TEDGlobal 2017
Iké Udé: The radical beauty of Africa, in portraits
Iké Udé: 非洲肖像中的激进之美
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通过他丰富的职业生涯和作品，Iké Udé已经寻找到创造性的方式来否定西方媒体中盛行的，对于非洲的消极刻画。在他的工作之旅中，他与大家分享了一些令人回味的肖像，这些肖像将来自多种文化的服装、道具和姿势同时融入了非洲丰富多彩的复杂美景之中。
Iké Udé - Artist
The work of Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Full bio
The work of Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Full bio
Double-click the English transcript below to play the video.
00:12
In 1996, I was commissioned
by the Guggenheim Museum
by the Guggenheim Museum
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1996 年， 我接受
古根海姆博物馆的委任，
古根海姆博物馆的委任，
00:18
to execute a large body of work
called "Uses of Evidence."
called "Uses of Evidence."
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制作一个叫做
“证据的使用”的大型作品。
“证据的使用”的大型作品。
00:25
It was a cube --
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它是一个立方体——
00:27
a very well large cube, at that.
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一个非常大的立方体。
00:30
Each side had a window
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每一面都设有窗户，
以便参观者看到内部的景象。
00:32
in order for the spectators
to view the interior of the structure.
to view the interior of the structure.
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00:37
The exterior of the structure
was a collage of Africa and Africans
was a collage of Africa and Africans
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立方体的外观是西方媒体
及文学作品中所描绘的
及文学作品中所描绘的
00:44
as portrayed in the Western
media and literature.
media and literature.
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非洲和非洲人的影像。
00:48
A look through the windows
revealed a sharp contrast:
revealed a sharp contrast:
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而窗户内则展现了
非洲截然不同的另一面：
非洲截然不同的另一面：
00:55
within the cubes are tranquil,
civilized, domestic images
civilized, domestic images
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立方体内部展现的是
安宁，文明的国内景象，
安宁，文明的国内景象，
01:01
of African family members, friends
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有非洲的家庭、 朋友、
01:07
and Nigerian professionals,
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尼日利亚专家，
01:09
ranging from writers, poets,
fashion designers, etc.
fashion designers, etc.
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他们当中有作家、
诗人、 时尚设计师等。
诗人、 时尚设计师等。
01:17
The thing is,
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重点是：
01:19
both the exterior and the interior
images are quite true.
images are quite true.
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外观与内部展现的景象都是事实。
01:25
But the images captured by Western media
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但是西方媒体捕捉到的景象，
都在尽力把非洲人
过度丑化成原始人，
过度丑化成原始人，
01:31
overwhelmingly depict Africans
as basically primitive at best,
as basically primitive at best,
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01:39
or barely distinguishable
from the African animals.
from the African animals.
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或只是能与非洲的动物
区分开的人类而已。
区分开的人类而已。
01:44
Not much has changed,
I'm afraid, since 1996,
I'm afraid, since 1996,
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恐怕从 1996 年我创作这个作品至今，
01:50
when I executed this work.
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这种情况仍旧没多大改观。
01:56
I began my professional
photography practice in 1994,
photography practice in 1994,
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我从 1994 年开始从事专业摄影，
02:01
but my passion and enthusiasm
for photography
for photography
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但我对摄影的热爱与激情
02:06
goes back to childhood,
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要追溯到童年时期，
02:10
when my parents arranged
for us to be photographed
for us to be photographed
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那时我父母安排了
一个专业的摄影师
一个专业的摄影师
02:15
by a professional photographer
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给我们拍照，
几乎每个月就要拍一次。
02:18
on almost a monthly basis.
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02:21
It was also an opportunity for my siblings
to dress up in our latest gear,
to dress up in our latest gear,
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这也给了我和兄弟姐妹们一个机会，
去穿上裁缝为我们
去穿上裁缝为我们
02:28
made by our tailor.
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最新缝制的衣服。
02:30
Later, when I was in boarding school,
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后来，我去了寄宿学校上学，
02:33
my friends and I bought Polaroid cameras,
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和朋友买了台宝丽来的相机，
02:38
and then I began to experiment
with self-portraiture,
with self-portraiture,
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那之后，我开始试验拍自画像，
02:42
or what I would call
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而我更愿意称之为——
02:45
"proto-selfie auto-portraits."
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自动拍摄一成不变的自画像。
02:48
(Laughter)
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（笑声）
“封面女郎1994”
是我的第一个主要作品，
是我的第一个主要作品，
02:50
"Cover Girl 1994" was my first major work
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02:54
that was critically well received
in the US and Europe
in the US and Europe
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它在美国和欧洲颇受欢迎，
02:59
and quite instantly became
a part of the school anthologies
a part of the school anthologies
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并且立即被收录在了
各大学和学院的
各大学和学院的
03:06
at universities and colleges.
