館委託我
00:18
to execute a large body of work
called "Uses of Evidence."
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進行一項大型的作品,
叫做《證據的使用》。
00:25
It was a cube --
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它是一個立方體,
00:27
a very well large cube, at that.
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非常大的立方體。
00:30
Each side had a window
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每一面都有一扇窗,
00:32
in order for the spectators
to view the interior of the structure.
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讓觀眾可以看到結構的內部。
00:37
The exterior of the structure
was a collage of Africa and Africans
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結構的外部,是非洲
和非洲人的拼貼,
00:44
as portrayed in the Western
media and literature.
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且呈現的是西方媒體
和文獻中描述的形象。
00:48
A look through the windows
revealed a sharp contrast:
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透過窗戶,則會看到強烈的對比:
00:55
within the cubes are tranquil,
civilized, domestic images
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在立方體內的影像,是寧靜的、
文明的、家庭的影像,
01:01
of African family members, friends
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人物是非洲家庭成員、朋友,
01:07
and Nigerian professionals,
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還有奈及利亞專業人士,
01:09
ranging from writers, poets,
fashion designers, etc.
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作家、詩人、時尚設計師等等都有。
01:17
The thing is,
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重點是,
01:19
both the exterior and the interior
images are quite true.
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外在和內在的影像都是十分真實的。
01:25
But the images captured by Western media
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但西方媒體報導中的影像
01:31
overwhelmingly depict Africans
as basically primitive at best,
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全都把非洲人描繪成
頂多像原始人那樣,
01:39
or barely distinguishable
from the African animals.
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或是和非洲動物沒什麼差別。
01:44
Not much has changed,
I'm afraid, since 1996,
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恐怕自從我於 1996 年
做了這作品之後,
01:50
when I executed this work.
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仍然沒有多少改變。
01:56
I began my professional
photography practice in 1994,
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我從 1994 年開始做職業攝影,
02:01
but my passion and enthusiasm
for photography
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但我對攝影的熱情和熱愛,
02:06
goes back to childhood,
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從小時候就有了,
02:10
when my parents arranged
for us to be photographed
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當時我父母安排我們合照,
02:15
by a professional photographer
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由一位職業攝影師拍攝,
02:18
on almost a monthly basis.
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且幾乎每個月都拍。
02:21
It was also an opportunity for my siblings
to dress up in our latest gear,
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那也是個機會,讓我的
兄弟姐妹們可以穿上
裁縫師為我們做的最新裝扮。
02:28
made by our tailor.
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02:30
Later, when I was in boarding school,
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後來,當我進入寄宿學校,
02:33
my friends and I bought Polaroid cameras,
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我朋友和我買了拍立得相機,
02:38
and then I began to experiment
with self-portraiture,
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接著我就開始實驗自我人像攝影,
02:42
or what I would call
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我則將之稱為
02:45
"proto-selfie auto-portraits."
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「頭號自拍肖像」。
02:48
(Laughter)
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(笑聲)
02:50
"Cover Girl 1994" was my first major work
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《封面女郎 1994》
是我的第一件大作,
02:54
that was critically well received
in the US and Europe
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在美國和歐洲都得到好評,
02:59
and quite instantly became
a part of the school anthologies
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很快,它就變成了
學校選集的一部分,
03:06
at universities and colleges.
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大專院校都看得到。
03:08
With the "Cover Girl" series,
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有了《封面女郎》系列,
03:10
I wanted to reimagine the magazine cover
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我想要重新思考雜誌的封面,
03:14
with imagery totally unexpected,
yet profoundly reasonable.
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用完全沒被預期到
卻又非常合理的圖像。
03:21
The "Cover Girl" series
proposed a different way
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《封面女郎》系列提出了
一種不同的方式,
03:26
the African can be represented
in a more complex manner.
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用比較複雜的手法
將非洲人描繪出來。
03:33
Like "Cover Girl,"
the "Sartorial Anarchy" series
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如同《封面女郎》,
《男裝無秩序》系列
03:38
is made up of self-portraits.
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也是用自拍肖像做成。
03:42
It is an ongoing body of work,
started in 2010.
