TEDxMet
Luke Syson: How I learned to stop worrying and love "useless" art
Luk Sajson (Luke Syson): Kako sam naučio da prestanem da brinem i volim "beskorisnu" umetnost
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Luk Sajson je bio kustos renesansne umetnosti, transcendentnih slika svetaca i dostojanstvenih italijanskih dama - ozbiljne umetnosti. A onda je promenio posao i nasledio Metropolitenovu kolekciju keramike - lepe, fensi, "beskorisne" svećnjake i vaze. Nisu mu se svideli. Nije ih razumeo. Dok jednog dana... (Snimljeno na TEDxMet.)
Luke Syson - Curator
As a curator at the Metropolitan Museum of Art, Luke Syson accesses the richness of European history through sculpture. Full bio
As a curator at the Metropolitan Museum of Art, Luke Syson accesses the richness of European history through sculpture. Full bio
Double-click the English transcript below to play the video.
00:12
Two years ago, I have to say there was no problem.
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Pre dve godine, nije bilo problema.
00:15
Two years ago, I knew exactly
what an icon looked like.
what an icon looked like.
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Pre dve godine, znao sam tačno
kako treba da izgleda slika.
kako treba da izgleda slika.
00:19
It looks like this.
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Ovako.
00:21
Everybody's icon, but also the default position
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Svačiji izbor, ali takođe i izbor
00:24
of a curator of Italian Renaissance
paintings, which I was then.
paintings, which I was then.
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kustosa italijanskih renesansnih slika,
što sam tada bio.
što sam tada bio.
00:28
And in a way, this is also another default selection.
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I ovo je takođe
još jedan uobičajen izbor.
još jedan uobičajen izbor.
00:32
Leonardo da Vinci's exquisitely soulful image
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Izvanredno osećajna slika
Leonarda da Vinčija
Leonarda da Vinčija
00:36
of the "Lady with an Ermine."
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"Dame sa hermelinom".
00:38
And I use that word, soulful, deliberately.
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Namerno koristim reč "soulful" (osećajan).
00:40
Or then there's this, or rather these:
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Onda, tu je ova ili "ove"
00:42
the two versions of Leonardo's "Virgin of the Rocks"
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dve verzije Leonardove
"Bogorodice među stenama"
"Bogorodice među stenama"
00:45
that were about to come together
in London for the very first time.
in London for the very first time.
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koje je trebalo da stignu u London
po prvi put
po prvi put
00:49
In the exhibition that I was then in
the absolute throes of organizing.
the absolute throes of organizing.
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na izložbu koju sam se tada
mučio da organizujem.
mučio da organizujem.
00:54
I was literally up to my eyes in Leonardo,
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Bio sam do guše u Leonardu
00:57
and I had been for three years.
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tokom tri godine.
00:59
So, he was occupying every part of my brain.
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Okupirao je svaki deo mog mozga.
01:03
Leonardo had taught me, during that three years,
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Leonardo me je naučio
tokom te tri godine
tokom te tri godine
01:06
about what a picture can do.
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šta slika može da učini.
01:08
About taking you from your own
material world into a spiritual world.
material world into a spiritual world.
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Da vas prenese iz vašeg
materijalnog sveta u duhovni svet.
materijalnog sveta u duhovni svet.
01:13
He said, actually, that he believed
the job of the painter
the job of the painter
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Rekao je da veruje da je posao slikara
01:16
was to paint everything that was visible
and invisible in the universe.
and invisible in the universe.
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da slika sve što je vidljivo
i nevidljivo u svemiru.
i nevidljivo u svemiru.
01:21
That's a huge task. And yet,
somehow he achieves it.
somehow he achieves it.
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To je ogroman zadatak.
Pa ipak, nekako ga postiže.
Pa ipak, nekako ga postiže.
01:25
He shows us, I think, the human soul.
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Pokazuje nam ljudsku dušu.
