ABOUT THE SPEAKER
Theaster Gates - Artist, potter, community builder
Theaster Gates is a potter whose ambitions stretch far beyond the wheel and the kiln. In Chicago, his leadership of artist-led spaces has catalyzed interest and excitement in a formerly neglected neighborhood, as he uses culture as a transformational weapon.

Why you should listen

Theaster Gates is helping to define the future of artistic place-based efforts, in research and practice. Beginning with interventions in small-scale residences now known as Dorchester Projects, Gates’ houses in Greater Grand Crossing in Chicago have become a nexus for globally engaged experiments in structures of individual and collective living, working and art-making. Launched into the international art world at Documenta(13), the houses embodied a new system of values and celebrated both a flexible use of space and provided a way for artists, visitors and students to connect and collaborate.

The latest example of this kind of work is the Stony Island Arts Bank, set to open for the Chicago Architecture Biennial in October 2015. Gates will convert a formerly derelict bank on Chicago's south side to create an artwork -- and a communal and creative space.

At the University of Chicago, where he is a professor and the director of arts and public life, Gates leads the Arts Incubator in Washington Park. Gates also leads an urban research initiative known as the Place Lab, a team of social scientists, architects, creative professionals and business leaders. With support from the Knight Foundation, Gates and his team will create frameworks for reimagining the role that culture plays in the redevelopment of transforming African American communities.

More profile about the speaker
Theaster Gates | Speaker | TED.com
TED2015

Theaster Gates: How to revive a neighborhood: with imagination, beauty and art

提耶斯特.蓋茲: 如何讓社區恢復生機:以想像力、美學和藝術

Filmed:
1,212,562 views

提耶斯特.蓋茲是專業的陶藝家,因為使命感而成為社會運動者,希望為自己位於芝加哥南邊的社區改善盡一己之力。於是他身體力行,將廢棄建築轉型成為能團結鼓舞當地居民,並且同時吸引外地人的社區聚集地。在這場充滿熱忱的演講,蓋茲暢談自己對於在芝加哥打造「迷你凡爾賽」的努力,並分享他對於文化可以在任何城市、任何地方做為社會轉型催化劑的熱切信念。
- Artist, potter, community builder
Theaster Gates is a potter whose ambitions stretch far beyond the wheel and the kiln. In Chicago, his leadership of artist-led spaces has catalyzed interest and excitement in a formerly neglected neighborhood, as he uses culture as a transformational weapon. Full bio

Double-click the English transcript below to play the video.

