ABOUT THE SPEAKER
Sanford Biggers - Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history.

Why you should listen

An LA native working in NYC, Sanford Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates issues such as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multi-disciplinary formal process and a syncretic creative approach, he makes works that are as aesthetically pleasing as they are conceptual.

The significance of Biggers' work within contemporary society has been celebrated through solo exhibitions both nationally and internationally, most recently at the Brooklyn Museum, Sculpture Center and Mass MoCA. He has participated in prestigious residencies and fellowships including: Akademie Schloss Solitude, Stuttgart, Germany; Ujazdowski Castle, Warsaw, Poland; Headlands Center for the Arts, Sausalito, California; ARCUS Project Foundation, Ibaraki, Japan; and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary. He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program and the Skowhegan School of Painting and Sculpture residency.

Biggers' installations, videos and performances have appeared in venues worldwide including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, New York and the Yerba Bue a Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. The artist's works have been included in notable exhibitions such as: Prospect 1 New Orleans Biennial, Illuminations at the Tate Modern, Performa 07 in NY, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum.

Biggers has won awards including: the American Academy in Berlin Prize, Greenfield Prize, New York City Art Teachers Association Artist-of-the-Year, Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award, the Lambent Fellowship in the Arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award and Rema Hort Mann Foundation Award Grant.

Biggers is Assistant Professor at Columbia University's Visual Arts program and a board member of Sculpture Center, Soho House and the CUE Foundation. He has also taught at Virginia Commonwealth University’s Sculpture and Expanded Media program and was a visiting scholar at Harvard University's VES Department in 2009.

More profile about the speaker
Sanford Biggers | Speaker | TED.com
TED2016

Sanford Biggers: An artist's unflinching look at racial violence

Sanford Biggers: Perspectiva fermă a unui artist asupra violenței rasiale

Filmed:
1,158,104 views

Sanford Biggers, artist conceptual și TED Fellow, folosește pictura, sculptura, filmul și spectacolul ca să inițieze conversații incitante despre istoria și trauma Americii negre. Alătură-te lui pe măsură ce detaliază două creații convingătoare și împărtășește motivația din spatele artei sale. „Doar prin dialog contemplativ despre istorie și rasă putem evolua ca indivizi și ca societate" – spune Biggers.
- Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history. Full bio

Double-click the English transcript below to play the video.

