is my challenge as an Iranian artist,

今天我想與大家分享的故事

as an Iranian woman artist,

是我身爲一名伊朗藝術家所面臨的挑戰，

as an Iranian woman artist

一名伊朗女藝術家，

living in exile.

一名流亡中的，

Well, it has its pluses and minuses.

伊朗女藝術家。

On the dark side,

好吧，它有它的好處與壞處。

politics doesn't seem to escape people like me.

從不好的方面來看，

Every Iranian artist, in one form or another,

政治並不會放過像我這樣的人。

is political.

每一位伊朗藝術家，不管是哪一種藝術，

Politics have defined our lives.

都脫離不了政治。

If you're living in Iran,

政治定義了我們的生活。

you're facing censorship, harassment,

如果你住在伊朗，

arrest, torture --

你會受到審查、騷擾

at times, execution.

逮捕、折磨，

If you're living outside like me,

甚至死刑。

you're faced with life in exile --

如果你像我一樣住在國外，

the pain of the longing

你就會面臨流亡生活：

and the separation from your loved ones

活在“渴望”的痛苦中

and your family.

被迫與相愛的人

Therefore, we don't find

以及家人分離

the moral, emotional,

因此，我們不去尋找

psychological and political space

道德、感情

to distance ourselves from the reality

心理和政治上的空間，

of social responsibility.

好使自己與現實

Oddly enough,

和社會責任脫離。

an artist such as myself

弔詭的是，

finds herself also in the position of being the voice,

像我這樣的藝術家

the speaker of my people,

發現自己也成了為民喉舌的角色

even if I have, indeed,

為同胞發聲

no access to my own country.

即便我真的已經

Also, people like myself,

無法回到我的國家。

we're fighting two battles on different grounds.

而跟我處境相同的人，

We're being critical of the West,

都在同時參與二場戰爭：

the perception of the West

我們既對西方觀點

about our identity --

抱持批判的態度

about the image that is constructed about us,

對於西方人眼中的我們，

about our women, about our politics,

就是由西方觀點所塑造出的，

about our religion.

關於我們的女性、我們的政治，

We are there to take pride

以及我們的宗教等形象。

and insist on respect.

在這片戰場上我們要捍衛的是民族驕傲

And at the same time,

並堅持彼此尊重。

we're fighting another battle.

而此同時，

That is our regime,

我們也在打另一場仗。

our government --

對象是伊朗政權，

our atrocious government,

我們的政府，

[that] has done every crime

我們殘暴的政府，

in order to stay in power.

壞事做盡，

Our artists are at risk.

只為鞏固政權。

We are in a position of danger.

我們的藝術家面臨危難，

We pose a threat

處境危險。

to the order of the government.

我們對於政府而言

But ironically,

是一種威脅。

this situation

但諷刺的是，

has empowered all of us,

這種處境

because we are considered, as artists,

反而帶給大家力量。

central to the cultural, political,

因為作為藝術家，我們被視為

social discourse in Iran.

是伊朗文化、政治

We are there to inspire, to provoke,

以及社會輿論的核心。

to mobilize,

在這片戰場上我們志在啓發、鼓舞、

to bring hope to our people.

動員、

We are the reporters of our people,

和帶給人們希望。

and are communicators

我們報導同胞們的真實情況

to the outside world.

並做為他們與外界

Art is our weapon.

溝通的橋梁。

Culture is a form of resistance.

藝術是我們的武器，

I envy sometimes the artists of the West

文化則是一種抵抗的方式。

for their freedom of expression.

有時候我會嫉妒西方藝術家

For the fact that they can distance themselves

因為他們有表達的自由，

from the question of politics.

因為他們可以把自己抽離出

From the fact that they are only serving one audience,

政治的議題，

mainly the Western culture.

並且可以只為特定觀眾服務，

But also, I worry about the West,

主要是西方文化。

because often in this country,

然而我也為他們擔心，

in this Western world that we have,

因為在這個國家，

culture risks being a form of entertainment.

這個我們身處的西方世界，

Our people depend on our artists,

文化面臨淪為一種娛樂的危機。

and culture is beyond communication.

我們的人民倚賴我們的藝術家，

My journey as an artist

而文化超越溝通。

started from a very, very personal place.

我的藝術家生涯

I did not start

始於一個非常、非常私人的地方。

to make social commentary

我並非一開始

about my country.

就試圖評論

The first one that you see in front of you

我的國家。

is actually when I first returned to Iran

你們看到的這第一張

after being separated for a good 12 years.

其實是我在離開12年後

It was after the Islamic Revolution

第一次回到伊朗時所作的。

of 1979.

那是在1979年的

While I was absent from Iran,

回教革命之後

the Islamic Revolution had descended on Iran

當我不在伊朗的這段時間，

and had entirely transformed the country

回教革命發生，

from Persian to the Islamic culture.

