TED2009
Thelma Golden: How art gives shape to cultural change
Thelma Golden: Kako umjetnost oblikuje kulturološku promjenu
Filmed:
Readability: 4.5
691,713 views
Thelma Golden, kustosica u Studio muzeju u Harlemu, nas pričom vodi kroz tri nedavne predstave koje istražuju kako umjetnost ispituje i redefinira kulturu. Umjetnici "nakon-crnog" s kojima radi koriste svoju umjetnost kako bi potaknuli novi dijalog o rasi i kulturi -- i o značenju same umjetnosti.
Thelma Golden - Curator
Opening minds and showcasing new voices -- it's all part of the job description for Studio Museum in Harlem director and chief curator Thelma Golden. Full bio
Opening minds and showcasing new voices -- it's all part of the job description for Studio Museum in Harlem director and chief curator Thelma Golden. Full bio
Double-click the English transcript below to play the video.
00:16
The brilliant playwright, Adrienne Kennedy,
0
1000
3000
Briljantna dramska spisateljica, Adrienne Kennedy,
00:19
wrote a volume called
1
4000
2000
napisala je knjigu zvanu
00:21
"People Who Led to My Plays."
2
6000
2000
"Ljudi koji su vodili do mojih drama."
00:23
And if I were to write a volume,
3
8000
2000
A kada bih ja pisala knjigu,
00:25
it would be called,
4
10000
2000
zvala bi se,
00:27
"Artists Who Have Led My Exhibitions"
5
12000
2000
"Umjetnici koji su vodili moje izložbe"
00:29
because my work,
6
14000
2000
jer moj rad,
00:31
in understanding art and in understanding culture,
7
16000
3000
razumijavanje umjetnosti i razumijevanje kulture,
00:34
has come by following artists,
8
19000
3000
jest niknulo slijedeći umjetnike,
00:37
by looking at what artists mean
9
22000
3000
promatrajući što umjetnik znači
00:40
and what they do and who they are.
10
25000
2000
i što oni rade i tko su oni.
00:43
J.J. from "Good Times,"
11
28000
2000
Jay Jay iz "Dobrih vremena",
00:45
(Applause)
12
30000
3000
(Pljesak)
00:48
significant to many people of course
13
33000
2000
značajan za mnoge ljude naravno
00:50
because of "Dy-no-mite,"
14
35000
2000
zbog "din-a-mita",
00:52
but perhaps more significant
15
37000
2000
ali možda još značajniji
00:54
as the first, really, black artist
16
39000
3000
kao prvi, doista, crni umjetnik
00:57
on primetime TV.
17
42000
2000
na TV-u u udarnom terminu.
01:00
Jean-Michel Basquiat,
18
45000
2000
Jean-Michel Basquiat,
01:02
important to me because [he was]
19
47000
2000
važan za mene jer je bio
01:04
the first black artist in real time
20
49000
3000
prvi crni umjetnik u stvarnom vremenu
01:07
that showed me the possibility of
21
52000
2000
koji mi je pokazao mogućnosti
01:09
who and what I was about to enter into.
22
54000
3000
u koga i u što ću zakoračiti.
01:12
My overall project is about art --
23
57000
3000
Moj cjelokupni projekt je o umjetnosti,
01:15
specifically, about black artists --
24
60000
2000
konkretno, o crnim umjetnicima,
01:17
very generally
25
62000
2000
vrlo općenito
01:19
about the way in which art
26
64000
2000
o načinu na koji umjetnost
01:21
can change the way we think
27
66000
2000
može promijeniti način na koji razmišljamo
01:23
about culture and ourselves.
28
68000
3000
o kulturi i o sebi.
01:26
My interest is in artists
29
71000
2000
Moj interes je u umjetnicima
01:28
who understand and rewrite history,
30
73000
3000
koji razumiju i pišu povijest iznova,
01:31
who think about themselves
31
76000
2000
koji misle o sebi
01:33
within the narrative
32
78000
2000
unutar pripovjesti
01:35
of the larger world of art,
33
80000
2000
većeg svijeta umjetnosti,
01:37
but who have created new places
34
82000
2000
ali koji su za nas stvorili nova mjesta
01:39
for us to see and understand.