00:12
As a conceptualconceptual artistartist,
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Fiind un artist conceptual,
00:14
I'm constantlymereu looking for creativecreator waysmoduri
to sparkscânteie challengingprovocator conversationsconversații.
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caut mereu moduri creative
de a înfiripa conversații incitante.
00:18
I do this thoughdeşi paintingpictură, sculpturesculptură,
videovideo and performanceperformanţă.
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Fac asta prin pictură,
sculptură, video și spectacole.
00:22
But regardlessfără deosebire of the formatformat,
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Dar indiferent de format,
00:23
two of my favoritefavorit materialsmateriale
are historyistorie and dialoguedialog.
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„materialele” pe care le prefer
sunt istoria și dialogul.
00:27
In 2007, I createdcreată "LotusLotus,"
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În 2007, am creat „Lotus”,
00:30
a seven-and-a-half-footşapte şi jumătate de picior diameterdiametru,
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o reprezentare cu diametrul de 228 cm,
00:32
600-pound-livră glasssticlă depictionreprezentare
of a lotuslotus blossomfloare.
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cântărind 273 kg,
a unui lotus înflorit.
00:35
In BuddhismBudism, the lotuslotus is a symbolsimbol
for transcendencetranscendenţă
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În Budism, lotusul este un simbol
al transcendenței,
00:39
and for puritypuritate of mindminte and spiritspirit.
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al purității minții și spiritului.
00:41
But a closermai aproape look at this lotuslotus
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Dar la o privire mai atentă,
acest lotus dezvăluie
00:44
revealsdezvăluie eachfiecare petalpetale
to be the cross-sectionsecţiune transversală of a slavesclav shipnavă.
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că fiecare petală
este o secțiune a unui cargou cu sclavi.
00:47
This iconiciconic diagramdiagramă was takenluate
from a BritishBritanic slavingslaving manualmanual
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Această diagramă a fost luată
dintr-un manual englez despre sclavagism,
00:51
and latermai tarziu used by abolitionistsaboliţionişti to showspectacol
the atrocitiesatrocităţile of slaveryrobie.
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și folosită de aboliționiști
pentru a arăta atrocitățile sclaviei.
00:56
In AmericaAmerica, we don't like
to talk about slaveryrobie,
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În America, nu ne place
să vorbim despre sclavie,
00:58
nornici do we look at it as a globalglobal industryindustrie.
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și nu o percepem
ca pe o industrie globală.
01:01
But by usingutilizând this BuddhistBudist symbolsimbol,
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Dar folosind acest simbol budist,
01:03
I hopesperanţă to universalizeuniversalize and transcenddepăși
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sper să universalizez și să transcend
01:05
the historyistorie and traumaTrauma of blacknegru AmericaAmerica
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istoria și trauma negrilor din America,
01:08
and encouragea incuraja discussionsdiscuții
about our sharedimpartit pasttrecut.
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pentru a încuraja discuții
despre trecutul nostru împărtășit.
01:12
To createcrea "LotusLotus,"
we carvedsculptate over 6,000 figurescifrele.
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Pentru a crea „Lotus”,
am cioplit peste 6.000 de chipuri.
Asta a condus la o împuternicire
din partea orașului New York
01:16
And this latermai tarziu led to a commissioncomision
by the CityCity of NewNoi YorkYork
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01:19
to createcrea a 28-foot-picior versionversiune in steeloţel
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pentru a crea o versiune în fier de 9 m,
01:21
as a permanentpermanent installationinstalare
at the EagleVultur AcademyAcademia for YoungYoung MenBărbaţi,
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ca asamblare permanentă la
Eagle Academy for Young Men,
01:24
a schoolşcoală for blacknegru and latinoLatino studentselevi,
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o școală pentru elevi negri și latino,
01:27
the two groupsGrupuri mostcel mai affectedafectat
by this historyistorie.
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cei mai afectați
de această parte a istoriei.
01:30
The samela fel two groupsGrupuri are very affectedafectat
by a more recentRecent phenomenonfenomen,
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Aceleași două grupuri sunt afectate
de un fenomen mai recent,
01:33
but let me digressface o digresiune.
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dar dați-mi voie să mă abat puțin.
01:35
I've been collectingcolectare
woodendin lemn AfricanAfricane figurescifrele
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Colecționez sculpturi africane din lemn
01:38
from touristturist shopsmagazine and fleapurici marketspiețe
around the worldlume.
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de la magazine turistice
și talciocuri din jurul lumii.
01:40
The authenticityautenticitate and originorigine
of them is completelycomplet debatablediscutabil,
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Autenticitatea și originea lor sunt
complet discutabile,
01:43
but people believe these
to be imbuedîmbibat with powerputere,
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dar oamenii cred
că acestea au diferite puteri,
01:46
or even magicmagie.
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sau chiar magie.
01:47
Only recentlyrecent have I figuredimaginat out
how to use this in my ownpropriu work.
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Recent am descoperit
cum să folosesc asta în munca mea.
01:51
(GunArma shotsfotografii)
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(Focuri de armă)
02:05
SinceDeoarece 2012, the worldlume has witnessedasistat
the killingsasasinate of TrayvonTrayvon MartinMartin,
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Din 2012, lumea a fost martoră
la uciderea lui Trayvon Martin,
02:09
MichaelMichael BrownBrown, EricEric GarnerAcumula,
SandraSandra BlandBland, TamirNaomi RiceOrez
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Michael Brown, Eric Garner,
Sandra Bland, Tamir Rice
02:13
and literallyliteralmente countlessnenumărat other
unarmedneînarmat blacknegru citizenscetățeni
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și alți nenumărați
cetățeni negri neînarmați,
02:16
at the handsmâini of the policepolitie,
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din cauza poliției,
02:17
who frequentlydes walkmers pe jos away
with no punishmentpedeapsă at all.