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作品选集中。
03:08
With the "Cover Girl" series,
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对于“封面女郎”系列，
03:10
I wanted to reimagine the magazine cover
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我想用前所未有，但合情合理的意象，
03:14
with imagery totally unexpected,
yet profoundly reasonable.
yet profoundly reasonable.
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来重新定位杂志封面。
03:21
The "Cover Girl" series
proposed a different way
proposed a different way
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“封面女郎”系列提出了
一个不同的方式，
一个不同的方式，
03:26
the African can be represented
in a more complex manner.
in a more complex manner.
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更为灵活多样地展现非洲的人像。
03:33
Like "Cover Girl,"
the "Sartorial Anarchy" series
the "Sartorial Anarchy" series
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跟“封面女郎”一样，
“混乱服装”系列
“混乱服装”系列
也是由自画像组成。
03:38
is made up of self-portraits.
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03:42
It is an ongoing body of work,
started in 2010.
started in 2010.
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这是一个从 2010 年
持续至今的作品集。
持续至今的作品集。
03:47
In each image, I married
disparate costumes
disparate costumes
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在不同的图片中，
我穿搭了风格迥异的服装，
我穿搭了风格迥异的服装，
03:53
from widely diverse traditions,
countries and time frames.
countries and time frames.
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取材于不同的传统文化与时代。
在把不同的地区
与文化融合为一体时，
与文化融合为一体时，
04:00
And in mixing eras, cultures,
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04:04
I was able to bring harmony, as it were,
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我能够为它们之间
看似不可协调的差异中
看似不可协调的差异中
04:08
to their similarly
irreconcilable differences.
irreconcilable differences.
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带来一种和谐之感。
04:12
These differences became a source
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这些差异成为了深受启发的
04:16
of inspired artistic celebration.
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艺术家的灵感源泉。
04:23
For example,
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比如：
04:26
in "Sartorial Anarchy #4,"
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在“混乱服装第4号作品”中，
受到牛津与伊顿之间的
04:29
I mixed a boater hat,
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04:32
inspired by the traditional
Eton-Oxford College Boat Race,
Eton-Oxford College Boat Race,
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传统划船比赛的启发，我把船帽
04:38
with a green Afghan traditional coat
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和绿色阿富汗传统外套，
04:42
and an American Boy Scout shirt --
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以及一件美式童子军衬衫
混搭在了一起——
混搭在了一起——
04:46
a culture clash that works.
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这是一次效果不俗的文化碰撞。
04:50
In "Sartorial Anarchy #5,"
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在“混乱服装第5号作品”中，
04:53
I wore a macaroni wig,
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我戴上了通心粉假发，
04:56
inspired by eighteenth-century
macaroni headgear from England.
macaroni headgear from England.
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其灵感来源于18世纪
英国的通心粉发式。
英国的通心粉发式。
05:02
This was paired with
a British Norfolk jacket,
a British Norfolk jacket,
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与之搭配的是英国诺福克上衣，
05:07
Yoruba Nigerian trousers,
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约鲁巴尼日利亚裤，
05:11
and, improbably, a South African
Zulu fighting stick.
Zulu fighting stick.
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还别出心裁的配上了
一根南非祖鲁格斗棍。
一根南非祖鲁格斗棍。
05:17
All harmoniously coexist on one body.
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所有这一切都和谐的
共存于一体。
共存于一体。
05:22
And with "Sartorial Anarchy,"
I began to invest more
I began to invest more
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有了“混乱服装”之后，
我开始将设计重心转移到
我开始将设计重心转移到
05:27
into the organization of my pictures.
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如何组织我的图片。
05:31
I also began to investigate
the vast possibilities of color:
the vast possibilities of color:
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我同样开始研究颜色广泛的可能性：
05:38
its emotional values,
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它可能带来的情感上的价值，
05:40
psychological impulse,
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心理上的冲动，
05:43
poetic allure
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诗意的暗示，
05:45
and a boundless capacity beyond
the realm of meaning and logic.
the realm of meaning and logic.
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和它超越逻辑和
实际意义的无穷的能力。
实际意义的无穷的能力。
05:52
Now, enter Nollywood.
