村上隆 - 评奈良美智新个展 & 奈良对粉丝、作品、甚至自己存在意义的悲观与绝望
奈良美智的最新个展「for better or worse」，上周六（2017年7月15日）在位于日本丰田市的丰田博物馆举行。
奈良美智
Yoshitomo Nara
-
for better or worse
Works: 1987-2017
展览日期：2017年7月15日-9月24日
休 馆 日：每周一（7月17日、8月14日、9月18日开馆）
开放时间：上午10点-下午5点30日（下午5点停止入场）
作品数量：约100件
门票价格：1500日元（折合90元人民币）
展览地点：爱知县丰田市小坂本町8-5-1
同样是日本当代艺术大师的村上隆，在展览首日受奈良邀请参观了本次个展。
因为本次展览场馆内禁止拍照，所以村上隆是除奈良以外唯一在ins上上传了展馆内照片的人，同时也是和奈良接触最亲密的人之一。他在和奈良的相处中，从奈良的眼神中看到了这位大师对自己的粉丝、作品，甚至自己存在意义所感受到的深深的绝望感。
村上隆今天在自己的instagram上连发了两条动态，用700多词评论了奈良美智个展，以及他现在绝望悲凉的心态。全文翻译如下，翻译中可能残杂了我的主观看法，如有错误欢迎指正。
丰田美术馆远景
I went to see“for better or worse,” Yoshitomo Nara’s solo exhibition at the Toyota MunicipalMuseum of Art.My thoughts on the show came in a few distinct layers:
1. For all the things he has been going through, wow, he has done an amazing job.
2. The checklist of the show looks like a “greatest hits”compilation.
3. The way he installs and presents his work is trulymasterful.
我去看了奈良美智在丰田美术馆的新个展“for better or worse”，我对这次个人的看法有三个清晰的层面：
1. 在经历了这么多事情过后，wow，奈良最终还能完成了这么多精彩的作品，实在是太厉害了；
2. 本次展出的作品名单看起来像是艺术的最佳“精选集”，每一件作品都十分精彩，挑不出任何毛病；
3. 虽然展出作品不是很多，但100多件作品在7个展厅中的布展着实牛逼，堪称近些年看过展览中最好布展的典范。
丰田美术馆入口处张贴的海报
But what resonated with me more strongly or, rather, what I could sympathize with the most was the note that was being distributed at theentrance. On the paper was a list of things the visitors shouldn’t do, from taking a photo with the artist to giving presents to him―that is, rules about keeping a respectful distance from the artist.
但让我有感触更多，也是让我产生同情与怜悯感的，是丰田美术馆门口散发的展览注意事项，上面写着很多禁止观众做的事情，从禁止找艺术家合影，禁止在展馆内拍照，到禁止赠送艺术家礼物等等。这些规则希望观众能不打扰艺术家并保持尊重。
In fact, Nara barely made anappearance at the reception. He mostly stayed in his greenroom as if hiding,and left the museum almost in stealth. I saw the mixture of Nara’s deepest despair toward the Japanese contemporary art audience and his fleeting dream of still wanting to be hopeful about them, which I found suffocating.
实际上，奈良几乎不出现在展厅中，他大部分时间都躲藏在自己的小房间中，每次进出美术馆也会低调的行动不想被看到。这些都让我感到奈良美智这位大师内心的复杂，他对日本当代艺术爱好者及自己的粉丝同时抱有强烈的失望与极微的希望，想到这些让我感到一阵呼吸困难。
奈良在丰田美术馆内的隐秘小屋
Nara is three years older than me, but I believe we made ourartistic debuts around the same time. Despite the mellow style of his work,Nara looks cool in person. This, together with the straightforwardness of his writing, has made him enormously popular among women. His fans would storm his solo shows and big events held almost annually in Japan, and for many years I think he continued to respond to their expectations.
奈良比我大三岁（奈良美智出生于1959年，村上隆出生于1962年），但我们几乎在同一时期被艺术圈所熟知。虽然奈良的作品圆润可爱，但他本人看起来是非常cool的。加上直率的文风（应该是指作品中宣泄的小短句），这都让他非常受到女性粉丝的欢迎。他有众多支持追随他多年的忠诚粉丝，她们从不错过奈良在日本的任何一次展出，曾几何时，奈良也会与粉丝们互动，满足粉丝们的一些小小的期望。
But now, he seems compelled to test himself, to ask the world whether or not his artwork is critically maturing. And yet he is questioning the eyes of the said audience in Japan and their implications; his uncertainty about them all but exploded and at the opening of his show, and he shut himself inside his greenroom.
