TED2003
Vik Muniz: Art with wire, sugar, chocolate and string
Vik Muniz 用鐵絲和糖創作藝術
Filmed:
Readability: 3.7
1,364,503 views
Vik Muniz 幾乎什麼都用來創作藝術，像是碎紙片，鐵絲，雲或鑽石。他在此描述了他的創作理念，並且帶領我們一覽他所創作的難以置信的影像。
Vik Muniz - Artist
Vik Muniz delights in subverting a viewer's expectations. He uses unexpected materials to create portraits, landscapes and still lifes, which he then photographs. Full bio
Vik Muniz delights in subverting a viewer's expectations. He uses unexpected materials to create portraits, landscapes and still lifes, which he then photographs. Full bio
Double-click the English transcript below to play the video.
00:25
I was asked to come here and speak about creation.
0
0
3000
我被邀請來談論創作。
00:28
And I only have 15 minutes, and I see they're counting already.
1
3000
4000
我只有15分鐘，而且我看他們已經在倒數了。
00:32
And I can -- in 15 minutes, I think I can touch only a very rather janitorial branch of creation,
2
7000
7000
在15分鐘內，我想我只能觸及創作的入門面，
00:39
which I call "creativity."
3
14000
3000
我稱之為創意。
00:42
Creativity is how we cope with creation.
4
17000
4000
創意是我們處理創作的方式。
00:46
While creation sometimes seems a bit un-graspable, or even pointless,
5
21000
6000
有時創作看起來似乎無法掌握，甚至是毫無意義，
00:52
creativity is always meaningful.
6
27000
3000
但創意永遠都有意義的。
00:55
See, for instance, in this picture.
7
30000
1000
舉例來說，這張圖片。
00:56
You know, creation is what put that dog in that picture,
8
31000
4000
你知道，創作是把那隻狗放進圖片內，
01:00
and creativity is what makes us see a chicken on his hindquarters.
9
35000
5000
而創意則讓我們看到在牠後腿上的雞。
01:05
When you think about -- you know, creativity has a lot to do with causality too.
10
40000
6000
當你想想--你知道，創意也涉及到許多因果關係。
01:11
You know, when I was a teenager, I was a creator.
11
46000
3000
你知道，當我是青少年時，我是個創作家。
01:14
I just did things.
12
49000
2000
我做了很多事。
01:17
Then I became an adult and started knowing who I was,
13
52000
2000
當我長大且開始了解自己，
01:19
and tried to maintain that persona -- I became creative.
14
54000
3000
也試著去維持自我特色--我變得有創意。
01:23
It wasn't until I actually did a book and a retrospective exhibition, that I could track exactly --
15
58000
8000
在我寫了書和辦了回顧展後，我才確切的回想出來的--
01:31
looks like all the craziest things that I had done, all my drinking, all my parties --
16
66000
4000
好像我曾做過的所有瘋狂事情，那些伶仃大醉，那些派對--
01:35
they followed a straight line that brings me to the point
17
70000
2000
全都依循著一條直線行進且引領我到目前的位置
01:37
that actually I'm talking to you at this moment.
18
72000
2000
讓我在此時此刻跟你們講話。
01:39
Though it's actually true, you know,
19
74000
4000
真是如此的，你知道，
01:43
the reason I'm talking to you right now is because I was born in Brazil.
20
78000
3000
我能在這裡和大家說話的原因是因為我出生於巴西。
01:46
If I was born in Monterey, probably would be in Brazil.
21
81000
4000
如果我當初生於蒙特里的話，或許現在人反而會在巴西。
01:52
You know, I was born in Brazil and grew up in the '70s
22
87000
2000
我在巴西出生并成長於70年代，
01:54
under a climate of political distress,
23
89000
3000
當時政治環境低迷，
01:58
and I was forced to learn to communicate in a very specific way --
24
93000
3000
而且我被迫學習用種非常特別的方式溝通--
02:01
in a sort of a semiotic black market.
