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  • Traditionally, artists made small, lovely things. They laboured to render a few square

    傳統上,藝術家們做的都是小而可愛的東西。他們費盡心思地渲染出幾平方

  • inches of canvas utterly perfect or to chisel a single bit of stone into its most expressive

    或將一塊石頭鑿成最有表現力的樣子。

  • form.

    形式:

  • Traditionally the most common size for art was between three and six feet across.

    傳統上最常見的藝術尺寸是三到六英尺寬。

  • And while artists were articulating their visions across such expanses, the large scale

    當藝術家們在這樣的廣闊天地裡闡述他們的願景時,大規模的 "大數據 "也就成了他們的主要目標。

  • projects were given over wholesale to governments and private developerswho generally operated

    項目全盤交給了政府和私人開發商--他們一般都是在政府和私人開發商的支持下運作的。

  • with much lower ambitions. Governments and the free market made big ugly things rather

    的野心要低得多。政府和自由市場把大的醜陋的東西做得相當

  • often. A145-00196 We're so familiar with this divergence that we tend not to think

    經常。A145-00196 我們對這種分歧太熟悉了,以至於我們往往不會想到

  • about it at all. We regard this polarisation as if it was an inevitable fact of nature,

    根本就不存在這個問題。我們認為這種兩極分化好像是自然界不可避免的事實。

  • rather than what it really is – a cultural failing.

    而不是它真正的本質--文化上的失敗。

  • It is because of this failing that the artists

    正是由於這種失敗,藝術家們

  • Christo and Jeanne-Claude (collectively known as Christo) stand out as quite so important.

    Christo和Jeanne-Claude(統稱為Christo)脫穎而出,相當重要。

  • Christo points the way to a new kind of art and a new kind of public life. Christo have

    克里斯托為一種新的藝術和新的公共生活指明瞭方向。克里斯托有

  • been the artists most ambitious about challenging the idea that artists should work on a tiny

    是最有雄心壯志的藝術家,他們挑戰了藝術家應該在極小的範圍內工作的想法。

  • easeland keenest to produce work on a vast industrial scale. Other artists have

    架--也是最熱衷於創作大規模工業作品的藝術家。其他藝術家有

  • experimented more widely and addressed us more intimately. What's distinctive and

    實驗更廣泛,對我們的要求更親切。什麼是特色和

  • important about Christo is that they want to make art that can fill the sort of expanses

    重要的是,他們想做的藝術,可以填補這種廣闊的空間。

  • previously associated with airports, motorways, supermarkets, light industry zones, marshalling

    以前與機場、高速公路、超市、輕工區、集散地有關的

  • yards, factories and technology parks. Christo and Jeanne-Claude started exploring the effect

    場地、工廠和科技園區。Christo和Jeanne-Claude開始探究

  • of having an impact on quite big things, around 1968, when they draped a medieval Italian

    在1968年左右,他們在意大利的中世紀披上了一件中世紀的衣服,對相當大的事情產生了影響。

  • tower.

    塔。

  • The idea was pushed much further when they wrapped a whole bit of coastline in Australia.

    當他們把澳洲的一整片海岸線都包裹起來的時候,這個想法被推得更遠。

  • image12 Next they slung an enormous orange curtain across a valley in Colorado. image01

    image12 接下來,他們在科羅拉多州的一個山谷裡掛上了一個巨大的橙色幕布。 image01

  • Then they got around to surrounding some islands off the coast of Florida with 6.5 million

    然後,他們就在佛羅里達州海岸附近的一些島嶼上用650萬塊錢圍了起來。

  • square feet of floating pink fabric.

    平方英尺的浮動粉色織物。

  • They then wrapped the Pont Neuf in Paris. And in 1991, in a simultaneously project,

    隨後,他們在巴黎包下了新橋(Pont Neuf)。 而在1991年,在一個同時進行的項目中。

  • installed thousands of umbrellas for forty miles along two valleys, one in the US and

    沿著兩個山谷,一個在美國,另一個在中國,在四十英里的範圍內安裝了數千把傘。

  • one in Japan.

    日本的一個。

  • In 1995, they carried out a monumental project in Berlin. They veiled the German

    1995年,他們在柏林實施了一個不朽的項目。他們為德國人披上了面紗

  • Reichstag, which was the traditional seat of national authority and also the focus on

    國會大廈,它是傳統的國家權力機構所在地,同時也是國家權力的焦點。

  • intensely painful memories because of its association with the rise of the Nazi party.

    因為它與納粹黨的興起有關聯,所以有強烈的痛苦回憶。

  • And then they spectacularly unwrapped it in an act of national renewal. Christo has gone

    然後,他們壯觀地拆開了它,作為民族復興的行動。克里斯托已經走了

  • far beyond even traditional architecture, the standard next step up from art: they occupy

    遠遠超出了傳統建築的範疇,是藝術的下一個標準:它們佔據了...。

  • a space normally occupied by city planners or civil engineers constructing a container

    艙位

  • port or landscape architects laying out parkland around a town. Christo can look very innovative,

    港口或景觀建築師在城鎮周圍佈置公園。克里斯托可以看起來非常創新。

  • but in a way their conception of art is deeply traditional. What they mean by art is making

    但從某種程度上來說,他們的藝術觀念是很傳統的。他們所說的藝術是指製作

  • beautiful things. They might be wrapping things or surrounding them, or marking routes with

    美麗的事物。他們可能會把東西包起來或包圍起來,或者用

  • flags and banners, but what guides them is the search to make the world more beautiful.

