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Sample translations submitted: 2
English to Chinese: AVA 2013 Staff Bites General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English Dr Vivian Ting
1. What has been the greatest influence on your work and why?
The phenomenological notion of unfolding the dimensions of human experience and questioning how we live in the world has informed my curatorial work. It enables me to critically analyse how arts would have brought new possibilities to the world, and to feel how arts would have related to people.
2. What is the best book you have read and why?
The Dream of Red Chamber by the 18th century writer, Cao Xueqin, is one of my favourite books. With the decline of an aristocratic clan, it explores questions related to the ephemeral nature of life, tension between individuality and collective thinking, and the myth of fate and destiny.
3. Where would your dream holiday be?
Any city in the world that has good museums and art galleries!
Dr Tricia Flanagan
1. What has been the greatest influence on your work and why?
When I was in high school, about 14 years old my art teacher Miss Guest took the class into Sydney to the Art Gallery of New South Wales. We saw the Pop Art exhibition and it was then that I knew I was going to be an artist. I bought the catalogue, even though it was way too expensive for me, I just had to have it. It is not the style that was influential, it was the attitude. Later i would say Joseph Beuys was a great influence on my work.
2. What is the best book you have read and why?
Jürgen Habermas- the structural transformation of the public sphere was a book I could not put down. Reading this felt like discovering gold. His research and observations of the development of public and private spheres over history was enlightening.
3. Where would your dream holiday be?
Hiking in Nepal or visiting machu picchu are both high on my wish list.
Dr. Sunny Wang
1. What has been the greatest influence on your work and why?
Nature, everyday life and the fluidity of molten glass. Nature is endless resource of beautiful forms, wisdom is gained/experienced in everyday life, nothing like molten glass inspiring and require a life time learning.
2. What is the best book you have read and why?
Rumi the Book of Love, translations and commentary by Coleman Barks. I enjoying reading Rumi's poems always, every time is different, I also like the little drawings in between the text a lot.
3. Where would your dream holiday be?
