When I was considering a career in the art world,

正當我打算投入藝術事業時

I took a course in London,

我在倫敦修了一門課

and one of my supervisors was this irascible Italian

其中一名老師 是位個性焦躁的義大利人

called Pietro, who drank too much,

叫做 Pietro

smoked too much and swore much too much.

他常喝酒、常抽菸 髒話也罵得有夠多

But he was a passionate teacher,

但他是個極富熱忱的教師

and I remember one of our earlier classes with him,

有一次上課

he was projecting images on the wall,

他把圖片投影在牆上

asking us to think about them,

並要我們思索圖中含意

and he put up an image of a painting.

其中一張是一幅畫

It was a landscape with figures, semi-dressed,

一幅風景圖 有一些半裸體的人在喝酒

drinking wine. There was a nude woman

前景下方

in the lower foreground, and on the hillside in the back,

有一位裸女 而後方的山丘邊上

there was a figure of the mythological god Bacchus,

畫著希臘神話中的酒神Bacchus

and he said, "What is this?"

老師問道 "這是什麼?"

And I -- no one else did, so I put up my hand, and I said,

因為沒人回答，我就舉手說：

"It's a Bacchanal by Titian."

"這是提香所繪的《酒神節》（Bacchanal）"

He said, "It's a what?"

他說："是什麼？"

I thought maybe I'd pronounced it wrong.

我以為是發音錯了

"It's a Bacchanal by Titian."

"這是提香的《ㄐㄧㄡ神節》"

He said, "It's a what?"

他又說："是什麼？"

I said, "It's a Bacchanal by Titian." (Laughter)

我說："這是提香的《ㄑㄧㄡˊ 神節》" （笑聲）

He said, "You boneless bookworm!

他說："你這個書呆子！"

It's a fucking orgy!"

"這他媽的叫做多P派對！"

(Laughter)

(笑聲)

As I said, he swore too much.

如我所說，他髒話掛嘴邊

There was an important lesson for me in that.

從中，我學到寶貴的一課

Pietro was suspicious of formal art training,

Pietro 對正規 藝術教育 和 藝術史教育 很不以為然

art history training, because he feared

因為他認為

that it filled people up with jargon, and then they just

這麼一來 人們的腦袋只會充滿專有名詞

classified things rather than looking at them,

讓大家學會分門別類 忽略如何欣賞

and he wanted to remind us that all art was once contemporary,

他想要提醒我們所有的藝術曾經都很 "現代"

and he wanted us to use our eyes,

他希望我們用自己的眼睛

and he was especially evangelical about this message,

也特別強調

because he was losing his sight.

因為他的視力已經開始退化

He wanted us to look and ask basic questions of objects.

他希望我們多觀察 問的問題越單純越好

What is it? How is it made? Why was it made?

這是什麼？ 是怎麼做的？為什麼要做？

How is it used?

如何使用?

And these were important lessons to me when

這堂課帶給我的觀念

I subsequently became a professional art historian.

在我成為專業的藝術史學家之後 依然中用

My kind of eureka moment came a few years later,

幾年之後，我茅塞頓開

when I was studying the art of the courts of Northern Europe,

當時我正研究北歐宮廷藝術

and of course it was very much discussed in terms of

當然這其中所討論的大多是

the paintings and the sculptures

畫作、雕刻

and the architecture of the day.

還有當代的建築

But as I began to read historical documents

但當我開始閱讀史料

and contemporary descriptions,

和當代的介紹時

I found there was a kind of a missing component,

我發現有一樣東西不見了

for everywhere I came across descriptions of tapestries.

我在史料中到處可見壁毯的記載

Tapestries were ubiquitous between the Middle Ages

壁毯在中世紀是隨處可見的

and, really, well into the 18th century,

一直到18世紀都是如此

and it was pretty apparent why.

原因挺明顯的

Tapestries were portable. You could roll them up,

因為壁毯可以隨身攜帶

send them ahead of you, and in the time

簡單又方便 只要掛到牆上

it took to hang them up, you could transform a cold,

就可以讓又冷又暗的房間

dank interior into a richly colored setting.

瞬間充滿色彩

Tapestries effectively provided a vast canvas

壁毯是一幅巨大的畫布

on which the patrons of the day could depict the heroes

畫布上大多刻畫著

with whom they wanted to be associated,

他們所喜愛的英雄們

or even themselves,

甚至是自己的肖像

and in addition to that, tapestries were hugely expensive.

此外，壁毯是非常昂貴的東西

They required scores of highly skilled weavers

每一條都是靠大量精熟的織工

working over extended periods of time

花很多時間做成的

with very expensive materials -- the wools, the silks,

選用上好的羊毛和蠶絲製作

even gold and silver thread.

