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水下博物馆
Jason deCaires Taylor
环境 演讲 TED
美轮美奂的水下博物馆它是怎样形成的? 它背后的故事是什么? 它又有着怎样深远的影响和意义? 让我们听艺术家Jason deCaires Taylor 先生慢慢道来。
#英文讲稿#
00:01
Ten years ago, I had my first exhibition here. I had no idea if it would work or was at all possible,but with a few small steps and a very steep learning curve, I made my first sculpture, called "The Lost Correspondent." Teaming up with a marine biologist and a local dive center, I submerged the work off the coast of Grenada, in an area decimated by Hurricane Ivan. And then this incredible thing happened. It transformed. One sculpture became two. Two quickly became 26. And before I knew it, we had the world's first underwater sculpture park.
00:44
In 2009, I moved to Mexico and started by casting local fisherman. This grew to a small community, to almost an entire movement of people in defense of the sea. And then finally, to an underwater museum, with over 500 living sculptures. Gardening, it seems, is not just for greenhouses. We've since scaled up the designs: "Ocean Atlas," in the Bahamas, rising 16 feet up to the surface and weighing over 40 tons, to now currently in Lanzarote, where I'm making an underwater botanical garden, the first of its kind in the Atlantic Ocean.
01:30
Each project, we use materials and designs that help encourage life; a long-lasting pH-neutral cement provides a stable and permanent platform. It is textured to allow coral polyps to attach.We position them down current from natural reefs so that after spawning, there's areas for them to settle. The formations are all configured so that they aggregate fish on a really large scale. Even this VW Beetle has an internal living habitat to encourage crustaceans such as lobsters and sea urchins.
02:10
So why exhibit my work in the ocean? Because honestly, it's really not easy. When you're in the middle of the sea under a hundred-foot crane, trying to lower eight tons down to the sea floor, you start to wonder whether I shouldn't have taken up watercolor painting instead.
02:27
But in the end, the results always blow my mind.
02:30
(Music)
02:52
The ocean is the most incredible exhibition space an artist could ever wish for. You have amazing lighting effects changing by the hour, explosions of sand covering the sculptures in a cloud of mystery, a unique timeless quality and the procession of inquisitive visitors, each lending their own special touch to the site.
03:11
(Music)
03:39
But over the years, I've realized that the greatest thing about what we do, the really humbling thing about the work, is that as soon as we submerge the sculptures, they're not ours anymore, because as soon as we sink them, the sculptures, they belong to the sea. As new reefs form, a new world literally starts to evolve, a world that continuously amazes me. It's a bit of a cliché, but nothing man-made can ever match the imagination of nature.
04:06
Sponges look like veins across the faces. Staghorn coral morphs the form. Fireworms scrawl white lines as they feed. Tunicates explode from the faces. Sea urchins crawl across the bodies feeding at night. Coralline algae applies a kind of purple paint. The deepest red I've ever seen in my life lives underwater. Gorgonian fans oscillate with the waves. Purple sponges breathe water like air. And grey angelfish glide silently overhead.
04:56
And the amazing response we've had to these works tells me that we've managed to plug into something really primal, because it seems that these images translate across the world, and that's made me focus on my responsibility as an artist and about what I'm trying to achieve. I'm standing here today on this boat in the middle of the ocean, and this couldn't be a better place to talk about the really, really important effect of my work. Because as we all know, our reefs are dying, and our oceans are in trouble.
05:29
So here's the thing: the most used, searched and shared image of all my work thus far is this. And I think this is for a reason, or at least I hope it is. What I really hope is that people are beginning to understand that when we think of the environment and the destruction of nature, that we need to start thinking about our oceans, too.
05:51
Since building these sites, we've seen some phenomenal and unexpected results. Besides creating over 800 square meters of new habitats and living reef, visitors to the marine park in Cancun now divide half their time between the museum and the natural reefs, providing significant rest for natural, overstressed areas. Visitors to "Ocean Atlas" in the Bahamas highlighted a leak from a nearby oil refinery. The subsequent international media forced the local government to pledge 10 million dollars in coastal cleanups. The sculpture park in Grenada was instrumental in the government designating a spot -- a marine-protected area. Entrance fees to the park now help fund park rangers to manage tourism and fishing quotas. The site was actually listed as a "Wonder of the World" by National Geographic.
06:44
So why are we all here today in this room? What do we all have in common? I think we all share a fear that we don't protect our oceans enough. And one way of thinking about this is that we don't regard our oceans as sacred, and we should. When we see incredible places -- like the Himalayas or the La Sagrada Família, or the Mona Lisa, even -- when we see these incredible places and things, we understand their importance. We call them sacred, and we do our best to cherish them, to protect them and to keep them safe. But in order to do that, we are the ones that have to assign that value; otherwise, it will be desecrated by someone who doesn't understand that value.
