访谈---Damien Hirst 达明.赫斯特
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[楼主] 嘿乐乐 2008-07-21 13:02:27



Damien Hirst

达明.赫斯特


上图:达明.赫斯特
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内容来源于:[url]http://findarticles.com
1997年9月 大卫.佛尼施

胡筱潇/译


达明。赫斯特是英国炙手可热的艺术家,媒体爱反复使用一些陈词滥调描述他,与此相比,他的新书《我总是,永远,现在,想在任何地方,和任何人,度过我的余生》,让我们看到他更多的真实和深度。

大卫。佛尼施(DAVID FURNISH):我们正走向2000年。这不只是一个千年的终结,也是一个世纪的终结。很多人似乎在此刻意识到一种象征意义;太多东西正在改变。随这些改变,艺术将会做什么?我们从这个世纪的伟大的艺术家身上知道,在艺术与世界之间没有界限。你认为艺术家适合被摆在什么位置?当然,肯定不是在旁观者的角度。
达明。赫斯特(DAMIEN HIRST):我在进画廊和美术馆前,一度听的是流行音乐,看的是电视节目,当我进艺术院校的时候,我们面对的事则是完全地打破这个界限。

DF:你已经这么做了很多了。
DH:我想当我制作一个模糊录像的时候,我在改变世界了。(笑)我设计一个新餐馆,比做艺术得到的更多。我想艺术是关于生活的东西。

DF:这个餐馆名叫Pharmacy,对吗?
DH:是的。我做了一个名叫Pharmacy的装置,而现在我把它作为一个餐馆那样在做。我只是想使它成为一个非常好的地方。它是不是艺术,我不知道。我只知道它实现了我作为一个艺术家的所有需要。我还是觉得它是艺术。它将是一个小展览,人们前来观看,这是一个非常好的时刻。这比他们前去大多数画廊要好得多。这对我很有挑战性,所以我要这么干。

DF:很明显,这是一种发展,一些人想要你坚持你的艺术,但不是画廊喜欢的那种。
DH:我在艺术界中很成功,因为我的痴狂。但如果你在艺术界开始成功,人们将试图把你保持在那个境地。而你在那里得到的乐趣也就只有那点了。那就只是你第一天进艺术院校的那些乐趣,也许你将不再继续做下去了。

DF:有很多人,特别是一些艺术批评家,我们很不赞同他们。
DH:艺术是关于生活的东西,艺术界也是关于钱的地方。没有艺术家,那么艺术界便不存在。但是没有艺术界,艺术家还是在那儿。艺术还是会继续前进。我总是问我自己,艺术值得去做吗?我也总是准备找出它不值得做的地方然后不去做。但是我发现它值得我去做,目前为止,它是伟大的。

DF:因此你做了一个餐馆,然后你又返回去画画和做雕塑,做一些别的东西,你把各个领域中的事物结合在一起。在这个过程中,你的兴趣从哪里来?
DH:这总是像你说的这样,当我年幼时,如果你给我2个东西,我将胡乱地把它们混到一起,使它们变成别的东西。我为我的兄弟姐妹做东西。艺术就像是一个礼物-你知道,我记得我还是一个小孩的时候,我为我兄弟做了一个小农场。我的思想恰恰是这样在运作的。

DF:在我花时间看你的新书前,我从一些人那听说了很多事,都是关于你争议的那一面的,比如“他把牛切开,把羊悬浮在甲醛中”之类的事。媒体在你的作品中玩弄着荒唐的规则。一方面,他们是出于一种自身原因;另一方面,你这样残酷地去做,他们却在分析简化你的意图和理由,这对想真正了解你的人没有帮助。对我来说看你的书则是一种真正的启示,因为它的精神,它对生活的感觉,它对作品的剖析。
DH:这就是我为什么做它的原因,我很不舒服人们这样反应:“你在搞动物尸体。”你知道,人们对我说,我的作品是感官刺激的。我的回应是:“感官刺激有什么错呢?这就像接触皮肤一般。”感官刺激是我作品的一个元素,为什么要这么做?它不是为了感官刺激而去感官刺激,但它却正是感官刺激的艺术。如果有人和我说,“你看起来很刺激”,那么我会觉得:“太好了!”如果有人说,“你的作品很刺激”,那么其实你们正是觉得:“太好了!”我不能看见为什么你会这样,“哦,是的,对不起。”

