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

Senfords Bigerss: Mākslinieka nesatricināmais skats uz rasu vardarbību

Filmed:
1,158,104 views

Konceptuālmākslinieks TED stipendiāts Senfords Bigerss izmanto gleznošanu, tēlniecību, video un priekšnesumiem lai uzsāktu izaicinošas sarunas par vēsturi melnādaino Amerikas vēsturi un traumām. Uzklausiet viņa stāstījumu par diviem interesantiem darbiem un motivāciju radīt šādu mākslu. "Tikai caur pārdomātāku dialogu par vēsturi un rasi varam attīstīties kā cilvēki un sabiedrība," saka Bigerss.
- 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.

Kā konceptmākslinieks
00:12
As a conceptualkonceptuāls artistmākslinieks,
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00:14
I'm constantlypastāvīgi looking for creativeradošs waysceļi
to sparkdzirkstele challengingizaicinošs conversationssarunas.
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allaž meklēju radošus veidus
izaicinošu sarunu uzsākšanai.
00:18
I do this thoughtomēr paintingglezna, sculptureskulptūra,
videovideo and performancesniegums.
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Es daru to ar gleznošanas, tēlniecības,
video un priekšnesumu palīdzību.
00:22
But regardlessneskatoties uz of the formatformātā,
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Bet neskatoties uz formātu,
00:23
two of my favoritemīļākais materialsmateriāli
are historyvēsture and dialoguedialogs.
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divi no maniem iecienītākajiem materiāliem
ir vēsture un dialogs.
00:27
In 2007, I createdradīts "LotusLotus,"
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2007. gadā es izveidoju „Lotusu”,
00:30
a seven-and-a-half-footseptiņi ar pusi pēdas diameterdiametrs,
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2,3 metru diametrā,
00:32
600-pound-pievieno glassstikls depictionattēlojums
of a lotuslotoss blossomzieds.
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270 kilogramu smagu lotusa zieda
atveidojumu stiklā.
00:35
In BuddhismBudisms, the lotuslotoss is a symbolsimbols
for transcendenceTranscendents
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Budismā lotuss ir pārpasaulības,
00:39
and for puritytīrība of mindprātā and spiritgars.
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prāta un gara šķīstības simbols.
00:41
But a closertuvāk look at this lotuslotoss
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Bet ja palūkosieties uz šo lotusu tuvāk,
00:44
revealsatklāj eachkatrs petalziedlapas
to be the cross-sectionšķērsgriezums of a slavevergs shipkuģis.
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ieraudzīsiet, ka katra ziedlapa
ir vergu kuģa šķērsgriezums.
00:47
This iconicikonu diagramdiagramma was takenņemti
from a BritishLielbritānijas slavingslaving manualrokasgrāmata
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Šī slavenā diagramma ir ņemta
no britu vergturības rokasgrāmatas,
00:51
and latervēlāk used by abolitionistsNāvessoda atcelšanas to showparādīt
the atrocitieszvērības of slaveryverdzība.
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un abolicionisti to vēlāk izmantoja
vergturības zvērību ilustrēšanai.
00:56
In AmericaAmerika, we don't like
to talk about slaveryverdzība,
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Mums Amerikā nepatīk runāt par verdzību,
00:58
nor do we look at it as a globalglobāls industrynozare.
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un mēs uz to neraugāmies
kā vispasaules nozari.
01:01
But by usingizmantojot this BuddhistBudistu symbolsimbols,
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Bet, izmantojot šo budistu simbolu, ceru
01:03
I hopeceru to universalizeuniversalize and transcendpārvarēt
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melnādainās Amerikas vēsturi un traumu
padarīt vispārēju un pārpasaulīgu.
01:05
the historyvēsture and traumatrauma of blackmelns AmericaAmerika
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01:08
and encourageiedrošināt discussionsdiskusijas
about our shareddalīts pastpagātne.
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un ierosināt diskusiju
par mūsu kopīgo pagātni.
01:12
To createizveidot "LotusLotus,"
we carvedcirsts over 6,000 figuresskaitļi.
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Lai izveidotu „Lotusu”,
mēs izgrebām vairāk nekā 6000 figūriņu.
01:16
And this latervēlāk led to a commissionkomisija
by the CityPilsēta of NewJauns YorkYork
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Un tas noveda
pie Ņujorkas pilsētas pasūtījuma
01:19
to createizveidot a 28-foot-koka versionversija in steeltērauds
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izveidot astoņarpus metru tērauda versiju
01:21
as a permanentpastāvīgs installationuzstādīšana
at the EagleĒrglis AcademyAkadēmija for YoungYoung MenVīrieši,