25
96000
2000
像是種符號黑話
02:03
You couldn't really say what you wanted to say;
26
98000
3000
你不能說出你真正想說的，
02:06
you had to invent ways of doing it.
27
101000
2000
你不得不想方設法用別的方法來表達。
02:08
You didn't trust information very much.
28
103000
2000
你不太相信訊息。
02:10
That led me to another step of why I'm here today,
29
105000
3000
我今天在這的另一個原因，
02:13
is because I really liked media of all kinds.
30
108000
3000
是因為我喜歡各式各樣的媒體。
02:16
I was a media junkie, and eventually got involved with advertising.
31
111000
4000
我是個媒體癡，最後也從事廣告行業。
02:20
My first job in Brazil
32
115000
2000
我在巴西的第一份工作
02:22
was actually to develop a way to improve the readability of billboards,
33
117000
5000
其實是根據車輛行進的速度、角度和實際的文字方塊，
02:27
and based on speed, angle of approach and actually blocks of text.
34
122000
4000
來改善廣告看板的易讀性。
02:31
It was very -- actually, it was a very good study,
35
126000
3000
這真的是一次非常好的學習機會，
02:34
and got me a job in an ad agency.
36
129000
2000
也讓我得到了一份在廣告公司的工作。
02:36
And they also decided that I had to --
37
131000
3000
而他們也決定了--
02:39
to give me a very ugly Plexiglas trophy for it.
38
134000
3000
要給我一個非常醜的塑膠玻璃獎盃來獎勵成果。
02:44
And another point -- why I'm here --
39
139000
2000
至於--這為何和我現在人在這裡相關--
02:46
is that the day I went to pick up the Plexiglas trophy,
40
141000
4000
則是當我去拿那個獎盃那天，
02:50
I rented a tuxedo for the first time in my life,
41
145000
2000
我生平第一次租了一套晚禮服，
02:53
picked the thing -- didn't have any friends.
42
148000
2000
領了獎--沒有任何朋友到場。
02:55
On my way out, I had to break a fight apart.
43
150000
3000
在我離開的時候，我勸了一場架。
02:58
Somebody was hitting somebody else with brass knuckles.
44
153000
3000
有人用銅製手指虎攻擊另外一個人。
03:01
They were in tuxedos, and fighting. It was very ugly.
45
156000
2000
雙方都穿著禮服打架，畫面非常的醜陋。
03:03
And also -- advertising people do that all the time -- (Laughter) --
46
158000
6000
而且--廣告人都常這樣--
03:09
and I -- well, what happened is when I went back, it was on the way back to my car,
47
164000
5000
而我 -- 當我要走回我的車時，
03:14
the guy who got hit decided to grab a gun --
48
169000
2000
被打的那位老兄決定拿了把槍--
03:16
I don't know why he had a gun --
49
171000
2000
我不知道為何他會有槍 --
03:18
and shoot the first person he decided to be his aggressor.
50
173000
2000
他要去射他覺得第一位挑釁他的人。
03:20
The first person was wearing a black tie, a tuxedo. It was me.
51
175000
5000
那個人打著一條黑領帶，穿著晚禮服。那個人就是我。
03:26
Luckily, it wasn't fatal, as you can all see.
52
181000
3000
幸運的是，如你們所看到的，這並不致命。
03:29
And, even more luckily, the guy said that he was sorry
53
184000
5000
更幸運的是，那個人感到很抱歉，
03:34
and I bribed him for compensation money, otherwise I press charges.
54
189000
4000
而我向他索得一筆賠償金，否則我要提出上訴。
03:38
And that's how -- with this money I paid for a ticket to come to the United States in 1983,
55
193000
6000
而這就是所有的來龍去脈--用這筆錢我在1983年買了機票來到美國。
03:44
and that's very -- the basic reason I'm talking to you here today:
56
199000
4000
而這也是--今天我能在這講話的真正原因。
03:48
because I got shot. (Laughter) (Applause)
57
203000
3000
因為我中槍了。
03:51
Well, when I started working with my own work, I decided that I shouldn't do images.