07:29
So I want to finish up tonight by talking about sacred things. When we were naming the site in Cancun, we named it a museum for a very important and simple reason: museums are places of preservation, of conservation and of education. They're places where we keep objects of great value to us, where we simply treasure them for them being themselves. If someone was to throw an egg at the Sistine Chapel, we'd all go crazy. If someone wanted to build a seven-star hotel at the bottom of the Grand Canyon, then we would laugh them out of Arizona. Yet every day we dredge, pollute and overfish our oceans. And I think it's easier for us to do that, because when we see the ocean, we don't see the havoc we're wreaking. Because for most people, the ocean is like this. And it's really hard to think of something that's just so plain and so enormous, as fragile. It's simply too massive, too vast, too endless. And what do you see here? I think most people actually look past to the horizon. So I think there's a real danger that we never really see the sea, and if we don't really see it, if it doesn't have its own iconography, if we miss its majesty, then there's a big danger that we take it for granted.
08:48
Cancun is famous for spring break, tequila and foam parties. And its waters are where frat boys can ride around on Jet Skis and banana boats. But because of our work there, there's now a little corner of Cancun that is simply precious for being itself. And we don't want to stop in Grenada, in Cancun or the Bahamas. Just last month, I installed these Four Horsemen of the Apocalypse in the Thames River, in central London, right in front of the Houses of Parliament, putting a stark message about climate change in front of the people that have the power to help change things.
09:31
Because for me, this is just the beginning of the mission. We want to team up with other inventors,creators, philanthropists, educators, biologists, to see better futures for our oceans. And we want to see beyond sculpture, beyond art, even.
09:47
Say you're a 14-year-old kid from the city, and you've never seen the ocean. And instead of getting taken to the natural history museum or an aquarium, you get taken out to the ocean, to an underwater Noah's Ark, which you can access through a dry-glass viewing tunnel, where you can see all the wildlife of the land be colonized by the wildlife of the ocean. Clearly, it would blow your mind.
10:15
So let's think big and let's think deep. Who knows where our imagination and willpower can lead us? I hope that by bringing our art into the ocean, that not only do we take advantage of amazing creativity and visual impact of the setting, but that we are also giving something back, and by encouraging new environments to thrive, and in some way opening up a new -- or maybe it's a really old way of seeing the seas: as delicate, precious places, worthy of our protection.
10:49