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kā pastāvīgu instalāciju
pie Īglas zēnu akadēmijas,
01:24
a schoolskola for blackmelns and latinolatīniski studentsstudenti,
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melnādaino un latīņamerikāņu zēnu skolas,
01:27
the two groupsgrupām mostlielākā daļa affectedietekmē
by this historyvēsture.
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kas ir divas šo vēstures notikumu
visvairāk skartās grupas.
01:30
The samepats two groupsgrupām are very affectedietekmē
by a more recentnesen phenomenonparādība,
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Šīs divas grupas ļoti skar
arī kāda nesenāka parādība,
01:33
but let me digressnovirzīties.
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bet ļaujiet novirzīties no tēmas.
01:35
I've been collectingsavācot
woodenkoka AfricanĀfrikas figuresskaitļi
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Es krāju afrikāņu koka figūriņas
01:38
from touristtūristu shopsveikali and fleablusu marketstirgi
around the worldpasaule.
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no tūristu veikaliem
un krāmu tirdziņiem visā pasaulē.
01:40
The authenticityautentiskumu and originizcelsme
of them is completelypilnīgi debatableapstrīdams,
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To autentiskums un izcelsme
ir ļoti diskutabla,
01:43
but people believe these
to be imbueduzsūcināta with powerjauda,
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bet ļaudis tic, ka tām piemīt spēks
01:46
or even magicmaģija.
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vai pat burvju spēks.
01:47
Only recentlynesen have I figuredrakstainas out
how to use this in my ownpašu work.
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Tikai nesen sapratu,
kā to izmantot savā darbībā.
01:51
(GunLielgabals shotsšāvieni)
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(Šāvieni)
02:05
SinceKopš 2012, the worldpasaule has witnessedliecinieks
the killingsslepkavības of TrayvonTrayvon MartinMārtiņš,
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Kopš 2012. gada pasaule
ir pieredzējusi Treivona Mārtina,
02:09
MichaelMichael BrownBrown, EricĒriks GarnerKlēts,
SandraSandra BlandBland, TamirTamir RiceRīsi
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Maikla Brauna, Erika Gārnera,
Sandras Blendas, Tamira Raisa
02:13
and literallyburtiski countlessneskaitāmi other
unarmedneapbruņots blackmelns citizenspilsoņiem
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un neskaitāmu citu neapbruņotu
melnādaino pilsoņu nogalināšanu
02:16
at the handsrokas of the policepolicija,
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no policistu rokām,
02:17
who frequentlybieži walkstaigāt away
with no punishmentsods at all.
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kas bieži vien tiek cauri
vispār bez jebkāda soda.
02:20
In considerationatlīdzība of these victimsupuri
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Ņemot vērā šos upurus,
02:22
and the severalvairāki timesreizes that even I,
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un, ka vairākas reizes pat pret mani,
02:24
a law-abidinglikumpaklausīgām, IvyIvy LeagueLīga professorprofesors,
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likumpaklausīgu Efeju līgas profesoru,
02:27
have been targetedmērķtiecīga and harassedvajā
at gunpointstobra galā by the policepolicija.
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policija ir pavērsusi ieroču stobru.
02:30
I createdradīts this bodyķermenis of work
simplyvienkārši entitledtiesības "BAMBAM."
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Es radīju šo darbu,
ko nosaucu vienkārši par „BAM”.
02:36
It was importantsvarīgs to erasedzēst
the identityidentitāte of eachkatrs of these figuresskaitļi,
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Bija svarīgi izdzēst
katras figūriņas identitāti,
02:39
to make them all look the samepats
and easiervieglāk to disregardneņemt vērā.
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lai tās visas izskatītos vienādas
un neievērojamākas.
02:43
To do this, I dipkrituma them in a thickbieza,
brownbrūna waxvaska
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Lai to panāktu,
es tās iemērcu biezā, brūnā vaskā,
02:45
before takingņemot them to a shootingšaušana rangediapazons
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un aiznesu uz šautuvi,
02:47
where I re-sculptedatkārtoti izgrebts them usingizmantojot bulletslodes.
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kur pārveidoju tās ar lodēm.
02:51
And it was funjautri,
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Bija interesanti
02:52
playingspēlē with bigliels gunsieroči and
high-speedliels ātrums videovideo cameraskameras.
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spēlēties ar lieliem ieročiem
un ātrdarbības videokamerām.