58
206000
8000
當我開始做自己的工作的時候，我決定不做圖像。
03:59
You know, I became -- I took this very iconoclastic approach.
59
214000
3000
你知道，我已變得--我不遵循傳統方法。
04:03
Because when I decided to go into advertising, I wanted to do --
60
218000
3000
因為當初我決定要走廣告業時，我想做的是--
04:06
I wanted to airbrush naked people on ice, for whiskey commercials,
61
221000
6000
我想用噴槍繪製在冰上裸體的人們，作威士忌宣傳，
04:12
that's what I really wanted to do. (Laughter)
62
227000
1000
那才是我真的想要實踐的。
04:13
But I -- they didn't let me do it, so I just -- you know,
63
228000
3000
但我--他們並沒讓我這樣做，於是我--你也知道，
04:16
they would only let me do other things.
64
231000
2000
他們只准許讓我做其他事情。
04:18
But I wasn't into selling whiskey; I was into selling ice.
65
233000
4000
但我其實也沒很想賣威士忌，我對賣冰比較有興趣。
04:22
The first works were actually objects.
66
237000
2000
最初的作品是實質的物體。
04:24
It was kind of a mixture of found object, product design and advertising.
67
239000
5000
是隨手拾來的東西，產品設計和廣告的混合物。
04:29
And I called them relics.
68
244000
2000
我稱之為遺跡。
04:31
They were displayed first at Stux Gallery in 1983.
69
246000
3000
1983初次在司塔克斯美術館展出。
04:35
This is the clown skull.
70
250000
2000
這是小丑的頭顱。
04:37
Is a remnant of a race of -- a very evolved race of entertainers.
71
252000
3000
--一種高度進化演藝界人種的殘骸。
04:40
They lived in Brazil, long time ago. (Laughter)
72
255000
4000
在很久之前，他們住在巴西。(笑聲)
04:44
This is the Ashanti joystick.
73
259000
2000
這是亞香緹搖桿。
04:46
Unfortunately, it has become obsolete because it was designed for Atari platform.
74
261000
5000
很不幸的，這已經被淘汰了，當初是為了Atari遊戲平台所設計的。(Atari公司在美國推出史上第一部家用遊戲機)
04:51
A Playstation II is in the works, maybe for the next TED I'll bring it.
75
266000
5000
作品裏還有一個PS2搭配使用的，或許下次我會把它帶來。
04:56
The rocking podium. (Laughter)
76
271000
2000
搖擺的講台。
05:01
This is the pre-Columbian coffeemaker. (Laughter)
77
276000
2000
這是比哥倫布發現新大陸還早出現的咖啡機。
05:06
Actually, the idea came out of an argument that I had at Starbucks,
78
281000
4000
事實上，這個點子來自我在星巴克的一場爭吵，
05:10
that I insisted that I wasn't having Colombian coffee;
79
285000
2000
我堅持說我喝得不是哥倫比亞咖啡，
05:12
the coffee was actually pre-Columbian.
80
287000
2000
這實際上是比哥倫布發現新大陸還早的咖啡 (壞掉的咖啡豆)。
05:14
The Bonsai table.
81
289000
3000
盆栽桌。
05:20
The entire Encyclopedia Britannica bound in a single volume, for travel purposes.
82
295000
6000
大英百科全書一本裝，方便旅行攜帶。
05:30
And the half tombstone, for people who are not dead yet.
83
305000
6000
還有半個墓碑，為還沒死的人準備的。
05:36
I wanted to take that into the realm of images,
84
311000
3000
我想把這些帶到影像的領域裡，
05:39
and I decided to make things that had the same identity conflicts.
85
314000
5000
而且我決定要做帶有相同本體衝突感的東西，
05:44
So I decided to do work with clouds.
86
319000
2000
所以我決定要用雲來創作。
05:46
Because clouds can mean anything you want.