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這作品從 2010 年就開始,
目前還在進行當中。
03:47
In each image, I married
disparate costumes
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在每張影像中,我都
結合了迥然不同的服裝,
03:53
from widely diverse traditions,
countries and time frames.
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來自廣泛多樣的
傳統、國家,以及時期。
04:00
And in mixing eras, cultures,
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透過混合不同的時代及文化,
04:04
I was able to bring harmony, as it were,
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可以說,我得以將和諧感帶到
04:08
to their similarly
irreconcilable differences.
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它們看似水火不容的差異上。
04:12
These differences became a source
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這些差異變成了一個源頭,
04:16
of inspired artistic celebration.
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富有靈感之藝術讚頌的源頭。
04:23
For example,
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比如,
04:26
in "Sartorial Anarchy #4,"
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在《男裝無秩序 #4》,
04:29
I mixed a boater hat,
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我混合了一頂平頂硬草帽,
04:32
inspired by the traditional
Eton-Oxford College Boat Race,
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靈感來自傳統的伊頓-牛津大學船賽,
04:38
with a green Afghan traditional coat
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加上綠色的阿富汗傳統外套,
04:42
and an American Boy Scout shirt --
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以及美國童子軍上衣——
04:46
a culture clash that works.
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這是有效的文化衝突。
04:50
In "Sartorial Anarchy #5,"
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在《男裝無秩序 #5》,
04:53
I wore a macaroni wig,
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我戴著通心麵假髮,
04:56
inspired by eighteenth-century
macaroni headgear from England.
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靈感來自十八世紀
從英格蘭來的通心麵髮飾。
05:02
This was paired with
a British Norfolk jacket,
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它搭配的是英國諾福克外套、
05:07
Yoruba Nigerian trousers,
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優魯巴奈及利亞褲子,
05:11
and, improbably, a South African
Zulu fighting stick.
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還有最不可能的:
南非祖魯的打鬥用木棍。
05:17
All harmoniously coexist on one body.
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都很和諧地共存在一個身體上。
05:22
And with "Sartorial Anarchy,"
I began to invest more
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有了《男裝無秩序》,
我便開始投資更多
05:27
into the organization of my pictures.
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在我照片中的組織上。
05:31
I also began to investigate
the vast possibilities of color:
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我也開始研究顏色的廣大可能性:
05:38
its emotional values,
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它的情緒價值、
05:40
psychological impulse,
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心理衝動、
05:43
poetic allure
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詩意誘惑,
05:45
and a boundless capacity beyond
the realm of meaning and logic.
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以及在意義與邏輯領域
之外的無限空間。
05:52
Now, enter Nollywood.
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現在,進到奈萊塢。
05:55
In October of 2014,
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2014 年 10 月,
05:57
I returned to Lagos, Nigeria,
after over three decades away
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我在 30 年之後重返
奈及利亞的拉哥斯,
06:03
and took photographs
of 64 Nollywood personalities.
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為 64 位奈萊塢名人拍照。
06:08
I captured a cross section
of the industry,
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我捕捉到了這個產業的典型,
06:13
as well as the next generation
of rising stars.
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以及下一個世代的新興之星。
06:19
Nollywood is the first time that you have
a school of African filmmakers
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奈萊塢是第一間有非洲製片人學校,
06:25
truly, truly, profoundly in charge
of telling African stories.
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真正是在負責訴說非洲的故事。
06:32
In their varied movies --
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在他們各式各樣的電影中——
06:34
from romantic movies, horror films,
gangster movies to action movies --
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從愛情片、恐怖片、
黑幫片,到動作片——
06:41
one sees Nigerians portrayed
with many layers of complexities.
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都能夠看到對奈及利亞人的描繪
有著多層次的複雜度。
06:47
All the Nigerian, or "Naija," archetypes,
if you allow, are there --
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所有奈及利亞人,或在電影中
稱為「Naija」的原型全都在,
06:55
from the divvers, the "Shakara,"
the coquette,
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從愚蠢的人、炫耀者、調情女子、
07:00
the gangsters, the rich,
the corrupt politicians,
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黑幫分子、有錢人、腐敗政客、
07:05
the whore, the pimp --
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妓女、皮條客——
07:07
all in their swagger.
