艺术的力量（2006）

So the signs of redemption now are puny, though telling.
一朵雏菊
A single daisy.
令人吃惊的是，在战士的手掌有处明确的刺痕
And on the fallen warrior's hand, startlingly, an unmistakable puncture mark.
那是殉教的基♥督♥徒的特征
The stigmata of the martyred Christ.
毕加索怎么会有此一笔呢 他不是被认为是现代主义者吗
What brought this into Picasso's head? Wasn't he supposed to be the worldly modernist?
弗朗哥将军不也是被认为是基♥督♥徒战士吗
Wasn't it General Franco who was supposed to be the Christian soldier?
当然 这是个重点所在
Well, that was the point, of course.
这是点睛之笔 反败为胜的关键
The idea was to turn the tables on all those holy rollers.
现在在毕加索的脑海里
What was in Picasso's head now was one more indelible image
祖国给他带来的烦恼挥之不去
of the agony of his nation.
而且每一个西班牙人都将会知道
And one which every Spaniard would have known,
1808年5月3日 戈雅
Goya's 3rd of May, 1808.
这也是一个艺术家面对残酷与屠♥杀♥时的反应
This, too, was the response of an artist seething at cruelty and massacre.
作品描述的是那些曾经对拿破仑的入侵奋起反抗的人
In this case, the execution in Madrid
在马德里被枪决时的场景
of the rebels who had risen against Napoleon's invading army.
但是这却被渲染上了古老基♥督♥徒希望的色彩
But it's coloured by an ancient Christian hope,
这种想法尤其盛行于西班牙
especially deeply rooted in Spain,
那就是救赎
that of salvation.
奋起的反抗导致了一个救世主式人物的死亡
The defiant rebel is dying a saviour's death,
伸展的手臂就像被钉上十字架的耶稣
arms flung wide like the crucified Christ.
在他张开的手掌上赫然有着基♥督♥徒的符号♥
The stigmata appearing on his opened palm.
还有些别的东西把戈雅的这幅枪决作品与毕加索的屠♥杀♥作品联♥系♥在一起
There's something else that ties Goya's execution to Picasso's slaughter,
他二人并没有按常规去创作艺术作品
something that turns the conventions of art on their head,
那是光的善恶角色的交替转换
and that's the alternation of light from good to evil.
在所有与艺术有关的写作中 所有与绘画有关的每件事
In everything ever written about art, everything ever done in painting,
光都是带来美丽与高贵的使者
light is the bringer of beauty, of sublime dignity.
但是这里却不是
Not here.
在这里 光成了屠♥杀♥的工具
Here it's the instrument of slaughter.
在微暗的灰黄色光线笼罩下
The sallow gleam in which the machine men go about their dirty business
那些如同机械般的士兵仅仅是为了服从命令就去从事罪恶的勾当
in the dead of night. Just obeying orders.
现在 看看格尔尼卡吧
Now, look at Guernica.
你会感到那些堆积如山的尸体开始膨胀开来
You feel the heave and swell of that pyramid of writhing bodies,
仿佛要破画而出 不是吗
thrusting up through the painting, don't you?
他们为什么如此的紧张呢？
But what do they strain towards?
一只邪恶的眼睛
An evil eye.
在那只邪恶的眼睛里
And within that evil eye,
有一只发出残忍♥光线的电灯泡
the merciless glare of a single electric light bulb.
这是毁灭者发出的光
It's the incandescence of the exterminating angel,
就像是杀人小分队或者寻找目标的轰炸机飞行员用的探照灯
the searchlight of the death squad and the targeting bomber.
空悬于牢房♥中的孤零零的一只灯泡
The bare bulb of the torturer's cell.
与它相对应的是
Against it is the candlelight, held straight out
由一只如英雄般完美的手臂举持着的烛光
by a heroically beautiful arm.
于是 一场善光与恶光之间的战争开始了
An epic battle, then, of the good and the wicked lights.
艺术VS邪恶
Art versus evil.
当放下画笔时 他意识到自己完成了一件不可能的任务
When he's finished painting, he knows he's done the impossible.