00:14
I'm a potter製陶工人,
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我是陶藝家,
00:17
which哪一個 seems似乎 like a fairly相當 humble謙卑 vocation職業.
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這是一個感覺相當平凡的職業。
00:21
I know a lot about pots.
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關於陶器我懂很多,
00:24
I've spent花費 about 15 years年份 making製造 them.
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我從事陶器製作已經有15年了。
00:28
One of the things that really
excites的激勵 me in my artistic藝術的 practice實踐
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我在陶藝訓練成為陶藝家其間,
00:31
and being存在 trained熟練 as a potter製陶工人
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一樣最讓我感到興奮的
00:34
is that you very quickly很快 learn學習
how to make great things out of nothing;
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便是很快學會怎樣把平庸的材質
製作成精美的藝術品;
00:39
that I spent花費 a lot of time at my wheel
with mounds土墩 of clay粘土 trying stuff東東;
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我在陶輪前花很多時間,
用陶土做各種嘗試;
00:46
and that the limitations限制
of my capacity容量, my ability能力,
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限制我的能力和水準的
00:49
was based基於 on my hands and my imagination想像力;
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是我的雙手和想像力;
00:52
that if I wanted to make
a really nice不錯 bowl
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如果我想做一隻非常精美的碗
00:54
and I didn't know how to make a foot腳丫子 yet然而,
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但是卻不知道怎樣塑造碗底
00:56
I would have to learn學習 how to make a foot腳丫子;
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那我就不得不去學習碗底的製作;
00:59
that that process處理 of learning學習
has been very, very helpful有幫助 to my life.
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這樣的學習過程對我
的生活非常有幫助。
01:04
I feel like, as a potter製陶工人,
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我覺得,作爲陶器藝人,
01:06
you also start開始 to learn學習
how to shape形狀 the world世界.
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你也需要開始學著去塑造世界。
01:11
There have been times
in my artistic藝術的 capacity容量
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藝術工作的過程中有許多時候,
01:14
that I wanted to reflect反映
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讓我想要表達出
01:17
on other really important重要 moments瞬間
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一些非常重要的歷史時刻
01:19
in the history歷史 of the U.S.,
the history歷史 of the world世界
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那些在美國歷史或是世界歷史中
01:23
where tough強硬 things happened發生,
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很艱苦的時刻,
01:25
but how do you talk about tough強硬 ideas思路
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可又該怎樣討論這些困難的話題
01:28
without separating分離 people
from that content內容?
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卻不脫離當事的人們呢?
01:32
Could I use art藝術 like these old,
discontinued停產 firehosesfirehoses from Alabama阿拉巴馬,
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我能借用藝術作品,例如這些
來自阿拉巴馬州的廢舊消防水龍
01:37
to talk about the complexities複雜性 of a moment時刻
of civil國內 rights權利 in the '60s?
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來呈現那些60年代民權
複雜的情況嗎?
01:43
Is it possible可能 to talk about my father父親
and I doing labor勞動 projects項目?
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我能否講述父親和我的勞工成績?
01:48
My dad was a roofer蓋屋頂, construction施工 guy,
he owned擁有的 small businesses企業,
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我父親是屋頂技工,建築工人,
同時還做著小生意。
01:52
and at 80, he was ready準備 to retire退休
and his tar柏油 kettle水壺 was my inheritance遺產.
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他留給我的遺產是
一個瀝青爐。
01:59
Now, a tar柏油 kettle水壺 doesn't sound聲音
like much of an inheritance遺產. It wasn't.
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瀝青爐聽起來算不上是什麽遺產呀。
沒錯,的確不是。
02:03
It was stinky and it took up
a lot of space空間 in my studio工作室,
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這東西味道挺大,
還佔掉我工作室許多空間,
02:07
but I asked my dad if he would be willing願意
to make some art藝術 with me,
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但我問父親他是否願意
和我一起從事藝術創作,
02:11
if we could reimagine重新構想 this kind
of nothing material材料
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重塑平庸的材料
02:15
as something very special特別.
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把它變成特別的作品。
02:18
And by elevating提升 the material材料
and my dad's爸爸的 skill技能,
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憑藉父親的技術,和把材料升級,
02:21
could we start開始 to think about tar柏油
just like clay粘土, in a new way,
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我們能否用新的方式,
把瀝青當作陶土,
02:27
shaping成型 it differently不同,
helping幫助 us to imagine想像 what was possible可能?
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用不同的方式塑造它,
幫我們構想可以製造什麼出來呢?
02:33
After clay粘土, I was then kind of turned轉身 on
to lots of different不同 kinds of materials物料,
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用了陶土後,我開始對許多
不同種類的材料感興趣。
02:37
and my studio工作室 grew成長 a lot
because I thought, well,
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我的工作室也擴大許多,
因為我想
02:40
it's not really about the material材料,
it's about our capacity容量 to shape形狀 things.
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其實關鍵不在於材料,
而是我們塑造事物的能力。
02:44
I became成為 more and more interested有興趣 in ideas思路
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我對創意越來越有興趣。
02:47
and more and more things that
were happening事件 just outside my studio工作室.
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那時在我的工作室外
也有許多事情在發生。
02:53
Just to give you a little bit of context上下文,
I live生活 in Chicago芝加哥.
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先讓各位了解一下背景,
我住在芝加哥。
02:57
I live生活 on the South Side now.
I'm a West西 Sider代爾.
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我現在住在南邊,
我是西邊的人。
03:00
For those of you who are not Chicagoans芝加哥,
that won't慣於 mean anything,
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若你們不是芝加哥人,
就不會知道其中的意義。
03:03
but if I didn't mention提到
that I was a West西 Sider代爾,
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但是如果我不說我是西邊人,
03:06
there would be a lot of people
in the city that would be very upset煩亂.
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那裡市區的許多人
可能會很不高興。
03:10
The neighborhood鄰里 that I live生活 in
is Grand盛大 Crossing路口.
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我住的區域是「格蘭區」。
03:13
It's a neighborhood鄰里
that has seen看到 better days.
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那是一個美景不再的區域。
03:16
It is not a gated門控 community社區 by far.
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它不是什麼富裕的社區。
我們附近有許多廢棄的建築,
03:21
There is lots of abandonment放棄
