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  • I'm a potter,

    譯者: Wink Wong 審譯者: Coco Shen

  • which seems like a fairly humble vocation.

    我是陶藝家,

  • I know a lot about pots.

    這是一個感覺相當平凡的職業。

  • I've spent about 15 years making them.

    關於陶器我懂很多,

  • One of the things that really excites me in my artistic practice

    我從事陶器製作已經有15年了。

  • and being trained as a potter

    我在陶藝訓練成為陶藝家其間,

  • is that you very quickly learn how to make great things out of nothing;

    一樣最讓我感到興奮的

  • that I spent a lot of time at my wheel with mounds of clay trying stuff;

    便是很快學會怎樣把平庸的材質 製作成精美的藝術品;

  • and that the limitations of my capacity, my ability,

    我在陶輪前花很多時間, 用陶土做各種嘗試;

  • was based on my hands and my imagination;

    限制我的能力和水準的

  • that if I wanted to make a really nice bowl

    是我的雙手和想像力;

  • and I didn't know how to make a foot yet,

    如果我想做一隻非常精美的碗

  • I would have to learn how to make a foot;

    但是卻不知道怎樣塑造碗底

  • that that process of learning has been very, very helpful to my life.

    那我就不得不去學習碗底的製作;

  • I feel like, as a potter,

    這樣的學習過程對我 的生活非常有幫助。

  • you also start to learn how to shape the world.

    我覺得,作爲陶器藝人,

  • There have been times in my artistic capacity

    你也需要開始學著去塑造世界。

  • that I wanted to reflect

    藝術工作的過程中有許多時候,

  • on other really important moments

    讓我想要表達出

  • in the history of the U.S., the history of the world

    一些非常重要的歷史時刻

  • where tough things happened,

    那些在美國歷史或是世界歷史中

  • but how do you talk about tough ideas

    很艱苦的時刻,

  • without separating people from that content?

    可又該怎樣討論這些困難的話題

  • Could I use art like these old, discontinued firehoses from Alabama,

    卻不脫離當事的人們呢?

  • to talk about the complexities of a moment of civil rights in the '60s?

    我能借用藝術作品,例如這些 來自阿拉巴馬州的廢舊消防水龍

  • Is it possible to talk about my father and I doing labor projects?

    來呈現那些60年代民權 複雜的情況嗎?

  • My dad was a roofer, construction guy, he owned small businesses,

    我能否講述父親和我的勞工成績?

  • and at 80, he was ready to retire and his tar kettle was my inheritance.

    我父親是屋頂技工,建築工人, 同時還做著小生意。

  • Now, a tar kettle doesn't sound like much of an inheritance. It wasn't.

    他留給我的遺產是 一個瀝青爐。

  • It was stinky and it took up a lot of space in my studio,

    瀝青爐聽起來算不上是什麽遺產呀。 沒錯,的確不是。

  • but I asked my dad if he would be willing to make some art with me,

    這東西味道挺大, 還佔掉我工作室許多空間,

  • if we could reimagine this kind of nothing material

    但我問父親他是否願意 和我一起從事藝術創作,

  • as something very special.

    重塑平庸的材料

  • And by elevating the material and my dad's skill,

    把它變成特別的作品。

  • could we start to think about tar just like clay, in a new way,

    憑藉父親的技術,和把材料升級,

  • shaping it differently, helping us to imagine what was possible?

    我們能否用新的方式, 把瀝青當作陶土,

  • After clay, I was then kind of turned on to lots of different kinds of materials,

    用不同的方式塑造它, 幫我們構想可以製造什麼出來呢?

  • and my studio grew a lot because I thought, well,

    用了陶土後,我開始對許多 不同種類的材料感興趣。

  • it's not really about the material, it's about our capacity to shape things.

    我的工作室也擴大許多, 因為我想

  • I became more and more interested in ideas

    其實關鍵不在於材料, 而是我們塑造事物的能力。

  • and more and more things that were happening just outside my studio.

    我對創意越來越有興趣。

  • Just to give you a little bit of context, I live in Chicago.

    那時在我的工作室外 也有許多事情在發生。

  • I live on the South Side now. I'm a West Sider.

    先讓各位了解一下背景, 我住在芝加哥。

  • For those of you who are not Chicagoans, that won't mean anything,

    我現在住在南邊, 我是西邊的人。

  • but if I didn't mention that I was a West Sider,

    若你們不是芝加哥人, 就不會知道其中的意義。

  • there would be a lot of people in the city that would be very upset.

    但是如果我不說我是西邊人,

  • The neighborhood that I live in is Grand Crossing.

    那裡市區的許多人 可能會很不高興。

  • It's a neighborhood that has seen better days.

    我住的區域是「格蘭區」。

  • It is not a gated community by far.

    那是一個美景不再的區域。

  • There is lots of abandonment in my neighborhood,

    它不是什麼富裕的社區。

  • and while I was kind of busy making pots and busy making art

    我們附近有許多廢棄的建築,

  • and having a good art career,

    當我忙著製作器皿和創造藝術品,

  • there was all of this stuff that was happening

    我的藝術生涯正在蓬勃發展,

  • just outside my studio.

