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| PARIS — For almost 60 years, the artist known as Christo dreamed of wrapping the Arc de Triomphe. As a young man, having fled communist Bulgaria, he would gaze at the monument from his tiny garret apartment. A photomontage dated 1962 shows the 50-meter-high arch crudely bundled up. Freedom trumped the sacred. He always wanted people to look again at what perhaps they did not see. | 巴黎——在近60年的时间里，这个名叫克里斯托的艺术家一直梦想着将凯旋门包裹起来。年轻时逃离了共产主义的保加利亚后，他总是从自己的小阁楼公寓里凝望着这座纪念碑。在1962年的一张合成照片上，这座50米高的拱门被粗暴地绑了起来。自由战胜了神圣。他总是希望人们能够重新审视他们之前可能没有看到的东西。 |
| Now, a little over a year after Christo’s death at the age of 84, “L’Arc de Triomphe, Wrapped” is a reality. About 25,085 square meters of silvery blue fabric, shimmering in the changing light of Paris, hugs the monument commissioned by Napoleon in 1806 at the giddy height of his power. The polypropylene material, its tone reminiscent of the city’s distinctive zinc roofs, is secured but not held rigidly fast by almost 3 kilometers of red rope, in line with the artist’s meticulous instructions. | 现在，克里斯托去世（终年84岁）刚过一年，《被包裹的凯旋门》成为了现实。约25085平方米的银蓝色面料在巴黎的光线变幻下闪闪发亮，裹住了1806年拿破仑在权力巅峰期下令建造的纪念碑。这种聚丙烯材料让人联想到巴黎独特的锌皮屋顶，按照这位艺术家的精心安排，它由近三千米长的红绳固定，但又并非纹丝不动。 |
| “He wanted a living object that, with its moving folds, would turn the monument’s surface into something sensual,” Vladimir Yavachev, Christo’s nephew and project director, told me. Suddenly, at the top of the Champs Élysées, a magical pale object beckons, its glistening lightness anchored by steel slabs weighing 136 metric tons. The effect is at once disorienting and riveting. | “他想创造一个有生命力的物体，通过吹拂褶皱，将凯旋门的外表变成了某种感性的东西，”克里斯托的侄子、这件作品的项目负责人弗拉基米尔·亚瓦切夫对我说。突然之间，在香榭丽舍大道的尽头，一个奇妙的苍白物体在招手，它那闪烁的光芒被重达136吨的钢板固定。这种效果令人迷惑，也引人入胜。 |
| Yavachev moved from New York to Paris two years ago to lead the project. The work has been arduous. France’s League for the Protection of Birds expressed concern about two falcons nesting high in the facade. That led to a first delay, before the pandemic caused a second. | 为了牵头这个项目，亚瓦切夫两年前从纽约移居巴黎。他的工作无比艰巨。法国鸟类保护联盟担心在外立面高处筑巢的两只猎鹰。这导致了项目的第一次延期，后来的第二次延期则是因为疫情。 |
| Bastille Day, on July 14, and Armistice Day, on Nov. 11, when ceremonies take place at the monument, left a limited window. Building the cages whose steel bars pass a few centimeters from the outstretched hand or foot of a frieze or a funereal relief was painstaking. So was rappelling down to work under the overhangs of the cornice. In all, 1,200 people labored on the wrapping. | 在7月14日的巴士底日和11月11日的停战日，凯旋门都会举行纪念仪式，这让项目的展示窗口期十分有限。打造钢筋保护笼是非常艰苦的工作，这些钢筋与雕带或浮雕上延伸出的人物手足仅错开几厘米的距离。拉着绳索下降，在檐口的突起下进行作业也极为困难。总共有1200人参与了包裹工作。 |
| “It was difficult, stressful,” lead engineer Sebastien Roger said as we stood under the arch. “You have to be careful, it’s the Arc de Triomphe after all!” | “难度很高，压力很大，”我们站在凯旋门下时，首席工程师塞巴斯蒂安·罗杰说道。“你必须得小心翼翼，毕竟这是凯旋门！” |
| Through Oct. 3, the arch has in fact become something else — transformed into an oversize imagined object through the liberating obsession of an artist who refused to accept limits. | 直到10月3日，凯旋门实际上都已不再是凯旋门——因为一位拒绝接受限制的艺术家对自由的执着，它变成了一个想象中的巨物。 |