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care frecvent nu este pedepsită
în niciun fel.
02:20
In considerationconsiderare of these victimsvictime
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Cu gândul la aceste victime,
02:22
and the severalmai mulți timesori that even I,
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și la dățile în care chiar și eu,
02:24
a law-abidingcare se supune legilor, IvyIederă LeagueLiga professorProfesor,
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un profesor în Ivy League,
cu respect pentru lege,
02:27
have been targetedvizate and harassedhartuit
at gunpointarma by the policepolitie.
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am fost luat în vizor
și hărțuit cu arma de poliție,
02:30
I createdcreată this bodycorp of work
simplypur şi simplu entitledintitulat "BAMBAM."
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am creat această secvență,
simplu intitulată „BAM”.
02:36
It was importantimportant to eraseşterge
the identityidentitate of eachfiecare of these figurescifrele,
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A fost important să elimin
identitatea fiecărei figurine,
02:39
to make them all look the samela fel
and easierMai uşor to disregardNu ia în considerare.
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pentru a-i face să arate la fel
și mai ușor de neglijat.
02:43
To do this, I dipDIP them in a thickgros,
brownmaro waxceara
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Le scufund în ceară groasă, maro,
02:45
before takingluare them to a shootingfilmare rangegamă
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1963
înainte să le duc
într-un poligon de tragere,
02:47
where I re-sculptedRe-sculptate them usingutilizând bulletsgloanţe.
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unde le sculptez din nou,
folosind gloanțe.
02:51
And it was fundistracţie,
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Și a fost distractiv
02:52
playingjoc with bigmare gunsarme and
high-speedviteza mare videovideo camerascamere.
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să mă joc cu pistoale
și aparate video de mare viteză.
02:55
But my reverencerespect for these figurescifrele
keptținut me from actuallyde fapt pullingtrăgând the triggertrăgaci,
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Dar venerația mea pentru aceste sculpturi
nu m-a lăsat să apăs pe trăgaci,
02:58
somehowoarecum feelingsentiment as if I would
be shootingfilmare myselfeu insumi.
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simțeam într-un fel că trăgeam
în mine însumi.
03:01
FinallyÎn cele din urmă, my cameramancameramanul, RaulRaul,
fireddat afara the shotsfotografii.
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În cele din urmă, a tras
cameramanul meu, Raul.
03:06
I then tooka luat the fragmentsfragmente of these
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Apoi, din fragmentele acestora
03:08
and createdcreată moldsmatrite,
and castarunca them first in waxceara,
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am făcut mulaje,
și le-am făcut mai întâi în ceară,
03:12
and finallyin sfarsit in bronzebronz
like the imageimagine you see here,
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apoi în bronz,
precum imaginea pe care o vedeți,
03:15
whichcare bearsursi the marksmărci
of its violentviolent creationcreare
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care poartă rănile creației violente,
03:18
like battleluptă woundsrăni or scarscicatrici.
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asemeni rănilor de luptă sau cicatricilor.
03:20
When I showeda arătat this work recentlyrecent in MiamiMiami,
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2008
Când le-am expus
pe acestea în Miami,
03:22
a womanfemeie told me she feltsimțit
everyfiecare gunarmă shotlovitură to her soulsuflet.
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o femeie mi-a spus că a simțit
fiecare glonț tras în sufletul ei.
03:25
But she alsode asemenea feltsimțit that these artworkslucrari
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Dar a simțit, de asemenea,
că arta mea
03:28
memorializedmemorialized the victimsvictime of these killingsasasinate
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2000
e în memoria victimelor menționate,
03:30
as well as other victimsvictime of
racialrasial violenceviolenţă throughoutde-a lungul US historyistorie.
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și alte victime ale violenței rasiale
din istoria Americii.
03:33
But "LotusLotus" and "BAMBAM" are largermai mare
than just US historyistorie.
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Dar „Lotus” și „BAM” nu se rezumă
doar la istoria Americii.
În timpul expoziției
din Berlin anul trecut,
03:36
While showingarătând in BerlinBerlin last yearan,
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03:38
a philosophyfilozofie studentstudent askedîntrebă me
what promptedvi se solicită these recentRecent killingsasasinate.
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un student la filosofie m-a întrebat
ce a determinat uciderile recente.
03:42
I showeda arătat him a photofotografie
of a lynchinglinşaj postcardcarte poştală
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I-am arătat o poză a unui linșaj
03:44
from the earlydin timp 1900s
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de la începuturile anilor 1900
03:46
and remindeda amintit him that these killingsasasinate
have been going on for over 500 yearsani.
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și i-am reamintit că aceste ucideri
iau loc de peste 500 de ani.
03:51
But it's only throughprin questionsîntrebări like his
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Dar numai punând asemenea întrebări
03:53
and more thoughtfulgrijuliu dialoguedialog
about historyistorie and racerasă
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și având dialoguri profunde
despre istorie și rasă,
03:56
can we evolveevolua as individualspersoane fizice and societysocietate.
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putem evolua ca indivizi și ca societate.
03:59
I hopesperanţă my artworkopera de arta createscreează a safesigur spacespaţiu
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Sper că arta mea creează un spațiu sigur
04:02
for this typetip of honestsincer exchangeschimb valutar
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pentru acest tip de conversație sinceră,
04:05
and an opportunityoportunitate for people
to engageangaja one anothero alta
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și o șansă de implicare pentru oameni
04:07
in realreal and necessarynecesar conversationconversaţie.
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în dialoguri reale și necesare.
04:10
Thank you.
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Mulțumesc.
04:11
(ApplauseAplauze)
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(Aplauze)
Translated by Maria Minodora
Reviewed by Cristina Nicolae

