कला का मूल्य 'विस्मृति की दुनिया' (अंधेरे या भुलाए जा चुके संसार) में झाँकने और उन चीज़ों को खोजने की उसकी क्षमता में है जिन्हें आम तौर पर पहचाना नहीं जाता, जो भुला दी जाती हैं, अदृश्य होती हैं और जिन्हें बयां करना नामुमकिन होता है।
The value of art is its ability to look into the "world of oblivion" and to find things that are generally unrecognized, forgotten, invisible and impossible to tell.
The value of art is its ability to look into the "world of oblivion" and to find things that are generally unrecognized, forgotten, invisible and impossible to tell.
यहाँ तक कि माइकलएंजेलो और लियोनार्डो दा विंची भी मनोरंजक कलाकार थे। उस लिहाज से, मैं भी एक मनोरंजक कलाकार हूँ और ऐसी कला बनाना चाहती हूँ जो मजेदार हो।
Even Michelangelo and Leonardo da Vinci were entertainers. In that way, I am an entertainer and want to make art that is fun.
Even Michelangelo and Leonardo da Vinci were entertainers. In that way, I am an entertainer and want to make art that is fun.
"कला अपनी नजरों को विस्मृति की दुनिया की तरफ मोड़ने की क्षमता है।" कला को मैं इसी रूप में बुनियादी स्तर पर समझती हूँ।
"Art is the ability to turn one's gaze to the world of oblivion." This is the way in which I understand art at fundamental level.
"Art is the ability to turn one's gaze to the world of oblivion." This is the way in which I understand art at fundamental level.
तस्वीरें खींचना आम तौर पर 'किसी वस्तु को देखने' की क्रिया है, जबकि 'देखे जाने' या 'खुद को दिखाने' की चाहत वह चीज है जो आत्म-चित्र (सेल्फ-पोर्ट्रेट) बनाने वाले को सबसे ज्यादा आकर्षित करती है... आत्म-चित्र न केवल फोटोग्राफी को बल्कि एक युग के रूप में 20वीं सदी को भी नकारते हैं... 20वीं सदी के अंत की यह एक अनिवार्य घटना है।
Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.
Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.
कला मूल रूप से मनोरंजन है।
Art is basically entertainment.
Art is basically entertainment.
"विस्मृति" के बारे में सोचना दरअसल "कला क्या है" इस बारे में सोचना है।
To think about "oblivion" is to think about "what art is".
To think about "oblivion" is to think about "what art is".
मुझे लगता है कि इस बात को समझना जरूरी है कि इंटरनेट ने टेलीविजन की जगह ले ली है और एक ऐसी जगह बन गया है जहाँ मानव समाज की एकरूपता तेजी से बढ़ रही है।
I think it is important to be aware that the Internet has replaced the television, and has become a place where the uniformity of human society is accelerated.
I think it is important to be aware that the Internet has replaced the television, and has become a place where the uniformity of human society is accelerated.
जब हम समकालीन कला और कलाकारों की बात करते हैं, तो आमतौर पर हमारा ध्यान जीवित कलाकारों पर जाता है। लेकिन जीवित और मृत कलाकारों के बीच कोई रेखा खींचना मुझे असहज करता है।
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
जीवन और मृत्यु के बीच एक दीवार खड़ी करके हम मृत्यु की दुनिया को अपनी जीवित दुनिया से अलग कर देते हैं और मृतकों को "विस्मृति के अंधकार" में धकेल देते हैं।
By putting a border line between life and death, we separate the world of death from our world of life, casting the dead away into the "world of oblivion".
By putting a border line between life and death, we separate the world of death from our world of life, casting the dead away into the "world of oblivion".