01:27
He shows us the capacity of ourselves
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Pokazuje nam naš kapacitet
01:32
to move into a spiritual realm.
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da se prebacimo u carstvo duha.
01:35
To see a vision of the universe that's
more perfect than our own.
more perfect than our own.
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Da vidimo sliku univerzuma
koji je savršeniji od našeg.
koji je savršeniji od našeg.
01:40
To see God's own plan, in some sense.
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Da vidimo božiji plan, u neku ruku.
01:43
So this, in a sense, was really
what I believed an icon was.
what I believed an icon was.
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Tako da je ovo bilo ono kako sam
mislio da treba da izgleda slika.
mislio da treba da izgleda slika.
01:47
At about that time, I started talking to Tom Campbell,
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I negde u to vreme, počeo sam
da razgovaram sa Tomom Kempbelom,
da razgovaram sa Tomom Kempbelom,
01:51
director here of the Metropolitan Museum,
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ovdašnjim direktorom
Metropoliten muzeja,
Metropoliten muzeja,
01:54
about what my next move might be.
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o tome koji bi mogao da bude
moj sledeći korak.
moj sledeći korak.
01:57
The move, in fact, back to an earlier life,
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Korak unatrag, u stvari, u raniji period
02:00
one I'd begun at the British Museum,
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kada sam počinjao u Britanskom muzeju,
02:02
back to the world of three dimensions --
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natrag u trodimenzionalni svet
02:04
of sculpture and of decorative arts --
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skulpture i dekorativne umetnosti,
02:07
to take over the department of European sculpture
and decorative arts, here at the Met.
and decorative arts, here at the Met.
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da preuzmem odeljenje evropskog vajarstva
i dekorativne umetnosti ovde u Met-u.
i dekorativne umetnosti ovde u Met-u.
02:11
But it was an incredibly busy time.
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To je bio period
sa neverovatno puno posla.
sa neverovatno puno posla.
02:12
All the conversations were done
at very peculiar times of the day --
at very peculiar times of the day --
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Svi razgovori su bili obavljani
u vrlo čudna doba dana -
u vrlo čudna doba dana -
02:16
over the phone.
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preko telefona.
02:19
In the end, I accepted the job
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Na kraju sam prihvatio posao,
02:21
without actually having been here.
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a da u stvari nisam bio ovde.
02:22
Again, I'd been there a couple of years before,
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Bio sam par godina pre toga,
02:25
but on that particular visit.
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ali ne zbog toga.
02:27
So, it was just before the time that
the Leonardo show was due to open
the Leonardo show was due to open
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Neposredno pre nego što je
Leonardova izložba trebalo da se otvori,
Leonardova izložba trebalo da se otvori,
02:31
when I finally made it back to the Met, to New York,
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stigao sam u Met, u Njujork
02:35
to see my new domain.
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da vidim moje novo polje rada,
02:37
To see what European sculpture
and decorative arts looked like,
and decorative arts looked like,
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da vidim kako evropsko vajarstvo
i dekorativna umetnost izgledaju,
i dekorativna umetnost izgledaju,
02:41
beyond those Renaissance collections
with which I was so already familiar.
with which I was so already familiar.
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van ovih Renesansnih zbirki
koje su mi već poznate.
koje su mi već poznate.
02:45
And I thought, on that very first day,
I better tour the galleries.
I better tour the galleries.
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I pomislio sam, tog prvog dana,
da je možda bolje da obilazim galerije.
da je možda bolje da obilazim galerije.
02:48
Fifty-seven of these galleries --
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Pedeset sedam ovih galerija,
02:50
like 57 varieties of baked beans, I believe.
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kao 57 vrsta pasulja.
02:55
I walked through and I started in my comfort zone
in the Italian Renaissance.
in the Italian Renaissance.
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Prošao sam ih i počeo u svojoj oblasti
- italijanskoj renesansi.
- italijanskoj renesansi.
03:01
And then I moved gradually around,
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I onda sam postepeno išao dalje
03:03
feeling a little lost sometimes.