in my neighborhood鄰里,
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03:24
and while I was kind of busy
making製造 pots and busy making製造 art藝術
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當我忙著製作器皿和創造藝術品,
我的藝術生涯正在蓬勃發展,
03:27
and having a good art藝術 career事業,
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就在我的工作室外,
03:29
there was all of this stuff東東
that was happening事件
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同時也發生了許多事情。
03:31
just outside my studio工作室.
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03:34
All of us know about
failing失敗 housing住房 markets市場
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我們都知道房地產市場低迷
03:37
and the challenges挑戰 of blight枯萎病,
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以及衰落所帶給它的挑戰,
03:39
and I feel like we talk about it
with some of our cities城市 more than others其他,
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我覺得我們只管談論一些城市
而不太理會其他城市,
03:43
but I think a lot of our
U.S. cities城市 and beyond
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但我想還有很多很多美國的城市
03:45
have the challenge挑戰 of blight枯萎病,
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都有這種衰退的難題。
03:48
abandoned buildings房屋 that people
no longer know what to do anything with.
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大家不知道該如何
處理廢棄的建築,
03:52
And so I thought, is there a way
that I could start開始 to think
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所以我就想,我是否可以想辦法
03:55
about these buildings房屋 as an extension延期
or an expansion擴張 of my artistic藝術的 practice實踐?
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把這些建築變成我的
藝術領域的延伸?
04:00
And that if I was thinking思維
along沿 with other creatives創意 --
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我想與其他有創意的人,
一起集思廣益 --
04:03
architects建築師, engineers工程師,
real真實 estate房地產 finance金融 people --
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像是建築師,工程師,
房地產金融家 --
04:07
that us together一起 might威力 be able能夠
to kind of think
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我們一起可能想出
04:10
in more complicated複雜 ways方法
about the reshaping重塑 of cities城市.
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精妙的辦法去重塑這些城市。
04:15
And so I bought a building建造.
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所以我買下了一座建築物。
04:16
The building建造 was really affordable實惠.
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這座建築很便宜。
04:19
We tricked被騙 it out.
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我們把它好好地打扮了一番。
04:21
We made製作 it as beautiful美麗 as we could
to try to just get some activity活動 happening事件
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我們想了些辦法,
把它修繕地美輪美奐,
來吸引周邊街區的活動。
04:25
on my block.
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我花了大約一萬八千元
買了這座建築物,
04:27
Once一旦 I bought the building建造
for about 18,000 dollars美元,
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04:30
I didn't have any money left.
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口袋裏一分錢都不剩。
04:32
So I started開始 sweeping籠統的 the building建造
as a kind of performance性能.
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所以我開始打掃這個建築,
當做是一種表演。
04:37
This is performance性能 art藝術,
and people would come over,
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那是表演藝術,
等人來了之後,
04:40
and I would start開始 sweeping籠統的.
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我就開始掃。
04:41
Because the broom掃帚 was free自由
and sweeping籠統的 was free自由.
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因為掃把是免費的,
掃地也是。
04:44
It worked工作 out.
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它奏效了。
04:46
(Laughter笑聲)
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(笑聲)
04:48
But we would use the building建造, then,
to stage階段 exhibitions展覽, small dinners晚餐,
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那時我們用這個地方做展示場,
小型餐會,
04:54
and we found發現 that that building建造
on my block, Dorchester多切斯特 --
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我們發現我們附近的朵徹斯特
(Dorchester)建築 --
04:58
we now referred簡稱 to the block
as Dorchester多切斯特 projects項目 --
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我們現在稱這條街區為
朵徹斯特計劃 --
05:01
that in a way that building建造
became成為 a kind of gathering蒐集 site現場
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這座建築成為了大家聚會的地方,
05:04
for lots of different不同 kinds of activity活動.
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那裡有許多不同種類的活動。
05:06
We turned轉身 the building建造 into
what we called now the Archive檔案 House.
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我們將那建築變成我們現在稱為
「檔案樓」的地方。
05:11
The Archive檔案 House would do
all of these amazing驚人 things.
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「檔案樓」可以舉辦許多令人驚嘆的事情。
05:14
Very significant重大 people
in the city and beyond
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城中無數的達官貴人,
05:17
would find themselves他們自己
in the middle中間 of the hood引擎罩.
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會來到這裏。
那時,我覺得
05:20
And that's when I felt like
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或許我做陶藝的經歷
05:22
maybe there was a relationship關係
between之間 my history歷史 with clay粘土
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05:25
and this new thing that was
starting開始 to develop發展,
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和這裏所發生的變化有關聯
05:28
that we were slowly慢慢地 starting開始
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這種新變化慢慢地開始重塑
05:30
to reshape重塑 how people imagined想像
the South Side of the city.
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人們對芝加哥南區的印象。
05:35
One house turned轉身 into a few少數 houses房屋,
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從一間房子到許多間房子,
05:37
and we always tried試著 to suggest建議
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我們一直認爲,
05:40
that not only is creating創建
a beautiful美麗 vessel船隻 important重要,
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創造一個美麗的外表重要,
05:44
but the contents內容 of what happens發生
in those buildings房屋 is also very important重要.
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但是在這些建築的內涵
也非常重要。
05:47
So we were not only thinking思維
about development發展,
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所以我們不是只着眼於發展,
05:50
but we were thinking思維 about the program程序,
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而且同時也想制定計劃,
05:52
thinking思維 about the kind of connections連接
that could happen發生
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想有那些連繫可能發生於
05:56
between之間 one house and another另一個,
between之間 one neighbor鄰居 and another另一個.
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一個房子跟著另一個房子之間,
或鄰里互相之間
這個建物我們後來稱
它為「聆聽屋」,
06:02