87
321000
2000
因為雲可以代表任何你想要的東西。
05:49
But now I wanted to work in a very low-tech way,
88
324000
3000
但我想要用簡單的技術來完成，
05:52
so something that would mean at the same time
89
327000
3000
因此也同時也代表著，
05:55
a lump of cotton, a cloud and Durer's praying hands --
90
330000
4000
一大團棉花，一片雲以及Durer的祈禱的雙手 (Durer是文藝復興時期的德國藝術家)--
05:59
although this looks a lot more like Mickey Mouse's praying hands.
91
334000
4000
雖然這看起來比較像米老鼠的祈禱的雙手。
06:03
But I was still, you know -- this is a kitty cloud.
92
338000
4000
但我還是繼續創作 -- 這是一個貓咪雲。
06:07
They're called "Equivalents," after Alfred Stieglitz's work.
93
342000
5000
根據Alfred Stueglitz(近代攝影之父)的作品，這些被稱作等值物。
06:12
"The Snail."
94
347000
1000
"蝸牛"。
06:13
But I was still working with sculpture,
95
348000
2000
但我仍在作雕刻，
06:15
and I was really trying to go flatter and flatter.
96
350000
2000
且我很努力地將它平面化，
06:18
"The Teapot."
97
353000
1000
"茶壺"。
06:20
I had a chance to go to Florence, in -- I think it was '94,
98
355000
3000
我有個機會到佛羅倫斯--我記得是在1994年時，
06:23
and I saw Ghiberti's "Door of Paradise."
99
358000
4000
我看到了Ghiberti 的"天堂之門" (義大利文藝復興青銅雕刻家)，
06:27
And he did something that was very tricky.
100
362000
3000
而他做了非常有意思的事情，
06:30
He put together two different media from different periods of time.
101
365000
3000
他結合了來自兩個不同時期的不同媒體。
06:33
First, he got an age-old way of making it, which was relief,
102
368000
5000
最初，他用最傳統的製作方式，也就是浮雕，
06:38
and he worked this with three-point perspective, which was brand-new technology at the time.
103
373000
5000
而且他採用了三點透視法，這在當時是最新的技術。
06:43
And it's totally overkill.
104
378000
2000
它太具有殺傷力了。
06:46
And your eye doesn't know which level to read.
105
381000
2000
你的眼睛似乎找不到可以切入的層次。
06:48
And you become trapped into this kind of representation.
106
383000
3000
而且你會深陷於這種圖像中。
06:51
So I decided to make these very simple renderings,
107
386000
4000
於是我決定製作一些簡單的翻版，
06:55
that at first they are taken as a line drawing --
108
390000
3000
最初是用線條來表現。
06:58
you know, something that's very -- and then I did it with wire.
109
393000
4000
最簡單的表達方式--我用鐵絲來做。
07:02
The idea was to -- because everybody overlooks white -- like pencil drawings, you know?
110
397000
6000
這個點子是--因為大家易忽略白色--就像鉛筆畫一樣，你知道吧？
07:08
And they would look at it -- "Ah, it's a pencil drawing."
111
403000
2000
而他們會看著話說--阿，這是鉛筆畫。
07:10
Then you have this double take and see that it's actually something that existed in time.
112
405000
4000
然後你當裏看著看著，就了解這是當時真正存在的另一種東西。
07:14
It had a physicality,
113
409000
2000
當它有了實體時，
07:16
and you start going deeper and deeper into sort of narrative
114
411000
4000
你就會開始對它更深入的詮釋，
07:20
that goes this way, towards the image. So this is "Monkey with Leica."
115
415000
5000
這樣延續下去形成了圖像。這是"猴子與徠卡相機"。
07:28
"Relaxation."
116
423000
2000
"放輕鬆"。
07:30
"Fiat Lux."
117
425000
4000
"Fita燈"。
07:34
And the same way the history of representation
118
429000
3000
正如藝術呈現方式的歷史
07:37
evolved from line drawings to shaded drawings.
119
432000
3000
從線條畫發展到陰影畫，
07:40
And I wanted to deal with other subjects.