35
84000
3000
koja možemo vidjeti i razumijeti.
01:42
I'm showing two artists here, Glenn Ligon and Carol Walker,
36
87000
3000
Pokazujem ovdje dva umjetnika, Glenna Ligona i Carol Walkera,
01:45
two of many who really form for me
37
90000
3000
dvoje od njih mnogo koji za mene oblikuju
01:48
the essential questions that I wanted to bring
38
93000
3000
ključna pitanja koja želim prinijeti
01:51
as a curator to the world.
39
96000
2000
svijetu kao kustosica.
01:53
I was interested in the idea
40
98000
3000
Zanimala me ideja
01:56
of why and how
41
101000
2000
zašto i kako
01:58
I could create a new story,
42
103000
3000
mogu stvoriti novu priču
02:01
a new narrative in art history
43
106000
2000
i novu pripovjetku u povijesti umjetnosti
02:03
and a new narrative in the world.
44
108000
2000
i novu pripovjetku u svijetu.
02:05
And to do this, I knew
45
110000
2000
A kako bih napravila to, znala sam
02:07
that I had to see the way in which artists work,
46
112000
3000
kako moram vidjeti način na koji umjetnici rade,
02:10
understand the artist's studio
47
115000
2000
razumijeti umjetnički studio
02:12
as a laboratory,
48
117000
2000
kao laboratorij,
02:14
imagine, then,
49
119000
2000
onda zamisliti,
02:16
reinventing the museum as a think tank
50
121000
3000
ponovno izumiti muzej kao mjesto okupljanja mozgova,
02:19
and looking at the exhibition
51
124000
3000
i gledati na izložbu
02:22
as the ultimate white paper -- asking questions,
52
127000
3000
kao krajnji bijeli papir, postavljajući pitanja
02:25
providing the space
53
130000
2000
pružati prostor
02:27
to look and to think about answers.
54
132000
3000
za promatranje i razmišljanje o odgovorima.
02:30
In 1994,
55
135000
2000
1994. godine,
02:32
when I was a curator at the Whitney Museum,
56
137000
2000
kada sam bila kustos u Whitney muzeju,
02:34
I made an exhibition called Black Male.
57
139000
2000
napravila sam izložbu zvanu "Crni muškarac."
02:36
It looked at the intersection
58
141000
2000
To je bilo promatranje raskrižja
02:38
of race and gender
59
143000
2000
rase i spola
02:40
in contemporary American art.
60
145000
2000
u suvremenoj američkoj umjetnosti.
02:42
It sought to express
61
147000
2000
Trebala je izraziti
02:44
the ways in which art
62
149000
2000
načine na koji umjetnost
02:46
could provide a space for dialogue --
63
151000
2000
može pružiti prostor za dijalog,
02:48
complicated dialogue,
64
153000
2000
komplicirani dijalog,
02:50
dialogue with many, many points of entry --
65
155000
3000
dijalog s mnogim, mnogim ulaznim točkama,
02:53
and how the museum could be the space
66
158000
2000
i kako bi muzej mogao biti mjesto
02:55
for this contest of ideas.
67
160000
2000
za to natjecanje ideja.
02:57
This exhibition included
68
162000
2000
Ta izložba je uključila
02:59
over 20 artists
69
164000
2000
preko 20 umjetnika
03:01
of various ages and races,
70
166000
2000
različitih dobi i rasa,
03:03
but all looking at black masculinity
71
168000
3000
ali svi su promatrali crnačku muževnost
03:06
from a very particular point of view.
72
171000
3000
s veoma specifičnog gledišta.
03:12
What was significant about this exhibition
73
177000
3000
Ono što je bilo značajno u toj izložbi
03:15
is the way in which
74
180000
2000
je način na koji
03:17
it engaged me in my role
75
182000
3000
me uključila u moju ulogu
03:20
as a curator, as a catalyst,
76
185000
2000
kao kustosice, kao katalizatora,
03:22
for this dialogue.