使整個國家由

I came mainly to be reunited with my family

波斯文化轉變為伊斯蘭文化。

and to reconnect in a way

當時我回去主要為了與家人團聚

that I found my place in the society.

並與故鄉文化重新接軌

But instead, I found a country

以期找到自己的社會定位。

that was totally ideological

然而我找到的，

and that I didn't recognize anymore.

卻是一個完全以意識形態為主、

More so, I became very interested,

讓我認不出來的國家。

as I was facing

更有甚者，我變得非常關心 －

my own personal dilemmas and questions,

就在我自己也面臨到，

I became immersed in the study

自我認同的難題和困境時 －

of the Islamic Revolution --

我開始埋首研究

how, indeed,

回教革命

it had incredibly transformed

如何

the lives of Iranian women.

大幅轉變了

I found the subject of Iranian women

伊朗婦女的生活。

immensely interesting,

我發現這個伊朗婦女的主題

in the way the women of Iran, historically,

相當有意思

seemed to embody the political transformation.

在歷史上，伊朗婦女似乎以某種方式

So in a way, by studying a woman,

體現了政治的轉變。

you can read the structure and the ideology of the country.

因此，透過研究一位婦女，

So I made a group of work

你可以得知這個國家的結構和意識型態。

that at once faced my own personal questions in life,

所以我創作了一組作品

and yet it brought my work into a larger discourse --

既處理了我個人對於人生的疑問，

the subject of martyrdom,

也將我的作品帶入一個更大的境界 －

the question of those who willingly stand in that intersection

就是這個“殉道”的主題，

of love of God, faith,

解構了那些自願身處在

but violence and crime and cruelty.

由神的愛和信仰

For me, this became incredibly important.

以及暴力、罪惡和殘酷交織的世界。

And yet, I had an unusual position toward this.

對我來說，這個相當重要。

I was an outsider

然而，我的立場並不一般，

who had come back to Iran to find my place,

我曾是個局外人，

but I was not in a position

過去回到伊朗找尋自己的定位，

to be critical of the government

但卻沒有立場

or the ideology of the Islamic Revolution.

去批判政府

This changed slowly

或是回教革命包涵的意識形態。

as I found my voice

這個情況慢慢改變了

and I discovered things

當我找到了我的聲音

that I didn't know I would discover.

並且發現了

So my art became slightly more critical.

我以前不知道我會發現的東西。

My knife became a little sharper.

所以我的藝術變得比較具有批判性，

And I fell into a life in exile.

我的刀變得比較銳利，

I am a nomadic artist.

也開始了流亡的生涯。

I work in Morocco, in Turkey, in Mexico.

現在我是個流浪藝術家

I go everywhere to make believe it's Iran.

我在摩洛哥、土耳其、墨西哥工作

Now I am making films.

我每到一地都把那地想成是伊朗

Last year, I finished a film

現在我製作影片

called "Women Without Men."

去年我完成了一部電影，

"Women Without Men" returns to history,

叫做“沒有男人的女人”。

but another part of our Iranian history.

“沒有男人的女人”回首歷史，

It goes to 1953

但卻是伊朗歷史的另一部份，

when American CIA exercised a coup

那是在1953年

and removed a democratically elected leader,

當時美國中情局發動了一場政變

Dr. Mossadegh.

趕走了一位民選領袖 －

The book is written by an Iranian woman,

慕沙迪博士 （Dr. Mossadegh）

Shahrnush Parsipur.

這本書是由一位伊朗婦女所寫

It's a magical realist novel.

莎姆什⋄帕西普（Shahmush Parsipur）

This book is banned,

這是本奇妙的寫實小說

and she spent five years in prison.

不僅書被禁，

My obsession with this book,

作者也在牢裡蹲了五年。

and the reason I made this into a film,

我對這本書著迷，

is because it at once was addressing

而且還把它拍成電影，

the question of being a female --

是因為書中同時著墨了

traditionally, historically in Iran --

身為女性，

and the question of four women

在伊朗傳統和歷史上自處的問題，

who are all looking for an idea

以及四位女性

of change, freedom and democracy --

如何尋找同一個理念 －

while the country of Iran, equally, as if another character,

關於改變、自由、和民主的理念。

also struggled for an idea

而伊朗這個國家，彷彿也是一個活生生的角色

of freedom and democracy

同樣在為一個理念奮鬥 －

and independence from the foreign interventions.

那就是自由和民主，

I made this film

以及從國際勢力的干涉中獨立出來。

because I felt it's important

我製作這部電影

for it to speak to the Westerners

是因為我覺得它擔負了

about our history as a country.