Our oceans are sacred.
10:51
Thank you.
#中文讲稿#
00:01
10年前，我在这里举办了第一次展览。当时我对于能否成功毫无信心，但经过几次尝试后，我进步很快，我完成了第一件雕塑作品，名为“失落的记者”。通过与一名海洋生物学家和当地潜水中心的合作，我将这个雕塑沉到了格林纳达的海底，飓风伊万曾经摧毁过那个区域。之后不可思议的事情发生了。它发生了大变化。一尊雕像变成了两尊。两尊很快变成了26尊。在不经意间，世界上第一个水下雕塑公园就诞生了。
00:44
2009年，我搬到了墨西哥，开始以当地渔民的形象进行创作。这些雕像渐渐形成一个小规模社区，几乎完整呈现了一场人们保护海洋的运动。最后，它们都被送到了海底博物馆，一共有超过500尊生机勃勃的雕塑。看起来，园艺不一定只能出现在温室里。之后我们将设计升级了一个层次：“海洋巨人”，在巴哈马（完成），高16英尺，重量超过40吨，目前位于兰萨罗特，我在那里建了一座水下植物园，是大西洋里的第一座。
01:30
每一件作品，我们都使用对动植物友好的材料和设计，用酸碱中性的坚固水泥，制作结实耐用的平台。质地适合珊瑚虫附着。我们将雕塑沉入靠近珊瑚礁的水下，这样（珊瑚虫）产卵之后，能有地方供卵附着。排列的方式也经过设计，这样能使聚集过来的鱼群达到一个很大的数量级。就连这辆大众甲壳虫内部也是一个栖息地适合甲壳纲动物生活，比如龙虾和海胆。
02:10
为什么我要把作品在海底展出呢？因为说实话，这事一点也不轻松。当你立在海里，头顶上是100英尺高的起重机，试着将8吨重的东西放到海底，你可能会想，当初为什么没去学水彩画呢？
02:27
但是，最后的结果总能让我惊喜。
02:30
（音乐）
02:52
海洋是最理想的展出场所，是艺术家梦寐以求的。那里有时刻都在变化的光影效果，盖住雕像的细沙，仿佛神秘的面纱，静止在时光之外，还有数量众多好奇的参观者，每一位都会在上面留下自己特殊的印记。
03:11
（音乐）
03:39
但随着时间流逝，我才意识到这件事的伟大之处，它充满了谦卑的情怀，从我们将雕像沉入水中的那一刻起，它们就不再属于我们，因为从下沉的那一刻开始，这些雕像，就归属了海洋。随着新的珊瑚礁形成，一个新的世界开始进化，那是一个不断带来惊喜的世界。也许这话有点陈词滥调，但人造之物，终究比不上大自然的鬼斧神工。
04:06
海绵动物看起来像脸上的血管。鹿角珊瑚组合成美丽的形状。火蠕虫进食后留下了白色的线条。海鞘在雕像脸上，仿佛花朵绽放。海胆在夜晚爬过雕像的身躯进食。珊瑚藻将雕像涂成某种紫色。我见过的最深的红色就位于水下。柳珊瑚随着水流翩翩起舞。紫海绵像呼吸空气一样呼吸海水。灰色的天使鱼在头顶安静地游过。
04:56
我们从这些作品里获得的回应是神奇的，我们成功地将作品嵌入了大自然原始的进程，这些图像看起来能被全世界理解，这使得我得以专注于艺术家的职责，专注于我想达成的目标。今天我站在这里，在大洋中央的一艘船上，我觉得这是个绝佳的位置，来讲述我的工作最最重要的意义所在。因为众所周知，我们的珊瑚礁在死去，我们的海洋遇到了大问题。
05:29
下面重点来了：到目前为止，我的所有作品中被引用，搜索和分享最多的是这幅图像。我想这是有原因的，或者至少我希望是这样。我希望人们开始明白，当我们在思考环境污染问题时，不要忽略海洋。
05:51
从建立这些公园开始，我们就看到了许多神奇的意想之外的结果。我们（为海洋生物）创造了超过800平米的新栖息地和活的珊瑚礁，此外，去坎昆海洋公园的游客开始将一半的时间用在参观博物馆和珊瑚礁，让那些游客压力过大的自然区域能够得以喘息。这是到巴哈马参观“海洋巨人”的游客在展示附近炼油厂泄漏的原油。随后迫于国际媒体的压力，当地政府拨出1000万美元来清理海滩。而格林纳达的雕塑公园，在政府选址建立海洋保护区时发挥了重要作用。公园门票被用于资助公园巡逻员监控游客数量和捕鱼量。这个公园还被《国家地理》杂志列入“世界奇迹”名录。
06:44
那么我们今天为什么会相聚在这里呢？我们有什么共同点吗？我认为，我们都心怀忧虑，担心我们对海洋的保护做得不够。为什么会这么认为，原因之一是我们没有将海洋看作神圣之地，这很不应该。当我们看到美妙的景色时——比如喜马拉雅山或者圣家堂，甚至是蒙娜丽莎，当我们看到这些奇妙的景色或者物品时，我们懂得它们的重要性。认为它们是神圣的，我们视其为珍宝，尽力保护，生怕有任何闪失。但要做到这一点，我们就需要站出来，赋予它们价值，否则，它们可能就会被那些不懂其价值的人破坏。
07:29
所以，最后我想谈谈神圣的东西。当我们给坎昆的这个地点命名时，我们之所以称其为博物馆，原因很重要却也简单：博物馆的功能是保存，保护和教育。博物馆是用来保存珍宝的地方，以便我们能在那里欣赏它们。如果有人在西斯廷小教堂扔鸡蛋，我们都会强烈谴责。如果有人想在科罗拉多大峡谷底部建一家七星级酒店，我们会把他们踢出亚利桑那州。然而我们每天都在糟蹋海洋，开采，污染，过度捕捞。我觉得这也可以理解，因为当我们望向海洋的时候，我们看不到我们造成的破坏。因为对大多数人来说，海洋看起来是这样的。很难想象，海洋如此纯粹，如此巨大，却又如此脆弱。它太过广袤无垠，无边无际。你们能看到什么？我觉得大部分人会直接望向远处的地平线。因此我觉得有件事很危险，那就是我们从未真正看清海洋，而如果我们没有看清，没有对海洋形成全面的认识，没有看到它的雄伟庄严，那我们就会（把向海洋索取）视为理所当然，这很危险。
08:48
坎昆是一个著名的春假旅游地，以龙舌兰酒和泡泡轰趴闻名。年轻人在那里骑快艇，或者坐香蕉船滑水。但由于我们在那里的工作，现在坎昆有那么一个小小的角落，因为保持了自然原貌而备受珍视。我们并不满足于在格林纳达，坎昆或者巴哈马止步。就在上个月，我将“启示录四骑士”放在了泰晤士河，就在伦敦市中心，正对着国会大厦，我想把气候变化的信息明确地传递给那些有能力做出改变的人。
09:31
对我而言，这仅仅是一项长期任务的开始。我们打算联合发明家，创作家，慈善家，教育家，生物学家，为我们的海洋创造更好的未来。我们想做的不仅仅是雕塑，甚至不仅仅是艺术。
09:47
假设你是一名14岁的城里孩子，从未见过海。我们不打算带你去自然历史博物馆，或者水族馆，而是带你到真正的海洋，到一艘水下的诺亚方舟，你可以通过一个透明的玻璃观景通道进入其中，在那里，你能看到陆地上的野生动植物（雕塑），被海洋生物当成了殖民地。显然，这会让你大开眼界。
10:15
因此，让我们尽情想象吧。谁知道我们的想象力和意志力能将我们带往何处？我希望，我们将艺术品放入海洋，不仅仅能因为奇妙的创意和视觉冲击而获得回报，同时我们也能有所回馈，创造新的环境（让海洋生物）实现繁荣发展，以全新的方法——也许是回归最古老的方法来看待海洋：海洋是精致而优雅的，值得我们保护。
10:49
我们的海洋是神圣的。
10:51
谢谢大家。
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