77
187000
2000
za taj dijalog.
03:24
One of the things that happened
78
189000
2000
Jedna od stvari koja se dogodila
03:26
very distinctly in the course of this exhibition
79
191000
2000
vrlo jasno tijekom te izložbe
03:28
is I was confronted with idea
80
193000
2000
je kako sam ja bila suočena s idejom
03:30
of how powerful images can be
81
195000
2000
kako snažne slike mogu biti
03:32
and people's understanding of themselves and each other.
82
197000
3000
i ljudska razumijevanja njih samih i jedni drugih.
03:35
I'm showing you two works, one on the right by Leon Golub,
83
200000
3000
Pokazujem vam dva djela, ovo na desnoj strani, od Leona Goluba,
03:38
one on the left by Robert Colescott.
84
203000
3000
ovo na lijevoj strani od Roberta Colescotta.
03:41
And in the course of the exhibition --
85
206000
2000
I u tijeku izložbe,
03:43
which was contentious, controversial
86
208000
2000
koja je bila sporna, kontroverzna,
03:45
and ultimately, for me,
87
210000
2000
i naposljetku, za mene,
03:47
life-changing
88
212000
2000
ona koja mi je promijenila život,
03:49
in my sense of what art could be --
89
214000
2000
u onom što ja mislim da bi umjetnost mogla biti,
03:51
a woman came up to me on the gallery floor
90
216000
3000
žena je došla do mene u galeriji
03:54
to express her concern about the nature
91
219000
3000
kako bi izrazila svoju zabrinutost prirodom
03:57
of how powerful images could be
92
222000
2000
koliko snažne slike mogu biti
03:59
and how we understood each other.
93
224000
2000
i kako razumijemo jedni druge.
04:01
And she pointed to the work on the left
94
226000
2000
I pokazala je na djelo na lijevoj strani
04:03
to tell me how problematic this image was,
95
228000
2000
kako bi mi rekla koliko je ta slika problematična,
04:05
as it related, for her, to the idea of
96
230000
3000
kako se veže, za nju, za ideju
04:08
how black people had been represented.
97
233000
3000
kako su crnci bili predstavljeni.
04:11
And she pointed to the image on the right
98
236000
2000
I pokazala je na sliku na desnoj strani
04:13
as an example, to me, of the kind of dignity
99
238000
3000
kao primjer, meni, neke vrste dostojanstva
04:16
that needed to be portrayed
100
241000
2000
koja je trebala biti prikazana
04:18
to work against those images in the media.
101
243000
2000
kako bi funkcionirala protiv onih slika u medijima.
04:20
She then assigned these works racial identities,
102
245000
3000
Zatim je tim djelima dodjelila rasne identitete,
04:23
basically saying to me that the work on the right,
103
248000
2000
u osnovi mi govoreći kako je djelo na desnoj strani,
04:25
clearly, was made by a black artist,
104
250000
2000
očito, bilo izrađeno od strane crnog umjetnika,
04:27
the work on the left, clearly, by a white artist,
105
252000
2000
djelo na lijevoj strani, je očito bilo izrađeno od bijelog umjetnika,
04:29
when, in effect,
106
254000
2000
a pravi rezultat,
04:31
that was the opposite case:
107
256000
2000
je bio suprotan od toga.
04:33
Bob Colescott, African-American artist;
108
258000
2000
Bob Colescott, Afričko-američki umjetnik,
04:35
Leon Golub, a white artist.
109
260000
2000
Leon Golub, bijeli umjetnik.
04:37
The point of that for me was
110
262000
2000
Poanta toga, za mene, je bila
04:39
to say -- in that space, in that moment --
111
264000
3000
u tom prostoru, u tom trenutku,
04:42
that I really, more than anything,
112
267000
2000
kako sam doista, više od ičega,
04:44
wanted to understand
113
269000
2000
htjela shvatiti
04:46
how images could work, how images did work,
114
271000
3000
kako bi slike mogle funkcionirati, kako bi prikazi mogli funkcionirati
04:49
and how artists provided
115
274000
2000
i kako bi umjetnici pružili
04:51
a space bigger than one
116
276000
2000
prostor veći od onog
04:53
that we could imagine in our day-to-day lives
117
278000
2000
koji bi mogli zamisliti u našim svakodnevnim životima
04:55
to work through these images.