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现在，说一说“诺莱坞”。
05:55
In October of 2014,
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在2014年的10月，
我在结束了三十年的离别之后，
回到了尼日利亚的首都拉各斯，
回到了尼日利亚的首都拉各斯，
05:57
I returned to Lagos, Nigeria,
after over three decades away
after over three decades away
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并为64名“诺莱坞”的
名人拍摄了照片。
名人拍摄了照片。
06:03
and took photographs
of 64 Nollywood personalities.
of 64 Nollywood personalities.
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06:08
I captured a cross section
of the industry,
of the industry,
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我捕捉到了这个产业
代表性的一部分，
代表性的一部分，
06:13
as well as the next generation
of rising stars.
of rising stars.
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以及下一代的新星。
06:19
Nollywood is the first time that you have
a school of African filmmakers
a school of African filmmakers
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“诺莱坞”是你能在非洲看到的
首个制片人学校，
首个制片人学校，
06:25
truly, truly, profoundly in charge
of telling African stories.
of telling African stories.
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真实的，深谋远虑的担负着
将非洲的故事告诉世人这一使命。
将非洲的故事告诉世人这一使命。
06:32
In their varied movies --
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在他们各种各样的电影中——
06:34
from romantic movies, horror films,
gangster movies to action movies --
gangster movies to action movies --
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从爱情片，恐怖片，
警匪片，到动作片——
警匪片，到动作片——
06:41
one sees Nigerians portrayed
with many layers of complexities.
with many layers of complexities.
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人们可以看见对尼日利亚的
多层次复杂情况的描绘。
多层次复杂情况的描绘。
06:47
All the Nigerian, or "Naija," archetypes,
if you allow, are there --
if you allow, are there --
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所有尼日利亚的，或者叫
“尼加”的文化原貌，都将在这里呈现——
“尼加”的文化原貌，都将在这里呈现——
06:55
from the divvers, the "Shakara,"
the coquette,
the coquette,
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不论是傻子，炫耀之人，贵妇，
07:00
the gangsters, the rich,
the corrupt politicians,
the corrupt politicians,
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还是歹徒，富人，受贿的政治家，
07:05
the whore, the pimp --
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妓女，皮条客——
07:07
all in their swagger.
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都能被扮演得活灵活现。
07:09
And of course, you have the lowlifes
and the losers, too,
and the losers, too,
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当然，你同样也能看到
社会底层的人和失败者，
社会底层的人和失败者，
他们都被生动的刻画了出来。
07:12
all vividly portrayed.
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07:16
Nollywood is Africa's mirror
par excellence.
par excellence.
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“诺莱坞”是完美地
映衬出非洲的一面镜子。
映衬出非洲的一面镜子。
07:21
Typically, I direct all of my portraits,
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一如既往，我指导了
所有的肖像作品，
所有的肖像作品，
07:25
from the way my subject
conducts his or her head,
conducts his or her head,
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包括这些主人公头部的位置，
07:30
the way the neck is tilted,
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脖子的倾斜程度，
07:33
the expression of the fingers,
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手指的表现形式，
07:36
the gestures of the hands,
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手的姿势，
07:39
to the gaze
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到凝视的目光，
07:41
and overall bearing and countenance.
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以及所有的举止和表情。
07:44
Let me describe
some of the photographs for you.
some of the photographs for you.
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我来描述一下其中的几张照片。
吉纳维芙 · 纳吉，
07:47
Genevieve Nnaji.
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07:49
She is the reigning queen of Nollywood.
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统治着“诺莱坞”的女王。
07:51
Here, I was quoting from the grand,
iconic African cultures
iconic African cultures
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在这里，我借鉴了
来自尼罗河流域文明的
来自尼罗河流域文明的
07:57
of the Nile Valley civilizations;
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宏伟的非洲法老文化，
08:00
namely, Egypt, Sudan and Ethiopia,
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包括了埃及，苏丹和埃塞俄比亚，
以此来赋予她高贵，
冷漠和平静的庄严。
冷漠和平静的庄严。
08:03
so as to imbue her with a stately,
ironic, calm grandeur.
ironic, calm grandeur.
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08:11
Taiwo Ajai-Lycett is
the grande dame of Nollywood.
the grande dame of Nollywood.
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蒂亚 · 奥阿杰-莱赛特
是“诺莱坞”的贵妇人，
是“诺莱坞”的贵妇人，
08:17
Every aspect of her being
commands attention.
commands attention.
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她的每一面都令人为之侧目。
08:23
So I posed her with her back
to the audience.
to the audience.
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所以我将她的背部展现给观众。
08:27
Her face turned to meet us
with a redoubtable gaze.
with a redoubtable gaze.
