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| Early in the pandemic, word started to travel among Asian-American artists: racist attacks were on the rise. Jamie Chan told a fellow artist, Kenneth Tam, about getting kicked out of an Uber pool ride by the driver who noticed her sniffling. Anicka Yi, an artist based in New York, called Christine Y. Kim, a curator at the Los Angeles County Museum of Art, to talk about being spit at on a Manhattan street; Kim, in turn, recounted being accosted in a Whole Foods parking lot. | 大流行初期，消息在亚裔艺术家中间传开：种族主义袭击正在加剧。杰米·陈(Jamie Chan)告诉同行艺术家肯尼思·谭(Kenneth Tam)，她在坐Uber时，司机注意到她抽了抽鼻子，于是就把她赶下了车。纽约艺术家艾妮卡·易(Anicka Yi)打电话给洛杉矶县立艺术博物馆的策展人克里斯汀·Y·金(Christine Y. Kim)说，她在曼哈顿的街上被人吐口水；而克里斯汀·金则叙述了在全食超市(Whole Foods)停车场被挑衅的经历。 |
| Tam decided to start recording these incidents in a Google spreadsheet he named “We Are Not COVID.” It circulated on social media first among arts communities, then to wider audiences. Over the last several months, the document has filled up with reports ranging from microaggressions to outright violence. | 肯尼思·谭决定开始将这些事件记录在名为“我们不是新冠病毒病”(We Are Not COVID)的谷歌电子表格中。它首先通过社交媒体在艺术圈传播，然后传至更广泛的受众。在过去的几个月中，表格里填满了人们的报告，从轻微冒犯到直接的暴力。 |
| “I had assumed that things like this were going to start happening, but not so quickly, and not to people I knew,” Tam said in a phone interview. “It made me realize that I needed to educate myself and perhaps other people about it.” | “我猜这样的事情会发生，但没想到那么快，而且没想到会发生在我认识的人身上，”肯尼思·谭在接受电话采访时说。“这使我意识到，我需要让自己去了解，也许还应该让其他人也了解。” |
| The rise of racist attacks, some of them horrifyingly lethal, has galvanized Asian-American artists around the country. They are leveraging social media to raise awareness, gathering to protest despite the pandemic precautions, making new work, and — perhaps above all — finding new grounds for solidarity with one another and with other affected communities to figure out how to respond to the current climate. | 种族主义袭击日益增加，其中一些包含了骇人的致死事件，激怒了全国各地的亚裔艺术家。他们正在利用社交媒体提高人们的意识，虽然有大流行的预防措施，但仍聚集在一起抗议，创造新的艺术作品，以及，也许也是最重要的，找到了新的团结的共同基础——与其他亚裔，以及其他受影响的社区——以弄清楚如何应对眼下的世道。 |
| Recent anti-Asian sentiment may have been stoked by Donald Trump’s xenophobic response to Covid-19 — which he repeatedly called “the Chinese virus.” But it existed long before him, since the arrival of Chinese workers in the 19th century, and stubbornly persists, even after his departure from office. | 唐纳德·特朗普(Donald Trump)对新冠病毒的仇外反应也许激起了最近的反亚裔情绪，他一再将其称为“中国病毒”。但其实这种情绪早在19世纪中国工人来到美国以来就存在了，并持续存在着，甚至在特朗普离任后依然存在。 |
| The effects of this rhetoric have laid bare the vulnerabilities of a group that comprises five percent of the U.S. population, and is breathtakingly diverse in its makeup, marked by extreme disparities in income, language and culture. | 这种言辞的影响暴露了这个群体的脆弱性。亚裔群体占美国人口的5%，其构成的多样化令人惊叹，在收入、语言和文化上的极大差异成为了这个群体的特点。 |
| The murders in Atlanta, in which a young white man killed workers and others in Asian-owned massage businesses, highlighted additional complexities of gender and race: of the eight victims, six were Asian-American women, mostly of Korean descent. | 在亚特兰大枪击案中，一名年轻白人男子杀害了亚洲人经营的按摩店的员工和其他人，这凸显了性别和种族带来的更多复杂性：在八名受害者中，六名是亚裔美国人，其中多数是韩裔。 |