118
280000
3000
kako bi mogli raditi kroz te slike.
04:58
Fast-forward and I end up in Harlem;
119
283000
3000
Brzo premotavanje naprijed i završila sam u Harlemu,
05:01
home for many of black America,
120
286000
3000
dom mnogih crnaca u Americi,
05:04
very much the psychic heart
121
289000
3000
uvelike spiritualno srce
05:07
of the black experience,
122
292000
2000
crnačkog iskustva,
05:09
really the place where the Harlem Renaissance existed.
123
294000
3000
doista mjesto gdje je cijela harlemska renesansa postojala.
05:13
Harlem now, sort of explaining
124
298000
3000
Harlem sada, neka vrsta objašnjavanja
05:16
and thinking of itself in this part of the century,
125
301000
3000
i razmišljanja o sebi u ovom dijelu stoljeća,
05:19
looking both backwards and forwards ...
126
304000
2000
gledajući i nazad i naprijed.
05:21
I always say Harlem is an interesting community
127
306000
2000
Uvijek kažem kako je Harlem zanimljiva zajednica
05:23
because, unlike many other places,
128
308000
2000
jer, za razliku od mnogih drugih mjesta,
05:25
it thinks of itself in the past, present
129
310000
2000
razmišlja o sebi u prošlosti, sadašnjosti
05:27
and the future simultaneously;
130
312000
2000
i budućnosti u isto vrijeme.
05:29
no one speaks of it just in the now.
131
314000
2000
Nitko ne priča o njemu samo u sadašnjosti.
05:31
It's always what it was and what it can be.
132
316000
3000
Uvijek je ono što je bio i što može biti.
05:34
And, in thinking about that,
133
319000
2000
I razmišljajući o tome,
05:36
then my second project, the second question I ask is:
134
321000
2000
slijedi moj drugi projekt, moje drugo pitanje koje postavljam.
05:38
Can a museum
135
323000
2000
Može li muzej
05:40
be a catalyst in a community?
136
325000
2000
biti katalizator u zajednici?
05:42
Can a museum house artists
137
327000
2000
Može li muzej ugostiti umjetnike
05:44
and allow them to be change agents
138
329000
2000
i dozvoliti im da budu agenti promjene
05:46
as communities rethink themselves?
139
331000
3000
kako se zajednice ponovno osmišljavaju?
05:49
This is Harlem, actually, on January 20th,
140
334000
3000
Ovo je Harlem, zapravo, na 20. siječnj,
05:52
thinking about itself in a very wonderful way.
141
337000
3000
razmišlajući o sebi na prekrasan način.
05:56
So I work now at The Studio Museum in Harlem,
142
341000
2000
Dakle, sada radim u Studio muzeju u Harlemu,
05:58
thinking about exhibitions there,
143
343000
2000
razmišljajući o izložbama tamo,
06:00
thinking about what it means to
144
345000
2000
razmišljajući o tome što znači
06:02
discover art's possibility.
145
347000
2000
otkriti mogućnosti umjetnosti.
06:04
Now, what does this mean to some of you?
146
349000
2000
Sada, što to znači nekima od vas?
06:06
In some cases, I know that many of you
147
351000
3000
U nekim slučajevima, znam kako su mnogi od vas
06:09
are involved in cross-cultural dialogues,
148
354000
2000
uključeni u kros-kulturalne dijaloge,
06:11
you're involved in ideas of creativity and innovation.
149
356000
3000
uključeni ste u ideje kreativnosti i inovacije.
06:14
Think about the place that artists can play in that --
150
359000
3000
Razmislite o ulozi koju umjetnici mogu imati u tome.
06:17
that is the kind of incubation and advocacy
151
362000
3000
To je neka vrsta inkubacije i zagovorništva
06:20
that I work towards, in working with young, black artists.