Heaven, if it is possible to go to. Or to Bali, as it is said "the Way to the Paradise", I heard it is one of the most relaxing and sweet place to be for holiday.
Dr. Mariko Takagi
1. What has been the greatest influence on your work and why?
2. What is the best book you have read and why?
3. Where would your dream holiday be?
Since I was a child, I was surrounded by many books. My parents both are book lovers and we had plenty of Japanese and German books at home. Among them there were books I simply loved for their design and illustration. Other stories or images scared me. There is not one book I can call THE best, but with each book I connect a different memory and a certain time in my life.
Somehow, I think this influenced a lot my passion to write and design books. They were and are my visual food and inspiration for telling stories.
Therefore my dream holiday is quite simple. A peaceful time with good food in a calm place with books that open my horizon.
Translation - Chinese 丁穎茵博士
甚麼對你的工作影響至深？為甚麼呢？
解構人類各層面經驗和思索人類如何在世生存的現象學概念完善了我的策展工作，讓我能具批判性地分析藝術如何為世界帶來新的可能， 並感受到藝術怎樣與人們產生關聯。
傅織女博士
甚麼對你的工作影響至深？為甚麼呢？
當我還是高中生時，大約十四歲時，我的美術老師格詩（Guest）小姐帶我們一班到新南威爾士藝術博物館（Art Gallery of New South Wales）參觀。我們在那裡看到普普藝術（Pop Art）展，那一刻我就知道日後我將成為一個藝術家。當時我買了展覽的場刊，儘管非常昂貴，我自覺必須購下，我並不是因為它的風格著迷，反而是它的態度對我影響至深。此外，我認為约瑟夫‧博伊斯（Joseph Beuys） 對我的作品影響也很深遠。
你讀過最好的書是哪一本？為甚麼呢？
尤爾根‧哈伯馬斯（Jürgen Habermas）的《公共領域的結構轉型》（The Structural Transformation of The Public Sphere）是本叫我不能離手的書，我讀著此書如若尋獲至寶，他對公共空間與私人空間的發展歷史的觀察和研究發人深省。
Chinese to English: 余偉聯的《對象》 General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Chinese 余偉聯的《對象》 石俊言@提藝廊
「對象」 ── 有著⾏行動及思考的⺫⽬目標之意,也許很多⼈人就此會聯想到伴侶,甚 或結婚的對象。對余偉聯⽽而⾔言,他「結婚」的「對象」,就是他的繪畫,以及畫布上 繪畫之物。
⼆二零⼀一三年⼆二⽉月,我們提藝廊 (The A•lift Gallery) 邀請了余偉聯於深圳展場 「PLATFORM」舉辦個⼈人展覽。他以《對象》為題,將是次展覽作為去年於⾹香港光影 作坊(Lumenvisum)舉辦的《寫意寫真要結婚》(The Marriage of 2P)展覽之延 續。「結婚」所指的是跨接「繪畫(Painting)」及「攝影(Photography)」兩個 不同的創作媒介,令其於形式上得以交聯。⾄至於深圳的展覽,余偉聯接續探討的是 「結婚」的內容 —— 「對象」。關於「對象」⼆二字的⽤用法,⼀一般來說,結婚的伴侶是 「對象」。廣義來說,⼀一個⼈人⾯面對的⼀一切⼈人與事亦是「對象」。「對象」的英⽂文可被 翻譯為「物件(Object)」,但 “Object” 所指⼜又不單是實物。哲學上的「我(I)」 可被理解為「主體(Subject)」,個「⼈人」以外的世界就是「客體(Object)」,即
為事物,即為對象。余偉聯作為⾏行動及思考的「主體」要⾯面對的「客體/事物/對 象」就是他的繪畫。據他所⾔言,這些畫作「全都是跟愛情有關,也是跟⻝⾷食物有關,也 與他想說的繪畫有關,繪畫那⼀一刻時所⾯面對的形象。」
談及余偉聯所繪之物,不得不提他在畫布上不斷呈現的⾎血⾁肉形象。特別值得⼀一提 的是他在《對象》展覽中,於畫廊的獨⽴立玻璃房間設置了⼀一組名為豬狼匹配(Love affair between pig and wolf)的繪畫裝置作品。他在創作此作品時,先將⽴立體縫製
的畫布懸掛於室內空間,繼⽽而將之繪畫成⾎血⾁肉之態。⾄至進⾏行裝置展覽時,他更在地上
放置三百公⽄斤的⻝⾷食鹽,並配置數件理應出現在「⻝⾷食品加⼯工場」的物件⽤用具,為畫廊營 造出⼀一種環境錯置的效果。當提及⾃自⼰己對⾎血⾁肉的偏愛時,他坦⾔言繪畫「⾁肉」並沒有特 定的象徵意義,純粹喜歡繪畫這個「對象」。他認為這個題材能給予他⼀一點繪畫的空 間,⻝⾷食物亦然,既有⼀一些特定形態,同時也有⼀一定的⾃自由度。在這件作品中,他更著 ⼒力表現出⼀一⼰己對他跨越繪畫媒介之可能性的嘗試,試圖把繪畫的「平⾯面」與「⽴立體」 扯上關係。事實上,歷來不少藝術家也曾以「被宰割的⾁肉體」為題,舉例來說,余⽒氏 尤為鍾愛的巴洛克時期荷蘭畫家林布蘭(Rembrandt Harmenszoon van Rijn)