120
435000
2000
我想要接觸其他主題。
07:42
I started taking that into the realm of landscape,
121
437000
3000
我開始將這些元素轉為製作風景畫，
07:45
which is something that's almost a picture of nothing.
122
440000
4000
這可說是什麼都沒有的畫。
07:49
I made these pictures called "Pictures of Thread,"
123
444000
2000
我製作這些稱為線之畫的圖像，
07:51
and I named them after the amount of yards that I used to represent each picture.
124
446000
4000
而且我用呈現每張圖像所使用的線碼數來命名。
07:55
These always end up being a photograph at the end,
125
450000
2000
這些最後總是變得像張照片，
07:57
or more like an etching in this case.
126
452000
2000
或許這張更像蝕刻畫。
07:59
So this is a lighthouse.
127
454000
3000
這是一個燈塔。
08:06
This is "6,500 Yards," after Corot. "9,000 Yards," after Gerhard Richter.
128
461000
7000
這是"6500碼"，臨摹Corot的作品(法國19世紀畫家)。"9000碼"，臨摹Gerhard Richter的作品(德國當代藝術家)。
08:13
And I don't know how many yards, after John Constable.
129
468000
4000
至於這幅我不知道用了多少碼數，臨摹自John Constable的作品(英國風景畫家)。
08:19
Departing from the lines, I decided to tackle the idea of points,
130
474000
3000
揮別線條後，我決定著手於點的概念，
08:22
like which is more similar to the type of representation that we find in photographs themselves.
131
477000
5000
類似我們在照片中可看到的影像呈現方式。
08:27
I had met a group of children in the Caribbean island of Saint Kitts,
132
482000
4000
我在加勒比海的聖啟斯島上遇到一群小孩，
08:31
and I did work and play with them.
133
486000
4000
我跟他們一起工作和玩樂。
08:35
I got some photographs from them.
134
490000
2000
我有一些他們的照片。
08:37
Upon my arrival in New York, I decided --
135
492000
2000
一當我回到紐約，我決定--
08:39
they were children of sugar plantation workers.
136
494000
4000
他們是蔗糖農場工人的小孩。
08:43
And by manipulating sugar over a black paper, I made portraits of them.
137
498000
5000
藉由把糖灑在黑紙上，我作了他們的肖像。
08:48
These are -- (Applause) --
138
503000
4000
這些是--(掌聲)--
08:52
Thank you. This is "Valentina, the Fastest."
139
507000
4000
謝謝。這位是"速度最快的Valentina"。
08:56
It was just the name of the child,
140
511000
2000
這是小孩的名字，
08:58
with the little thing you get to know of somebody that you meet very briefly.
141
513000
4000
有和某人短暫相遇時，你得到的信息很少。
09:02
"Valicia."
142
517000
3000
"Valicia"。
09:06
"Jacynthe."
143
521000
2000
"Jacynthe"。
09:10
But another layer of representation was still introduced.
144
525000
2000
但另外一層次的表現手法仍然存在。
09:12
Because I was doing this while I was making these pictures,
145
527000
3000
因為當我製作這些圖像時，我得舔手指。
09:15
I realized that I could add still another thing
146
530000
3000
於是我了解到我可以添加別的東西進去。
09:18
I was trying to make a subject --
147
533000
2000
我試著做一個主題--
09:20
something that would interfere with the themes,
148
535000
5000
就是不同的主題可以互相干涉。
09:25
so chocolate is very good, because it has --
149
540000
4000
所以巧克力是非常好的媒介，因為它
09:29
it brings to mind ideas that go from scatology to romance.
150
544000
5000
--可以帶來從糞便到浪漫的各種聯想。
09:34
And so I decided to make these pictures,
151
549000
3000
因此我決定要做這些圖像，
09:37
and they were very large, so you had to walk away from it to be able to see them.
152
552000
3000
它們非常大，所以你必須走遠一點才能觀看。
09:40
So they're called "Pictures of Chocolate."
153
555000
1000
它們被稱作巧克力圖。
09:41
Freud probably could explain chocolate better than I. He was the first subject.