向西方世界傳達

That all of you seem to remember Iran

我們國家歷史的重任。

after the Islamic Revolution.

大家對伊朗的記憶，

That Iran was once a secular society,

大都停留在回教革命之後，

and we had democracy,

但伊朗曾經也是一個俗世的社會

and this democracy was stolen from us

我們也曾有民主政治，

by the American government,

但這個民主政治卻被

by the British government.

美國政府、

This film also speaks to the Iranian people

和英國政府偷走了。

in asking them to return to their history

這部電影同時也跟伊朗人民喊話，

and look at themselves before they were so Islamicized --

要求他們回首自己的歷史，

in the way we looked, in the way we played music,

看看曾經不是那麼回教化的自己 －

in the way we had intellectual life.

以前我們是怎麼看世界，我們的音樂是怎樣，

And most of all,

以及我們從前思想昌明的日子

in the way that we fought for democracy.

還有最重要的，

These are some of the shots actually from my film.

是我們曾為民主奮戰。

These are some of the images of the coup.

這些是從我的電影裡擷取的幾幕，

And we made this film in Casablanca,

這些是關於政變的一些影像。

recreating all the shots.

我們在卡薩布蘭加拍攝這部電影，

This film tried to find a balance

以便重塑所有的景物

between telling a political story,

這部電影試圖找尋一個平衡點

but also a feminine story.

在敘述一個政治故事的同時，

Being a visual artist, indeed,

也述說一個關於女性的故事。

I am foremost interested to make art --

作為一個視覺藝術家，

to make art that transcends

我最大的興趣是創作一種藝術

politics, religion,

能夠超脫

the question of feminism,

政治、宗教，

and become an important, timeless,

以及女性主義的議題，

universal work of art.

而成為一個舉足輕重的、永恆的，

The challenge I have

普世的藝術作品

is how to do that.

我所面臨的挑戰

How to tell a political story but an allegorical story.

在於如何做到 －

How to move you with your emotions,

用譬喻的方式來述說一個政治故事

but also make your mind work.

以及如何使你們在感動之餘，

These are some of the images

還能理性地思考。

and the characters of the film.

這些是一些影像

Now comes the green movement --

和電影裡的角色

the summer of 2009,

現在出現的是綠色運動

as my film is released --

在2009年的夏天

the uprising begins in the streets of Tehran.

當我的電影問世時，

What is unbelievably ironic

在德黑蘭的街頭，綠色運動正開始

is the period that we tried to depict in the film,

最諷刺的是，

the cry for democracy

我們在電影裡試圖描述的那段時期

and social justice,

那段呼求民主

repeats itself now

和社會正義的時期，

again in Tehran.

正重複上演

The green movement

就在德黑蘭。

significantly inspired the world.

那場綠色運動

It brought a lot of attention to all those Iranians

大大啓迪了整個世界

who stand for basic human rights

許多人注意到了那些

and struggle for democracy.

為人權挺身而出

What was most significant for me

和為民主奮戰的伊朗人民

was, once again,

而對我意義最大的，

the presence of the women.

又再一次的，

They're absolutely inspirational for me.

是女性的身影。

If in the Islamic Revolution,

她們真是我的靈感，

the images of the woman portrayed

如果說在回教革命中

were submissive

對女性的描繪

and didn't have a voice,

是柔順的

now we saw a new idea of feminism

是無聲的

in the streets of Tehran --

那我們現在看到的是女性的新面貌

women who were educated,

在德黑蘭的街頭

forward thinking, non-traditional,

受過教育的女性，

sexually open, fearless

思想前瞻，毫不傳統

and seriously feminist.

大膽開放，絲毫無懼

These women and those young men

而且絕對擁護女性主義

united Iranians

這些女性和那些年輕男性

across the world, inside and outside.

整合了伊朗人民

I then discovered

無論是在國內、國外、還是散居世界各地

why I take so much inspiration

然後我發現了，

from Iranian women.

為何我的靈感大都

That, under all circumstances,

由伊朗女性而來。

they have pushed the boundary.

因為不管身處何種境地，

They have confronted the authority.

她們都敢於打破藩籬，

They have broken every rule

挑戰權威，

in the smallest and the biggest way.

不按牌理出牌，

And once again, they proved themselves.

無論這改變是小還是大。

I stand here to say

而且又一次的，她們證明了自己。

that Iranian women have found a new voice,

我在這裡要說，

and their voice is giving me my voice.

伊朗婦女已經找到了新聲音

And it's a great honor

她們的聲音造就了我的聲音

to be an Iranian woman and an Iranian artist,

這是極大的榮幸

even if I have to operate in the West only for now.

身為一位伊朗女性和伊朗藝術家

Thank you so much.

雖然我現在必需在西方世界工作。

(Applause)

非常謝謝大家。