| An exhibition titled “Godzilla vs. the Art World: 1990–2001” that was scheduled to open in May at the Museum of Chinese in America, and a forthcoming anthology edited by the curator Howie Chen about the group Godzilla, a loose affiliation of artists and curators, are timely reminders that activism is not new for Asian- American art workers. They have been organizing for years to increase representation, improve their visibility and forge alliances with other groups. | 定于5月在美国华人博物馆(Museum of Chinese in America)举行的《哥斯拉与艺术世界：1990-2001》展览，以及由策展人陈旭峰编辑的即将出版的关于哥斯拉艺术团体的文集，及时地提醒了人们，对于亚裔美国人艺术家来说，行动主义并非新事。多年来，他们一直在组织活动以增加代表性、提高他们的影响力并与其他团体结成联盟。 |
| Godzilla was founded in 1990 in New York City by Ken Chu, Bing Lee, Margo Machida, and others. The group tackled problems associated with being Asian-American in an art world that tended to see race only in terms of Black and white. In the wake of the 1991 Whitney Biennial, it wrote to the museum’s director to object to the near-absence of Asian-American artists. | 1990年，哥斯拉由肯·朱(Ken Chu)、李秉罡(Bing Lee)、玛尔戈·町田(Margo Machida)等人在纽约成立。该团体讨论关于亚裔美国人身处一个在种族问题上只区分黑人与白人的艺术世界所产生的问题。1991年惠特尼双年展之后，哥斯拉致函博物馆馆长，反对展览上几乎没有亚裔美国人艺术家。 |
| The message had its intended effect: The 1993 biennial included work by several artists of Asian descent, including Byron Kim. His “Synecdoche,” a minimalist grid of painted panels, each keyed to the precise skin tone of a friend, a neighbor, or stranger, functioned as an abstract group portrait of his multicultural world. | 这封信产生了预期的效果：1993年的双年展包括了拜伦·金(Byron Kim)等几位亚裔艺术家的作品。拜伦·金的《提喻》(Synecdoche)是由板面油画组成的极简网格，每个画板的颜色都是朋友、邻居或陌生人的精确肤色，是他的多元文化世界的抽象集体肖像。 |
| A recent series of abstract works by Kim signals an important shift: It still focuses on skin — but this time that skin is bruised. Done around the time of the 2016 presidential election, the pigment-dyed canvases are less a celebration of multiculturalism than a subtle commentary on the rise of xenophobic and racist politics in the United States. | 拜伦·金最近的一个抽象作品系列示意着一个重要的转变：它仍然是画肤色——但是这次是淤青的皮肤。大约完成于2016年总统大选前后，这幅用颜料将画布染色的油画作品不是在赞美多元文化，而是对美国仇外心理和种族主义政治的兴起的一次隐晦评论。 |
| Likewise, today’s wave of activism seems less concerned about representation — inclusion of artists in exhibitions or hiring of more Asian-American museum staff — than on larger issues like the surveillance of immigrant neighborhoods, income inequality, and criminalization of sex work — that put their communities at risk. | 同样的，如今的行动主义浪潮似乎也不太关心代表性——比如在展览中加入更多艺术家或者雇佣更多亚裔博物馆员工——而是关注更大的问题，例如对移民社区的监视、收入不平等以及将性工作定为犯罪——这些都将他们的社区置于危险之中。 |
| This change in approach recently led 19 artists involved in Godzilla to withdraw from the exhibition planned by the Museum of Chinese in America in protest of what they called the museum’s “complicit support” of the construction of a jail in Chinatown. (The museum received a $35 million concession from the city, part of a program to invest funds in neighborhoods that will be affected by the construction of facilities in the aftermath of Rikers Island’s closure.) | 方式上的改变最近导致参与哥斯拉团体的19名艺术家退出了这场由美国华人博物馆策划的的展览，以抗议他们所谓的博物馆对在唐人街建造监狱的“同情支持”。（在雷克岛[Rikers Island]监狱关闭后，社区将受到新监狱建造的影响，市政府对这些受影响的社区进行投资，该项目的一部分便是博物馆从市政府获得的3500万美元的特殊关照。） |