मुझे इस बात की चिंता थी कि एक कलाकार होने के नाते, मोरीमुरा और अन्य सहभागी कलाकारों के बीच मतभेद हो सकते हैं और हमारे रिश्ते तनावपूर्ण हो सकते हैं। लेकिन असल अनुभव इसका बिल्कुल उलट रहा। कलाकारों ने मेरे प्रस्तावों को बहुत सकारात्मक रूप से स्वीकार किया, शायद इसलिए क्योंकि मैं भी उन्हीं की तरह एक कलाकार हूँ। मुझे पूरी शिद्दत से महसूस हुआ कि एक कलाकार होने के कारण क्यूरेटर और कलाकार के बीच का आम तनाव पैदा नहीं हुआ, बल्कि इससे एक सकारात्मक माहौल बना, कलाकारों के बीच एकजुटता बढ़ी और एक मजबूत समुदाय का निर्माण हुआ।
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
कलाकार भले ही इस दुनिया में न हों, लेकिन उनमें से कुछ हमारे इतने करीब महसूस होते हैं कि ऐसा लगता है जैसे वे आज भी हमारे साथ ही जी रहे हैं। ऐसे कलाकारों को "समकालीन कलाकार" कहना बिल्कुल सही है।
The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
उदाहरण के लिए, लियोनार्डो दा विंची एक महान कलाकार हैं, लेकिन वे अतीत का हिस्सा बन चुके हैं। हालाँकि, जॉन केज और मात्सुजावा युताका मुझे अतीत में जीने वाले कलाकार नहीं लगते। उनके विचार आज भी हमारी दुनिया में जिंदा हैं क्योंकि वे हमारे दौर के बेहद अहम मुद्दों को उठाते हैं। यही वजह है कि मैं उन्हें सच्चे अर्थों में "समकालीन कलाकार" मानता हूँ।
Leonard de Vinci, for example, is a great artist, but he is living in the past. However, I don't feel John Cage and Matsuzawa Yutaka as artists who live in the past. Their ideas are still alive in our world because they express the very important concerns of our age. That is why I could trust them as "contemporary artists".
Leonard de Vinci, for example, is a great artist, but he is living in the past. However, I don't feel John Cage and Matsuzawa Yutaka as artists who live in the past. Their ideas are still alive in our world because they express the very important concerns of our age. That is why I could trust them as "contemporary artists".
मैं ऐसे कलाकारों को प्राथमिकता देता हूँ जो "विस्मृति" की दुनिया पर ध्यान केंद्रित करते हैं और खुद को उसी विस्मृति के हवाले कर देना अपनी कलात्मक अभिव्यक्ति का मूल आधार मानते हैं।
I put priority on such artists who focus on the world of "oblivion" and who consider placing themselves into the world of "oblivion" as fundamental to their attitude for their expression.
I put priority on such artists who focus on the world of "oblivion" and who consider placing themselves into the world of "oblivion" as fundamental to their attitude for their expression.
'फारेनहाइट 451' में रे ब्रैडबरी ने जनसंचार माध्यमों, खासकर टेलीविज़न के खिलाफ चेतावनी दी थी, जो इंसानी संवेदनाओं को कुंद कर रहे हैं और हर किसी की सोच को एक ही सांचे में ढालकर उसे सीमित कर रहे हैं। इससे इंसानों की "अपनी राय रखने" की मौलिक क्षमता खत्म होती जा रही है और परिणामस्वरूप समाज का पतन हो रहा है। मैंने एडवर्ड कीेनहोल्ज़ के उस काम को प्रदर्शनी में शामिल करने का फैसला किया, जिसमें टेलीविज़न को मुख्य विषय बनाया गया है, और साथ ही 'बिग डबल क्रॉस' को भी, जो इस चेतावनी को बखूबी दर्शाते हैं।
In Fahrenheit 451, Ray Bradbury raised cautions against mass media, especially the television, which dumb down human sensibilities and coerce everybody's thoughts into a single uniform value, allowing human to forget the fundamental action of "having one's opinion". As a result, the society deteriorates. I decided to exhibit [Edward] Kienholz's work which features television as its subject, as well as the Big Double Cross as works that represent this warning.
In Fahrenheit 451, Ray Bradbury raised cautions against mass media, especially the television, which dumb down human sensibilities and coerce everybody's thoughts into a single uniform value, allowing human to forget the fundamental action of "having one's opinion". As a result, the society deteriorates. I decided to exhibit [Edward] Kienholz's work which features television as its subject, as well as the Big Double Cross as works that represent this warning.
मैंने इस प्रदर्शनी की रूपरेखा एक ऐसी कहानी की तरह तैयार की है जिसमें दर्शक विचारों के इन अलग-अलग टापुओं की यात्रा करता है। हर अध्याय की विषय-वस्तु पहले तय हुई या कलाकार का चुनाव पहले हुआ, यह हर बार अलग-अलग था।
I planned the exhibition so that it becomes a story where the viewer travels through these islands [of ideas]. Whether the contents of each chapter came first or the artist came first in making the decision was different in each case.