    就在我的工作室外,

  • All of us know about failing housing markets

    我們都知道房地產市場低迷

  • and the challenges of blight,

    以及衰落所帶給它的挑戰,

  • and I feel like we talk about it with some of our cities more than others,

    我覺得我們只管談論一些城市 而不太理會其他城市,

  • but I think a lot of our U.S. cities and beyond

    但我想還有很多很多美國的城市

  • have the challenge of blight,

    都有這種衰退的難題。

  • abandoned buildings that people no longer know what to do anything with.

    大家不知道該如何 處理廢棄的建築,

  • And so I thought, is there a way that I could start to think

    所以我就想,我是否可以想辦法

  • about these buildings as an extension or an expansion of my artistic practice?

    把這些建築變成我的 藝術領域的延伸?

  • And that if I was thinking along with other creatives --

    我想與其他有創意的人, 一起集思廣益 --

  • architects, engineers, real estate finance people --

    像是建築師,工程師, 房地產金融家 --

  • that us together might be able to kind of think

    我們一起可能想出

  • in more complicated ways about the reshaping of cities.

    精妙的辦法去重塑這些城市。

  • And so I bought a building.

    所以我買下了一座建築物。

  • The building was really affordable.

    這座建築很便宜。

  • We tricked it out.

    我們把它好好地打扮了一番。

  • We made it as beautiful as we could to try to just get some activity happening

    我們想了些辦法, 把它修繕地美輪美奐,

  • on my block.

    來吸引周邊街區的活動。

  • Once I bought the building for about 18,000 dollars,

    我花了大約一萬八千元 買了這座建築物,

  • I didn't have any money left.

    口袋裏一分錢都不剩。

  • So I started sweeping the building as a kind of performance.

    所以我開始打掃這個建築, 當做是一種表演。

  • This is performance art, and people would come over,

    那是表演藝術, 等人來了之後,

  • and I would start sweeping.

    我就開始掃。

  • Because the broom was free and sweeping was free.

    因為掃把是免費的, 掃地也是。

  • It worked out.

    它奏效了。

  • (Laughter)

    (笑聲)

  • But we would use the building, then, to stage exhibitions, small dinners,

    那時我們用這個地方做展示場, 小型餐會,

  • and we found that that building on my block, Dorchester --

    我們發現我們附近的朵徹斯特 (Dorchester)建築 --

  • we now referred to the block as Dorchester projects --

    我們現在稱這條街區為 朵徹斯特計劃 --

  • that in a way that building became a kind of gathering site

    這座建築成為了大家聚會的地方,

  • for lots of different kinds of activity.

    那裡有許多不同種類的活動。

  • We turned the building into what we called now the Archive House.

    我們將那建築變成我們現在稱為 「檔案樓」的地方。

  • The Archive House would do all of these amazing things.

    「檔案樓」可以舉辦許多令人驚嘆的事情。

  • Very significant people in the city and beyond

    城中無數的達官貴人,

  • would find themselves in the middle of the hood.

    會來到這裏。

  • And that's when I felt like

    那時,我覺得

  • maybe there was a relationship between my history with clay

    或許我做陶藝的經歷

  • and this new thing that was starting to develop,

    和這裏所發生的變化有關聯

  • that we were slowly starting

    這種新變化慢慢地開始重塑

  • to reshape how people imagined the South Side of the city.

    人們對芝加哥南區的印象。

  • One house turned into a few houses,

    從一間房子到許多間房子,

  • and we always tried to suggest

    我們一直認爲,

  • that not only is creating a beautiful vessel important,

    創造一個美麗的外表重要,

  • but the contents of what happens in those buildings is also very important.

    但是在這些建築的內涵 也非常重要。

  • So we were not only thinking about development,

    所以我們不是只着眼於發展,

  • but we were thinking about the program,

    而且同時也想制定計劃,

  • thinking about the kind of connections that could happen

    想有那些連繫可能發生於

  • between one house and another, between one neighbor and another.

    一個房子跟著另一個房子之間, 或鄰里互相之間

  • This building became what we call the Listening House,

    這個建物我們後來稱 它為「聆聽屋」,

  • and it has a collection of discarded books

    它收藏了一批強生印刷公司

  • from the Johnson Publishing Corporation,

    丟棄的書本,

  • and other books from an old bookstore that was going out of business.

    以及其他從一個 倒閉的老書店的書。

  • I was actually just wanting to activate these buildings as much as I could

    我其實就是要讓這些建築 盡可能活動起來。

  • with whatever and whoever would join me.

    以任何方式與任何願意參與的人。

  • In Chicago, there's amazing building stock.

    芝加哥有一座令人驚奇的建築物。

  • This building, which had been the former crack house on the block,

    這個建築以前是這附近的吸毒屋,

  • and when the building became abandoned,

    當這個建築物被棄置後,

  • it became a great opportunity to really imagine what else could happen there.

