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| PARIS — François Pinault, the French billionaire, has never had much time for convention. “Avoid the paths already trodden,” has been his motto. Bored with acquiring Impressionist or Cubist works with surefire credentials, he said to himself four decades ago: “It’s impossible that we have become so stupid today that there are no human beings alive capable of creating tomorrow’s masterpieces.” |
| 巴黎——对于约定俗成，法国富豪弗朗索瓦·皮诺(François Pinault)从来没有多少耐心。“避开别人走过的路”是他的座右铭。四十年前已经厌倦收购印象派或立体派作品的他当时告诉自己：“今天的我们不可能蠢到没有一个活着的人能创造出属于明天的杰作。” |
| The fruits of that conviction are now on display in a contemporary art museum that opened in Paris on Saturday under the cupola of the Bourse de Commerce. With the Louvre to one side and the Pompidou Center to the other, this upstart in the cultural life of Paris combines tradition and modernity. |
| 这一信念的成果目前正在巴黎一家当代艺术博物馆展出，该馆于周六在巴黎商业交易所(Bourse de Commerce)的圆顶下开幕。一边是卢浮宫，一边是蓬皮杜中心，这一巴黎文化生活的新星将传统与现代结合了起来。 |
| Once a grain exchange, the light-filled building has undergone a $170 million redevelopment conceived by the Pritzker Prize-winning Japanese architect Tadao Ando, who previously worked with Pinault at the Palazzo Grassi in Venice. Ando installed a 108-foot-diameter concrete cylinder inside the central rotunda, creating a core display area while retaining the framework of the original. |
| 这座光线明亮的建筑曾是一处谷物交易所，经历了耗资1.7亿美元的重建，其设计者是获得过普利兹克奖(Pritzker Prize)的日本建筑师安藤忠雄，他曾与皮诺合作翻修威尼斯的格拉西宫(Palazzo Grassi)。安藤忠雄在中央圆形大厅内安装了一个直径约33米的混凝土圆柱体，在保留原有构造的同时，打造出一个核心展示区。 |
| “A palimpsest of French history,” as Martin Bethenod, the museum’s director, put it. |
| 按照馆长马丁·贝特诺(Martin Bethenod)的说法，“这是对法国历史的翻新。” |
| No layer of the palimpsest has been concealed. Restored 19th-century frescoes beneath the dome illustrate the global commerce of the time. Titled “Triumphal France,” they amount to a primer in the demeaning stereotypes of a Eurocentric colonized world where white traders did business with bare-chested African warriors. |
| 翻新过程修旧如旧。穹顶经修复的19世纪壁画展示了当时的全球贸易情况。该壁画题为《凯旋法国》(Triumphal France)，基本就是对以欧洲为中心的殖民世界里，白人商人与赤裸上身的非洲战士做生意时歧视刻板印象的初步概括。 |
| The juxtaposition with the many works in the galleries below by Black American artists, including David Hammons and Kerry James Marshall, is potent. Their pieces, driven by reflection on the grotesqueness and lasting wounds of racism, seem charged by the setting. |
| 这与穹顶之下画廊里陈列的包括戴维·哈蒙斯(David Hammons)和凯利·詹姆斯·马歇尔(Kerry James Marshall)在内的许多美国黑人艺术家的作品形成了鲜明对比。他们的作品反思了种族主义的丑陋及其造成的持久创伤，置于这个场景下似乎变得更有力度。 |
| Transience is a theme. Nothing lasts, yet nothing is entirely gone. At the center of the museum’s initial exhibition stands a wax replica of the 16th-century Giambologna statue “The Abduction of the Sabine Women,” three writhing figures intertwined. Created by the Swiss artist Urs Fischer, it was set alight at the museum’s opening on Saturday and will burn for six months, leaving nothing behind. |