(1606 – 1669)早於1657年創作出名為⽜牛⾁肉胴體(Carcass of Beef, also known as The Flayed Ox)的繪畫作品,畫作呈現的是⼀一隻被屠宰的公⽜牛,下肢倒掛、上肢
懸空,被剖開的⾁肉體內腹直接⾯面向觀者。此作品要表現的不單純是殺戮與屠屍⾏行徑⽭矛 ⼈人的恐怖與噁⼼心感受,更多的反⽽而是藝術家如何以光影、環境空間布局、顏料⾊色彩運 ⽤用等等,為觀眾帶來⼀一場特殊的美感與視覺衝擊。回到余偉聯的豬狼匹配,於我看 來,這或多或少是他對林布蘭這位繪畫⼤大師作品的回應。不過,儘管他與林布蘭對繪 畫此媒介有著相近的觀念,他卻更進⼀一步,嘗試為作品加⼊入當代構思、物料、真實空 間的運⽤用,以及燈光,營造出相應卻⼜又與別不同的繪畫意境。在林布蘭的⽜牛⾁肉胴體, ⽜牛屍背後的⾨門邊隱藏著⼀一位側頭⽽而視的⼥女⼦子。不知有⼼心抑或無意,林布蘭畫作的空間 處理,以及那位於畫內之內窺探的⾓角⾊色,巧合的轉化成余偉聯繪畫裝置作品的⾨門外探 視者,亦即任何⼀一位到場觀看其作品之觀者。(提藝廊深圳展場內有⼀一間六平⽅方⽶米、 以四⾯面透明玻璃及鐵架作區隔的獨⽴立房間,原本⽤用於銷售藝術相關產品。余⽒氏裝置作 品豬狼匹配設置於此房間。)另外,作品除包含他對繪畫以及情境的思索外,他還嘗 試納⼊入⼀一些跟時代政治相關的隱喻,如他所⾔言‥「所有作品中,都包含『⻝⾷食物』與 『⾹香港』兩個元素,有⼀一些政治的議題在內,『狼』與『豬』的關係」。藝術家的思 緒總是多重的、貪⼼心的,我這樣說並無貶義,某程度來說,這才是必然的,因為藝術 家的神經觸⾓角往往是敏感的,⽣生活、環境與政治各⽅方⾯面的紛雜之事,多多少少也沾上 他們作品的邊。有趣的是,余偉聯將此組帶有政治隱喻的作品展於跟⾹香港⼀一河之隔的 深圳展場,實在別有⽤用⼼心。

Translated by Kevin Law! ! Aug 2013
整個展覽中,除了繪畫及裝置之外,最多呈現的另⼀一作品元素,就是伴隨著每件 作品的「光」。事實上,余偉聯的每張作品都包含了「光」的元素,它們都是光影作 坊的創作之延續,乃將真真實實的光配置於繪畫之中,與繪畫的畫⾯面產⽣生直接的關係 與對話。如作品噹噹伴我⼼心(I want to look like a pork meat)的⼼心形掛燈,或是
鴛鴦戲⽔水(Yin and Yang with water)的發光雪櫃,兩者皆嘗試以「光」作為作品的 ⼀一部分。過往不少畫家嘗試於繪畫媒介中透過⾊色彩運⽤用,在畫⾯面上著⼒力描繪明部與暗 部,藉此表現光的元素及其對繪畫的重要性。如⼆二⼗十世紀畫家德朗(André Derain) (1880 – 1954)所⾔言,「光是繪畫的唯⼀一材質(The substance of painting is light)」。余⽒氏巧妙地運⽤用了各種現成物及現代元素,延續他對「繪畫」這個媒介的 探索,「光」亦因⽽而能夠⾛走出畫布,以真實的⽅方式呈現。
提藝廊這次展覽實在是跟藝術家的⼀一個創新及實驗性合作,策劃展覽初期,余偉 聯已強調整個展覽並⾮非單以展⽰示畫作為重,更重要的是要考慮展覽的空間跟藝術家、 作品以及觀者之間的關係。⼀一般畫廊展出繪畫作品時總離不開既定的佈展⽅方式,慣常 將畫作懸於⽩白牆之上,並添以規格化的燈光。這種模式無疑是最穩妥的,觀者也能習 慣性地將觀看視點(及隨之⽽而來的視覺感受)聚焦於平⾯面畫布上。然⽽而,余偉聯作品 的重點不單是畫布上的形象,他在創作過程更多思量的是如何配合空間的展⽰示。簡⽽而 ⾔言之,這近乎於裝置作品中,強調環境的氣氛營造,以及作品與觀者的互動,並於特 定空間讓作品為觀者建⽴立特殊的時空經驗。當考慮到觀眾步進展場⼀一刻,即被包圍於 藝術家構置的佈局之中,作品跟空間的配合是不容忽略的。提藝廊「PLATFORM」原 是⼯工業園區改建⽽而成的空置單位,我們當初修飾它成為展覽空間時,刻意的運⽤用了⼯工 業的元素與建材,如⽔水泥的地⾯面、鏽鐵與⽊木箱板,以展現原屬⼯工業環境的粗獷之感。 因此有趣的是,展⽰示空間並沒有百分百配置成當代畫廊常規的⽩白盒⼦子(white-
cube),反⽽而附有更多的特⾊色裝飾元素,如展場內部獨⽴立搭建了⼀一間原本⽤用於銷售藝 術相關產品的鐵架玻璃房間(即前⽂文提及余⽒氏裝置作品豬狼匹配的設置位置)。如上 ⽂文所⾔言,余偉聯巧妙地以其繪畫作品與場地的房間配合,構成了他的繪畫裝置。作品 亦因此場景配置,營造出特定場域(Site-Specific)的展⽰示形式,彷如⼯工業式的⻝⾷食品 加⼯工或屠房空間。與此同時,余⽒氏的其餘作品皆嘗試配合空間的感覺、道具的運⽤用、 燈光的配置,使作品與展⽰示空間混然構成⼀一體。或許,對余偉聯⽽而⾔言,展覽空間亦被 納⼊入他的「對象」之列,好讓觀者能完全投⼊入他作品的氛圍。
回⾸首看來,余偉聯是次在提藝廊的展覽,不單是⼀一次畫作的展⽰示。或者,他更享受的 是整個創作與佈展的「過程」。憶起他於展場中環抱雙⼿手的姿態,淡淡然地品評⾃自⼰己 的作品、抬頭仰望展場的燈⽕火、享受呼吸園區的空氣......環境中的⼀一切,彷彿也化成 他藝術創作的⼀一部分,成為他的「對象」。
Translation - English Yu Wai Luen’s “Object of Affection” Shek Chun Yin, The A•lift Gallery
“Object of Affection” has the connotation of driving one’s actions or feelings; many would associate their lovers, or their significant others as their objects of affection. In the view of Yu Wai Luen Francis, his paintings or what he painted on the canvas is his significant other, his object of affection.