152
365000
3000
prema kojoj težim, radeći s mladim, crnim umjetnicima.
06:23
Think about artists, not as content providers,
153
368000
2000
Razmislite o umjetnicima, ne kao o pružateljima sadržaja,
06:25
though they can be brilliant at that,
154
370000
2000
iako mogu biti briljantni u tome,
06:27
but, again, as real catalysts.
155
372000
2000
već, ponovno, kao istinski katalizatori.
06:31
The Studio Museum was founded in the late 60s.
156
376000
3000
Muzej Studio je osnovan kasnih 60-ih.
06:34
And I bring this up because it's important to locate
157
379000
3000
I iznosim ovo jer je važno locirati
06:37
this practice in history.
158
382000
2000
ovu praksu u povijesti,
06:39
To look at 1968,
159
384000
2000
gledati u 1968. godinu,
06:41
in the incredible historic moment that it is,
160
386000
2000
u taj nevjerojatan povijesni trenutak
06:43
and think of the arc that has happened since then,
161
388000
3000
i misliti o luku koji se dogodio odonda,
06:46
to think of the possibilities that we are all
162
391000
3000
misliti o mogućnostima u kojima svi mi
06:49
privileged to stand in today
163
394000
2000
imamo danas privilegiju stajati,
06:51
and imagine that this museum
164
396000
2000
i zamislite kako je taj muzej
06:53
that came out of a moment of great protest
165
398000
2000
koji je izašao iz trenutka velikog prosvjeda,
06:55
and one that was so much about
166
400000
2000
i u kojem se toliko radi o
06:57
examining the history and the legacy
167
402000
2000
istraživanju povijesti i ostavštine
06:59
of important African-American artists
168
404000
3000
važnih afričko-američkih umjetnika
07:02
to the history of art in this country
169
407000
2000
povijesti umjetnosti u ovoj zemlji
07:04
like Jacob Lawrence, Norman Lewis,
170
409000
2000
poput Jacoba Lawrencea, Normana Lewisa,
07:06
Romare Bearden.
171
411000
2000
Romare Beardona.
07:08
And then, of course,
172
413000
2000
I zatim, naravno,
07:10
to bring us to today.
173
415000
2000
dovesti nas do danas.
07:12
In 1975, Muhammad Ali
174
417000
2000
1975. godine, Mohammed Ali
07:14
gave a lecture at Harvard University.
175
419000
2000
je održao predavanje na Svučilištu Harvard.
07:16
After his lecture, a student got up and said to him,
176
421000
3000
Nakon njegova predavanja, student je ustao i rekao mu,
07:19
"Give us a poem."
177
424000
2000
"Daj nam pjesmu."
07:21
And Mohammed Ali said, "Me, we."
178
426000
2000
A Mohammed Ali je rekao, "Ja, Mi."
07:23
A profound statement about the individual and the community.
179
428000
3000
Duboka izjava o pojedincu i zajednici,
07:26
The space in which now,
180
431000
2000
prostor u kojem sada,
07:28
in my project of discovery, of thinking about artists,
181
433000
3000
u mom projektu otkrića, o razmišljanju o umjetnicima,
07:31
of trying to define
182
436000
2000
pokušavanju definiranja
07:33
what might be
183
438000
2000
što bi mogao biti
07:35
black art cultural movement of the 21st century.
184
440000
3000
kulturni pokret crne umjetnosti 21. stoljeća.
07:38
What that might mean
185
443000
2000
Ono što bi moglo značiti
07:40
for cultural movements all over this moment,
186
445000
3000
za kulturalne pokrete posvuda ovog trenutka,
07:43
the "me, we" seems
187
448000
2000
"Ja, Mi" čini se
07:45
incredibly prescient
188
450000
2000
nevjerojatno predviđajuće
07:47
totally important.
189
452000
2000
i potpuno važno.