154
556000
5000
Freud或許可以在解釋巧克力方面做得比我更好。他是第一個主題。
09:46
And Jackson Pollock also.
155
561000
3000
這是Jackson Pollock(20世紀美國抽象派畫家)。
09:52
Pictures of crowds are particularly interesting,
156
567000
1000
群眾的照片特別有趣，
09:54
because, you know, you go to that --
157
569000
2000
因為，你知道，你--
09:56
you try to figure out the threshold with something you can define very easily,
158
571000
3000
你試著把它和你很輕易可以定義的東西聯繫起來，
09:59
like a face, goes into becoming just a texture.
159
574000
4000
像一張臉，變成只是單一的組織。
10:03
"Paparazzi."
160
578000
1000
"狗仔隊"。
10:07
I used the dust at the Whitney Museum to render some pieces of their collection.
161
582000
4000
我使用惠特尼博物館的灰塵來呈現他們的館藏作品。
10:11
And I picked minimalist pieces because they're about specificity.
162
586000
4000
我選了極簡抽象派藝術家的作品，因為他們非常具有特殊性。
10:15
And you render this with the most non-specific material,
163
590000
3000
而你使用並不特殊的材質來表現它們，
10:18
which is dust itself.
164
593000
2000
也就是灰塵。
10:20
Like, you know, you have the skin particles of every single museum visitor.
165
595000
4000
你知道，你有每個博物館參觀者的皮膚微粒。
10:24
They do a DNA scan of this, they will come up with a great mailing list.
166
599000
6000
他們做了DNA掃描，結果是一張數量可觀的郵寄列表。
10:30
This is Richard Serra.
167
605000
2000
這是Richard Serra(美國的極簡主義雕刻家)。
10:38
I bought a computer, and [they] told me it had millions of colors in it.
168
613000
4000
我買了一台電腦，他們告訴我裡頭有上百萬的顏色。
10:42
You know an artist's first response to this is, who counted it? You know?
169
617000
4000
你知道藝術家聽到的第一個反應是，是誰計算的？你知道嗎？
10:46
And I realized that I never worked with color,
170
621000
3000
然後我發現我從來不使用顏色，
10:49
because I had a hard time controlling the idea of single colors.
171
624000
4000
因為我很難控制自己使用單一顏色。
10:53
But once they're applied to numeric structure,
172
628000
3000
但是我套用數值的結構，
10:56
then you can feel more comfortable.
173
631000
2000
所以你看了會覺得比較舒服。
10:58
So the first time I worked with colors was by making these mosaics of Pantone swatches.
174
633000
5000
於是我第一次使用多種顏色來製作彩通色卡的馬賽克畫。
11:03
They end up being very large pictures,
175
638000
2000
結果是非常大的圖像，
11:05
and I photographed with a very large camera --
176
640000
2000
而我用非常大的相機拍攝--
11:07
an 8x10 camera.
177
642000
2000
一台8x10相機。
11:09
So you can see the surface of every single swatch --
178
644000
2000
所以你可以看到每張色卡的表面--
11:11
like in this picture of Chuck Close.
179
646000
2000
就像這張Chuck Close的照片一樣(美國照片寫實主義藝術家)。
11:13
And you have to walk very far to be able to see it.
180
648000
5000
而你必須走得非常遠才能看出整幅畫。
11:18
Also, the reference to Gerhard Richter's use of color charts --
181
653000
6000
另外還有，使用色卡臨摹Gerhard Richter的作品--
11:25
and the idea also entering another realm of representation that's very common to us today,
182
660000
4000
接著我想踏入另一個今日相當普見的藝術表現領域，
11:29
which is the bit map.
183
664000
2000
也就是點陣圖。
11:31
I ended up narrowing the subject to Monet's "Haystacks."