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i osećao sam se izgubljeno na momente.
03:06
My head, also still full of the Leonardo exhibition
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Moja glava, još puna Leonardove izložbe,
03:09
that was about to open, and I came across this.
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koja je trebalo da se otvori,
i naleteo sam na ovo.
i naleteo sam na ovo.
03:13
And I thought to myself: What the hell have I done?
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I pomislio sam:
šta sam to, dođavola, uradio?
šta sam to, dođavola, uradio?
03:21
There was absolutely no connection in my mind
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Nisam video apsolutno nikakvu vezu
03:24
at all and, in fact, if there was any emotion going on,
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i ako sam osetio ikakvu emociju,
03:27
it was a kind of repulsion.
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to je bila neka vrsta odbojnosti.
03:30
This object felt utterly and completely alien.
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Ovaj predmet mi je bio potpuno stran.
03:33
Silly at a level that I hadn't yet
understood silliness to be.
understood silliness to be.
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Besmislen do nivoa
koji još nisam poznavao.
koji još nisam poznavao.
03:38
And then it was made worse --
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A onda je postalo još gore -
03:41
there were two of them.
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bilo ih je dve.
03:42
(Laughter)
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(Smeh)
03:46
So, I started thinking about why it was, in fact,
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I tako sam počeo da razmišljam
03:49
that I disliked this object so much.
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zašto mi se ovaj predmet
toliko nije svideo.
toliko nije svideo.
03:51
What was the anatomy of my distaste?
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Kakva je bila anatomija
moje odbojnosti?
moje odbojnosti?
03:55
Well, so much gold, so vulgar.
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Toliko zlata, tako vulgarno.
03:58
You know, so nouveau riche, frankly.
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Tako snobovski, iskreno.
04:02
Leonardo himself had preached
against the use of gold,
against the use of gold,
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Sam Leonardo je bio
protivnik upotrebe zlata,
protivnik upotrebe zlata,
04:05
so it was absolutely anathema at that moment.
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Tako da je to bilo apsolutno
neprihvatljivo u tom trenutku.
neprihvatljivo u tom trenutku.
04:08
And then there's little pretty sprigs
of flowers everywhere. (Laughter)
of flowers everywhere. (Laughter)
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Onda, te male lepe grančice
sa cvećem na sve strane. (Smeh)
sa cvećem na sve strane. (Smeh)
04:14
And finally, that pink. That damned pink.
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I na kraju, ta roze boja.
Ta prokleta roze.
Ta prokleta roze.
04:17
It's such an extraordinarily artificial color.
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Neverovatno veštačka boja.
04:20
I mean, it's a color that I can't think of
anything that you actually see in nature,
anything that you actually see in nature,
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Ne mogu da se setim
da se može videti bilo šta u prirodi
da se može videti bilo šta u prirodi
04:24
that looks that shade.
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što je u toj nijansi.
04:27
The object even has its own tutu. (Laughter)
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Predmet čak ima svoju baletsku suknju.
(Smeh)
(Smeh)
04:31
This little flouncy, spangly, bottomy bit
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Ovaj mali naborani, blistavi deo
04:33
that sits at the bottom of the vase.
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na dnu vaze.
04:35
It reminded me, in an odd kind of way,
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Podsetilo me je, na čudan način,
04:37
of my niece's fifth birthday party.
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na žurku za peti rođendan
moje sestričine.
moje sestričine.
04:40
Where all the little girls would come
either as a princess or a fairy.
either as a princess or a fairy.
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Gde su sve devojčice došle
obučene kao princeze ili vile.
obučene kao princeze ili vile.
04:44
There was one who would come as a fairy princess.
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Bila je jedna koja je došla
obučena u princezu vilu.
obučena u princezu vilu.
04:46
You should have seen the looks.
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Da ste videli te izraze lica.