有的甚至織入金線銀線

So, all in all, in an age when the visual image

所以

of any kind was rare, tapestries were an incredibly potent

在任何視覺圖像都很稀有的時代

form of propaganda.

壁毯成為極具影響力的宣傳工具

Well, I became a tapestry historian.

我也因緣際會成為壁毯史學家

In due course, I ended up as a curator

後來 我到大都會美術館擔任策展人

at the Metropolitan Museum, because I saw the Met

因為我認為

as one of the few places where I could organize

這個機會世上少有

really big exhibitions about the subject

我可以策劃各種我喜歡的大型特展

I cared so passionately about.

探討我最熱愛主題

And in about 1997, the then-director Philippe de Montebello

1997年時 那時的館長Phlippe de Montebello

gave me the go-ahead to organize an exhibition

要我開始籌備2002年的特展

for 2002. We normally have these very long lead-in times.

這種特展 因為牽扯到許多環節

It wasn't straightforward. It's no longer a question

往往要提早很長一段時間籌備

of chucking a tapestry in the back of a car.

譬如說 不能直接把壁毯扔進貨車

They have to be wound on huge rollers,

得用巨大的捲筒捲起來

shipped in oversized freighters.

並用特大號的貨輪運送

Some of them are so big we had, to get them into the museum,

有些壁毯大到無法扛進美術館

we had to take them up the great steps at the front.

從正門的大石階才得其門而入

We thought very hard about how to present this

我們費盡心思

unknown subject to a modern audience:

試圖呈現這幅壁毯的意境

the dark colors to set off the colors that remained

用較暗色的背景和褪色的物品形成對比

in objects that were often faded;

顯現主題的色彩

the placing of lights to bring out the silk and the gold thread;

運用燈光

the labeling.

來襯托蠶絲與金線

You know, we live in an age where we are so used

你知道嗎？

to television images and photographs,

現代人太依賴電視影像、照片和照片

a one-hit image. These were big, complex things,

壁毯這種又大又複雜的東西

almost like cartoons with multiple narratives.

就像有多種角色扮演的卡通

We had to draw our audience in, get them to slow down,

我們必須吸引觀眾 讓他們放慢步調

to explore the objects.

慢慢探索這些藝術品

There was a lot of skepticism. On the opening night,

縱使面臨許多質疑的聲浪

I overheard one of the senior members of staff saying,

特展第一天 我偷聽到一位資深的工作人員說

"This is going to be a bomb."

"這樣沒搞頭！"

But in reality, in the course of the coming weeks and months,

但事實上 在接下來的幾個月

hundreds of thousands of people came to see the show.

成千上萬民眾接踵而至

The exhibition was designed to be an experience,

展覽的設計讓觀眾身歷其境

and tapestries are hard to reproduce in photographs.

而且壁毯很難以照片的形式呈現

So I want you to use your imaginations,

所以我想請你們運用想像力

thinking of these wall-high objects,

想像這些跟牆一樣高的東西

some of them 10 meters wide,

有些寬達10米

depicting lavish court scenes with courtiers and dandies

刻畫著金碧輝煌的宮廷景象 和穿著華麗的紈褲子弟

who would look quite at home in the pages of the fashion press today,

若出現在今日的流行雜誌 也不會奇怪

thick woods with hunters crashing through the undergrowth

茂密的樹林中 獵人在樹叢中披荊斬棘

in pursuit of wild boars and deer,

緊追著野豬和鹿群

violent battles with scenes of fear and heroism.

血腥戰場上的恐懼與英雄氣概

I remember taking my son's school class. He was eight at the time,

我記得我帶兒子的班上參觀 他當時八歲

and all the little boys, they kind of -- you know, they were little boys,

而那些小男孩 你也知道的，小男生都這樣

and then the thing that caught their attention

他們的最專注的東西

was in one of the hunting scenes there was a dog

是一幅狩獵景象裡 其中有隻狗

pooping in the foreground — (Laughter) —

在前景中大便（笑聲）

kind of an in-your-face joke by the artist.

有點像是藝術家故意的小笑話

And you can just imagine them.

你可想樣小朋友的反應

But it brought it alive to them. I think they suddenly saw

但這使的整個展覽鮮活了起來 我想他們忽然發現

that these weren't just old faded tapestries.

這些並不只是褪色的壁毯

These were images of the world in the past,

這些影像捕捉已過去的世界

and that it was the same for our audience.