| Born into the stifling oppression of the Soviet imperium, Christo — whose full name was Christo Vladimirov Javacheff — always had one core guiding idea: the inalienability of freedom. When the Berlin Wall went up in 1961, he made a wall of oil barrels on the Rue Visconti in Paris, a first defiant public statement. | 全名为克里斯托·弗拉基米罗夫·扎瓦切夫的克里斯托生长于苏联霸权令人窒息的压迫下，他始终有一个核心指导思想：自由不可剥夺。1961年柏林墙建起时，他在巴黎的维斯孔第街用油桶堆出一堵墙，这是他首次公开展示反抗姿态。 |
| Standing at the Arc de Triomphe, President Emmanuel Macron said, “I think that what we believe is this: crazy dreams must be possible.” The wrapping of a monument at once military, historical, artistic and a repository of national memory made French people “extraordinarily proud,” he suggested, “because this is what artistic adventure is all about.” | 马克龙总统站在凯旋门下说，“我认为我们相信的是这件事：疯狂的梦想一定可以实现。”他表示，将一座融合军事、历史、艺术和民族记忆的丰碑包裹起来，让法国人民“无比自豪”，“因为这就是艺术探索的意义所在。” |
| There was some grumbling. Florian Philippot, a rightist politician, denounced “a garbage bag draped over one of our most glorious monuments.” In the daily Le Monde, Carlo Ratti, an Italian architect, asked if it was environmentally acceptable to use vast amounts of fabric to wrap a monument. In fact, almost all the material used is being recycled, Yavachev said. | 也有抱怨的声音。右翼政客弗洛里安·菲利波谴责道，“给我们最辉煌的纪念碑之一盖上了垃圾袋。”意大利建筑师卡洛·拉蒂在《世界报》上质问，使用大量布料包裹凯旋门在环保层面是否可以接受。亚瓦切夫表示，实际上用到的几乎所有材料都是循环再利用的。 |
| The Arc de Triomphe, like any great monument, was built to last. Christo’s conceptual art is ephemeral. Within weeks it will be dismantled. There is something liberating in this, perhaps because the fleeting nature of the work makes possession impossible. The work is immense, yet insubstantial. The fabric seems to express something nomadic, in keeping with Christo’s own peripatetic life. | 就像任何伟大的纪念碑一样，凯旋门也是为了永恒而建造的。而克里斯托的概念艺术是短暂的。几周内它就会被拆除。这蕴含了一种解放性，或许是因为作品的短暂性质使任何人都无法将之占有。它无比庞大，却又亦真亦幻。采用的面料似乎在表达某种流浪的感觉，这刚好与克里斯托本人的游荡生活相符。 |
| After living in Paris for many years, he moved to New York, living in the country illegally with his wife, Jeanne-Claude, from 1964-67, before getting a green card and becoming a citizen in 1973. By the time the United States opened its arms to him, he had been stateless for 17 years. Freedom meant something. America was also an idea. | 在巴黎生活多年后，他搬到了纽约，在1964至67年间，他与妻子让娜—克劳德都是美国的非法居民，直到1973年他才获得绿卡并成为公民。当美国向他敞开怀抱时，他已经保持了17年的无国籍状态。对他来说，自由有着更深的意义。美国是地名，也是一个理念。 |
| This is not the first time that Christo has wrapped a Paris icon. In 1985, after many years of battling the authorities for permission (he was a specialist in the attritional bureaucratic warfare often required to achieve his aims), the artist wrapped the Pont Neuf and the 44 streetlamps on the bridge in a sandstone-colored fabric. Three million visitors came to see the installation during its two-week life. | 这不是克里斯托第一次包裹巴黎的地标。1985年，在为拿到批文与当局拉锯多年之后（为了达到自己的目的，经常需要进行耗费心力的官僚主义斗争，他已经是这方面的专家），这位艺术家把新桥和桥上的44盏路灯用沙石色的布料包了起来。在这一装置作品展出的两周时间里，有300万游客前来参观。 |
| For the wrapping of the Arc de Triomphe, a project supported by Macron and Paris Mayor Anne Hidalgo, permission came more quickly — even if those falcons and COVID made life difficult. From July 15, Roger, the engineer, said, teams worked in shifts around the clock to do the preparatory work. | 在马克龙和巴黎市长安娜·伊达尔戈的支持下，包裹凯旋门的许可很快就批下来了——虽然筑巢的猎鹰和新冠疫情带来了很多困难。从7月15日开始，各个团队昼夜轮班，进行准备工作。 |