04:48
(Laughter)
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(Smeh)
04:50
And I realize that this object was in my mind,
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I shvatio sam da je taj predmet,
po mom shvatanju,
po mom shvatanju,
04:53
born from the same mind, from the same womb,
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rođen u istom umu, iz iste utrobe
04:56
practically, as Barbie Ballerina. (Laughter)
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kao i Barbika balerina. (Smeh)
05:02
And then there's the elephants. (Laughter)
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A tu su i slonovi. (Smeh)
05:05
Those extraordinary elephants
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Ti neobični slonovi
05:07
with their little, sort of strange, sinister expressions
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sa svojim malim, nekako čudnim
zlokobnim izrazima
zlokobnim izrazima
05:10
and Greta Garbo eyelashes, with
these golden tusks and so on.
these golden tusks and so on.
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i Greta Garbo trepavicama,
sa zlatnim surlama itd.
sa zlatnim surlama itd.
05:15
I realized this was an elephant that had
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Shvatio sam da je ovo slon
koji nema apsolutno
koji nema apsolutno
05:17
absolutely nothing to do with a majestic
march across the Serengeti.
march across the Serengeti.
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nikakve veze sa veličanstvenim
maršem preko Serengetija.
maršem preko Serengetija.
05:23
It was a Dumbo nightmare. (Laughter)
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On je Dambova noćna mora.
(Smeh)
(Smeh)
05:28
But something more profound
was happening as well.
was happening as well.
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Ali i nešto dublje od toga
se dešavalo.
se dešavalo.
05:31
These objects, it seemed to me,
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Ovi predmeti su, kako mi se činilo,
05:33
were quintessentially the kind that I
and my liberal left friends in London
and my liberal left friends in London
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suštinski bili od one vrste koju smo
ja i moji liberalni prijatelji u Londonu
ja i moji liberalni prijatelji u Londonu
05:37
had always seen as summing up
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uvek videli kao simbol
05:39
something deplorable about the French aristocracy
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nečeg skandaloznog u vezi
sa francuskom aristokratijom
sa francuskom aristokratijom
05:42
in the 18th century.
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18. veka.
05:44
The label had told me that these pieces were made
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Oznaka mi je rekla
da su ovi komadi napravljeni
da su ovi komadi napravljeni
05:47
by the Sèvres Manufactory,
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u manufakturi u Sevru (Francuska),
05:50
made of porcelain in the late 1750s,
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od porcelana, kasnih 1750-ih
05:53
and designed by a designer called
Jean-Claude Duplessis,
Jean-Claude Duplessis,
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i dizajnirao ih je Žan Klod Duplesi,
05:56
actually somebody of extraordinary distinction
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neko sa velikom reputacijom
05:58
as I later learned.
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kako sam kasnije saznao.
06:01
But for me, they summed up a kind of,
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Ali, za mene su one bile oličenje
06:06
that sort of sheer uselessness of the aristocracy
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one potpune beskorisnosti
aristokratije
aristokratije
06:09
in the 18th century.
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18. veka.
06:13
I and my colleagues had always thought
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Moje kolege i ja smo
oduvek mislili
oduvek mislili
06:15
that these objects, in way, summed up the idea of,
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da su ovi predmeti, na neki način,
oličenje ideje
oličenje ideje
06:18
you know -- no wonder there was a revolution.
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da nije ni čudo
što je bila revolucija.
što je bila revolucija.
06:20
Or, indeed, thank God there was a revolution.
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Ili, hvala bogu
da je bila revolucija.
da je bila revolucija.
06:25
There was a sort of idea really, that,
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Otprilike da,
06:27
if you owned a vase like this,
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ako ste imali ovakvu vazu,
06:29
then there was really only one fate possible.
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onda je samo jedna sudbina
bila moguća.
bila moguća.
06:33
(Laughter)
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(Smeh)
06:37
So, there I was -- in a sort of paroxysm of horror.
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Tako da sam bio u grču užasa.
06:42
But I took the job and I went
on looking at these vases.
on looking at these vases.