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她的脸转向我们，
凝视的目光令人敬畏。
凝视的目光令人敬畏。
08:34
She doesn't need to seek our approval.
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她不需要得到我们的认可，
08:38
She's all that.
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她就是如此出众！
08:40
Sadiq Daba.
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萨迪克 · 达巴。
08:42
There was an unspoken
authoritarian and imperial bearing
authoritarian and imperial bearing
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当你见到他时，会发现他身上自然而然
08:47
that Sadiq Daba exudes upon meeting him.
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流露出的独裁和专断。
在这幅肖像中，他仅仅是坐着，
08:52
In this portrait, he simply sat
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08:57
and allowed his massive,
massive Nigerian caftan
massive Nigerian caftan
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让他无比宽大的尼日利亚长袍
来彰显他的地位。
09:03
to signal his status.
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09:06
Quite an accomplishment.
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多么令人仰慕的威严！
09:09
Belinda Effah.
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贝琳达 · 艾法赫，
09:11
Belinda Effah's portrait allowed me
to indulge my passion for color,
to indulge my passion for color,
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她的肖像让我能
纵情于我对于色彩的狂热，
纵情于我对于色彩的狂热，
09:15
dressed in a long, fitted blue dress
that emphasizes her curves,
that emphasizes her curves,
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穿上一件长而得体的，
凸显她曲线的蓝色连衣裙。
凸显她曲线的蓝色连衣裙。
09:22
seated on an upholstered
green velvet bench.
green velvet bench.
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坐在垫上绿色天鹅绒的长凳上，
09:26
I gamely employed the multicolored carpet
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我大胆地运用了五彩的地毯
09:32
and a vibrant color,
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和活力十足的颜色，
让人联想起色彩绚丽的
丽彩鹀所带来的光辉。
丽彩鹀所带来的光辉。
09:34
in order to evoke the splendor
of the multicolored painted bunting bird.
of the multicolored painted bunting bird.
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09:41
Everything was designed to harmonize
the figure of Belinda within the frame.
the figure of Belinda within the frame.
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一切都是为了将贝琳达的
体态和谐的融入画面中。
体态和谐的融入画面中。
09:49
Monalisa Chinda is, shall we say,
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莫那里萨 · 琦达，或者说——
09:53
the epitome of the luxe
existence and lifestyle.
existence and lifestyle.
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奢华的存在和生活方式的缩影。
09:57
Her picture, or portrait,
pretty much speaks for itself.
pretty much speaks for itself.
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她的图片，或者肖像，
完美的表达了这一切。
完美的表达了这一切。
10:02
Alexx Ekubo is a sharp study
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亚历克斯 · 埃库博
是一个突出的例子，
是一个突出的例子，
包含了精简的优雅和庄严，
10:07
in simplified elegance and dignity
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10:11
and a harmony in blue and white, as well.
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还有蓝与白的和谐。
10:16
Enyinna Nwigwe
is a Nollywood matinee idol.
is a Nollywood matinee idol.
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恩那 · 尼格韦是一位
日场的“诺莱坞”偶像，
日场的“诺莱坞”偶像，
10:20
There is whiff of the rake about him,
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他身上有一丝放荡不羁的气息，
10:25
and that gives him an enchanting edge.
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这带给了他迷人的光环。
10:29
That's what I felt when I designed
and organized the portrait.
and organized the portrait.
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这些就是我在设计和组织
肖像照时所感受到的。
肖像照时所感受到的。
10:34
Now, Nollywood is a new phase of Africa.
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“诺莱坞”是非洲新的阶段。
10:39
It is modern, post-modern,
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它代表着现代，后现代，
10:44
meta-modern, bold
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超现代，大胆的，
10:47
sexy, shrewd
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性感的，精明的，
10:50
and with a contagious
attitude worth catching.
attitude worth catching.
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还有值得注意的
极富感染力的态度。
极富感染力的态度。
10:55
As the finale of the project,
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在项目的最后，
10:58
I assembled the Nollywood stars
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我把“诺莱坞”的明星们
11:01
into a group grand portrait
of 64 subjects,
of 64 subjects,
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集合成了壮丽的64人群体肖像，
称之为“诺莱坞学院”。
11:06
called "The School of Nollywood,"
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11:10
which was inspired
by Rafael's "School of Athens,"
by Rafael's "School of Athens,"
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这一想法是受到
拉斐尔“雅典学院”的启发，
拉斐尔“雅典学院”的启发，
11:15
that was done circa 1509.
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那幅作品大约是1509年
11:20
It is at the Vatican.