忠實地呈現在過去與現代的觀眾眼前

And for me as a curator, I felt proud. I felt I'd shifted the needle a little.

身為策展人，我感到很驕傲 我覺得我有那麼些影響力

Through this experience that could only be created

透過這個只有在美術博物館 才能製造的經驗

in a museum, I'd opened up the eyes of my audience --

我讓觀眾開了眼界

historians, artists, press, the general public --

讓歷史學家、藝術家，和社會大眾

to the beauty of this lost medium.

有機會欣賞這已失去的介質的美麗

A few years later, I was invited to be the director

幾年後 我受邀成為美術館的館長

of the museum, and after I got over that --

在我自當下的不可置信： "蛤？我嗎？"

"Who, me? The tapestry geek? I don't wear a tie!" --

"那個壁毯怪咖？我是不打領帶的！" 反應過來之後

I realized the fact: I believe passionately in that

我看清事實：我熱忱地相信

curated museum experience.

博物館經驗的力量

We live in an age of ubiquitous information,

我們生活的時代中資訊無所不在

and sort of "just add water" expertise,

專業知識簡便地像即溶咖啡

but there's nothing that compares with the presentation

但是沒有任何東西比得過

of significant objects in a well-told narrative,

已引人入勝的故事呈獻深具意義的物品

what the curator does, the interpretation of a complex,

策展人的任務是解釋一個複雜

esoteric subject, in a way that retains the integrity

深奧的主題 並同時保持主題的完整性

of the subject, that makes it -- unpacks it

但是想辦法將謎團拆開

for a general audience.

使普通觀眾能夠親近

And that, to me, today, is now the challenge and the fun

而對我來說 那正是我的工作的有趣

of my job, supporting the vision of my curators,

及挑戰之處 如何支持我的策展同仁的願景

whether it's an exhibition of Samurai swords,

不管是展出日本武士刀

early Byzantine artifacts, Renaissance portraits,

早期拜占廷文物、文藝復興肖像

or the show we heard mentioned earlier,

或是之前有提過的特展

the McQueen show, with which we enjoyed

也就是去年暑假很成功的

so much success last summer.

設計師麥昆的展覽

That was an interesting case.

那其實是很有趣的案例

In the late spring, early summer of 2010, shortly after

在2010年的春末夏初時

McQueen's suicide,

於麥昆自殺過後不久

our curator of costume, Andrew Bolton, came to see me,

我們的服裝策展人 Andrew Bolton來見我

and said, "I've been thinking of doing a show on McQueen,

他說 "我已經想要計畫麥昆特展一陣子了"

and now is the moment. We have to, we have to do it fast."

"而現在正是時機" "我們一定得做，而且要快"

It wasn't easy. McQueen had worked throughout his career

這並不簡單 麥昆畢生僅與少數幾名

with a small team of designers and managers

經紀人和設計團隊合作

who were very protective of his legacy,

他們很保護麥昆留下的作品

but Andrew went to London and worked with them

但Andrew去了倫敦一趟

over the summer and won their confidence, and that of

並與他們一共事了一個暑假

the designers who created his amazing fashion shows,

贏得一些設計師的信賴 他們曾策劃麥昆驚人的服裝秀

which were works of performance art in their own right,

單是這些秀就可說是表演藝術的作品

and we proceeded to do something at the museum,

而我們一同於大都會美術館

I think, we've never done before.

做了我們不曾做過的事

It wasn't just your standard installation.

這不是正常的藝術安裝

In fact, we ripped down the galleries to recreate

事實上，我們把各展廳給拆了

entirely different settings, a recreation of his first studio,

創造完全不同的佈景 像是重造他第一個工作室

a hall of mirrors,

一個鏡面長廊

a curiosity box,

一個百寶箱

a sunken ship, a burned-out interior,

一艘沈船、火災肆虐後的室內

with videos and soundtracks that ranged from

加上各式錄音和錄影帶

operatic arias to pigs fornicating.

從歌劇詠嘆調到豬在交配的畫面

And in this extraordinary setting, the costumes

而在這誇張的佈景中，那些服裝

were like actors and actresses, or living sculptures.

有如演員或是活生生的雕像一般

It could have been a train wreck.

這一切都有可能是悲劇收場

It could have looked like shop windows on Fifth Avenue

可能看起來像聖誕節 第五大道的展示窗一樣

at Christmas, but because of the way that Andrew

但由於Andrew和麥昆的團隊

connected with the McQueen team, he was channeling

關係密切。他有辦法汲取呈現

the rawness and the brilliance of McQueen,

麥昆野蠻並令人驚奇的設計風格

and the show was quite transcendant,

結果展出超越所有期望

and it became a phenomenon in its own right.

