 
字體：小 中 大 |
|
|
|
| 2015/05/28 13:13:41瀏覽546｜回應0｜推薦7 | |
| Excerpt：《安迪．沃荷的普普人生》之三 書名：安迪．沃荷的普普人生 作者：Andy Warhol 譯者：盧慈穎 出版社：臉譜 原文出處：http://thephilosophyofandywarhol.blogspot.tw/ 【Excerpt】 〈時間 = Time〉 I try to think of what time is and all I can think is . . . "Time is time was." 我試著思考時間是什麼，而我腦袋裡只有想到…… 「現在的時間就是過去的時間。」 Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be. Then you fly to 有時候，你受邀參加大型舞會，然後有好幾個月，你幻想著舞會將有多麼華麗又刺激。然後你飛到歐洲去，接著你參加這場舞會，幾個月後，當你回想起來，你所記得的或許是搭車前往舞會的車程，你根本記不得舞會本身。有的時候，那些在當下發生時你以為毫無意義的時刻，到頭來成為你人生一整段時期的印記。早知道我該花幾個月的時間幻想著前往舞會的車程，還有我為這趟旅程的盛裝打扮，還有購買前往歐洲的機票好讓我能搭上這趟車。誰曉得，這樣一來搞不好我就能記住那場舞會。 They always say that time changes things, but you actually have to change them yourself. 他們總是說時間會改變事情，但事實上你得自己去改變它們。 At the end of my time, when I die, I don't want to leave any leftovers. And I don't want to be a leftover. I was watching TV this week and I saw a lady go into a ray machine and disappear. That was wonderful, because matter is energy and she just dispersed. That could be a really American invention, the best American invention—to be able to disappear. I mean, that way they couldn't say you died, they couldn't say you were murdered, they couldn't say you committed suicide over somebody. 在我生命的終點，我要死的時候，我不想留下任何的剩餘物。而我也不想成為剩餘物。我這個星期看電視時，看見一位女士走進一個光束機器消失無蹤。那棒呆了，因為物質就是能量，而她就這麼擴散開來。那會是個非常美國的發明，最好的美國發明——有能力消失無蹤。我的意思是，如此一來，他們不能談你死了，他們不能說你被殺了，他們不能說你拋下誰自殺了。 I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece. I don't even taste any of the other pieces, I just want to finish and throw the box away and not have to have it on my mind any more. I would rather either have it now or know I'll never have it so I don't have to think about it. That's why some days I wish I were very very old-looking so I wouldn't have to think about getting old-looking. 我確實是為了將來而活，因為當我吃一盒糖果時，我迫不及待品嘗最後一顆糖。我甚至無法好好品嘗其他幾顆糖，我只想把糖全部吃完然後把盒子扔掉，好讓這盒糖別再盤據我的心頭。 我寧願現在馬上吃掉，或知道我永遠不會去吃它，這樣我才不用一直想著它。 這就是為什麼有幾次我希望自己看起來非常非常衰老，這樣一來，我就不用去想年老色衰這件事。 〈死亡 = Death〉 I don't believe in it, because you're not around to know that it's happened. I can't say anything about it because I'm not prepared for it. 我不相信這件事，因為我不會在場確認它已經發生了。對於這件事我不能發言，因為我還沒準備好。 〈氣氛 = Atmosphere〉 To be really rich, I believe, is to have one space. One big empty space. I really believe in empty spaces, although, as an artist, I make a lot of junk. Empty space is never-wasted space. Wasted space is any space that has art in it. 我相信，要富可敵國，就是要有一個空間。一個大而空的空間。 我高度崇尚留白的空間，雖然說，身為一個藝術家，我創造許多垃圾。 留白的空間是未曾浪費的空間。 浪費的空間就是任何有藝術品在內的空間。 An artist is somebody who produces things that people don't need to have but that he—for some reason—thinks it would be a good idea to give them. 藝術家這號人物生產人們不需要的東西，但他自己卻——由於某種原因——認為給別人這些東西是個好主意。 