| The museum disputes this characterization. Nancy Yao Maasbach, the museum president, said, “MOCA has always unalterably and vocally been against a Chinatown jail,” adding that its position is that cultural funding for marginalized groups is “critical to redefining the American narrative.” | 博物馆不同意这种说法。馆长姚南薰(Nancy Yao Maasbach)说：“美国华人博物馆一直坚定不移地反对在唐人街建造监狱，”她补充道，其立场是，为边缘化群体提供文化资助对“重新定义美国叙事至关重要”。 |
| The artist Betty Yu, a founder of Chinatown Art Brigade (CAB), said that “The way to fight this kind of xenophobia and white supremacy is to organize and fight the root causes of structural racism and capitalism.” With her co-founders Tomie Arai and ManSee Kong, and a network of other artists and organizers, CAB has been working over the past five years to oppose the gentrification of New York’s Chinatown neighborhood and the resulting mass displacement. | 唐人街艺术队(Chinatown Art Brigade)的创始人贝蒂·于(Betty Yu)说：“与这种仇外心理和白人至上主义作斗争的方法是将人们组织起来，与结构性种族主义和资本主义的根源作斗争。”她与联合创始人新井富江（Tomie Arai，音）和曼西·孔（ManSee Kong，音）以及其他艺术家和组织者网络进行合作，唐人街艺术队在过去的五年中一直反对纽约唐人街社区的士绅化以及随之而来的大规模流离失所。 |
| The loss of affordable housing and the closing of garment factories employing thousands of new immigrants are not unconnected to the art world. More and more art galleries are moving into the area, driving up rents. | 廉价住房的流失以及雇用成千上万新移民的制衣厂的倒闭，与艺术界并非没有关联。越来越多的美术馆进入该地区，抬高了租金。 |
| That encroachment has driven other activist groups to focus on the art world as an epicenter for talking about anti-Asian hate. Stop DiscriminAsian (S.D.A.), which came into being a year ago when Yi began to connect disparate Asian-centered groups and individuals working around the country, including Kim and Tam. As the group grew, the question of how to leverage their own positions in the art world became central. | 这种侵入驱使其他活动人士团体将艺术世界作为讨论反亚裔仇恨的中心。一年前，艾妮卡·易开始与分散的关注于亚裔的组织和个人建立联络，包括克里斯汀·金和肯尼思·谭，成立了“停止歧视亚裔”(Stop DiscriminAsian)组织。随着组织的壮大，如何利用他们在艺术界的地位成为一个中心问题。 |
| “It was one of the compelling things that we thought that we as arts workers could contribute to, just because of the fact that so many art spaces, at least in New York and L.A. and even the Bay Area, were physically adjacent to Asian communities,” Tam said. | 肯尼思·谭说：“这是一件应该做的事情，我们认为我们作为艺术工作者可以为此做出贡献，因为实际上，至少在纽约、洛杉矶甚至湾区，许多艺术空间都与亚洲社区相邻。” |
| Because of shutdowns, S.D.A’.s work has largely been visible on social media — Instagram above all. The organization has created multilingual graphics and downloadable posters, generated memes, commissioned short videos by artists, co-sponsored a Zoom webinar series titled “Racism is a Public Health Issue,” and disseminated information about resources for Asian-Americans facing discrimination and guidance for their allies. | 由于疫情所致的封锁措施，“停止歧视亚裔”的工作目前主要放在社交媒体上，尤其是在Instagram。这个机构制作了多语言的图案和可下载的海报，以及各种模因，还委托艺术家制作小视频，共同发起了一个名为《种族主义是一个公共卫生问题》的Zoom网络研讨会系列，向遭遇歧视的亚裔美国人提供资源信息，为他们的支持者提供指导。 |
| After the uprisings sparked by George Floyd’s murder at the hands of police last May, S.D.A. called on its followers to act in solidarity with Black protesters. | 去年5月，乔治·弗洛伊德(George Floyd)被警察杀害引发暴动，之后，“停止歧视亚裔”号召其追随者声援黑人抗议者。 |
| Its recent open letter against xenophobia and racial violence calls for the decriminalization of sex work and for alternatives to over-policing. It also asks signatories to understand the way Asian-Americans have enabled or participated (sometimes unwittingly) in white supremacy, and work to dismantle it. So far, more than 1,000 artists, curators and art workers have made the pledge. | 在最近的一封反对仇外心理和种族暴力的公开信中，它呼吁将性工作非罪化，采取过度执法的替代措施。它还要求签名者了解亚裔美国人支持或者参与（有时系无意为之）白人至上主义的方式，并努力消除这种现象。到目前为止，已有超过1000名艺术家、策展人和艺术工作者做出了承诺。 |