184
666000
4000
我最後將主題定為Monet的乾草堆。
11:37
This is something I used to do as a joke --
185
672000
1000
這是我習慣用的開玩笑手法--
11:38
you know, make -- the same like -- Robert Smithson's "Spiral Jetty" --
186
673000
5000
你知道，仿做--Robert Smithson(美國藝術家)螺旋防波堤--
11:43
and then leaving traces, as if it was done on a tabletop.
187
678000
4000
留下一些蛛絲馬跡，彷彿這是在桌上完成的。
11:47
I tried to prove that he didn't do that thing in the Salt Lake.
188
682000
4000
我試著證明他不是在猶他州鹽湖城做這個地景藝術。
11:51
But then, just doing the models, I was trying to explore the relationship
189
686000
4000
但是藉由做這個模型，我嘗試探討
11:55
between the model and the original.
190
690000
2000
模型和原創物之間的關係。
11:57
And I felt that I would have to actually go there and make some earthworks myself.
191
692000
6000
我覺得我必須真的到當地且自己做些地景藝術。
12:03
I opt for very simple line drawings -- kind of stupid looking.
192
698000
4000
我選擇非常簡單的線條圖--看起來有點愚蠢。
12:08
And at the same time, I was doing these very large constructions,
193
703000
3000
同時，我把它們做得非常大，
12:11
being 150 meters away.
194
706000
3000
有150公尺長。
12:14
Now I would do very small ones, which would be like --
195
709000
4000
然後我做些非常小的，就像是--
12:18
but under the same light, and I would show them together,
196
713000
3000
在同樣的燈光下，我將它們並排展示，
12:21
so the viewer would have to really figure it out what one he was looking.
197
716000
3000
所以參觀者必須弄清楚他在看得是哪一個。
12:24
I wasn't interested in the very large things, or in the small things.
198
719000
3000
我沒有對特別大的，或者小的東西感到興趣。
12:27
I was more interested in the things in between,
199
722000
3000
我對介於中間尺寸的東西比較有興趣，
12:30
you know, because you can leave an enormous range for ambiguity there.
200
725000
3000
你知道，因為你可在其中留下極大的模糊地帶。
12:36
This is like you see -- the size of a person over there.
201
731000
4000
這是你見到的--一個人的尺寸。
12:41
This is a pipe.
202
736000
3000
這是一個煙管。
12:46
A hanger.
203
741000
1000
一個衣架。
12:48
And this is another thing that I did -- you know working
204
743000
3000
而這是我做得另一件事 -- 你也知道，工作
12:53
-- everybody loves to watch somebody draw,
205
748000
2000
-- 人們都喜歡看別人畫圖，
12:55
but not many people have a chance to watch somebody draw in --
206
750000
3000
但不是很多人有機會看一個人畫圖 --
12:58
a lot of people at the same time, to evidence a single drawing.
207
753000
4000
很多人同時圍觀，見證一個線條誕生。
13:02
And I love this work,
208
757000
3000
而且我喜歡這個作品，
13:05
because I did these cartoonish clouds over Manhattan for a period of two months.
209
760000
5000
因為我在兩個月的期間內，在曼哈頓上空做這些卡通圖樣的雲。
13:10
And it was quite wonderful, because I had an interest -- an early interest -- in theater,
210
765000
4000
這經驗很美好，因為我很久以前就對劇場感到興趣，
13:14
that's justified on this thing.
211
769000
2000
這也驗證在這個作品上。
13:16
In theater, you have the character and the actor in the same place,
212
771000
4000
在劇場內，角色和演員共處一室，
13:20
trying to negotiate each other in front of an audience.
213
775000
2000
試著在觀眾前互相協商。
13:22
And in this, you'd have like a --
214
777000
2000
而在這個作品內，你看到 --
13:24
something that looks like a cloud, and it is a cloud at the same time.
215
779000
4000
一個像雲的東西，它同時也是雲，
13:28
So they're like perfect actors.
216
783000
2000
所以這些就像是完美的演員。
13:31
My interest in acting, especially bad acting, goes a long way.