不只是展出的時裝 而是展覽本身吸引大批群眾

By the end of the show, we had people queuing

到了最後展覽接近尾聲時

for four or five hours to get into the show,

有些民眾排隊四、五小時才得進場

but no one really complained.

但沒有人抱怨

I heard over and over again, "Wow, that was worth it.

我一再聽見 "哇！這真是值得"

It was a such a visceral, emotive experience."

"這真是個扣人心弦的經驗"

Now, I've described two very immersive exhibitions,

現在 我講了兩個令人身臨其境的展覽

but I also believe that collections, individual objects,

但我也相信收藏和個別的展示品

can also have that same power.

也能有相同的效果

The Met was set up not as a museum of American art,

大都會美術館的成立宗旨 並不只是為了收藏美國藝術

but of an encyclopedic museum,

而是要成為一個包羅萬象的博物館

and today, 140 years later, that vision

而140年後的今日

is as prescient as ever,

那個願景的先見之明 一如過往

because, of course, we live in a world of crisis,

這是因為 我們生活在一個充滿危機的世界

of challenge, and we're exposed to it

處處有著挑戰 而且經由二十四小時的新聞頻道

through the 24/7 newsreels.

時時刻刻地接觸這些危機

It's in our galleries that we can unpack the civilizations,

唯有於展廳之內 我們才有辦法解開文明的奧妙

the cultures, that we're seeing the current manifestation of.

認識日常所見的新文化

Whether it's Libya, Egypt, Syria,

無論是利比亞、埃及、敘利亞

it's in our galleries that we can explain

在我們的展廳之中都能予以解讀

and give greater understanding.

並帶來更完整的認識

I mean, our new Islamic galleries are a case in point,

我是說 我們的伊斯蘭展廳就是個好例子

opened 10 years, almost to the week, after 9/11.

它於9/11事件十周年時開放

I think for most Americans, knowledge of the Islamic world

我想對於多數美國人 對於伊斯蘭世界的認識

was pretty slight before 9/11, and then it was thrust upon us

在9/11之前是極淺的 然後這課題卻在

in one of America's darkest hours,

美國史上最黑暗的時刻 猛然於我們肩上扛下

and the perception was through the polarization

大家對於伊斯蘭文化的觀感

of that terrible event.

透過那悲慘的事件而兩極化

Now, in our galleries, we show 14 centuries

現在，在我們的展廳之中

of the development of different Islamic cultures

我們展示伊斯蘭文化 十四個世紀以來的演變

across a vast geographic spread,

並涵蓋廣泛的地理範圍

and, again, hundreds of thousands of people have come

再一次的 已有數十萬的民眾前來參觀

to see these galleries since they opened last October.

這些去年十月開放的展覽廳

I'm often asked, "Is digital media replacing the museum?"

常有人問我： "數位媒體會取代美術館嗎？"

and I think those numbers are a resounding rejection

我認為這些參展數據堅決否定此說

of that notion. I mean, don't get me wrong,

我是說，不要誤會我的意思

I'm a huge advocate of the Web.

我很倡導網際網路

It gives us a way of reaching out to audiences

它使我們有辦法接觸全世界的觀眾

around the globe, but nothing replaces the authenticity

但沒有任何東西能夠取代

of the object presented with passionate scholarship.

經熱誠的學問呈現的物品的真實性

Bringing people face to face with our objects

當人們和展品面對面接觸時

is a way of bringing them face to face with people

就像是和其他人面對面接觸

across time, across space, whose lives may have been

超越時空 接觸這些生命與我們截然不同

very different to our own, but who, like us,

卻和我們所有人一樣

had hopes and dreams, frustrations and achievements

擁有希望和夢想 挫折與成就的人生

in their lives. And I think this is a process

我認為這個過程

that helps us better understand ourselves,

能使我們更加了解自己

helps us make better decisions about where we're going.

並幫助我們在未來 做出更好的決策

The Great Hall at the Met is one of the great portals of the world,

大都會美術館的大廳 是個舉世無雙的通道

awe-inspiring, like a medieval cathedral.

凜然如中古世紀的大教堂

From there, you can walk in any direction

從這裡， 你可以往任何一個方向前進

to almost any culture.

邁向任何一種文化

I frequently go out into the hall and the galleries

我時常到大廳和展示廳裡

and I watch our visitors coming in.

看著我們的訪客進出

Some of them are comfortable. They feel at home.

有些人看起來自在 就像在自家一般

They know what they're looking for.

他們知道自己所追尋的昰什麼

Others are very uneasy. It's an intimidating place.