This building建造 became成為 what we call
the Listening聽力 House,
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06:05
and it has a collection採集 of discarded丟棄 books圖書
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它收藏了一批強生印刷公司
06:08
from the Johnson約翰遜 Publishing出版 Corporation公司,
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丟棄的書本,
06:11
and other books圖書 from an old bookstore書店
that was going out of business商業.
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以及其他從一個
倒閉的老書店的書。
06:15
I was actually其實 just wanting希望 to activate啟用
these buildings房屋 as much as I could
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我其實就是要讓這些建築
盡可能活動起來。
06:19
with whatever隨你 and whoever would join加入 me.
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以任何方式與任何願意參與的人。
芝加哥有一座令人驚奇的建築物。
06:23
In Chicago芝加哥, there's
amazing驚人 building建造 stock股票.
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06:26
This building建造, which哪一個 had been
the former前任的 crack裂紋 house on the block,
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這個建築以前是這附近的吸毒屋,
06:30
and when the building建造 became成為 abandoned,
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當這個建築物被棄置後,
06:33
it became成為 a great opportunity機會 to really
imagine想像 what else其他 could happen發生 there.
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它做就了一個好機會讓人猜想
有什麼別的可以在那裡發生。
06:37
So this space空間 we converted轉換 into
what we call Black黑色 Cinema電影 House.
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我們於是把這個地方變成
今日所謂的「黑色電影屋」。
06:41
Black黑色 Cinema電影 House was an opportunity機會
in the hood引擎罩 to screen屏幕 films影片
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「黑色電影屋」讓這隣近地方可以放映電影,
06:45
that were important重要 and relevant相應
to the folk民間 who lived生活 around me,
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對於住在我附近的人
很重要和有意義。
06:49
that if we wanted to show顯示
an old Melvin梅爾文 Van麵包車 Peebles皮布爾斯 film電影, we could.
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如果我們想放映一部
梅爾文·凡·皮布爾斯的老片,我們就放。
06:53
If we wanted to show顯示 "Car汽車 Wash," we could.
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如果我們想放映「洗車場」,
我們就放映。
06:56
That would be awesome真棒.
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那多棒。
06:57
The building建造 we soon不久 outgrew已成長大,
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那座建築很快就不夠用了,
07:00
and we had to move移動 to a larger space空間.
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我們只有搬到另一處更大的。
07:03
Black黑色 Cinema電影 House, which哪一個 was made製作
from just a small piece of clay粘土,
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黑色電影屋本來
只是一小塊陶土做的,
07:07
had to grow增長 into a much larger
piece of clay粘土, which哪一個 is now my studio工作室.
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成為一個很大塊陶土,
就是我現在的工作室。
我發現你們那些分區狂,
07:14
What I realized實現 was that
for those of you who are zoning區劃 junkies癮君子,
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07:18
that some of the things that I was doing
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我所做的一些事
07:20
in these buildings房屋
that had been left behind背後,
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在那些被遺忘的建築裡,
07:23
they were not the uses使用 by which哪一個
the buildings房屋 were built內置,
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不是以原來建築的使用目的
而使用,
07:27
and that there are city policies政策 that say,
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有城市法規說,
07:29
"Hey, a house that is residential住宅
needs需求 to stay residential住宅."
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「設定為住宅地建築物只能
住宅使用」。
07:33
But what do you do in neighborhoods社區 when
ain't nobody沒有人 interested有興趣 in living活的 there?
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但是如果沒有人有興趣住在那裡的話,
那些建築怎麼辦呢?
07:38
That the people who have
the means手段 to leave離開 have already已經 left?
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有能力搬走的已經搬走了。
07:42
What do we do with
these abandoned buildings房屋?
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我們如何處理這些
被遺棄的建築物呢?
07:44
And so I was trying
to wake喚醒 them up using運用 culture文化.
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所以我嘗試以文化來喚醒它們。
07:47
We found發現 that that
was so exciting扣人心弦 for folk民間,
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我們發現大家都很興奮,
07:50
and people were so responsive響應 to the work,
that we had to then find bigger buildings房屋.
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許多人積極參與我們的活動,
以致於我們必須找更大的建築物。
07:55
By the time we found發現 bigger buildings房屋,
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等到我們找到了更大的建物,
07:57
there was, in part部分, the resources資源
necessary必要 to think about those things.
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那裡就會有我們必須
思考的必要資源
08:01
In this bank銀行 that we called the Arts藝術 Bank銀行,
it was in pretty漂亮 bad shape形狀.
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我們稱為「藝術銀行」的狀況
曾經很不好,
08:05
There was about six feet
of standing常設 water.
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那裡之前有六呎深的積水。
08:09
It was a difficult project項目 to finance金融,
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那是一個很難獲得資釒的案子,
08:11
because banks銀行 weren't interested有興趣
in the neighborhood鄰里
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因為銀行對這個地區沒有興趣。
08:14
because people weren't interested有興趣
in the neighborhood鄰里
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因為人們對這個地區沒有興趣
因為那裏沒有任何動靜。
08:16
because nothing had happened發生 there.
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08:18
It was dirt污垢. It was nothing.
It was nowhere無處.
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只有灰塵,沒有其他,
什麼都沒有。
08:22
And so we just started開始 imagining想像,
what else其他 could happen發生 in this building建造?
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所以我們開始想像,
在這個建物可以做什麼?
08:28
(Applause掌聲)
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(掌聲)
08:33
And so now that the rumor謠言
of my block has spread傳播,
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那時有關這個地方的謠言傳出來,
08:36
and lots of people are starting開始 to visit訪問,
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許多人開始來參觀,
08:38
we've我們已經 found發現 that the bank銀行
can now be a center中央
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我們發現這個"銀行"已成為一個
08:40
for exhibition展覽, archives檔案,
music音樂 performance性能,
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展覽場地、資料館和音樂廳,
08:43
and that there are people
who are now interested有興趣
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有一些人開始對
08:46
in being存在 adjacent to those buildings房屋
because we brought some heat,
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這些建築物的附近地方有興趣。