217
786000
6000
我對演戲的興趣，特別是不好的演出，執著很長一段時間。
13:37
Actually, I once paid like 60 dollars
218
792000
2000
事實上，我有次付了60塊美金
13:39
to see a very great actor to do a version of "King Lear,"
219
794000
4000
去看一位傑出演員扮演李爾王(莎士比亞四大悲劇之一)，
13:43
and I felt really robbed, because by the time the actor started being King Lear,
220
798000
5000
但我覺得我被搶了，因為當那位演員開始演李爾王的時候，
13:48
he stopped being the great actor that I had paid money to see.
221
803000
3000
他不再是我付錢想要看的那位傑出演員。
13:51
On the other hand, you know, I paid like three dollars, I think --
222
806000
8000
往另一個方向想，你知道，我想我付了大概3塊美金--
13:59
and I went to a warehouse in Queens
223
814000
2000
我去皇后區的一間倉庫
14:01
to see a version of "Othello" by an amateur group.
224
816000
5000
看一個業餘團體的奧賽羅演出(莎士比亞四大悲劇之一)。
14:06
And it was quite fascinating, because you know the guy --
225
821000
3000
演出相當令人滿意，因為有個人 --
14:09
his name was Joey Grimaldi --
226
824000
2000
他叫作Joey Grimaldi --
14:11
he impersonated the Moorish general
227
826000
3000
他扮演這位摩爾人將軍
14:14
-- you know, for the first three minutes he was really that general,
228
829000
2000
-- 你知道，前三分鐘他真的是位將軍，
14:16
and then he went back into plumber, he worked as a plumber, so --
229
831000
4000
然後他回去當水管工，他的工作是水管工，所以 --
14:20
plumber, general, plumber, general --
230
835000
3000
水管工，將軍，水管工，將軍 --
14:23
so for three dollars, I saw two tragedies for the price of one.
231
838000
4000
所以我只付了三塊錢，以單場票價看到兩場悲劇。
14:29
See, I think it's not really about impression,
232
844000
4000
所以，我想，人們迷戀一個完美的幻象，
14:34
making people fall for a really perfect illusion,
233
849000
2000
其實不是真的跟印象有關，
14:36
as much as it is to make -- I usually work at the lowest threshold of visual illusion.
234
851000
6000
正如同 -- 我通常用最低的成本創造視覺幻象。
14:42
Because it's not about fooling somebody,
235
857000
3000
因為這跟愚弄某人沒關係，
14:45
it's actually giving somebody a measure of their own belief:
236
860000
3000
這實際上是讓人檢測他們自己的信仰：
14:48
how much you want to be fooled.
237
863000
2000
你多想被愚弄。
14:50
That's why we pay to go to magic shows and things like that.
238
865000
4000
這解釋了我們付錢去看魔術秀這類表演的原因。
14:54
Well, I think that's it.
239
869000
2000
我想就是那麼多了。
14:56
My time is nearly up.
240
871000
1000
我的時間到了。
14:57
Thank you very much.
241
872000
1000
謝謝各位。
ABOUT THE SPEAKER
Vik Muniz - ArtistVik Muniz delights in subverting a viewer's expectations. He uses unexpected materials to create portraits, landscapes and still lifes, which he then photographs.
Why you should listen
Slf-effacing, frankly open and thought-provoking, all at the same time, Vik Muniz explores the power of representation. He's known for his masterful use of unexpected materials such as chocolate syrup, toy soldiers and paper confetti, but his resulting images transcend mere gimmickry. Most recently, he's been working with a team at MIT to inscribe a castle on a grain of sand ...
Muniz is often hailed as a master illusionist, but he says he's not interested in fooling people. Rather, he wants his images to show people a measure of their own belief. Muniz has exhibited his playfully provocative work in galleries all over the world and was featured in the documentary Waste Land, which follows Muniz around the largest garbage dump in Rio de Janeiro, as he photographs the collectors of recycled materials in which he finds inspiration and beauty. Describing the history of photography as "the history of blindness," his images simply but powerfully remind a viewer of what it means to see, and how our preconceptions can color every experience.
Vik Muniz | Speaker | TED.com