02:55
But my reverencecieņa for these figuresskaitļi
kepttur me from actuallyfaktiski pullingvilkšana the triggersprūda,
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Bet mana pietāte pret šīm figūriņām
neļāva nospiest gaili,
02:58
somehowkaut kā feelingsajūta as if I would
be shootingšaušana myselfsevi.
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likās, ka šautu pats uz sevi.
03:01
FinallyBeidzot, my cameramankinooperators, RaulRaul,
firedkarsētie the shotsšāvieni.
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Beidzot, šāvienus veica
mans video operators Rauls.
03:06
I then tookpaņēma the fragmentsfragmenti of these
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Tad es savācu to fragmentus,
03:08
and createdradīts moldspelējuma,
and castcast them first in waxvaska,
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izveidoju veidnes
un izlēju tās vispirms no vaska,
03:12
and finallybeidzot in bronzebronzas
like the imageattēls you see here,
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un tad no bronzas
kā redzams šajā attēlā,
03:15
whichkas bearslāči the markszīmes
of its violentvardarbīgs creationradīšana
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kurā redzamas
to veidošanas vardarbīgās pēdas
03:18
like battlecīņa woundsbrūces or scarsrētas.
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kā kaujas ievainojumi vai rētas.
03:20
When I showedparādīja this work recentlynesen in MiamiMiami,
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Kad šo darbu nesen parādīju Maiami,
03:22
a womansieviete told me she feltfilcs
everykatrs gunlielgabals shotšāviens to her souldvēsele.
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kāda sieviete teica,
ka dvēselē jutusi katru šāvienu.
03:25
But she alsoarī feltfilcs that these artworksmākslas darbus
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Bet viņa arī jutusi, ka šie mākslas darbi
03:28
memorializediemūžināti the victimsupuri of these killingsslepkavības
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iemūžina atmiņas par šiem nogalinātajiem,
03:30
as well as other victimsupuri of
racialrasu violencevardarbība throughoutvisā US historyvēsture.
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kā arī citiem rasu vardarbības
upuriem ASV vēsturē.
03:33
But "LotusLotus" and "BAMBAM" are largerlielāks
than just US historyvēsture.
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Bet „Lotus” un „BAM”
attiecas ne tikai uz ASV vēsturi.
03:36
While showingrāda in BerlinBerlīne last yeargads,
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Pagājušogad izstādē Berlīnē
03:38
a philosophyfilozofija studentstudents askedprasīja me
what promptedpamudināja these recentnesen killingsslepkavības.
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kāds filosofijas students man jautāja,
kas veicinājis šo neseno vardarbību.
03:42
I showedparādīja him a photofoto
of a lynchingLynching postcardpastkarte
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Es viņam parādīju
pastkarti ar linča tiesa
03:44
from the earlyagri 1900s
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20. gadsimta sākumā
03:46
and remindedatgādināja him that these killingsslepkavības
have been going on for over 500 yearsgadiem.
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un atgādināju, ka šai vardarbībai
ir vairāk nekā 500 gadu vēsture.
03:51
But it's only throughcauri questionsjautājumi like his
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Bet, tikai uzdodot šādus jautājumus
03:53
and more thoughtfulpārdomāts dialoguedialogs
about historyvēsture and racerase
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un risinot pārdomātāku dialogu
par vēsturi un rasi,
03:56
can we evolveattīstīties as individualsprivātpersonas and societysabiedrība.
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varam attīstīties
kā cilvēki un sabiedrība.
03:59
I hopeceru my artworkmākslas darbs createsrada a safedroši spacetelpa
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Ceru, mani mākslas darbi
rada drošu telpu
04:02
for this typetips of honestgodīgi exchangeapmaiņa
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šādai godīgai sarunai
04:05
and an opportunityiespēja for people
to engageiesaistīties one anothercits
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un sniedz iespēju cilvēkiem iesaistīties
04:07
in realreāls and necessarynepieciešams conversationsaruna.
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īstā un vajadzīgā sarunā.
04:10
Thank you.
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Paldies.
04:11
(ApplauseAplausi)
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(Aplausi)
Translated by Raimonds Jaks
Reviewed by Kristaps Kadiķis

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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