这幅作品触到了现代梦魇的内心
Created something that reaches deep into modern nightmares,
兴奋的脸庞 恐惧的表情 燃烧的烈火 尖叫的人们
hectic, terrifying, burning, screaming.
那里没有出路可走
There's no way out.
它极具现代主义
It's defiantly modern,
但是它也把我们拉回到了那个悲剧性的时代
but it also pulls us back into the tragedy of the ages.
这是一场立体主义冲击波 也是一座经典的纪念碑
A Cubist commotion, yet also a classical monument,
在尸山旁边是一个处于悲痛中的女人
with it's wailing women flanking the massive pyramid of death.
这不过是画在帆布上的一幅画
It's just paint and canvas,
但是它却具有坚如磐石的权威性
but it has the authority of stone.
它炸不烂，摧不毁
It's unbombable, it's indestructible.
因为这幅作品已经成为了一个奇迹
For this picture achieves a miracle.
尽管众多关于暴行和灾难的图画充斥眼前
Despite all the images of violence and disaster with which we're bombarded,
但是它却显得那么与众不同
it makes us feel it.
它渗入我们的肌肤直达心灵
It gets under our skin.
对于我来说 这就是艺术必须去做的事情 是艺术的责任所在
This, for me, is what all great art has to do,
它有义务破除我们那些陈规陋习
crash into our lazy routines.
格尔尼卡惨剧
The routine that Guernica tears into
是我们也是毕加索时代的一块伤痕
is a sickness of our, as well as Picasso's, time.
轻易发动暴行的习惯
The habit of taking violent evil in our stride.
对屠♥杀♥的厌恶
The yawn at the massacre.
既然以前见过了 就请走开吧
Seen it before, go away.
不要破坏了艺术的娱乐性
Don't spoil the fun of art.
但是“格尔尼卡”可不是来取悦我们的
But Guernica isn't with us for fun.
而是去揭开伤疤
It's there to rip away the scar tissue.
让我们流血 彻夜难眠
To make us bleed, to rob us of our sleep.
那么 当炸♥弹♥坠落之时艺术能做些什么呢
So, what can art do when the bombs start dropping?
它会让我们意识到作为人类的一员的义务所在
It can instruct us on the obligations of being human.
不管怎么说 最终毕加索胜利了
In all the ways that really counted, Picasso had won,
这是艺术的胜利 也是人性的胜利
art had won, humanity had won.
那么 这幅作品在巴黎世界博览会以及艺术界掀起波澜了吗
So, does Guernica storm the Paris World Fair and the world of art?
看来是没有 真的
Well, no, not really.
人们的反应是掩盖于礼貌之下的讥讽
The response is devastatingly polite.
评论家的反应是发呆而不是驱散人们的困惑不解
Critics are more bemused than blown away.
来自西班牙的左翼参观者以及其他人
Left-wing visitors to the Fair from Spain and beyond
徒然的寻找着作品中并没有表现出来的英勇不屈的英雄形象
looked in vain for muscular proletarians in heroic attitudes.
或者能看到敌人邪恶的嘴脸形象也行
Or even the grim-faced bad guys in malevolent poses.
一位艺术批评家认为这不过是作者的一时头脑发热
One critic described the painting as nothing more than a private brainstorm,
当然 部分是这样的
which, of course, it partly was.
但是“格尔尼卡”受到了是众人冷漠的赞扬
Whilst Guernica is bathed in rather lukewarm praise,
毕加索携多拉及一众好友去法国普罗旺斯的蓝色海岸度假
Picasso is off to the Cote d'Azur with Dora and his posse of friends.
不过他已经不再像往常那样如吉普赛人般在海滩瞎胡混了
But there is now more to Picasso than the bohemian beach-bum act.
这位艺术家的内心已经发生了转变
He is an artist transformed.
他开始认为自己的艺术
An artist who believes his art has a political purpose
已经具有了些许政♥治♥意义
and a political message.