07:49
To this end,
190
454000
2000
Do ovog trenutka,
07:51
the specific project that has made this possible for me
191
456000
3000
specifičan projekt koji je to meni omogućio
07:54
is a series of exhibitions,
192
459000
2000
su bili nizove izložbi,
07:56
all titled with an F --
193
461000
2000
sve naslovljene s F,
07:58
Freestyle, Frequency and Flow --
194
463000
2000
"Slobodan stil", "Frekvencija" i "Tok",
08:00
which have set out to discover
195
465000
2000
koji imaju zadatak otkriti
08:02
and define
196
467000
2000
i definirati
08:04
the young, black artists working in this moment
197
469000
3000
mlade, crne umjetnike koji rade u ovom pokretu
08:07
who I feel strongly
198
472000
2000
za koje čvrsto osjećam
08:09
will continue to work over the next many years.
199
474000
3000
kako će nastaviti s radom tijekom idućih mnogo godina.
08:12
This series of exhibitions
200
477000
2000
Ovi nizovi izložbi
08:14
was made specifically
201
479000
2000
su napravljeni s razlogom
08:16
to try and question
202
481000
2000
kako bi pokušali i ispitali
08:18
the idea of what it would mean
203
483000
2000
ideju što bi značilo
08:20
now, at this point in history,
204
485000
2000
sada, u ovom trenutku u povijesti,
08:22
to see art as a catalyst;
205
487000
3000
vidjeti umjetnost kao katalizator,
08:25
what it means now, at this point in history,
206
490000
2000
što znači sada, u ovom trenutku u povijesti,
08:27
as we define and redefine culture,
207
492000
3000
kada definiramo i redefiniramo kulturu,
08:30
black culture specifically in my case,
208
495000
2000
crnačku kulturu, naročito u mom slučaju,
08:32
but culture generally.
209
497000
2000
ali i kulturu, općenito.
08:34
I named this group of artists
210
499000
2000
Imenovala sam ovu grupu umjetnika
08:36
around an idea, which I put out there
211
501000
3000
okupljenih oko ideje koju sam postavila tamo vani,
08:39
called post-black,
212
504000
2000
post-crnci.
08:41
really meant to define them
213
506000
2000
Doista sam ih htjela definirati
08:43
as artists who came and start their work now,
214
508000
3000
kao umjetnike koji su sada došli i počeli sa svojim radom,
08:46
looking back at history but start in this moment, historically.
215
511000
3000
gledajući unatrag na povijest, ali počinjući u ovom trenutku, povijesno.
08:50
It is really in this sense of discovery
216
515000
3000
Doista u ovom smislu otkrića
08:53
that I have a new set of questions that I'm asking.
217
518000
3000
imam novi set pitanja koja postavljam.
08:56
This new set of questions is:
218
521000
2000
Taj novi set pitanja je:
08:58
What does it mean, right now,
219
523000
2000
Što znači, upravo sada,
09:00
to be African-American in America?
220
525000
3000
biti afrički-amerikanac u Americi?
09:03
What can artwork say about this?
221
528000
3000
Što umjetničko djelo može reći o tome?
09:06
Where can a museum exist
222
531000
3000
Gdje može postojati muzej
09:09
as the place for us all
223
534000
3000
kao mjesto za sve nas
09:12
to have this conversation?
224
537000
2000
da vodimo ovaj razgovor?
09:14
Really, most exciting about this
225
539000
2000
Doista, najuzbudljivije u tome
09:16
is thinking about the energy and the excitement
226
541000
3000
je razmišljanje o energiji i uzbuđenju
09:19
that young artists can bring.
227
544000
2000
koje mladi umjetnici mogu donijeti.
09:21
Their works for me are about,
228
546000
2000
Njihovi radovi su za mene o,
09:23
not always just simply
229
548000
2000
ne uvijek, već jednostavno
09:25
about the aesthetic innovation
230
550000
2000
o estetskoj inovaciji
09:27
that their minds imagine, that their visions create
231
552000
3000
koju njihovi umovi zamišljaju, koju njihove vizije stvaraju
09:30
and put out there in the world,
232
555000
2000
i stavljaju van u svijet,
09:32
but more, perhaps, importantly,
233
557000
2000
ali još, možda, važnije,
09:34
through the excitement of the community
234
559000
2000
kroz uzbuđenje zajednice
09:36
that they create as important voices
235
561000
3000
koje oni stvaraju kao važni glasovi
09:39
that would allow us right now to understand our situation,
236
564000
3000
koji će nam upravo sada dozvoliti da shvatimo našu situaciju,
09:42
as well as in the future.