DF:但是它是否困扰你呢,它们像魔力一般在创造你的图像。
DH:如果发生的事情只是因为已经有非常多的人对艺术感兴趣,并且去画廊,那就好了。如果这都被实现了,那依然很好。我想你们只是希望它继续下去,它让我发笑。媒体是扭曲的。人们看到的总是错误的图像。我碰到一些出租车司机说:“这不是艺术。”我说:“那什么不是艺术?”然后他们说:“你把动物放进甲醛里。”我说:“你看到过它吗?”他们说:“没有”。于是我说:“那么,你们到底为什么要这么说呢?我想如果你们看到它的话,你们会说‘这完全不是我期待的那样’”你知道,当我第一次开始搞这些东西的时候,我负担很大。

DF:因此你的说法是你不得不做所以才做,不管你是否能承受它。
DH:它让我付出代价。玻璃柜的玻璃有3英寸厚,并且它是防弹玻璃,它必须是,因为安全因素。那件鲨鱼的作品,花了2万8千英镑,就是为了那个玻璃柜。而人们只是说:“搞了一条鲨鱼,放在槽里。这不是艺术。”

DF:嗯,就像你说的,媒体将特意典型地去聚焦仅仅一个失误。但是当我看见你的新书的时候,我看到了你做的事情的广度。我看到你试图展现死亡是生命的一部分,还有你对世界的造化的感受。
DH:我和一些动物权利保护者们讨论过,我说:“看,我没有因为艺术把这些东西杀死。”我说我成了不杀动物的大人物。我是站在他们那边的,我感到这是同样的方式。然后他们中有一个人和我说,“但是我们不打算失去公开的机会。我们需要它。”

DF:既然伦敦已经变成众多视角的热点,你希望这个潮流的追随者出现吗?
DH:我想你不得不忽视这一切。有太多的好东西让我很感兴趣。

DF:作为一名艺术家,你是嘈杂的中心,由于你的作品你也制造了喧哗。但是你却生活在这些喧哗外,在德文郡(英国郡名)。
DH:我已经选择了这么做,但是依然很嘈杂。你知道,这并不是二选一的情况。我在伦敦有一个办公室,在伦敦和家的位置之间的一个工作室。因为我生活在德文郡,一些人说,“哦我的天,你逃走了。你本来是在伦敦的,现在你跑去德文郡了。“但是我并不这么看。

DF:让我们来谈谈你去艺术院校前的时间。我们很少有提到你开始并经历准备成为一名艺术家的旅程。
DH:我在利兹[英国英格兰北部城市]长大。我总是对艺术很有兴趣。只要我想到,我就想去做。但是我在中学我选的是建筑绘画,因为我觉得不可能把当艺术家做为一种工作。因此我开始了最接近的事物。于是我想,我可以去艺术院校。我在之前从没有想过我会去做艺术。因此我去了利兹的艺术院校,这太有趣了。之后,我去了伦敦找工作,并试图进圣马丁学习艺术。但是我已经在利兹变得有点淘气,我就准备走出这种习气。之后,我在一个大楼里工作了2年,最后我又回到格德史密斯的学院里去读书。

DF:说说对你个人有影响的人吧,不是历史上的那些。
DH:在中学和艺术院校之间间隔的2年时间里,我碰到了一个老家伙。他是我隔壁邻居,我常在白天看到他在大街上晃,晚上回到家里,并带着那些他收集到的东西。他看起来很高大。一天他失踪了,于是我爬过他的栅栏去看发生了什么,我走进他的房子,我不能相信有这么多的东西塞在每个房间里。已经在那里存在了60年了。超过200个牙膏管,全是空的,并且整洁的,有序的摆着。还有报纸,杂志,和色情刊物。这些一堆一堆的东西在顶端很混乱,但当你看下去,它们变得越来越有序。有女人照片的杂志,她们有丰满的体型,但上面画着乳房和阴毛。他在这里,通过去画,把这些女人的衣服脱掉。他整个房子就像一个装置的地狱。我在那时候并没有意识到,但是这比任何东西对我的影响都要大。