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通通都神氣活現。
07:09
And of course, you have the lowlifes
and the losers, too,
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當然,也有下層階級的人和魯蛇,
07:12
all vividly portrayed.
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全都鮮明地刻劃出來。
07:16
Nollywood is Africa's mirror
par excellence.
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奈萊塢是非洲出類拔萃之鏡。
07:21
Typically, I direct all of my portraits,
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通常我指導所有的拍照,
07:25
from the way my subject
conducts his or her head,
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如何擺放攝影對象的頭、
07:30
the way the neck is tilted,
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脖子傾斜的方式、
07:33
the expression of the fingers,
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手指的表現、
07:36
the gestures of the hands,
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手的姿勢、
07:39
to the gaze
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眼神的凝視,
07:41
and overall bearing and countenance.
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以及整體的體態和面容。
07:44
Let me describe
some of the photographs for you.
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讓我為各位描述其中一些照片。
07:47
Genevieve Nnaji.
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格內維芙內吉,
07:49
She is the reigning queen of Nollywood.
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她是奈萊塢現任的皇后。
07:51
Here, I was quoting from the grand,
Pharaonic African cultures
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在這裡,我引用的是偉大、
有代表性的非洲文化,
07:57
of the Nile Valley civilizations;
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來自尼羅河流域的文明,
08:00
namely, Egypt, Sudan and Ethiopia,
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也就是埃及、蘇丹,以及衣索比亞,
08:03
so as to imbue her with a stately,
ironic, calm grandeur.
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讓她充滿一種莊重、
諷刺、平靜的華麗。
08:11
Taiwo Ajai-Lycett is
the grande dame of Nollywood.
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泰沃阿傑莉錫特是奈萊塢的貴婦人。
08:17
Every aspect of her being
commands attention.
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她存在的每一個面向都吸引目光。
08:23
So I posed her with her back
to the audience.
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所以,我幫她設計背向觀眾。
08:27
Her face turned to meet us
with a redoubtable gaze.
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她的臉轉過來,用令人
敬畏的凝視看著我們。
08:34
She doesn't need to seek our approval.
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她不用尋求我們的同意。
08:38
She's all that.
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她就是那樣。
08:40
Sadiq Daba.
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沙迪克達巴。
08:42
There was an unspoken
authoritarian and imperial bearing
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見到達巴時,他會散發
一種不言而喻的
08:47
that Sadiq Daba exudes upon meeting him.
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權力主義且宏大的氣度。
08:52
In this portrait, he simply sat
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在這張照片中,他只是坐著,
08:57
and allowed his massive,
massive Nigerian caftan
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讓他那件厚重、有腰帶的
長袖奈及利亞服飾
09:03
to signal his status.
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來傳達他的地位。
09:06
Quite an accomplishment.
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很不簡單的成就。
09:09
Belinda Effah.
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貝琳達埃芙法。
09:11
Belinda Effah's portrait allowed me
to indulge my passion for color,
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貝琳達埃芙法的照片
讓我能滿足對顏色的熱情,
09:15
dressed in a long, fitted blue dress
that emphasizes her curves,
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她穿著很長、很合身的
藍色禮服,強調她的曲線,
09:22
seated on an upholstered
green velvet bench.
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坐在有裝上墊的綠色絲絨長凳上。
09:26
I gamely employed the multicolored carpet
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我很大膽地採用了多色的地毯,
09:32
and a vibrant color,
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以及明亮的顏色,
09:34
in order to evoke the splendor
of the multicolored painted bunting bird.
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以帶出多色巫屬鳴鳥的光彩。
09:41
Everything was designed to harmonize
the figure of Belinda within the frame.
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所有的設計,目的都是要讓
貝琳達和整個畫面能夠很和諧。
09:49
Monalisa Chinda is, shall we say,
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蒙娜莉莎秦達可以說是
09:53
the epitome of the luxe
existence and lifestyle.
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奢侈存在和生活風格的縮影。
09:57
Her picture, or portrait,
pretty much speaks for itself.
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她的照片,或肖像,
無需說明就不言自喻。
10:02
Alexx Ekubo is a sharp study
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艾力克斯伊庫柏讓我敏銳地探究了
10:07
in simplified elegance and dignity
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簡化的高雅和尊嚴,
10:11
and a harmony in blue and white, as well.