| Only once before has the arch been partially covered by fabric. In 1885, on the occasion of the funeral of beloved poet and author Victor Hugo, a large black shroud was hung from the monument. More than 2 million people joined the funeral procession from the Arc de Triomphe to the Pantheon, where Hugo was interred. | 在此之前，凯旋门仅被布料覆盖过一次。那是在1885年，为受人爱戴的诗人、作家维克多·雨果举行葬礼时，凯旋门上悬挂了一块巨大的黑布。从凯旋门到先贤祠的送葬队伍有两百多万人，那是雨果的安葬之处。 |
| Christo loved Paris. It was his second city, alongside New York. “I miss my uncle’s excitement — he would have been hopping around!” Yavachev said. It has been a tough year for the French capital, often under curfew as a result of the pandemic, the restaurants and cafes that are the connective tissue of the city closed for long periods. So, “L’Arc de Triomphe, Wrapped” feels like a liberating moment, a major public artwork to which large crowds will throng. | 克里斯托热爱巴黎。这里和纽约一样，是他的第二故乡。“我想念叔叔兴奋的样子——他会雀跃不已！”亚瓦切夫说道。对这座法国首都而言，今年是艰难的一年，由于疫情的影响，巴黎经常实行宵禁，作为城市结缔组织的餐厅和咖啡馆长期停业。因此，《被包裹的凯旋门》给人带来了一种解放感，会有大批人群前往一览这件大型公共艺术作品的风采。 |
| “Christo overwhelms us, prods us, makes us talk,” Hidalgo said. “He plays with light, with the Paris sky that reverberates through his ephemeral work.” | “克里斯托让我们震撼，让我们感慨，让我们交流，”伊达尔戈说。“他擅长利用光线，他短暂作品的回响也将长存于巴黎的天空。” |
| The Arc de Triomphe is many faceted. It began life as a monument to military glory. Names of Napoleon’s great battles are engraved across it. It was a tribute to a victorious emperor. But war is also terrible loss, as the 20th century demonstrated. In 1920, two years after World War I, the tomb of the unknown soldier was placed under the arch. The inscription on it reads: “A French soldier dead for the homeland 1914-1918.” An eternal flame burns. | 凯旋门的意义有很多面。它最初是一个纪念军事荣耀的丰碑。上面刻着拿破仑历次伟大战役的名称。它是对凯旋皇帝的致敬。但正如20世纪所证明的那样，战争也会带来巨大损失。1920年，在“一战”结束两年后，一名无名士兵的墓碑安放在了凯旋门之下。墓前的碑文写道：“这里安息着一位为国捐躯的士兵1914-1918。”碑上的火焰经久不息。 |
| The presence of the tomb made it impossible for military parades to pass under the arch, as if to declare the futility of war. | 墓碑的存在让阅兵队伍无法从凯旋门下通过，仿佛在宣示战争的徒劳。 |
| During the project, the tomb was carefully respected. The people who tend to the flame every evening at 6:30 p.m. were able to complete their task. One of them told journalists that “the unknown soldier has been in his shroud for 100 years. Christo left us prematurely and is now in his shroud. And I believe this temporary shroud tells us the arch is wrapped but you will see it again soon — so there is a kind of unity around us.” | 施工期间，这块墓碑得到了精心保护。每晚6点30分前来养护火种的人都能顺利完成工作。其中一人告诉记者，“那位无名士兵已经被埋在这里100年了。克里斯托过早地离开了我们，现在也长眠于地下。我相信这次短暂的包裹是在告诉我们，凯旋门是被包住了，但你们很快会与它再见——所以我们是被某种东西团结在一起的。” |
| Certainly, the wrapped Arc de Triomphe — light, breathing, glimmering — speaks of anything but war. After completing a project, Christo liked to say, “We didded it!” Yes, he did, even from beyond the grave. Freedom is also a fierce act of the imagination. | 当然，被轻盈的、呼吸着、闪烁着的布料裹住的凯旋门绝不是战争的代名词。在完成一件作品后，克里斯托总爱说，“我们做完了！”是的，即便已不在人世，他还是做到了。自由也是一种激烈的想像。 |
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