    它做就了一個好機會讓人猜想 有什麼別的可以在那裡發生。

  • So this space we converted into what we call Black Cinema House.

    我們於是把這個地方變成 今日所謂的「黑色電影屋」。

  • Black Cinema House was an opportunity in the hood to screen films

    「黑色電影屋」讓這隣近地方可以放映電影,

  • that were important and relevant to the folk who lived around me,

    對於住在我附近的人 很重要和有意義。

  • that if we wanted to show an old Melvin Van Peebles film, we could.

    如果我們想放映一部 梅爾文·凡·皮布爾斯的老片,我們就放。

  • If we wanted to show "Car Wash," we could.

    如果我們想放映「洗車場」, 我們就放映。

  • That would be awesome.

    那多棒。

  • The building we soon outgrew,

    那座建築很快就不夠用了,

  • and we had to move to a larger space.

    我們只有搬到另一處更大的。

  • Black Cinema House, which was made from just a small piece of clay,

    黑色電影屋本來 只是一小塊陶土做的,

  • had to grow into a much larger piece of clay, which is now my studio.

    成為一個很大塊陶土, 就是我現在的工作室。

  • What I realized was that for those of you who are zoning junkies,

    我發現你們那些分區狂,

  • that some of the things that I was doing

    我所做的一些事

  • in these buildings that had been left behind,

    在那些被遺忘的建築裡,

  • they were not the uses by which the buildings were built,

    不是以原來建築的使用目的 而使用,

  • and that there are city policies that say,

    有城市法規說,

  • "Hey, a house that is residential needs to stay residential."

    「設定為住宅地建築物只能 住宅使用」。

  • But what do you do in neighborhoods when ain't nobody interested in living there?

    但是如果沒有人有興趣住在那裡的話, 那些建築怎麼辦呢?

  • That the people who have the means to leave have already left?

    有能力搬走的已經搬走了。

  • What do we do with these abandoned buildings?

    我們如何處理這些 被遺棄的建築物呢?

  • And so I was trying to wake them up using culture.

    所以我嘗試以文化來喚醒它們。

  • We found that that was so exciting for folk,

    我們發現大家都很興奮,

  • and people were so responsive to the work, that we had to then find bigger buildings.

    許多人積極參與我們的活動, 以致於我們必須找更大的建築物。

  • By the time we found bigger buildings,

    等到我們找到了更大的建物,

  • there was, in part, the resources necessary to think about those things.

    那裡就會有我們必須 思考的必要資源

  • In this bank that we called the Arts Bank, it was in pretty bad shape.

    我們稱為「藝術銀行」的狀況 曾經很不好,

  • There was about six feet of standing water.

    那裡之前有六呎深的積水。

  • It was a difficult project to finance,

    那是一個很難獲得資釒的案子,

  • because banks weren't interested in the neighborhood

    因為銀行對這個地區沒有興趣。

  • because people weren't interested in the neighborhood

    因為人們對這個地區沒有興趣

  • because nothing had happened there.

    因為那裏沒有任何動靜。

  • It was dirt. It was nothing. It was nowhere.

    只有灰塵,沒有其他, 什麼都沒有。

  • And so we just started imagining, what else could happen in this building?

    所以我們開始想像, 在這個建物可以做什麼?

  • (Applause)

    (掌聲)

  • And so now that the rumor of my block has spread,

    那時有關這個地方的謠言傳出來,

  • and lots of people are starting to visit,

    許多人開始來參觀,

  • we've found that the bank can now be a center

    我們發現這個"銀行"已成為一個

  • for exhibition, archives, music performance,

    展覽場地、資料館和音樂廳,

  • and that there are people who are now interested

    有一些人開始對

  • in being adjacent to those buildings because we brought some heat,

    這些建築物的附近地方有興趣。

  • that we kind of made a fire.

    因為我們帶來了熱潮, 好像起了一把火。

  • One of the archives that we'll have there is this Johnson Publishing Corporation.

    我們將在那裡設立 強森出版公司的資料庫,

  • We've also started to collect memorabilia from American history,

    也開始收集美國歷史的大事紀,

  • from people who live or have lived in that neighborhood.

    從那些住在或曾住在 那裡的人們收集。

  • Some of these images are degraded images of black people,

    這裡有些貶低黑人的圖像,

  • kind of histories of very challenging content,

    有點令人質疑的歷史內容,

  • and where better than a neighborhood

    那裡會找到比這附近地區更適合。

  • with young people who are constantly asking themselves about their identity

    那裡的年輕人不停的在 找尋自己的身分認同,

  • to talk about some of the complexities

    年輕人討論種族和階級

  • of race and class?

    的各種複雜問題呢?

  • In some ways, the bank represents a hub,

    從某些方面,"銀行"代表了一個樞紐。

  • that we're trying to create a pretty hardcore node of cultural activity,

    我們嘗試去創造一個文化活動的核心,

  • and that if we could start to make multiple hubs

    如果我們可以開始 創造了幾個中心。