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Ali prihvatio sam posao
i nastavio da gledam ove vaze.
i nastavio da gledam ove vaze.
06:46
I sort of had to because they're
on a through route in the Met.
on a through route in the Met.
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Nekako sam morao jer
se nalaze na prolazu kroz Met.
se nalaze na prolazu kroz Met.
06:49
So, almost anywhere I went, there they were.
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Tako da, gde god krenuo,
one su bile tu.
one su bile tu.
06:52
They had this kind of odd sort of fascination,
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Bio sam fasciniran njima
na neki čudan način,
na neki čudan način,
06:55
like a car accident.
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kao saobraćajnom nesrećom.
06:58
Where I couldn't stop looking.
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Nisam mogao
da prestanem da gledam.
da prestanem da gledam.
07:00
And as I did so, I started thinking:
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I kako sam to radio,
počeo sam da razmišljam:
počeo sam da razmišljam:
07:03
Well, what are we actually looking at here?
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u šta, u stvari, gledamo ovde?
07:07
And what I started with was understanding this
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Ono što sam prvo shvatio, bilo je
07:11
as really a supreme piece of design.
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da je to zaista izvanredan dizajn.
07:14
It took me a little time.
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Trebalo mi je malo vremena.
07:15
But, that tutu for example --
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Ova baletska suknja, na primer -
07:17
actually, this is a piece that
does dance in its own way.
does dance in its own way.
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ovo je delo koje pleše na svoj način.
07:20
It has an extraordinary lightness
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Ima izuzetnu lakoću,
07:21
and yet, it is also amazing balanced.
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pa ipak, neverovatno je skladna.
07:24
It has these kinds of sculptural ingredients.
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Ima one sastojke skulpture.
07:27
And then the play between --
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Pa onda, igra između
07:29
actually really quite carefully disposed
color and gilding, and the sculptural surface,
color and gilding, and the sculptural surface,
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pažljivo raspoređene boje i pozlate,
i površine skulpture,
i površine skulpture,
07:34
is really rather remarkable.
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je zaista izvanredna.
07:36
And then I realized that this piece went into the kiln
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Onda sam shvatio da je ovaj komad
stavljan u peć
stavljan u peć
07:39
four times, at least four times
in order to arrive at this.
in order to arrive at this.
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najmanje četiri puta
da bi se stiglo do ovoga.
da bi se stiglo do ovoga.
07:42
How many moments for accident can you think of
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Možete li da zamislite
koliko je bilo momenata
koliko je bilo momenata
07:45
that could have happened to this piece?
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u kojima je mogla da se desi
neka nezgoda ovom predmetu?
neka nezgoda ovom predmetu?
07:47
And then remember, not just one, but two.
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I onda, setite se, nije samo jedan
već ih ima dva.
već ih ima dva.
07:49
So he's having to arrive at two exactly matched
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Znači, on mora da dobije dve ovakve
07:54
vases of this kind.
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potpuno identične vaze.
07:56
And then this question of uselessness.
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A onda, pitanje neupotrebljivosti.
07:57
Well actually, the end of the trunks
were originally candle holders.
were originally candle holders.
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Pa, u stvari, krajevi surli su
napravljeni da budu svećnjaci.
napravljeni da budu svećnjaci.
08:02
So what you would have had
were candles on either side.
were candles on either side.
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I tako biste imali sveće na obe strane.
08:06
Imagine that effect of candlelight on that surface.
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Zamislite efekat svetlosti sveće
na toj površini.
na toj površini.
08:09
On the slightly uneven pink, on the beautiful gold.
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Na blago neujednačenoj roze,
na divnoj zlatnoj.
na divnoj zlatnoj.
08:11
It would have glittered in an interior,
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Sijala bi u zatvorenoj prostoriji
08:14
a little like a little firework.
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kao mali vatromet.
08:17
And at that point, actually,
a firework went off in my brain.
a firework went off in my brain.