The A•lift Gallery invited Francis to put on a solo exhibition in the PLATFORM, the Gallery’s space in Shenzhen, in February 2013. Francis entitled the exhibition as “Object of Affection”, the follow-up of “The Marriage of 2P” which was exhibited in Lumenvisum last year. “The Marriage of 2P” referred to the crossover of the two creative media, Painting and Photography, that interchanged the qualities in the two forms. In his Shenzhen exhibition, Francis moved on to investigate the substance of a “marriage”, the object of affection. Generally, one would marry one’s object of affection, while in the broad sense, any person or stuff one is fond of could be an object of affection; nevertheless, an object of affection is not necessarily tangible. In philosophical sense, anything apart from “I”, the subject, is an object, no matter it is tangible or intangible, alive or inanimate. Being the subject of actions and feelings, Francis regards his paintings as his objects of affection. According to Francis, the paintings showcased in the exhibition were all related to affection and food, as well as something related to painting, that was the very moments when he painted the objects he encountered.
It is hard to not mention the bloody and fleshy scene on the canvases when we talk about Francis’ paintings. This is especially true to his installation “Love affair between pig and wolf” displayed in a separated glass room in the “Object of Affection” exhibition. Francis did this work by painting the fleshy blood and bone onto a pre-made three-dimensional-stitched canvas hanged in the space. When the exhibition was open, he spread 300 kilograms of salt onto the ground and put up props and tools belonged to food processing factories to the room in order to create a sense of misallocation of space to the gallery space. When being asked the reason of painting bloody images, Francis admitted that painting them has nothing to do with any symbolic meanings but a pure affection in painting them. Despite the similarity in their appearance, he believed there is as much freedom in painting bloody and fleshy objects as painting foods. In “Love affair between pig and wolf”, Francis demonstrated his eagerness in seeking the possibility in pushing the medium to the limit by his attempt in connecting the flat surface of painting to three dimensional space.
In the past, lots of artists had painted on the topic of the slaughtered carcass, such as the Dutch Baroque painter, Rembrandt Harmenszoon van Rijn, who is one of Francis’ favorites, painted the “Carcass of Beef (The Flayed Ox)” back in
Translated by Kevin Law! ! Aug 2013
Translated by Kevin Law! ! Aug 2013
1657. In the painting, audiences are exposed to a beheaded and flayed body of a slaughtered ox, hanged upside down with its rear legs affixed to the pole and front legs suspended in the air. The painting does not only evoke the horror and disgust of slaughtering and flaying, to a greater extent, it is a representation of the artist’s skills in bringing the unusual beauty of a dead flesh and the very visual impact to his audiences through the exquisite use of colour, composition, modelling and shading, etc.
Returning to the “Love affair between pig and wolf”, I have the impression that it is more or less Francis’ response to the great Baroque painter. Despite having a fairly similar thought towards painting medium as Rembrandt, Francis has pushed the medium further by including contemporary ideas and material as well as utilising actual space and light in his artwork to produce a facially similar yet intrinsically different mood of painting. In Rembrandt’s “Carcass of Beef”, a woman peeking out is hidden by the doorway behind the hanging carcass. Perhaps it is the artist’s intention that the hidden woman and the spatial setting in the “Carcass of Beef” were reincarnated as the exhibition visitors that looked into the door in Francis’ installation. (The installation, “Love affair between pig and wolf”, was set up in a separated room measured 1.6 meter square, surrounded by glass and steel structure, which was used to be a space merchandising art related products, located in the PLATFORM.)