| 无常是一个主题。没有什么是永垂不朽，但也没有什么会彻底消失。在博物馆落成展览的中心位置，矗立着16世纪的詹博洛尼亚(Giambologna)雕像作品《强掳萨宾妇女》(The Abduction of the Sabine Women)的蜡像复制品，三个身体扭曲的人物交织在一起。它由瑞士艺术家乌尔斯·费舍尔(Urs Fischer)创作，在周六博物馆开幕时被点燃，将持续燃烧六个月，直到全部烧光。 |
| So a high mannerist masterpiece becomes an elaborate giant candle: Sic transit gloria mundi. The Bourse de Commerce itself has been rented from Paris City Hall on a 50-year lease — a reminder that the museum’s life span may not be eternal. Ando’s cylinder is designed so that it can be removed once the lease expires. |
| 于是，高雅杰作就变成了一个精心制作的巨型蜡烛：真可谓“Sic transit gloria mundi”（世间荣耀就这样消逝）。商业交易所本身就是从巴黎市政厅租借而来，租约50年——这提醒了所有人，博物馆的寿命可能不是永恒的。安藤忠雄设计的圆柱可以在租约期满后移除。 |
| Pinault, 84, a self-styled “troublemaker,” has always been more interested in disruption than permanence. |
| 现年84岁的皮诺自诩“麻烦制造者”，他对破坏的兴趣一直比对永恒要大。 |
| Born in rural Brittany, he went on to parlay a small timber business into a $42 billion diversified luxury-goods conglomerate, including brands like Gucci and Saint Laurent. I asked him about time passing. “Well, I am like everyone: As you grow older, that issue gnaws at you a little, but I am not obsessed by the time that may be left to me,” he said in an interview. “I hope it will be as long as possible.” |
| 他出生在布列塔尼的农村，后来把一家小型木材公司打造成为一个价值420亿美元的多元化奢侈品集团，拥有古驰(Gucci)和圣罗兰(Saint Laurent)等品牌。我问他对于时间流逝的看法。“我就和所有人一样：随着年龄增长，这个问题会让你有点苦恼，但我不会对自己所剩的时间太过执着，”他在接受采访时回答。“我希望那尽可能长一些。” |
| How, he asked, can anyone take himself for important, confronted by the sweep of history? “Humility must be worked on with a pumice stone every day,” he said. “The ego is something that grows if you don’t apply weed killer.” |
| 他问道，面对历史长河，真的有人还能自视甚高吗？“每天都必须好好打磨谦卑之心，”他说。“如果不洒点除草剂，自大就会生长起来。” |
| Behind him in his office at the Bourse de Commerce hangs “SEPT.13, 2001,” a work in black and white by the Japanese artist On Kawara. It is a reminder that the unimaginable can happen — that as Victor Hugo put it, “Nothing is more imminent than the impossible.” Yet life continues nonetheless. |
| 他坐在位于商业交易所的办公室里，身后的墙上挂着一幅日本艺术家河原温创作的黑白画作《2001年9月13日》。这是在提醒世人，不可想像之事也会发生——正如维克多·雨果(Victor Hugo)的名言，“最迫切之事正是最无法想象之事”。然而生活总要继续。 |
| For Pinault, the project represents a long-held ambition to house some of his more than 10,000 works by artists including Cy Twombly, Cindy Sherman, Damien Hirst, Jeff Koons and Marlene Dumas in a Paris museum. That effort began about 20 years ago with plans, later aborted, to take over a disused Renault car factory in the suburb of Boulogne-Billancourt. |
| 对皮诺来说，这个项目代表了他长期以来的雄心，希望在一家巴黎博物馆展出自己收藏的赛·通布利(Cy Twombly)、辛迪·谢尔曼(Cindy Sherman)、达米恩·赫斯特(Damien Hirst)、杰夫·昆斯(Jeff Koons)和玛丽娜·杜马(Marlene Dumas)等艺术家的一万多件作品。这项努力始于大约20年前，当时他计划收购布洛涅—比扬古郊区一家废弃雷诺汽车厂，但后来以失败告终。 |