    旗幟和橫幅,但引導他們的是讓世界更美麗的探索。

  • Only not just a little bit at a time. The scale of their efforts to make the world beautiful

    只不過不是每次只做一點點。他們為了讓世界變得更美好而努力的規模

  • has been stupendousand inspiring.

    一直是驚人的 - 和鼓舞人心的。

  • Perhaps the biggest thing Christo has done,

    也許是克里斯托做的最大的事情。

  • however, is to indicate a direction of travel, which doesn't stop with the great things

    然而,是指明瞭一個方向,而這個方向並沒有停止在偉大的事情上。

  • they themselves happen to have done. One key move is not to stop with imagining something

    他們自己恰好做過的事情。一個關鍵的動作是不要停留在想象的東西上

  • wonderful but to work out how to make the imagined thing come real. Rather than picture

    精彩,但要想辦法讓想象中的東西變成現實。與其說是圖片

  • a revitalised central Park, they revitalised it. Rather than imagine Germany renewing its

    一個振興的中央公園,他們振興了它。與其說是想象德國在更新其

  • feelings about its historic centre of government, they made it happen. The ideal task of the

    對其歷史悠久的政府中心的感情,他們使之成為現實。的理想任務。

  • artist isn't just to dream of a better world, or complain about current failures (though

    藝術家不僅僅是為了夢想一個更好的世界,或者抱怨當前的失敗(雖然這是個很好的機會)。

  • both are honourable); rather it is to actually make the world finer and more elegant.

    兩者都是尊貴的);而是要實實在在地讓世界變得更精細、更優雅。

  • The primary identity of Christo is an artist. But to operate realistically on a large scale,

    克里斯托的主要身份是藝術家。但要想在大範圍內進行現實操作。

  • they needed to deploy many of the skills traditionally associated with business and which we think

    他們需要部署許多傳統上與商業相關的技能,而我們認為這些技能

  • of as the domain of the entrepreneur.

    的作為企業家的域。

  • Christo had to negotiate with city councils and governments; they had to draw up business

    克里斯托必須與市議會和政府進行談判;他們必須制定業務

  • plans, arrange large scale finance, employ the talents and time of hundreds even thousands

    計劃,安排大規模的融資,僱用數百甚至數千名人才和時間。

  • of people and all

    的人和所有

  • the while, they held on to the high ambitions associated with being an artist.

    同時,他們還堅持著與藝術家相關的高尚抱負。

  • The way they made money was fascinating: they financed a project by selling

    他們賺錢的方式很吸引人:他們通過出售產品來為一個項目融資

  • the plans and drawings for it. It was like Plato financing a new state by selling copies

    它的計劃和圖紙。這就像柏拉圖通過出售副本來資助一個新的國家。

  • of the Republic (except, unlike Plato, Christo made their utopia happen).

    的共和國(只不過,與柏拉圖不同的是,克里斯托讓他們的烏托邦發生了)。

  • Christo is showing us that ideally artists should

    克里斯托向我們展示了理想中的藝術家應該是

  • absorb the best qualities of business. Rather than seeing such qualities as opposed to what

    吸收企業的優秀品質。而不是把這種品質看成是與之相對的

  • they stand for artists, following Christo's lead, should see these as great enabling capacities,

    他們代表的是藝術家,跟隨克里斯托的步伐,應該把這些看作是巨大的扶持能力。

  • which help them fulfil their beautifying mission to the world. In the future, an artist might

    幫助他們完成對世界的美化使命。在未來,藝術家可能會

  • spend as much time being trained by the Wharton School of Business or INSEAD as by the Royal

    在沃頓商學院或歐洲工商管理學院接受培訓的時間與在英國皇家大學接受培訓的時間一樣多。

  • College of Art. Christo has never got to build an airport or a supermarket or lay out a new

    藝術學院。克里斯托從來沒有建過機場或超市,也沒有鋪設過新的... ...

  • citybut the ideal next version of them will.

    市--但他們理想中的下一個版本將。

  • Our book what is culture for? Helps us find compassion, hope and perspective in the arts

    我們的《文化是為了什麼? 幫助我們在藝術中找到同情心、希望和觀點。

Traditionally, artists made small, lovely things. They laboured to render a few square

傳統上,藝術家們做的都是小而可愛的東西。他們費盡心思地渲染出幾平方

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B1 中級 中文 藝術家 傳統 政府 項目 理想 柏拉圖

藝術/建築 - 克里斯托 (ART/ARCHITECTURE - Christo)

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    Summer 發佈於 2020 年 10 月 28 日
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