Beside, Francis also attempted to incorporate metaphors of current political issues into his installation on top of his contemplation on painting and its context. According to his words, “Foods and Hong Kong are the two elements that have been concerned in all of my works, like the relationship between the wolf and the pig implying political agenda.” Artist’s mind is inevitably multifold and never satisfied. I don’t mean anything negative here and I do believe this is a necessary situation as the immense sensitivity of artists triggers them prone to care about and depict in their artworks a variety of elements or issues, such as living, environment and politic. It is intriguing to notice Francis’ intention in choosing Shenzhen, a space that is distant with but approximate enough to Hong Kong, to exhibit his politically charged work.
Apart from paintings and installations, the most frequently appeared element in the exhibition was the “light” accompanying each of the works. In fact, Francis included actual light in each of his paintings that created direct dialogue and bond between the “light” and the pictorial space of each work. This also marked an extension of his creativity engagement in Lumenvisum. Either the heart shaped lamp in “I want to look like a pork meat” or the illuminating refrigerator in “Yin and Yang with water” displayed Francis’ effort in making “light” as a part of his artwork. In the past, many painters had attempted to use the gradation of colour to represent the modelling and shading in order to present the “light” and its importance in painting. This is best explained by Andre Derain’s quote, “the substance of painting is light”. Francis skilfully manipulated various ready made items and contemporary
Translated by Kevin Law! ! Aug 2013
substances to continuously explore boundary of the painting medium. He also brought the “light” from the canvas to the reality to stand on its own.
“Object of Affection” is undoubtedly an innovative and experimental exhibition of Francis and the A•lift Gallery. In the early phase of organising the exhibition, Francis had stressed that the exhibition should not concern only the display of the artworks. Instead, it is more important to concern about the relation of the exhibition space with the artist, the works and the audiences. When paintings were exhibited in ordinary galleries, there was no option but to banally display works on usual white walls and light them with standardised spotlights. This is certainly the proper way to display, in which the audiences could easily focus onto the canvases and be moved by the depiction of the works. Nevertheless, the highlights of Francis’ works were not limited to the depiction on the canvases; he concerned more in the narration of his works in the designated space. In another word, it was similar to the importance of how an installation animates the vibe and interacts with its audiences, giving its audiences a unique space-time experience within the specific space. It is a must not to neglect the connection between the works and the space, but to take into account the audiences’ perspective of being inundated by the spatial setting when entered the exhibition space.
The PLATFORM of the A•lift Gallery was a vacant unit in an industrial park. During the time we revamped it into a gallery space, we deliberately employed industrial elements and materials such as raw cement flooring, rusted iron and crate boards in order to recreate the site original robust industrial environment. Therefore, the gallery space was not built as a “white-cube” as common contemporary galleries, instead, it included much more features, for example, the same standalone glass and steel structure as mentioned above that used to be a space selling art related products. As I mentioned, Francis skilfully matched his paintings with the glass and steel structured space to create his own painting installation. The work did fit well into the space and was displayed as a site-specific painting installation that provoked a spatial sense of industrial food processing factory or a slaughterhouse. Nonetheless, Francis attempted to associate spatial senses, props and lightings in the rest of his works to blend them into the exhibition space. Perhaps, in Francis’ point of view, the exhibition space was also his object of affection that he invited his audiences to sense thoroughly the total vibe of the exhibition.
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Francis’ “Object of Affection” in A-Life Gallery was not merely an exhibition of his paintings. It was perhaps more of his enjoyment during the very process of creativity and installation. When I recall how Francis folded up his hands, calmly commented on his own works, looked into the light settings and breathed in the taste of the space, everything in the space felt like transformed into a whole piece of art and became Francis’ Object of Affection.
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Translation education
Master's degree - The Hong Kong Polytechnic University
Experience
Years of experience: 12. Registered at ProZ.com: Nov 2013.
Kevin Law is a translator and the co-founder of Thin Air Language Consultancy Company (Hong Kong). He graduated with a Master’s Degree in Translating and Interpreting at the Hong Kong Polytechnic University and a BA Degree in Visual Studies at Lingnan University. He had worked as a Project Officer in AVA, HKBU, overseeing the Artist-in-Residence programme before venturing in language service business. He is the translator of Having One’s Hand Follows One’s Heart Falling (Francis Yu Wai Luen, 2019), (Francis Yu Wai Luen, 2017), and the additional text in The Malady of Death (Haegue Yang, 2015). Recently, he has taken part in translation projects for Airbnb, Arts with the Disabled Association Hong Kong, and Make a Difference (Hong Kong).
Keywords: Chinese, English, Visual Arts, Visual Culture, translation, art