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還有藍與白的和諧。
10:16
Enyinna Nwigwe
is a Nollywood matinee idol.
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艾因納維格威是
奈萊塢的日場表演偶像。
10:20
There is whiff of the rake about him,
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他有一種富家蕩浪子的味道,
10:25
and that gives him an enchanting edge.
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那讓他有迷人的優勢。
10:29
That's what I felt when I designed
and organized the portrait.
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那是我設計和組織肖像時的感受。
10:34
Now, Nollywood is a new phase of Africa.
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奈萊塢是非洲的新階段。
10:39
It is modern, post-modern,
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它是現代的、後現代的、
10:44
meta-modern, bold
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超現代的、大膽的、
10:47
sexy, shrewd
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性感的、機靈的,
10:50
and with a contagious
attitude worth catching.
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且有一種有感染力的態度,
很值得去捕捉。
10:55
As the finale of the project,
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做為這計畫的壓軸,
10:58
I assembled the Nollywood stars
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我把奈萊塢的明星組合起來,
11:01
into a group grand portrait
of 64 subjects,
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成為 64 個人物的大形肖像,
11:06
called "The School of Nollywood,"
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取名為《奈萊塢學院》,
11:10
which was inspired
by Rafael's "School of Athens,"
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靈感來自於拉斐爾的《雅典學院》,
11:15
that was done circa 1509.
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那是他大約 1509 年的作品。
11:20
It is at the Vatican.
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現在在梵蒂岡。
11:22
This grand group portrait
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這幅宏偉的團體肖像,
11:25
is the exact same size
as Rafael's "School of Athens."
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尺寸和拉斐爾的
《雅典學院》完全一樣。
11:31
It measures roughly 27 feet in width
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大約寬 27 英尺,
11:36
by six and a half feet in height.
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高 6.5 英尺。
11:40
Nollywood also exemplifies
a type of modernity
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奈萊塢也算是現代的例子,
11:44
never before seen in Africa.
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是非洲以前不曾有過的。
11:47
Think of it:
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想想看:
11:48
there has never been anything
so ubiquitous
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從來沒有任何東西是如此無所不在,
11:53
with such iconic optics
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有著如些代表性的光學,
11:56
to come out of Africa
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是出自非洲的,
11:57
since the Nile Valley civilizations
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從埃及、蘇丹、衣索比亞這些
12:02
of Egypt, Sudan, Ethiopia.
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尼羅河流域文明出現以來就沒見過。
12:07
Outside of Nollywood,
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在奈萊塢之外,
12:09
the image of Africa remains frozen
in the old "National Geographic" mode
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非洲的形象仍然停留在
老式的「國家地理頻道」模式
12:15
and safari perspective.
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以及狩獵角度。
12:18
But as Africans continue to step
and see themselves portrayed by Nollywood
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但,隨著非洲人持續前進,
並看見奈萊塢用多樣化
12:25
in their varied
and fantastic complexities,
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且了不起的複雜性來描繪自己,
12:29
they will, in turn,
propagate and perpetuate
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他們遲早也會傳播出他們的
12:33
the positive image of themselves.
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正面形象並讓它永垂不朽。
12:36
This is what Hollywood did
and continues to do for the West.
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好萊塢從過去到現在
一直都在為西方這麼做。
12:40
As shocking as this may be,
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雖然這可能很讓人震驚,
12:43
it is almost a taboo in the art world
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但在藝術世界中
以現代架構呈現非洲人
幾乎是一種禁忌。
12:46
to show Africans in a modern framework --
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12:51
that is to say, as polished, dry-cleaned,
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也就是說,不把非洲人
以優美、穿乾洗過的衣服、
12:55
manicured, pedicured and coiffed.
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修過指甲、修過趾甲、
做過頭髮的方式呈現。
12:59
(Applause)
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(掌聲)
13:04
Part of my job is to keep
beautifying Africa for the world,
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我工作的一部分,是要持續
將非洲美化給這個世界看,
13:10
one portrait at a time.
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一次一張肖像。
13:13
Thank you.
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謝謝。
13:14
(Applause)
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(掌聲)
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