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I u tom trenutku,
vatromet je bljesnuo u mom mozgu.
vatromet je bljesnuo u mom mozgu.
08:21
Somebody reminded me that, that word 'fancy' --
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Neko me je podsetio
da reč "fensi" -
da reč "fensi" -
08:24
which in a sense for me, encapsulated this object --
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koja mi je na neki način
zatvorila ovaj predmet -
zatvorila ovaj predmet -
08:27
actually comes from the same
root as the word 'fantasy.'
root as the word 'fantasy.'
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u stvari, potiče od istog korena
kao i reč "fantazija".
kao i reč "fantazija".
08:31
And that what this object was just as much in a way,
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I da je ovaj predmet, na neki način -
08:34
in its own way, as a Leonardo da Vinci painting,
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isto kao i slika Leonarda da Vinčija -
08:36
is a portal to somewhere else.
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kapija koja vodi negde drugde.
08:38
This is an object of the imagination.
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Ovo je predmet mašte.
08:42
If you think about the mad 18th-century
operas of the time -- set in the Orient.
operas of the time -- set in the Orient.
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Ako pomislite na ludačke opere
iz 18. veka, radnje smeštene na Orijentu.
iz 18. veka, radnje smeštene na Orijentu.
08:49
If you think about divans and perhaps even
opium-induced visions of pink elephants,
opium-induced visions of pink elephants,
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Ako pomislite na divane
i opijumske vizije ružičastih slonova,
i opijumske vizije ružičastih slonova,
08:56
then at that point, this object starts to make sense.
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u tom momentu ovaj predmet
počinje da ima smisla.
počinje da ima smisla.
08:59
This is an object which is all about escapism.
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Ovaj predmet je eskapistički.
09:03
It's about an escapism that happens --
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U vezi je sa eskapizmom
koji se dešava -
koji se dešava -
09:06
that the aristocracy in France sought
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koji je aristokratija
u Francuskoj tražila
u Francuskoj tražila
09:08
very deliberately
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namerno
09:10
to distinguish themselves from ordinary people.
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da bi se razlikovala od običnih ljudi.
09:15
It's not an escapism that
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To nije eskapizam
09:17
we feel particularly happy with today, however.
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sa kojim smo danas
naročito zadovoljni.
naročito zadovoljni.
09:20
And again, going on thinking about this,
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I opet, nastavljajući da mislim o ovome,
09:23
I realize that in a way we're all victims
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shvatam da smo svi žrtve
09:27
of a certain kind of tyranny
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neke vrste tiranije
09:29
of the triumph of modernism
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trijumfa modernizma,
09:31
whereby form and function in an object
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gde forma i funkcija predmeta
09:33
have to follow one another, or are deemed to do so.
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treba da prate jedna drugu
ili bi to trebalo da rade.
ili bi to trebalo da rade.
09:37
And the extraneous ornament is seen as really,
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A nepotrebni ornament
se karakteriše
se karakteriše
09:40
essentially, criminal.
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kao zločin.
09:43
It's a triumph, in a way, of bourgeois
values rather than aristocratic ones.
values rather than aristocratic ones.
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To je trijumf buržoaskih vrednosti,
pre nego aristokratskih.
pre nego aristokratskih.
09:46
And that seems fine.
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I to izgleda u redu.
09:48
Except for the fact that it becomes a kind of
sequestration of imagination.
sequestration of imagination.
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Osim što onda to postaje
sužavanje mašte.
sužavanje mašte.
09:55
So just as in the 20th century, so many people
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Tako da su i u 20. veku, mnogi ljudi
09:58
had the idea that their faith
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imali ideju da se njihova sudbina
10:00
took place on the Sabbath day,
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desila na Sabat,
10:03
and the rest of their lives --
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a ostatak života -
10:04
their lives of washing machines and orthodontics --
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njihovih života mašina za veš
i popravljanja zuba -
i popravljanja zuba -
10:08
took place on another day.
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se desio drugog dana.