08:50
that we kind of made製作 a fire.
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因為我們帶來了熱潮,
好像起了一把火。
08:52
One of the archives檔案 that we'll have there
is this Johnson約翰遜 Publishing出版 Corporation公司.
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我們將在那裡設立
強森出版公司的資料庫,
08:56
We've我們已經 also started開始 to collect蒐集
memorabilia大事記 from American美國 history歷史,
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也開始收集美國歷史的大事紀,
09:00
from people who live生活
or have lived生活 in that neighborhood鄰里.
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從那些住在或曾住在
那裡的人們收集。
09:04
Some of these images圖片
are degraded降級 images圖片 of black黑色 people,
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這裡有些貶低黑人的圖像,
09:08
kind of histories歷史
of very challenging具有挑戰性的 content內容,
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有點令人質疑的歷史內容,
09:11
and where better than a neighborhood鄰里
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那裡會找到比這附近地區更適合。
09:13
with young年輕 people who are constantly經常
asking themselves他們自己 about their identity身分
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那裡的年輕人不停的在
找尋自己的身分認同,
09:18
to talk about some of the complexities複雜性
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年輕人討論種族和階級
09:20
of race種族 and class?
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的各種複雜問題呢?
09:22
In some ways方法, the bank銀行 represents代表 a hub樞紐,
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從某些方面,"銀行"代表了一個樞紐。
09:26
that we're trying to create創建 a pretty漂亮
hardcore鐵桿 node節點 of cultural文化 activity活動,
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我們嘗試去創造一個文化活動的核心,
09:31
and that if we could start開始
to make multiple hubs集線器
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如果我們可以開始
創造了幾個中心。
09:34
and connect some cool
green綠色 stuff東東 around there,
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同時也在周圍種些
花草連接各中心,
09:37
that the buildings房屋 that we've我們已經
purchased購買 and rehabbedrehabbed,
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我們購買和重建的建築物,
09:40
which哪一個 is now around 60 or 70 units單位,
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現已有大約60到70個單位,
09:44
that if we could land土地
miniature微型 Versailles凡爾賽 on top最佳 of that,
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如果我們可以在其上再加上
如同迷你凡爾賽宮的設計,
09:49
and connect these buildings房屋
by a beautiful美麗 greenbelt綠化帶 --
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將這些建物以綠地連接起來 --
09:52
(Applause掌聲) --
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(掌聲)--
09:55
that this place地點 where people
never wanted to be
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這些原來人們不願意來的地方,
09:59
would become成為 an important重要 destination目的地
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會成為變成一個來自全國以至世界各地的人
到訪的一個重要目的地。
10:01
for folk民間 from all over
the country國家 and world世界.
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從某些方面,我很像是
一個陶藝家,
10:05
In some ways方法, it feels感覺
very much like I'm a potter製陶工人,
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10:08
that we tackle滑車 the things
that are at our wheel,
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我們在輪子上想辦法處理東西,
10:12
we try with the skill技能 that we have
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我們使用已有技能
10:14
to think about this next下一個 bowl
that I want to make.
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思考著怎樣創作下一個器皿。
10:19
And it went from a bowl to a singular單數
house to a block to a neighborhood鄰里
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從一個器皿到一個房屋,一個小區,
一個大區,
10:23
to a cultural文化 district
to thinking思維 about the city,
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到一個文化區,以致一個城市,
10:26
and at every一切 point, there were things
that I didn't know that I had to learn學習.
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在每一點,都有一些我不懂的事
我必須學。
10:30
I've never learned學到了 so much
about zoning區劃 law in my life.
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我一輩子沒有學過那麼多的
有關區劃的法規。
我從沒想過我會學那些。
10:33
I never thought I'd have to.
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10:35
But as a result結果 of that, I'm finding發現
that there's not just room房間
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但是結果我發現那裡不僅是
10:38
for my own擁有 artistic藝術的 practice實踐,
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我自己的藝術實踐的空間,
10:40
there's room房間 for a lot of other
artistic藝術的 practices做法.
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還有許多其他藝術實踐的空間。
有些人開始問我們,
10:43
So people started開始 asking us,
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10:45
"Well, TheasterTheaster, how are you
going to go to scale規模?"
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「提也斯特,你要如何
擴大規模?」
10:47
and, "What's your sustainability可持續性 plan計劃?"
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以及,「你有永續經營的計劃嗎?」
10:49
(Laughter笑聲) (Applause掌聲)
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(笑聲)(掌聲)
我發現我無法外銷自己,
10:54
And what I found發現 was that
I couldn't不能 export出口 myself,
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10:58
that what seems似乎 necessary必要
in cities城市 like Akron阿克倫, Ohio俄亥俄州,
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如俄亥俄州阿克倫市的城市,
11:02
and Detroit底特律, Michigan密歇根州, and Gary加里, Indiana印地安那,
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以及密西根州的底特律,
和印第安納州的蓋里市
11:04
is that there are people in those places地方
who already已經 believe in those places地方,
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那裡需要對當地有信心的本地人,
11:08
that are already已經 dying垂死
to make those places地方 beautiful美麗,
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在那些面臨死亡的地區,
讓它們再度美麗,
11:11
and that often經常, those people
who are passionate多情 about a place地點
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那些對當地很有熱情的人,
11:15
are disconnected斷開的 from the resources資源
necessary必要 to make cool things happen發生,
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往往沒有足夠的資源
來做那些很酷的事,
11:19
or disconnected斷開的 from
a contingency偶然性 of people
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或者他們沒有人脈
11:22
that could help make things happen發生.
196
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來幫忙做那些事。
11:23
So now, we're starting開始 to give advice忠告
around the country國家
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所以現在,我們開始提供全國性
11:28
on how to start開始 with what you got,
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關於如何從你的現況
著手的諮詢服務,
11:30
how to start開始 with the things
that are in front面前 of you,
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如何從你當前的狀況開始,
11:33
how to make something out of nothing,
200