DF:1988年在戈德史密斯,在伦敦港区的一个仓库中,你策划了一个引起众多话题的展览,名叫“冻结(Freeze )“?
DH:是的。我在艺术院校的时候,我走访了一些地方,如萨奇画廊,在展出的那些很好的作品中,我获得了不少灵感。有很多很好的艺术家在学校,但是他们的作品却无法展示出来。我选了那个仓库是因为那是我看到的建筑中非常喜欢的一个。我觉得它太美妙了。我打电话给房主,他们说,“耶,你可以用它。你为什么不向伦敦港区发展机构申请一些经费呢?”于是我就去申请了,他们给了我一些钱。我真是不敢相信。我继续想,“这些家伙能从我这里得到什么呢?”(笑)于是我试着为宣传册去弄来一些钱-在那时候这些钱非常的多了。我只能说:“看,给我1万美元,我将把你们的名字放在伟大的艺术的宣传册上的最前面。”然后他们这么做了!那个展览中有17个艺术家,基本上他们中有一半现在还是做得很好。

DF:一些人相信那个展览在英国艺术中起到了引导新潮流的作用。
DH:嗯,每个人在那里都是这么说的,但是我知道他们并不是,因为我全天彻夜地坐在那儿,每天只有3个人来看。如果所有人说他们去看了,那那个空间应该会被塞满。我设法让一些重要的人物来,于是慢慢的,这个消息就遍布开。

DF:你的角色在许多方面几乎像是一个摇滚明星。你被注视着,你被摄像头对着,你在那些开幕式和名人的聚会里。为什么你不像艺术家们习惯的那样,把时间全部花在家里,在阁楼上画画?
DH:恩,我想安迪沃霍尔停止了这个可能性,不是吗?因为沃霍尔

[沙发:1楼] 嘿乐乐 2008-07-21 13:22:11
原文:

Damien Hirst - interview with the British artist
Interview,  Sept, 1997  by David Furnish

Damien Hirst is the roasting-hot English artist whose new book, I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now, gives us much more of his truth and depth than the dumb cliches the media like to recycle about him.

DAVID FURNISH: We're heading toward the year 2000. Not only is it the end of a millennium, it's the end of a century. So many people seem to be aware of the symbolism of this moment; so much is changing. What's art got to do with all this? We've learned from the great artists of this century that there shouldn't be a boundary between art and the world. I'm wondering where you think the artist fits in. Clearly, not on the sidelines.
DAMIEN HIRST: I was listening to pop music and watching TV before I ever went to an art gallery, and when we were at art school we were encouraged to completely break down the boundaries.

DF: You've done that a lot.
DH: I thought I was changing the world when I made a Blur video. [laughs] I'm getting more from designing a new restaurant now than from the art world. I think art's about life.

DF: The restaurant's called Pharmacy, right?
DH: Yes. I did an installation called Pharmacy, and now I'm doing it as a restaurant - I just want to make it a great place to be. Whether that's art or not, I don't know. What I do know is it's fulfilling all my needs as an artist. I think it's art. It will be a little exhibition that people go to and have a great time in - a much better time than when they go to most galleries. It feels fight to me, so I'm doing it.

DF: Obviously, this is a development that some of those who want you to keep your art for the galleries won't like.
DH: I got successful in the art world for being a maniac. If you become successful in the art world, people try and keep you there. But you've gotta have as much fun as you had on your there. But you've gotta have as much fun as you had on your first day at art school or you shouldn't be doing it.

DF: There are a lot of people, especially art critics, who don't agree.
DH: Art's about life, and the art world is about money. Without the artist, the art world wouldn't exist. But without the art world, the artist would still be there. Art just keeps going on and on. I've always asked myself, Is art worth doing? And I've always been prepared to find out that it's not worth doing and then not do it. But I find that it is worth doing, so far-which is great.