| Although Sherman’s work is on prominent display — including a haunting photograph of a platinum-blonde woman, back turned, standing on a deserted American highway with her suitcase beside her in a shadowy half-light — the exhibition does not dwell on the giants of the Pinault Collection, as if the main aim were to jolt Parisians emerging from months of coronavirus lockdown with an injection of the new and little known in France. |
| 虽然谢尔曼作品——包括一幅令人难以忘怀的浅色金发女性的照片，她背对镜头，身边是手提箱，站在被朦胧黄昏笼罩的荒凉的美国高速路旁——被放在了显眼的地方展示，但这次展览并没有详细介绍皮诺收藏中的巨作，其主要目的似乎是用在法国鲜为人知的新作品，让刚走出新冠疫情数月封锁的巴黎人振奋精神。 |
| Pinault said he had met David Hammons, a generally reclusive artist who came of age in the 1960s and ’70s, more than 30 years ago. Hammons learned that Pinault was the uneducated son of a peasant from a small Breton village. “He said we were alike, and I burst out laughing and told him, ‘Well, not exactly!’” |
| 皮诺说，他在30多年前见过戴维·哈蒙斯，这位通常隐居于世的艺术家在上世纪六七十年代成名。哈蒙斯得知皮诺是布列塔尼小村庄里一个没受过教育的农民的儿子。“他说我们很像，而我大笑着告诉他，‘嗯，也不完全一样！’” |
| So was an unlikely friendship born. Its fruit is the more than 25 Hammons works on show at the Bourse de Commerce. |
| 就这样，一段不太可能的友谊诞生了。其结晶就是在商业交易所展出的超过25件哈蒙斯的作品。 |
| But what of those murals glorifying European colonization, with Christopher Columbus sweeping down from the sky in a caravel to find half-naked Native Americans? “We were convinced for a long time that we constituted civilization, the most evolved people,” Pinault said. “I never accepted that.” In the frescoes, he added, was “the beginning of global commerce, but dominated by Europe and France” — in short, “everything that a David Hammons detests.” |
| 但那些画着克里斯托弗·哥伦布(Christopher Columbus)乘着帆船从天而降发现了半裸的美洲原住民、歌颂欧洲殖民的壁画呢？“很长一段时间以来，我们都确信是我们构建了文明，我们才是最高级的人，”皮诺说。“我从未接受这种观点。”他还说，这些壁画是“全球贸易的发端，但由欧洲和法国主导”——简而言之，“就是戴维·哈蒙斯所反感的一切。” |
| When the artist was shown a video of the frescoes, and giant antique maps tracing post-slavery trade routes dominated by European navies, he asked that his “Minimum Security” installation, inspired by a visit to death row at San Quentin State Prison, be placed against this backdrop. The squeaking and clanging of a cell door seems to carry the echo of centuries of oppression. |
| 当这位艺术家看到壁画的视频展示，以及描绘了后奴隶制时代欧洲海军统治贸易路线的巨幅古老地图时，他要求将自己的作品《最低安保》(Minimum Security)装置放在前面，此装置的灵感来自对圣昆丁州立监狱死囚牢房的参观。牢房门的吱呀作响似乎承载了数世纪以来压迫的回声。 |
| “Some will criticize us and say it’s shameful,” Pinault said. “We could have hidden the fresco — you can always hide something, that is cancel culture. And here, a great African-American artist said, ‘Don’t hide it.’” |
| “有些人会批评我们，说这是可耻的，”皮诺说。“我们本可以藏起壁画——你总能隐藏一些东西，这就是取消文化。但在这里，一位杰出的非裔美国艺术家说，‘别把它藏起来。’” |
| Jean-Jacques Aillagon, the Pinault Collection’s chief executive, said: “When you show it, that does not mean you approve it. This was the image of trade at that moment, and you can’t think yesterday with the mind of today.” |