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如何從無到有,
11:35
how to reshape重塑 your world世界
at a wheel or at your block
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如何從一個輪子上
或者你的鄰里,
11:40
or at the scale規模 of the city.
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或者是你的城市來重塑你的世界。
11:42
Thank you so much.
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謝謝!
11:44
(Applause掌聲)
204
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(掌聲)
11:51
June六月 Cohen科恩: Thank you. So I think
many許多 people watching觀看 this
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June Cohen:謝謝你。
我想許多看這個影片的人,
11:55
will be asking themselves他們自己
the question you just raised上調 at the end結束:
206
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會問他們自己你剛剛在
結尾提到的問題:
11:58
How can they do this in their own擁有 city?
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他們如何在自己的城市
做同樣事情呢?
12:00
You can't export出口 yourself你自己.
208
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你無法外銷你自己。
12:02
Give us a few少數 pages網頁 out of your playbook劇本
about what someone有人 who is inspired啟發
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請你提供你的劇本中的幾頁給
那些被你啟發的人,
12:05
about their city can do
to take on projects項目 like yours你的?
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教他們如何在他們的城市
做那些你做過的。
12:08
TheasterTheaster Gates蓋茨: One of the things
I've found發現 that's really important重要
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Theaster Gates:我發現一個很重要的事情
12:11
is giving thought to not just
the kind of individual個人 project項目,
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就是不要只是思考單獨的案子,
12:16
like an old house,
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例如一間老屋,
12:18
but what's the relationship關係
between之間 an old house,
214
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而是思考老屋和
12:21
a local本地 school學校, a small bodega酒窖,
215
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3158
當地學校,以及小酒窖
之間的關係,
12:24
and is there some kind of synergy協同效應
between之間 those things?
216
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想想這些地方之間是否有某種共同作用?
12:27
Can you get those folk民間 talking?
217
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你是否可以讓他們彼此對話?
12:30
I've found發現 that in cases
where neighborhoods社區 have failed失敗,
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我發現在已廢棄的社區
12:34
they still often經常 have a pulse脈衝.
219
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通常仍然有氣息。
12:36
How do you identify鑑定 the pulse脈衝
in that place地點, the passionate多情 people,
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熱情的人們,
你如何得知那個地方的氣息,
12:40
and then how do you get folk民間
who have been fighting戰鬥,
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而且你如何讓那些二十年來
一直在努力
12:43
slogging苦讀 for 20 years年份, reenergized重現活力
about the place地點 that they live生活?
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奮鬥的人們對於他們所居住的地方
再度充滿活力?
12:47
And so someone有人 has to do that work.
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必須有人要做這些工作。
12:50
If I were a traditional傳統 developer開發人員,
I would be talking about buildings房屋 alone單獨,
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如果我們傳統的地產商人,
我就只會考慮建築物本身,
12:54
and then putting
a "For Lease" sign標誌 in the window窗口.
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然後將「出租」的牌子掛在窗戶上。
12:58
I think that you actually其實
have to curate策劃 more than that,
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我認為你必須比那個
要策劃得更多,
13:01
that there's a way in which哪一個
you have to be mindful銘記 about,
227
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你必須專心地思考
13:03
what are the businesses企業
that I want to grow增長 here?
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我要在這裏開展的生意是什麼?
13:06
And then, are there people
who live生活 in this place地點
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然後,有沒有住在此地的居民
13:09
who want to grow增長 those businesses企業 with me?
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願意和我一起發展這些生意?
13:11
Because I think it's not just
a cultural文化 space空間 or housing住房;
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因為我認為它不會只是
一個文化空間或只是住宅;
13:14
there has to be the recreation娛樂
of an economic經濟 core核心.
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而是一定要有重新創造的經濟核心。
13:17
So thinking思維 about those things
together一起 feels感覺 right.
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所以應該將這些一起考慮才對。
13:20
JCJC: It's hard to get people
to create創建 the spark火花 again
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JC: 要讓人們再創造火花不容易
13:23
when people have been
slogging苦讀 for 20 years年份.
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當他們已經辛苦了二十年。
13:25
Are there any methods方法 you've found發現
that have helped幫助 break打破 through通過?
236
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你有沒有發現其他
可以幫助突破的方法?
13:28
TGTG: Yeah, I think that now
there are lots of examples例子
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TG: 是的,我想有很多例子證明
13:31
of folk民間 who are doing amazing驚人 work,
238
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已經有人正在做那些驚人的工作,
13:33
but those methods方法 are sometimes有時 like,
when the media媒體 is constantly經常 saying
239
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4435
但是這些方法有時候,
經媒體一直報導
13:38
that only violent暴力 things
happen發生 in a place地點,
240
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那裡只有發生暴力事件,
13:41
then based基於 on your skill技能 set
and the particular特定 context上下文,
241
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以你的能力以及那裡的特殊情況,
13:44
what are the things that you can do
in your neighborhood鄰里
242
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在你的小區,你可以怎樣
13:47
to kind of fight鬥爭 some of that?
243
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對抗那些負面的報導呢?
13:49
So I've found發現 that
if you're a theater劇院 person,
244
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我發現如果你是
一個從事劇場的人,
13:52
you have outdoor戶外 street theater劇院 festivals節日.
245
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2275
你可以辦戶外的街頭劇場節,
13:54
In some cases, we don't have
the resources資源 in certain某些 neighborhoods社區
246
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在有些地方,我們沒有資源
13:58
to do things that are
a certain某些 kind of splashy泥濘的,
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來舉辦引人注意的活動,
14:02
but if we can then find ways方法
of making製造 sure that people
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但是如果我們可以找方法來確保
14:05
who are local本地 to a place地點,
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當地的人
14:06
plus people who could be supportive支持
of the things that are happening事件 locally本地,