但是现在，艺术家开始质疑自己的创作是否是好的，想通过观众们的评论与看到作品的自然反应得到佐证。但是他对日本粉丝对自己的看法（作为艺术家还是偶像）产生了怀疑，这致使艺术家对自己的粉丝产生了严重的疏离感，所以才会在个展首日都躲在自己的小房间中。
奈良工作室一角
With popularity consistently about five times greater than mine, Nara would only work with volunteers who gathered spontaneously at his side, and every time I saw videos about his studio practice I would be made to feel envious and frustrated. He has been something more than a rival to me.
奈良在日本的人气是我的5倍以上，但他只会和一些自发聚在他身边并长期合作的志愿者一起工作，每次我看到他工作室的视频，我就会感到深深的嫉妒与挫败感。对我来说，他不是一位强劲的对手（而是？）
My popularity in Japan has been abysmal, particularly with women due to my flabby appearance.
我在日本的人气非常糟糕，特别是在女性中间，鲜有忠实的女性支持者。
村上隆和自己的助手合影
The Japanese audience would hate me no matter what I did, so not only did I have no expectation for them, I would also pay them back double if they badmouthed me. Moreover, my studio, where my hired assistants on salary work with me, has always been filled with discontent and anger. In other words, everything about me has been the opposite of Nara, so I have always been envious of him.
不论我做什么，日本观众都不会对我抱有任何好感，所以不仅我对他们不抱希望，当他们对我恶语相向时我还会用恶语怼回去。此外，我雇佣了很多助手协助我进行创作，这点也让我饱受批评与愤怒。简而言之，我和奈良的行为和遭遇形成鲜明的对比，这让我一直都非常嫉妒他。
第一个展厅中展示的奈良的黑胶收藏，共展示了300多张上世纪60到70年代的唱片封面，这些歌曲以及唱片的封面艺术深深的影响了奈良的早期创作。
Now, however, in a shift away from his exclusively upbeat mood of the past, Nara seems to be reflecting deeply, not being able to trustthe others. In his sullenness, his despair from feeling used has turned into resentment, and it is as though he is forced to once again question his place in this world.
如今，逐年上升的人气让奈良产生了一些反思，这让他变的难以信任别人。当他心情不好时，感到被利用的情绪会逐渐转变成怨恨，这些负面情绪也让他对自己的定位产生了质疑。
We really can’t judge others by their appearances. It appeared to me as though he had everything going for him, and in fact, probably nothing specifically bad has happened, yet at the depth of his soul there seemed to be something stagnant and muddled. And that depth was something unfathomable to those of us looking from the outside.
我们不能因为表象对别人指手画脚。但在我看来，奈良自己所感受到的负面情绪大多是无形之下形成的感受。似乎，也可能实际上真的什么都没有发生与改变，但是奈良的内心深处还是被对旁人来说看不到的，但是实际又存在的某种深刻的东西所影响与浊污。
展厅中奈良孤单的身影
After the reception was over, at a little past five in the afternoon, Nara invited me to go around the exhibition, now deserted, just the two of us together. He told me about his ideas about the various installations and explained to me the way in which each of the works had been so difficult to complete. In return, I shared my thoughts on his works.
这是一件动态装置，梦游娃娃的眼睛会留出泪水，泪水滴入杯子会回流，再次从梦游娃娃们的眼睛中留出
个展招待会结束后，下午5点多，奈良带着我参观了展览，诺大的展厅空空荡荡，只有我们两个人。奈良给我讲了所展出装置作品的构思到完成的经过，以及向我解释了完成这些装置的组装是多么复杂的过程。作为回应，我也向他阐述了我对这些作品的看法。
It took about thirty minutes to finish touring the show. As Nara gazed off into the emptiness at the exit of the show, the setting sun shone in at an angle and I saw an unfamiliar kind of despair gleam in his clear brown eyes.
我们在展厅中大致游逛了30分钟，当我们走到最后一个展厅，夕阳的光线刚巧以微妙的角度照进展厅，奈良用棕色的眼睛凝视展览出口，我看到仿佛是失望的东西从他的眼中一瞬而逝。
让观众流连忘返的最后一间展厅
If you ask me what art is, I would say it’s an apparatus for questioning what human beings are. I think this show allows us to closely follow and experience the raw past this human being Yoshitomo Nara has lived sofar. It lets us discover his deep despair leading up to the present and, the hopes that may be awaiting him beyond.
如果你们问我艺术是什么，我会说艺术是会让我们思考人类是什么的东西。我感觉这场展览让我们近距离的感受到了，奈良美智作为一名地球人，他在有生之年所经历到的最真实彻骨的感受。包括他现在所感受到的深深的失望，以及可能存在的等待着他的那一丝希望的曙光。
Ending
翻译完这段文字，我的内心是复杂与悲伤的。从未想过外表温柔腼腆的奈良美智的内心是如此的悲痛与失落。被村上的文字所感染，被奈良的作品所触动，再看奈良的作品体会到了另一番感受。
https://v.qq.com/txp/iframe/player.html?vid=y0525z15fka&width=500&height=375&auto=0
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文&编辑：毛壮 图：instagram
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