| 皮诺收藏的首席执行官让—雅克·艾拉贡(Jean-Jacques Aillagon)说：“展示出来并不代表认可。这是当时贸易的景象，你不能用今天的思维去思考昨天的事。” |
| Art is provocation. With almost Duchamp-like playfulness, Hammons challenges the viewer to think again, as with “Rubber Dread,” deflated inner tubes woven into dreadlocks. He reimagines detritus. |
| 艺术也是挑衅。哈蒙斯以近似杜尚的活泼风格挑战观众，让他们重新思考，就像他在创作《橡胶辫》(Rubber Dread)时将放了气的轮胎内胎编成脏辫一样。他对破烂进行了重新想象。 |
| Kerry James Marshall, another Black artist whom Pinault has collected for years, seems to upend a whole Western tradition — Goya’s “Maya” or Manet’s “Olympia,” — with an untitled painting of a Black man, naked but for his socks, lying on a bed with a sidelong gaze, a Pan-African flag coyly covering his genitals. |
| 皮诺收藏多年的另一位黑人艺术家凯利·詹姆斯·马歇尔则似乎颠覆了整个西方传统——如戈雅(Goya)笔下的马哈(Maya)或马奈(Manet)的奥林匹亚(Olympia)——用一幅无题画作描绘了一名全身裸露、只穿了袜子的黑人男性，他躺在床上侧头斜视前方，一面泛非主义旗帜堪堪遮住他的生殖器。 |
| Pinault said that his museum would not add much to Paris, but perhaps as a private institution it could move faster while the committees at state-owned museums pondered. “So perhaps you have a collection of things that would not otherwise be here.” Perhaps, yes. He was being modest. |
| 皮诺表示，他的博物馆不会为巴黎做出多大贡献，但作为一家私人机构，它可以在国有博物馆仍在三思之时更快地行动。“因此，也许这里就有了原本不会出现的藏品。”也许，是的。他这是在自谦。 |
| He described himself as a restless nonconformist: “My roots are under the soles of my shoes.” When life presents something important enough to entice you into a journey, he suggested, “you have to take your suitcase, like that woman beside the road in the Cindy Sherman photograph — my favorite.” |
| 他说自己是个不安于室的另类人物：“我的根就在我鞋底下。”当人生中出现了足够重要的东西吸引你去探索，他建议，“必须带上行李出发，就像辛迪·谢尔曼照片中的那个路边女人一样——那是我最爱的一张。” |
| He was 19 when he left Brittany for the first time and came to Paris. He enlisted in the army and went to Algeria, where war was raging. It was 1956. A parachutist, he was ordered to comb through villages looking for Algerian rebels fighting French colonial dominion. But the rebels were long gone; all that was left were houses full of women, children and older people. Pinault said he confronted his officer: “What the hell are we doing here? This war is already lost.” |
| 他19岁那年第一次离开布列塔尼，来到巴黎。他应征入伍，去了战火肆虐的阿尔及利亚。那是在1956年。作为伞兵，他奉命在村落间搜寻抵抗法国殖民统治的阿尔及利亚叛军。但叛军早已离去；房屋里剩下的全是老弱妇孺。皮诺说他质问了自己的长官：“我们到底在这里做什么？这场战争已经输了。” |
| “Shut up, Pinault,” he recalled the officer saying. |
| “闭嘴吧，皮诺，”他记得长官是这么说的。 |
| But he never has shut up. Instead, Pinault has made a fortune, a unique collection of contemporary art and a life out of anticipation. “Only anticipate” could be another of his mottos. As a result, Paris, sometimes a little set in its ways, has something different, disruptive and challenging on offer at the Bourse de Commerce. |
| 但他从不肯闭嘴。相反，皮诺发了大财，拥有了独特的当代艺术藏品，活出了意料之外的人生。“只需期待”可能是他的另一个座右铭。因此，商业交易所就为有时固步自封的巴黎带来了一些与众不同的、具有破坏性和挑战性的东西。 |
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