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以及那些會支持當地的活動的人,
14:10
when those people get together一起,
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當這些人同心合力,
14:12
I think really amazing驚人 things can happen發生.
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我認為真正很神奇的事情
將會發生。
14:14
JCJC: So interesting有趣.
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JC: 很有趣。
14:16
And how can you make sure
that the projects項目 you're creating創建
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那你如何確定你的計劃
14:18
are actually其實 for the disadvantaged劣勢
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真正幫到弱勢人群
14:20
and not just for the sort分類 of
vegetarian indie獨立 movie電影 crowd人群
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而不是為了其他素食獨立電影人
14:24
that might威力 move移動 in
to take advantage優點 of them.
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為了利用弱勢者才搬進來。
14:26
TGTG: Right on. So I think this is where
it starts啟動 to get into the thick weeds雜草.
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TG: 問得好。 我想這就是我們
開始要傷腦筋的地方。
14:31
JCJC: Let's go there.
TGTG: Right now, Grand盛大 Crossing路口
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JC:我們談談那個吧!
TG:現在,在格蘭區
14:33
is 99 percent百分 black黑色, or at least最小 living活的,
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有百分之99是黑人,
至少是住那裡,
14:36
and we know that maybe
who owns擁有 property屬性 in a place地點
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我們知道那裏的業主
14:40
is different不同 from who walks散步
the streets街道 every一切 day.
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或許不是每天在街上走動的人們。
14:42
So it's reasonable合理 to say
that Grand盛大 Crossing路口 is already已經
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所以可以說「格蘭區」已經
14:45
in the process處理 of being存在 something
different不同 than it is today今天.
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開始演變成跟現在不同的地方。
14:49
But are there ways方法 to think about
housing住房 trusts信託 or land土地 trusts信託
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但是也可以想想屋宇信託或
土地信託
14:55
or a mission-based任務型 development發展
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或使命為本發展計劃
14:57
that starts啟動 to protect保護
some of the space空間 that happens發生,
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來保障這裡已經改造的地方,
15:00
because when you have
7,500 empty lots in a city,
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因為當你的城市有7500個空地,
15:04
you want something to happen發生 there,
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你想在那
15:06
but you need entities實體 that are not
just interested有興趣 in the development發展 piece,
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不僅需要找那些對
地產有興趣的對象,
15:11
but entities實體 that are interested有興趣
in the stabilization穩定 piece,
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還要找對安撫人心有興趣的人仕
15:14
and I feel like often經常 the developer開發人員 piece
is really motivated動機,
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我覺得通常地產項目很易實行,
15:17
but the other work of a kind
of neighborhood鄰里 consciousness意識,
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反而其他鄰里的觀念的發展
15:21
that part部分 doesn't live生活 anymore.
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卻不見了。
15:22
So how do you start開始 to grow增長 up
important重要 watchdogs看門狗
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所以你如何訓練重要的監督
來確保新來的朋友
15:27
that ensure確保 that the resources資源
that are made製作 available可得到
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得到有效的人力物力。
15:30
to new folk民間 that are coming未來 in
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同時也分配給這裡長住的居民。
15:31
are also distributed分散式 to folk民間
who have lived生活 in a place地點 for a long time.
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JC: 非常有道理。最後一條問題:
15:35
JCJC: That makes品牌 so much sense.
One more question:
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你講了那些有關美的例子,
令人注目,還強調美的重要。
15:37
You make such這樣 a compelling引人注目 case案件 for beauty美女
and the importance重要性 of beauty美女 and the arts藝術.
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可是其他人會質疑那些基金
15:42
There would be others其他 who would argue爭論
that funds資金 would be better spent花費
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15:45
on basic基本 services服務 for the disadvantaged劣勢.
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何不好好花在弱勢社群
的基本服務。
15:48
How do you combat戰鬥 that viewpoint觀點,
or come against反對 it?
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你如何對付或反抗這種觀點?
15:52
TGTG: I believe that beauty美女
is a basic基本 service服務.
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TG: 我相信美是基本的服務。
15:54
(Applause掌聲)
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(鼓掌聲)
我常常發現有些資源
16:02
Often經常 what I have found發現 is that
when there are resources資源
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16:06
that have not been made製作 available可得到
to certain某些 under-resourced資源不足 cities城市
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沒有用在一些缺乏資源的城市
或鄰里或社區時,
16:09
or neighborhoods社區 or communities社區,
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有時候,文化正是
幫助點燃的東西,
16:11
that sometimes有時 culture文化 is the thing
that helps幫助 to ignite點燃,
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而且我也無法面面俱到,
16:16
and that I can't do everything,
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16:19
but I think that there's a way in which哪一個
if you can start開始 with culture文化
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但我想你找方法從文化開始
16:22
and get people kind of
reinvested再投資 in their place地點,
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讓人們再度在
自己的地方投資,
16:25
other kinds of adjacent
amenities設施 start開始 to grow增長,
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其他種類的設施也會在隣近多起來,
然後人們可以做一個詩意的要求,
16:29
and then people can make a demand需求
that's a poetic詩意 demand需求,
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以及政治要求來喚醒我們的城市,
16:33
and the political政治 demands需要 that
are necessary必要 to wake喚醒 up our cities城市,
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這些城市也會變成很詩意的。
16:38
they also become成為 very poetic詩意.
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16:40
JCJC: It makes品牌 perfect完善 sense to me.
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Jc: 我覺得很有意思。
Theaster,很多謝
你今日跟大家分享。
16:42
TheasterTheaster, thank you so much
for being存在 here with us today今天.
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多謝,Theaster Gates。
16:45
Thank you. TheasterTheaster Gates蓋茨.
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(掌聲)
16:46
(Applause掌聲)
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Translated by Wink Wong
Reviewed by Coco Shen