10:10
Then, I think we've started doing the same.
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Mislim da smo i mi
počeli da radimo isto.
počeli da radimo isto.
10:14
We've allowed ourselves to
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Dozvolili smo sebi
10:17
lead our fantasy lives in front of screens.
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da vodimo živote fantazije
ispred ekrana.
ispred ekrana.
10:19
In the dark of the cinema, with the
television in the corner of the room.
television in the corner of the room.
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U mraku bioskopa,
sa televizorom u uglu sobe.
sa televizorom u uglu sobe.
10:23
We've eliminated, in a sense, that constant
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Eliminisali smo onu konstantu
10:27
of the imagination that these vases
represented in people's lives.
represented in people's lives.
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mašte koju su ove vaze
predstavljale u životima ljudi.
predstavljale u životima ljudi.
10:32
So maybe it's time we got this back a little.
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Možda je vreme da vratimo ovo malo.
10:36
I think it's beginning to happen.
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Mislim da počinje da se dešava.
10:39
In London, for example,
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U Londonu, na primer,
10:40
with these extraordinary buildings
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sa ovim sjajnim građevinama
10:42
that have been appearing over the last few years.
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koje su nicale u poslednjih
nekoliko godina.
nekoliko godina.
10:45
Redolent, in a sense, of science fiction,
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Mirišu, na neki način,
na naučnu fantastiku
na naučnu fantastiku
10:48
turning London into a kind of fantasy playground.
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pretvarajući London u igralište iz mašte.
10:50
It's actually amazing to look out of
a high building nowadays there.
a high building nowadays there.
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Neverovatno je pogledati
sa visoke zgrade danas tamo.
sa visoke zgrade danas tamo.
10:55
But even then, there's a resistance.
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Ali čak i pored toga,
postoji otpor.
postoji otpor.
10:56
London has called these buildings the
Gherkin, the Shard, the Walkie Talkie --
Gherkin, the Shard, the Walkie Talkie --
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London je nazvao ove zgrade:
Gerkin, Šard, Voki-toki
Gerkin, Šard, Voki-toki
11:01
bringing these soaring buildings down to Earth.
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spuštajući time ove visoke zgrade
na zemlju.
na zemlju.
11:04
There's an idea that we don't want these
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Postoji ideja da ne želimo ova
11:08
anxious-making, imaginative journeys
to happen in our daily lives.
to happen in our daily lives.
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uznemirujuća, imaginativna putovanja
u svojoj svakodnevici.
u svojoj svakodnevici.
11:13
I feel lucky in a way,
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Osećam da sam imao sreće.
11:16
I've encountered this object.
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Ja sam našao ovaj predmet.
11:19
(Laughter)
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(Smeh)
11:21
I found him on the Internet when
I was looking up a reference.
I was looking up a reference.
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Našao sam ga na internetu
kad sam tražio reference.
kad sam tražio reference.
11:24
And there he was.
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I on je bio tu.
11:27
And unlike the pink elephant vase,
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i za razliku od ružičaste vaze
sa slonovima,
sa slonovima,
11:31
this was a kind of love at first sight.
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ovo je bila ljubav na prvi pogled.
11:33
In fact, reader, I married him. I bought him.
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U stvari, oženio sam se njim.
Kupio sam ga.
Kupio sam ga.
11:36
And he now adorns my office.
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I sada krasi moju kancelariju.
11:39
He's a Staffordshire figure made
in the middle of the 19th century.
in the middle of the 19th century.
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To je figura iz Stafordšira
napravljena sredinom 19. veka.
napravljena sredinom 19. veka.
11:43
He represents the actor, Edmund Kean,
playing Shakespeare's Richard III.
playing Shakespeare's Richard III.
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Predstavlja glumca Edmunda Kina
koji igra Šekspirovog Ričarda III.
koji igra Šekspirovog Ričarda III.
11:48
And it's based, actually, on a more
elevated piece of porcelain.
elevated piece of porcelain.