在“格尔尼卡”以及我其它作品中
In Guernica, and all my art,
我表达了对军事阶层的反感憎恶
I express my revulsion of the military caste
是他们让西班牙跌入痛苦的深渊
who have sunk Spain into an ocean of pain.
格尔尼卡事件后过了两年
Two years after Guernica,
弗朗哥终于在西班牙掌权
Franco was victorious in Spain
同时法♥西♥斯♥主义也开始横扫欧洲大♥陆♥
and fascism was eviscerating Europe.
“格尔尼卡”不仅仅是幅画 它也是个预言
Guernica was not just a painting, it was a prophecy.
经过四年艰苦卓绝的战争
In 1944, after four years of gruelling war,
巴黎于１９４４年被解放了
Paris was liberated from Nazi occupation,
毕加索开始能够自♥由♥的与崇拜他的公众见面
and Picasso was free to meet an adoring public.
人们蜂聚在他的工作室
And how they flocked to the studio,
如饥似渴的探询“格尔尼卡”的创作过程
hungry for stories about Guernica's creation.
他满足了人们的要求
He obliges the fans and groupies lingering on those years,
就像一个老的战地指挥官再次体验了往日最得意的战役带来的喜悦
like an old field marshal reliving his finest campaign.
是啊 这就是他最引以为豪的一场战役
Well, this was his finest campaign.
毕加索曾经把这个创作过程就像描述成一种几近油尽灯枯才思枯竭的状态
Picasso once described the creative process as a kind of complete emptying.
1937年那狂热的几个月中
He'd put so much of everything he had to offer in the world into Guernica,
他把如此多的对世界的人生体验都倾注进了这幅作品
during those few, feverish months of 1937.
以至于并没有留下太多的精力进行后续的创作生涯
But afterwards, there was not much left in the creative tank.
他已经孜孜不倦的工作了30年
He had 30 years of work ahead.
那是他的艺术生涯里漫长的最悲伤的虎头蛇尾的３０年
The longest, saddest anti-climax in the history of art.
帕勃罗．毕加索成为了毕加索同志
Pablo Picasso becomes Comrade Picasso,
他成了一名法国共♥产♥党党员
the Cote d'Azur communist,
成了为肩负和平大业政党工作的雇用艺术家
knocking off hack work for the party of peace and goodwill.
对于斯大林来说 比做一个海报男孩儿更糟的会是什么呢 只不过是个海报男孩嘛
And what's worse than being a poster boy for Stalin? Well,just being a poster boy.
他现在已是名人了 由于经常到地中海沿岸 皮肤晒更黑了
Settling into celebrity, the Riviera tan ever-deepening,
毕加索的照片不怎么出现在马♥克♥思♥主义报刊上 转而出现在时尚杂♥志♥上
Picasso leaps from the pages of Marxist critiques to the fashion glossies.
相比之下 “格尔尼卡”开始积聚起象征力量
In contrast, Guernica accumulates symbolic power.
这幅作品到达纽约市后
The painting takes up residence in New York City
被收藏于现代艺术博物馆中
where, for three decades, it burns with moral heat
此后整整30年 它在人们心中激起了一波又一波的道德热浪
on the walls of the Museum of Modern Art.
作品的创作者做出了一件自己都没有预见到的事情
Its creator had done something no one who'd known him could ever have predicted.
他把现代艺术
He'd rescued modern art from the curse of its own cleverness,
从自身的新奇不为世人所了解的窘境中解救了出来
from the curse of novelty.
“格尔尼卡”的意义应该比艺术本身还要大
Guernica's always been bigger than art.
仅仅一座博物馆是盛不下它的
Uncontainable by mere museum walls.
它是少数能够
It's one of those very rare creations
融入公众文化血流之中的少数作品之一
that gets into the bloodstream of the common culture.
1981年弗朗哥去世 民♥主♥得以复活
In 1981, with Franco dead and democracy at last alive,
“格尔尼卡”终于找到了回家的路
Guernica found its way home to Spain.
毕加索没有等到这一天，因为他在八年前去世了
Picasso never saw its return, having died eight years before,
但是他意味深长的表示他的作品会比弗朗哥长命