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在梵蒂冈完成的。
11:22
This grand group portrait
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这幅壮丽的群体肖像，
11:25
is the exact same size
as Rafael's "School of Athens."
as Rafael's "School of Athens."
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尺寸与拉斐尔的“雅典学园”完全相同，
11:31
It measures roughly 27 feet in width
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宽约27英尺，
高为6尺半。
11:36
by six and a half feet in height.
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11:40
Nollywood also exemplifies
a type of modernity
a type of modernity
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“诺莱坞”同时诠释了
一种全新的现代感，
一种全新的现代感，
是非洲前所未有的。
11:44
never before seen in Africa.
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11:47
Think of it:
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试想一下：
自尼罗河流域文明以来的
埃及，苏丹，埃塞俄比亚，
埃及，苏丹，埃塞俄比亚，
11:48
there has never been anything
so ubiquitous
so ubiquitous
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还从未有过任何事物
11:53
with such iconic optics
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像这般无处不在，
11:56
to come out of Africa
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11:57
since the Nile Valley civilizations
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带着这样标志性的色彩，
12:02
of Egypt, Sudan, Ethiopia.
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走出非洲。
12:07
Outside of Nollywood,
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在“诺莱坞”之外的世界中，
12:09
the image of Africa remains frozen
in the old "National Geographic" mode
in the old "National Geographic" mode
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非洲给人们的印象仍停留于
陈旧的“国家地理”模式，
陈旧的“国家地理”模式，
或是一处野外旅行的地方。
12:15
and safari perspective.
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12:18
But as Africans continue to step
and see themselves portrayed by Nollywood
and see themselves portrayed by Nollywood
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但当非洲人持续进步，
看到他们自己被“诺莱坞”
看到他们自己被“诺莱坞”
12:25
in their varied
and fantastic complexities,
and fantastic complexities,
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用一种多样而令人狂热的精巧所描绘，
他们会变得愿意传播并坚持
12:29
they will, in turn,
propagate and perpetuate
propagate and perpetuate
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12:33
the positive image of themselves.
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他们自己的积极形象。
12:36
This is what Hollywood did
and continues to do for the West.
and continues to do for the West.
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这是好莱坞一直以来
对西方文明的贡献。
对西方文明的贡献。
12:40
As shocking as this may be,
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尽管听起来可能令人震惊，
12:43
it is almost a taboo in the art world
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但这在艺术世界中
几乎是被禁忌的，
几乎是被禁忌的，
12:46
to show Africans in a modern framework --
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不应该用现代的框架
来衬托非洲人像——
来衬托非洲人像——
12:51
that is to say, as polished, dry-cleaned,
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也就是说，不能出现
美化的，整洁的，
美化的，整洁的，
12:55
manicured, pedicured and coiffed.
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做过美甲和美发后的造型。
12:59
(Applause)
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（掌声）
我工作的一部分就是
每次用一幅肖像，不断为世界展现
每次用一幅肖像，不断为世界展现
13:04
Part of my job is to keep
beautifying Africa for the world,
beautifying Africa for the world,
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13:10
one portrait at a time.
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更美的非洲。
谢谢！
13:13
Thank you.
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（掌声）
13:14
(Applause)
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Translated by 宽 彭
ABOUT THE SPEAKER
Iké Udé - ArtistThe work of Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art.
Why you should listen
Iké Udé's ongoing photographic self-portrait series, "Sartorial Anarchy," showa him dressed in varied costumes across geography and time. As a Nigerian-born, New York–based artist, conversant with the world of fashion and celebrity, Udé gives conceptual aspects of performance and representation a new vitality, melding his own theatrical selves and multiple personae with his art. Udé plays with the ambiguities of the marketplace and art world, particularly in his seminal art, culture and fashion magazine, aRUDE and recently his style blog, theCHIC INDEX.
Udé is the author of Beyond Decorum (MIT Press, 2000), which accompanied a traveling exhibition of his photography, and Style File: The World’s Most Elegantly Dressed (2008), a remarkable volume that profiles 55 arbiters of style, including Isabel and Ruben Toledo, Victoire de Castellane, André Leon Talley, Dita Von Teese, Ute Lemper, Lapo Elkann and many others. His work is in the permanent collections of the Solomon R. Guggenheim Museum, the Smithsonian Museum of Art and in many private collections. The esteemed online auction house, Artsy, ranked him -- along with Rembrandt, van Gogh, Warhol -- among the top 10 "Masters of the Self-Portrait." He has made the coveted Vanity Fair magazine's International Best Dressed List in 2009, 2012 and 2015.
Iké Udé | Speaker | TED.com