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Postavljen je na jednom
uzdignutijem delu porcelana.
uzdignutijem delu porcelana.
11:50
So I loved, on an art historical level,
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Svideo mi se, na nivou istorije,
11:52
I loved that layered quality that he has.
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taj slojeviti kvalitet koji ima.
11:57
But more than that, I love him.
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Ali više od toga, svideo mi se on.
12:00
In a way that I think would have been impossible
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Na način koji ne bi bio moguć
12:01
without the pink Sèvres vase in my Leonardo days.
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bez ružičaste vaze iz Sevra
iz moje Leonardo faze.
iz moje Leonardo faze.
12:04
I love his orange and pink breeches.
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Volim njegove
narandžasto-ružičaste bermude.
narandžasto-ružičaste bermude.
12:07
I love the fact that he seems to be going off to war,
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Volim to što izgleda
kao da je krenuo u rat
kao da je krenuo u rat
12:10
having just finished the washing up. (Laughter)
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pošto se upravo okupao.
(Smeh)
(Smeh)
12:14
He seems also to have forgotten his sword.
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Izgleda takođe da je
zaboravio svoj mač.
zaboravio svoj mač.
12:17
I love his pink little cheeks, his munchkin energy.
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Volim njegove ružičaste obraze,
njegovu patuljastu energiju.
njegovu patuljastu energiju.
12:19
In a way, he's become my sort of alter ego.
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Postao je, na neki način,
moj alter ego.
moj alter ego.
12:22
He's, I hope, a little bit dignified,
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Malo je dostojanstven,
12:25
but mostly rather vulgar. (Laughter)
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ali uglavnom je prilično vulgaran.
(Smeh)
(Smeh)
12:30
And energetic, I hope, too.
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I energičan, takođe, nadam se.
12:33
I let him into my life because the Sèvres
pink elephant vase allowed me to do so.
pink elephant vase allowed me to do so.
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Pustio sam ga u svoj život jer mi je
vaza iz Sevra to dozvolila.
vaza iz Sevra to dozvolila.
12:38
And before that Leonardo,
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A pre toga Leonardo.
12:40
I understood that this object could become
part of a journey for me every day,
part of a journey for me every day,
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Shvatio sam da bi ovaj predmet mogao
da postane deo moje svakodnevice,
da postane deo moje svakodnevice,
12:45
sitting in my office.
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postavljen u mojoj kancelariji.
12:48
I really hope that others, all of you,
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Nadam se da će drugi, i svi vi,
12:51
visiting objects in the museum,
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gledajući predmete u muzeju
12:52
and taking them home and
finding them for yourselves,
finding them for yourselves,
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i odnoseći ih kući,
12:55
will allow those objects to flourish
in your imaginative lives.
in your imaginative lives.
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dozvoliti ovim predmetima
da se rascvetaju u vašoj mašti.
da se rascvetaju u vašoj mašti.
12:59
Thank you very much.
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Hvala vam mnogo.
13:01
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Luke Syson - CuratorAs a curator at the Metropolitan Museum of Art, Luke Syson accesses the richness of European history through sculpture.
Why you should listen
Luke Syson joined the Metropolitan Museum of Art in 2012 as the Iris and B. Gerald Cantor Curator in Charge of European Sculpture and Decorative Arts. This year, he co-curated the small but innovative exhibition "Plain or Fancy? Restraint and Exuberance in the Decorative Arts." Before joining the Met Syson was Curator of Italian Painting before 1500 and Head of Research at the National Gallery, London. While at the National Gallery, he was curator of the exhibition "Renaissance Siena: Art for a City," and in 2011 he organized the groundbreaking "Leonardo da Vinci: Painter at the Court of Milan."
Syson was also one of the curators who organized the acclaimed Enlightenment Gallery at The British Museum and was part of the team that planned the new galleries for Medieval and Renaissance Art at the Victoria & Albert Museum.
Luke Syson | Speaker | TED.com