Why can’t I touch art?
为什么艺术品不能碰？
Well, because you might smash a delicate sculpture,
因为你可能会打碎一座精致的雕塑
or ruin an antique, priceless canvas.
或者是毁掉一幅无价的古董油画
But also because of the cumulative, chemical effects of the oils,
还因为随着时间的推移 你手指上的油脂
dirt, and sweat in your fingers over time.
污垢和汗水会累积产生化学效应
However, emerging form of art are beginning to increasingly
然而 新兴的艺术形式开始越来越多地
encourage participation across the senses.
鼓励跨感官参与
So, why can’t I touch art?
那么 为什么艺术品不能碰呢？
Or, how does the shifting world of art
或者 变迁的艺术世界是如何让我们
mean that sometimes, you can?
有时候能去触碰艺术品呢？
Conservation staff do touch art all the time.
文物保护人员经常会触碰艺术品
I probably touch art almost every single day.
我可能每天都在触摸艺术品
Sometimes hundreds of times a day.
有时一天会摸几百次
Trying to understand the condition of an artwork,
试图了解一件艺术品的状况
touch is a really important part of that.
触摸是很重要的一部分
You can tell a lot of information from your fingertips.
你能从你的指尖了解到很多信息
Artwork is so delicate
艺术品很脆弱
that quick changes in humidity, heat and light levels can rapidly age it.
湿度 温度和亮度的快速变化都会使其迅速老化
Preservation of our collection is the forefront of what we do as an organisation.
收藏品的保养是我们作为一个组织的工作重心
and we all gallery staff involve in that to some extent.
全体画廊职员都或多或少参与其中
So, an acceptable starting point
关于我们的收藏品寿命的讨论
for a discussion around lifespan for our collection is 500 years.
大家认为至少要达到500年
So, in order to preserve a watercolour painting for 500 years,
因此 为了使一副水彩画可以保存500年
it tends to be displayed in the region of two years per decade.
这幅画往往十年中可以展览大约两年
Whereas with a Japanese print, which uses highly light sensitive colourants,
然而日本的版画使用高光敏的着色剂
that can be displayed for more like eight months per decade, or even less.
每十年只能展览大概8个月左右 甚至更少
More recent work is actually more vulnerable
由于现有艺术材料质量下降
because of a drop in the quality of available art materials.
越是近些年的作品就越脆弱
The longevity of modern paper is a good example.
现代纸张的寿命就是一个很好的例子
The problem came when wood started being used,
问题出现在人们开始使用木材的时期
19th century predominantly.
尤其是19世纪
So when we realised you can chemically treat it, and it would become paper
当我们意识到可以通过化学方式让木材变成纸时
that’s when the problem started.
问题就开始了
Older paper, up to… I would say the mid to late 18th century
更早期的纸 一直到18世纪中后期
is all high quality.
都是高质量的纸
Titian, Michaelangelo, Raphael, they’re all working with permanence in mind.
提香 米开朗琪罗 拉斐尔 创作时都考虑到持久性
They’re working really high quality materials made really well.
他们使用的都是真正精工制作的高质量材料
That’s because early paper was made with
这是因为早期的纸是用
pure linen, cotton and hemp with no impurities.
纯亚麻 棉花和麻类植物制作的 不含任何杂质
So there’s an inherent strength.
所以那些纸有内在的强度
Anything modern today, unless it’s really high end handmade paper,
除了真正高端的手工纸
will be poorish quality.
其他现代纸张质量都很差
If we get 100 years, we’ll be doing well.
如果我们有100年的时间 我们会做得很好
With recent work so delicate,
现在的艺术品太脆弱
it’s essential to limit cumulative human touch
所以必须限制人们长期地触碰它们
and methods of doing so vary from gallery to gallery.
每个画廊采用的方法各不相同
It’s our job as a curator
我们作为策展人的职责
to be that kind of mediator between the artist, the artwork, and the audience.
就是成为艺术家 艺术品和观众之间的传递者
And we’re there to make sure that each of those components can happily co-exist.
我们要确保这三者能和谐共存
It’s a matter of judgement really.
这其实是判断力的问题
The last thing you want is a big barrier.
你最不想要的就是大护栏
We don’t want to be shouting at anyone saying: Don’t touch that. Don’t get too close.
我们不想对任何人大喊：不要碰它 不要离太近
You want the visitor to feel comfortable.
你希望参观者们感觉舒适
We hope that people will find a way of enjoying the work that they find in the building
我们希望人们能找到一种不需要身体接触
without having that physical interaction.
就能欣赏馆内艺术品的方法
Can you just use your eyes rather than use your fingers?
你能只用眼睛看 不用手指摸吗？
Gallery designers have a tricky balance to maintain.
画廊设计者要保持一种微妙的平衡
Physical barriers can create an intimidating atmosphere,
实体护栏会制造一种让人望而生畏的气氛
but at the same time they can add a kind of gravitas to the work.