| One of the key strategies for today’s artist-activists is creating visibility: calling attention to the often unseen and unnoted presence of Asian-American communities in cities and in the culture — to their labor and contributions, and to the violence aimed at them. | 对于今天的艺术家和活动人士来说，一个至关重要的策略是创造能见度：呼吁人们关注亚裔美国人群体在城市和文化中往往不为人所见、遭到忽视的存在，关注他们的劳动和贡献，以及针对他们的暴力行为。 |
| The newly appointed Public Artist in Residence, Amanda Phingbodhipakkiya, began to work with the New York City Commission on Human Rights last August. As soon as she was hired, Phingbodhipakkiya began devising a public art project that she would take to the subways to address the way Asian diasporic communities in the city go largely unnoticed. | 新任命的常驻公共艺术家阿曼达·芬博迪帕基亚(Amanda Phingbodhipakkiya)从去年8月开始与纽约市人权委员会合作。甫一到任，她就开始设计一个公共艺术项目，并将它带到地铁上，试图解决纽约的亚裔群体普遍遭到忽视的问题。 |
| “The commissioner and I went for a walk in Prospect Park,” she recalled. “I’m not sure she was looking to brainstorm that morning, but I hit the ground running. I felt like there was no time to waste, and our community couldn’t take being invisible any longer. It was something I approached with extreme urgency.” | “我和专员去展望公园散步，”她回忆道。“我不确定她那天早上是不是想来场头脑风暴，但我马上就行动起来。我觉得没有时间可以浪费了，我们亚裔群体不能再忍受被人视而不见了。这是我迫不及待想要解决的问题。” |
| The result of the collaboration is a public art series titled “I Still Believe in Our City” installed on bus shelters, subway stations and, in a spectacular fashion, on the side of the Barclays Center. The choice of transportation hubs was deliberate, the artist said, since so many bias attacks have occurred there. Phingbodhipakkiya has also made them freely downloadable on her website. | 双方合作的结果是一个名为《我仍然相信我们的城市》的公共艺术系列，它安装在公汽候车亭、地铁站，并以一种引人注目的方式安装在巴克莱中心的一侧。这位艺术家说，选择交通枢纽是经过考虑的，因为这些地点发生了许多因偏见而起的攻击事件。芬博迪帕基亚还在她的网站上提供该系列的免费下载。 |
| Featuring a range of Asian-Americans with captions like “I did not make you sick,” “We belong here,” and “I Am Not Your Scapegoat,” they were recently featured on the cover of Time and have been showing up frequently on protest signs at rallies since the Atlanta shootings. | 不久前，它们还登上了《时代》(Time)周刊的封面，该系列撷取了一系列亚裔美国人，配以“不是我让你生病的”、“我们属于这里”、“我不是你的替罪羊”等说明文字；自从亚特兰大枪击案发生后，这些话经常出现在各种集会的抗议标语上。 |
| As artists begin standing up to anti-Asian hate, there remains the question of how useful the term “Asian-American” is, given the range of experiences it’s meant to describe. “Anicka Yi has said this very clearly: ‘What does it mean to be Asian-American in the 21st century?’” said Margaret Liu Clinton, a curator and member of S.D.A., who talks about the desire to develop pan-Asian conversations among the widest possible swath of art workers. | 随着艺术家开始站出来反抗针对亚裔的仇恨，鉴于“亚裔美国人”所描述的经历范围，对这个词的实用性仍然存在质疑。“艾妮卡·易对此说得很清楚：‘在21世纪身为亚裔美国人意味着什么？’”“停止歧视亚裔”成员、策展人玛格丽特·刘·克林顿(Margaret Liu Clinton)说，她谈到在尽可能广泛的艺术工作者中开展泛亚裔对话的愿望。 |
| “What continues to unfold is a shared awareness of how different our experiences are across gender, class, generation, immigration, and I think that’s actually what is exciting about this work right now.” | “继续展开的是，我们都意识到我们的经验是如何跨越性别、阶级、世代、移民的不同，我想这才是这项工作令人兴奋的地方。” |
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