▲Back to top

ABOUT THE SPEAKER
Sanford Biggers - Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history.

Why you should listen

An LA native working in NYC, Sanford Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates issues such as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multi-disciplinary formal process and a syncretic creative approach, he makes works that are as aesthetically pleasing as they are conceptual.

The significance of Biggers' work within contemporary society has been celebrated through solo exhibitions both nationally and internationally, most recently at the Brooklyn Museum, Sculpture Center and Mass MoCA. He has participated in prestigious residencies and fellowships including: Akademie Schloss Solitude, Stuttgart, Germany; Ujazdowski Castle, Warsaw, Poland; Headlands Center for the Arts, Sausalito, California; ARCUS Project Foundation, Ibaraki, Japan; and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary. He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program and the Skowhegan School of Painting and Sculpture residency.

Biggers' installations, videos and performances have appeared in venues worldwide including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, New York and the Yerba Bue a Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. The artist's works have been included in notable exhibitions such as: Prospect 1 New Orleans Biennial, Illuminations at the Tate Modern, Performa 07 in NY, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum.

Biggers has won awards including: the American Academy in Berlin Prize, Greenfield Prize, New York City Art Teachers Association Artist-of-the-Year, Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award, the Lambent Fellowship in the Arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award and Rema Hort Mann Foundation Award Grant.

Biggers is Assistant Professor at Columbia University's Visual Arts program and a board member of Sculpture Center, Soho House and the CUE Foundation. He has also taught at Virginia Commonwealth University’s Sculpture and Expanded Media program and was a visiting scholar at Harvard University's VES Department in 2009.

More profile about the speaker
Sanford Biggers | Speaker | TED.com

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