237
567000
2000
kao i u budućnosti.
09:44
I am continually amazed
238
569000
3000
Neprestano sam očarana
09:47
by the way in which
239
572000
2000
načinom na koji
09:49
the subject of race
240
574000
2000
predmet rase
09:51
can take itself in many places
241
576000
3000
može odvesti sebe na mnoga mjesta
09:54
that we don't imagine it should be.
242
579000
2000
a koja ni ne zamišljamo kao prikladna.
09:56
I am always amazed
243
581000
3000
Uvijek sam očarana
09:59
by the way in which artists are willing
244
584000
2000
načinom na koji su umjetnici voljni
10:01
to do that in their work.
245
586000
2000
to učiniti u svojim djelima.
10:03
It is why I look to art.
246
588000
2000
To je razlog zbog kojeg promatram umjetnost.
10:05
It's why I ask questions of art.
247
590000
2000
Zato postavljam pitanja o umjetnosti.
10:07
It is why I make exhibitions.
248
592000
3000
Zato radim izložbe.
10:10
Now, this exhibition, as I said,
249
595000
2000
Sada, ova izložba, kao što sam i rekla,
10:12
40 young artists done over the course of eight years,
250
597000
3000
40 mladih umjetnika u vremenskom periodu od osam godina,
10:15
and for me it's about considering the implications.
251
600000
3000
i za mene je to o uzimanju u obzir implikacija.
10:19
It's considering the implications of
252
604000
2000
To je uzimanje u obzir implikacija
10:21
what this generation has to say to the rest of us.
253
606000
3000
o tome što ta generacija ima nama ostalima za reći.
10:24
It's considering what it means for these artists
254
609000
3000
To je uzimanje u obzir onoga što znači za te umjetnike
10:27
to be both out in the world as their work travels,
255
612000
2000
da budu vani u svijetu, kako njihovi radovi putuju,
10:29
but in their communities
256
614000
2000
ali i u njihovim zajednicama,
10:31
as people who are seeing and thinking
257
616000
3000
kao ljudi koji vide i razmišljaju
10:34
about the issues that face us.
258
619000
3000
o problemima s kojima smo suočeni.
10:37
It's also about thinking about
259
622000
2000
Radi se i o razmišljanju o
10:39
the creative spirit and nurturing it,
260
624000
2000
kreativnom duhu i njegovanju istog.
10:41
and imagining, particularly in urban America,
261
626000
2000
I zamislite, naročito u urbanoj Americi,
10:43
about the nurturing of the spirit.
262
628000
3000
o njegovanju duha.
10:46
Now, where, perhaps, does this end up right now?
263
631000
3000
Sada, gdje, možda, to završava?
10:49
For me, it is about re-imagining
264
634000
3000
Za mene, radi se o ponovnom osmišljavanju
10:52
this cultural discourse in an international context.
265
637000
3000
tog kulturalnog diskursa u međunarodnom kontekstu.
10:55
So the last iteration of this project
266
640000
3000
Dakle, posljednja iteracija ovog projekta
10:58
has been called Flow,
267
643000
2000
je nazvana "Tok",
11:00
with the idea now of creating
268
645000
2000
s idejom stvaranja
11:02
a real network
269
647000
2000
stvarne mreže
11:04
of artists around the world;
270
649000
2000
umjetnika diljem svijeta,
11:06
really looking, not so much
271
651000
2000
doista gledanje, ne toliko
11:08
from Harlem and out, but looking across,
272
653000
3000
iz Harlema i prema van, već gledanje poprijeko.
11:11
and Flow looked at artists all born on the continent of Africa.
273
656000
3000
A "Tok" je promatrao umjetnike koji su svi rođeni na afričkom kontinentu.