但同时也给艺术品增添一种庄严感
It has a certain air to it when you’ve got a beautiful red rope
当你在展品前方拉起一条漂亮的红绳
in front of something.
会产生特定的气氛
There is that immediacy of how the art was made,
观众想直观地了解艺术品是如何创作出来的
and then conversely how we’re not allowed to run our hands over it
反过来说 我们为什么不被允许去触摸它
or get really close and stare at it.
或者近距离盯着它看
It’s a really difficult tension between wanting people to get close to objects
想要人们靠近展品 看到它们原本的样子
and be able to see them in the way they’re meant to be seen versus protecting them.
和保护展品之间 存在着矛盾
But this dynamic between artwork and viewer
但近年来 艺术品与观众之间的动态关系
has changed dramatically in recent years.
发生了显著变化
As installation and experiential artwork has really broken through in the art scene,
随着装置艺术和体验艺术在艺术领域的突破
large-scale work that fills rooms
展厅里遍布大型艺术品
and inspires touch, sound and smell.
鼓励人们用触觉 听觉和嗅觉去感受
It’s no longer just an artwork on the wall.
它们不再仅仅是墙上的艺术品
You can walk round it and see it from all angles.
你可以从所有角度环绕去欣赏它
Installation artwork has roots in the 60’s,
装置艺术起源于60年代
with artists like Marcel Duchamp and Allan Kaprow.
艺术家有马塞尔·杜尚 艾伦·卡普洛等
Think the Turbine Hall at the Tate Modern,
想想泰特现代美术馆的涡轮大厅
and its slides, swings and suns.
还有它的滑梯 秋千和太阳
Whilst experiential artwork emergent in the past decade
与此同时 过去十年涌现的体验艺术
has further broken down barriers, inviting participation and touch.
进一步打破障碍 邀请观众参与和触摸艺术品
New artists now who are particularly interested in engaging with the audience,
新兴艺术家现在很有兴趣与观众互动
not just visually, but in a way they are part of that environment.
不仅是视觉上 还会在某种程度上让观众身临其境
Happy Here is one such piece
《快乐在这里》就是这样一个
that involves the viewer in its creation and experience.
让观众参与其创作和体验的作品
Whilst Ernesto Neto’s It Happens When The Body Is The Anatomy of Time
而埃内斯·托博亚的《当身体是时间的剖析时》
plays with smell,
则以嗅觉形式展现
packing huge forms of nylon mesh with rich spices.
用巨大的尼龙网装满丰富的香料
It’s really interesting sensory experience.
那真是非常有趣的感官体验
The incredible smell of these spices set across the gallery,
这些香料的迷人香气弥漫了整个画廊
which lasted for probably about a year afterwards.
这种香气持续了一年左右
Of course, these emergent forms
当然 这些新兴的艺术形式
have further blurred the lines between viewer and artwork
与传统画廊中的作品有着复杂的关系
in a way that has kind of complicated relationships with work in traditional galleries.
进一步模糊了观众和艺术品之间的界线
It can sometimes be a little bit confusing,
这有时会让人有点困惑
cause more and more artists nowadays have work that you can interact with.
因为现在越来越多的艺术家都有能与你互动的作品
They’re often not sure if it’s art or not.
他们通常不确定那是否是艺术
You can touch here, but you can’t touch there.
你可以摸这个 但不能摸那个
We are definitely testing visitors on how you’re going to view it.
我们确实会测试参观者如何看待这个问题
So that line of it being no touching/touching
禁止触摸和可以触摸之间的界线
has kind of changed over time.
渐渐发生了一些改变
It’s important that art isn’t routinely touched,
重要的是不要经常触摸艺术品
as canvases, paints and sculptures can be so delicate
尽管我们的工作人员平时会定期维护
despite our conservation staff routinely handling them.
但油画 水彩画和雕塑依旧是非常脆弱的
But this all raises questions that the galleries are continually assessing.
这些引发了画廊还在不断评估的问题
How do rules and barriers affect the atmosphere of galleries?
规则和护栏是如何影响画廊氛围的？
And how should the preservation of work over the centuries be balanced
几个世纪以来的艺术品保存
with this idea of artwork being for the public
与“艺术品面向公众 普惠众人”的理念
and being accessible to everyone?
该如何平衡呢？
It’s a really tough question to answer I would say.
我觉得这真是个很难回答的问题
Whether that’s the right balance is a really…I think you’d have to ask our audience that.
平衡是否适当……我想你得问问我们的观众
That’s a really difficult question to answer.
这个问题真的很难回答
I mean, if we’re going to have the artists of the future,
我的意思是 如果我们希望拥有前卫的艺术家
then we’ve got to start somewhere.
就得从某个地方开始起步
And being a passive viewer is great,
做一个被动的观众是很棒的
but actually being able to kind of inspire that
但是事实上 能够激发那种
curiosity and that creativity as well is even better.
好奇心和创造力的话会更棒
Do you get the urge to reach out and touch art?
你有那种想伸手触摸艺术品的强烈欲望吗？
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