I planned the exhibition so that it becomes a story where the viewer travels through these islands [of ideas]. Whether the contents of each chapter came first or the artist came first in making the decision was different in each case.
जाहिर है, क्यूरेट करने की प्रक्रिया कला निर्माण से अलग होती है। प्रदर्शनी तैयार करना एक ऐसी प्रक्रिया है जिसमें कई सारे कलाकारों के साथ मिलकर काम करना पड़ता है।
Of course, the process of curating is different from art making. Exhibition-making is a process that involves collaboration with various participating artists.
Of course, the process of curating is different from art making. Exhibition-making is a process that involves collaboration with various participating artists.
मैं हमेशा से यही सोचता रहा हूँ कि यह कितना अच्छा हो कि कोई प्रदर्शनी किसी एक जगह पर सिमट कर न रह जाए और बाकी जगहों के लिए उसके दरवाजे बंद न हों। प्रदर्शनियों को अलग-अलग जगहों से जुड़ना चाहिए और आपसी मेल-जोल तथा आदान-प्रदान को बढ़ावा देना चाहिए।
I have always thought that it would be nice to not complete the exhibition in one place and close off the others as a result. Exhibitions should connect with various locations and promote exchange and interaction.
I have always thought that it would be nice to not complete the exhibition in one place and close off the others as a result. Exhibitions should connect with various locations and promote exchange and interaction.
यही वजह है कि इस प्रदर्शनी में ऐसा कोई कलाकार नहीं है जिसने इंटरनेट को अपना विषय बनाया हो। कला के आज के रुझान से मेरा रुख बिल्कुल अलग है, और शायद इसीलिए मेरी इस प्रदर्शनी का नाम "आर्ट फारेनहाइट 451" है।
This is why there is not any artist who takes Internet as the theme. My position is quite the opposite to the current trend of art, but this is exactly why the title of my exhibition is "ART Fahrenheit 451".
This is why there is not any artist who takes Internet as the theme. My position is quite the opposite to the current trend of art, but this is exactly why the title of my exhibition is "ART Fahrenheit 451".
मैंने सबसे पहले समकालीन समाज की उन तमाम घटनाओं और प्रवृत्तियों को लिखा जो मुझे इस विषय ("विस्मृति के सागर") से जुड़ी हुई लगीं, और फिर उन्हें विचारों के अलग-अलग टापुओं के रूप में छाँटकर व्यवस्थित किया।
I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.
I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.
बेशक, इस आयोजन के प्रायोजक सरकारी विभाग की तरह मैं भी यही चाहूँगा कि योकोहामा ट्रियेनेल में ज़्यादा से ज़्यादा लोग आएँ। ऐसा इसलिए क्योंकि मेरा मानना है कि कला पर केवल कुछ चुनिंदा प्रोफेशनल्स और विशेषज्ञों का ही एकाधिकार नहीं होना चाहिए।
Of course, I, like the sponsoring government, would like to have as many people as possible visit Yokohama Triennale. This is because I believe that art should not be monopolized by professionals and specialists.
Of course, I, like the sponsoring government, would like to have as many people as possible visit Yokohama Triennale. This is because I believe that art should not be monopolized by professionals and specialists.
"सिटी इन ट्रियेनेल" स्थानीय प्रायोजक सरकार की एक बेहद अहम योजना है। स्थानीय सरकारों के लिए अपने समुदाय का कायाकल्प करना एक बहुत बड़ा कर्तव्य होता है, इसलिए सांस्कृतिक और कलात्मक गतिविधियों के जरिए इस लक्ष्य को हासिल करने के उनके प्रयासों को गलत नहीं ठहराया जा सकता।
"Triennale in the City" is a scheme that is of priority for the sponsoring local government. For many local governments, revitalization is an important mission for the local community, and, therefore, the attitude to achieve this mission through the cultural and/or artistic activities should not be denied.
"Triennale in the City" is a scheme that is of priority for the sponsoring local government. For many local governments, revitalization is an important mission for the local community, and, therefore, the attitude to achieve this mission through the cultural and/or artistic activities should not be denied.