Business Art is a much better thing to be making than Art Art, because Art Art doesn't support the space it takes up, whereas Business Art does. (If Business Art doesn't support its own space it goes out-of-business.) So on the one hand I really believe in empty spaces, but on the other hand, because I'm still making some art, I'm still making junk for people to put in their spaces that I believe should be empty: i.e., I'm helping people waste their space when what I really want to do is help them empty their space. I go even further in not following my own philosophy, because I can't even empty my own spaces. It's not that my philosophy is failing me, it's that I am failing my own philosophy. I breach what I preach more than I practice it. 創作商業藝術這個東西遠勝於藝術性藝術，因為藝術性藝術無法供養它所佔據的空間，但商業藝術可以。(假如商業藝術無法供養它自己的空間，它就會被商業淘汰。) 因此一方面說來，我的確崇尚留白的空間，但在另一方面，因為我仍舊創作藝術品，我仍舊為人們創作垃圾去懸掛在我相信應該留白的空間裡：也就是說，我在幫助人們浪費他們的空間，但我其實真的想做的是幫他們淨空他們的空間。 我甚至更進一步違反我自己的哲學，因為我連自己的空間也無法淨空。不是我的哲學讓我失敗，而是我讓我的哲學失敗了。對自己說教的東西，我違背它甚於加以付諸實行。 When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it. If I see a chair in a beautiful space, no matter how beautiful the chair is, it can never be as beautiful to me as the plain space. My favorite piece of sculpture is a solid wall with a hole in it to frame the space on the other side. 我看東西時，總是看到他們佔據的空間。我總希望這些空間能重新展現，捲土重來，因為在這些東西位居期間，它成了失落的空間。如果我見到一個美麗的空間裡有張椅子，無論那張椅子有多精美，對我而言，它永遠不可能比素淨的空間更美。我最愛的雕塑作品是一堵素面的牆，上面打了個洞，來懸掛位於牆壁另一面的空間。 I think a lot about "space writers"—the writers who get paid by how much they write. I always think quantity is the best gauge on anything (because you're always doing the same thing, even if it looks like you're doing something else), so I set my sights on becoming a "space artist." When Picasso died I read in a magazine that he had made four thousand masterpieces in his lifetime and I thought, "Gee, I could do that in a day." So I started. And then I found out, "Gee, it takes more than a day to do four thousand pictures." You see, the way I do them, with my technique, I really thought I could do four thousand in a day. And they'd all be masterpieces because they'd all be the same painting. And I started and I got up to about five hundred and then I stopped. But it took more than a day, I think it took a month. So at five hundred a month, it would have taken me about eight months to do four thousand masterpieces—to be a "space artist" and fill up spaces that I don't believe should be filled up anyway. It was disillusioning for me, to realize it would take me that long. 我常常想著那些「空間作家」——依他們書寫的多寡而獲得報酬的作家。我一向認為數量是一切事物最好的衡量方法 (因為你做的永遠是同一件事，即便你看起來好像是在做別的事)，因此我立定目標要成為一個「空間藝術家」。畢卡索過世的時候，我在雜誌上讀到他一生中共創造了四千幅傑作，所以我心想：「老天，我一天之內就辦得到，」所以我開始動筆。然後我發現：「老天，四千幅作品要花超過一天的時間。」瞧，依照我的技巧來創作這些畫，我真的以為我一天之內就能完成四千幅畫。而且它們都會是傑作，因為它們會是同一幅畫。我開始動筆而我畫了差不多五百幅畫，之後我停筆。但我花了不止一天，我想我花了一個月。所以一個月五百幅，要花我大約八個月的時間才能畫完四千幅傑作——成為「空間藝術家」並且填滿那些我不認為該填滿的空間。這對我來說是一次幻滅的經驗——明白原來這要花我這麼多時間。 |
|
| ( 知識學習｜隨堂筆記 ) |