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ABOUT THE SPEAKER
Theaster Gates - Artist, potter, community builder
Theaster Gates is a potter whose ambitions stretch far beyond the wheel and the kiln. In Chicago, his leadership of artist-led spaces has catalyzed interest and excitement in a formerly neglected neighborhood, as he uses culture as a transformational weapon.

Why you should listen

Theaster Gates is helping to define the future of artistic place-based efforts, in research and practice. Beginning with interventions in small-scale residences now known as Dorchester Projects, Gates’ houses in Greater Grand Crossing in Chicago have become a nexus for globally engaged experiments in structures of individual and collective living, working and art-making. Launched into the international art world at Documenta(13), the houses embodied a new system of values and celebrated both a flexible use of space and provided a way for artists, visitors and students to connect and collaborate.

The latest example of this kind of work is the Stony Island Arts Bank, set to open for the Chicago Architecture Biennial in October 2015. Gates will convert a formerly derelict bank on Chicago's south side to create an artwork -- and a communal and creative space.

At the University of Chicago, where he is a professor and the director of arts and public life, Gates leads the Arts Incubator in Washington Park. Gates also leads an urban research initiative known as the Place Lab, a team of social scientists, architects, creative professionals and business leaders. With support from the Knight Foundation, Gates and his team will create frameworks for reimagining the role that culture plays in the redevelopment of transforming African American communities.

More profile about the speaker
Theaster Gates | Speaker | TED.com