DF: So you do a restaurant, and then you go back to doing paintings and sculptures, and then you do something else, and you're combining things from all those areas. Where do you think your interest in this kind of process comes from?
DH: It's always been like that. When I was young, if you gave me two things, I would mess about and make them into something else. I made things for my brother and sister. Art's like a gift - you know, I remember making my brother a little farm when I was a kid. My mind just worked like that.

DF: Before I spent time with your new book, so much of what I'd heard from people was about your controversial side, that "He cuts up cows and suspends sheep in formaldehyde" stuff. The media play a paradoxical role in your work. On the one hand, they're an intrinsic element; on the other, though, the coverage reduces your Intentions and reasons for doing what you do so brutally that it's of no help to anyone who really wants to learn about you. Seeing your book was a real revelation for me because of its spirit, its sense of life, and the cross section of work it presents.
Dh: That's why I did it. I get sick of people going, "You do dead animals." You know, people say to me that my work's sensational. And I go, "What's wrong with sensation? It's like touching skin." Sensation is an element of what I do, and why not? It's not sensational for the sake of being sensational, but it's sensational art. If somebody said to me, "You look sensational," I'd go, "Great!" And if somebody says, "Your work's sensational," you go, "Great!" I can't see why you'd go, "Oh, yes. Sorry."

DF: But doesn't it bother you that they're creating a picture of you as this demonic -
DH: If the only thing that's happened because of it is that I've gotten a lot more people interested in art and going to galleries, then that's OK. If that's all it's achieved, it's still great. I think you just have to take it on. It makes me laugh. The media are screwy. People are always getting the wrong picture. I get cab drivers who go, "That's not art." And I go, "What's not art?" And they go, "You putting animals in formaldehyde." And I go, "Did you ever see it?" And they go, "No." So I say, "Well, what the hell are you talking about? I think if you do see it, you'll say, 'That's not what I expected at all.'" You know, I was in debt when I first started making all these things.

DF: So what you're saying is you did them because you had to, whether or not you could afford it.
DH: It cost me a fortune. The glass is three inches thick, and it's bulletproof - it has to be, for security reasons. And for the shark piece, it cost 28,000 pounds just for the glass. And people just go, "Gets a shark, puts it in a tank. That's not art."

DF: Well, as you say, the media will typically focus on only one thing. But when I look at your new book, I see the breadth of what you've done. I see that you're trying to show how death is a part of life, and also how your sense of the world works.
DH: I had a discussion with some animal rights people, and I was saying, "Look, I don't kill these things for art." I said I made a big deal about not doing that. I'm on their side, I feel the same way. And then one of these people said to me, "But we're not going to miss an opportunity to get a lot of publicity. We need it."

DF: Now that London has become a hot spot In many respects, are you kind of wishing the trendy followers would back out?
DH: I think you have to ignore all that. There are too many good things to keep me interested.

DF: As an artist, you are very much in the middle of the noise, and you make noise with your work. But you live outside the noise, in Devon.
DH: I've chosen to do that, but it's still noisy. You know, it's not an either-or situation. I've got an office in London, a studio halfway between London and where home is. Because I live in Devon, some people go, "Oh my God, you've run away. You were in London, and now you're going to Devon." But I don't look at it like that.

DF: Let's talk about the time before you went to art school. There has been very little written about your beginnings and the journey you went on to become an artist.
DH: I grew up in Leeds. I was always interested in art. As long as I can remember, I wanted to make it. But I took architectural drawing at school because I thought there was no way that being an artist could be a job. So I started with the closest thing. And then I thought, I can go to art school. I had never ever thought I could do that before. So I went to art school in Leeds, which was great fun. After that, I moved to London and looked for a job and tried to get into St. Martins to study art. But I had been a bit naughty at Leeds and I got bumped out. After that, I worked on a building site for two years before I finally went back to school
[板凳:2楼] guest 2008-08-03 12:08:37
翻译的太差了。。。。。。中文翻译话都说不利落。。。不过还是谢谢这种奉献精神
[地板:3楼] 兰皮 2008-08-03 12:15:50
那你来翻译三


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[4楼] 王冠 2008-08-03 12:25:24
新人注册,欢迎光临。[url]http://blog.sina.com.cn/wangguan1986
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