11:14
And as many of us think about that continent
274
659000
3000
I kako mnogi od nas misle o tom kontinentu
11:17
and think about what if means
275
662000
2000
i misle o tome što znači
11:19
to us all in the 21st century,
276
664000
2000
za sve nas u 21. stoljeću,
11:21
I have begun that looking
277
666000
2000
počela sam kako gledanje
11:23
through artists, through artworks,
278
668000
2000
kroz umjetnike, kroz umjetnička djela
11:25
and imagining what they can tell us about the future,
279
670000
3000
i zamišljanje što nam mogu reći o budućnosti,
11:28
what they tell us about our future,
280
673000
3000
što nam govore o našoj budućnosti
11:31
and what they create in their sense of
281
676000
3000
i što stvaraju na svoj način u pogledu
11:34
offering us this great possibility of watching
282
679000
3000
pružanja nam te velike prilike promatranja
11:37
that continent emerge as part
283
682000
2000
kako kontinent niče kao dio
11:39
of our bigger dialogue.
284
684000
2000
našeg većeg dijaloga.
11:41
So, what do I discover
285
686000
2000
Dakle, što otkrivam
11:43
when I look at artworks?
286
688000
2000
kada promatram umjetnička djela?
11:45
What do I think about
287
690000
2000
O čemu razmišljam
11:47
when I think about art?
288
692000
2000
kada razmišljam o umjetnosti?
11:49
I feel like the privilege I've had as a curator
289
694000
2000
Osjećam kako privilegija koju sam imala kao kustos
11:51
is not just the discovery of new works,
290
696000
3000
nije samo otkrivanje novih radova,
11:54
the discovery of exciting works.
291
699000
2000
otkrivanje uzbudljivih radova,
11:56
But, really, it has been
292
701000
2000
već, uistinu,
11:58
what I've discovered about myself
293
703000
2000
ono što sam otkrila o sebi
12:00
and what I can offer
294
705000
2000
i što mogu ponuditi
12:02
in the space of an exhibition,
295
707000
2000
u prostoru izložbe,
12:04
to talk about beauty, to talk about power,
296
709000
3000
pričanje o ljepoti, pričanje o moći,
12:07
to talk about ourselves,
297
712000
2000
pričanje o nama samima,
12:09
and to talk and speak to each other.
298
714000
3000
i pričati jedni s drugima.
12:12
That's what makes me get up every day
299
717000
3000
To je ono zbog čega se budim svaki dan
12:15
and want to think about
300
720000
2000
i želim razmišljati o
12:17
this generation of black artists and artists around the world.
301
722000
3000
ovoj generaciji crnih umjetnika i umjetnika diljem svijeta.
12:20
Thank you. (Applause)
302
725000
2000
Hvala vam.
ABOUT THE SPEAKER
Thelma Golden - CuratorOpening minds and showcasing new voices -- it's all part of the job description for Studio Museum in Harlem director and chief curator Thelma Golden.
Why you should listen
Culling an interest in art history from a childhood board game, Thelma Golden knew her dream job even before she knew what to call it. She stumbled upon the title and role she was looking for -- curator -- at the age of 12, and started up the ladder early, landing at the Whitney Museum in 1988, just one year after college. She was a co-curator of the 1993 Whitney Biennial, a controversial landmark show that showcased overtly political art made by a significant percentage of nonwhite nonmales and paved the way for topics of race, gender and identity to be discussed institutionally.
Golden first burst into the limelight as a solo curator with "The Black Male: Representations of Masculinity in Contemporary American Art" at the Whitney in 1994. Brilliantly imagined and carefully envisioned (and provoking controversy from a few corners), the show cemented her reputation as a formidable and fearless curator. In 2005, Golden became director and chief curator of the Studio Museum in Harlem, re-dedicating the institution to forward-facing art from all corners of the African Diaspora. She keeps an eye on young and developing artists, while using the Studio Museum to write the history of collecting and art-making in Harlem and around the world.
Thelma Golden | Speaker | TED.com