创业成功人士访谈录 第85期:我们不做艺术买卖(1)

 　　As it happens, I’ve been editor of Art Forum 1 for four years now

　　碰巧，我在《艺术论坛》做编辑已经4年了
　　my very first issue, in fact, coincided with the first Frieze 2 Art Fair
　　我记得我做的头一期，恰巧就是跟第一届Frieze艺术博览会有关的
　　and so I remember well the moment I first heard about your plans to create the fair,
　　我记得当我第一次听到你们要创办博览会的消息时
　　since it involved, to my mind, some re-conception of an art magazine, if only by extending the infrastructure 3 around it.
　　我觉得这是通过扩大杂志的外部构造，对艺术杂志的一个重新构思。
　　In this regard, precisely 4 what made me excited about the fair also gave me pause
　　我很激动，但也让我不得不冷静下来思考
　　At a moment when art seemed in ever greater proximity 5 with culture more generally
　　这个时代，艺术与普遍意 义上的大众文化日益靠近
　　and when commercial culture was increasingly interested in offering what had traditionally belonged to the terrain 6 of art, in terms of transformative experiences, education, etc.
　　商业性的文化也日益有兴趣地从改革经验和教育方面提供以前只属于艺术领地的一切
　　Here was an effort plainly situating art within that broader landscape.
　　你们是在这样一个更为广阔的前景下， 为艺术找寻位置。
　　There was a real risk for the reception and perception of art and criticism, I thought,
　　对于艺术和批评的接收与感知，这个行动是个真正的冒险
　　but also amazing potential in shaping a public sphere and consciousness;
　　但也可能就此形成公众的参与范围和艺术意识
　　either way, it seemed a gesture very much true to its time.
　　或者说，看上去这是一个很适应时代需要的举措
　　But this is my experience from afar. Why did you create the fair? Where did the idea come from?
　　这只是我遥远的感 受。为什么你们创立艺术博览会？怎么 会有这样的想法？
　　You know, it’s interesting, because it didn’t in any way come out of conversations about developing the magazine.
　　你知道，这其实很有趣，我们也 从未谈过要进一步发展杂志的事。
　　London was a major arts city and, when all the other major arts cities had art fairs, it was just incredibly surprising to us that there wasn’t one here
　　伦敦 是个重要的艺术城市，当其他的很多艺 术城市都有博览会时，伦敦却没有，这令人难以置信
　　particularly given the developments in the city over a ten-year period.
　　尤其是这个城市经过了10年的发展仍然没有。
　　When we started the magazine in 1991 there were, what, maybe five serious international galleries in London,
　　我们1991年创立杂志的时候，伦敦可能有5家严格意义上的国际画廊，
　　and now there are somewhere between forty and fifty?
　　现在，大约有 40-50家左右？
　　And then you’ve got a massive change in London as a financial center, with different kinds of people moving to the city, many of whom already have an interest in contemporary art.
　　伦敦作为一个金融中心，已经有了巨大的变化，各类人都来到这里，他们当中的很多人对当代艺术有兴趣。
　　In creating the fair, we were just a reflection of this, i think and maybe we managed to bring everything more tightly into focus.
　　创办这个博览会，我们就是想真实地反映这一切，或许我们是想方设法把各种事物更集中地集合在一起，引起关注。