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Working languages: English to Chinese
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| tcwang
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Native in: Chinese  | |
| Freelancer | | Translation, Interpreting, Editing/proofreading, Website localization, Software localization, Voiceover (dubbing), Subtitling, Project management | | Specializes in: | | Art, Arts & Crafts, Painting | Linguistics | | Journalism | History | | Tourism & Travel | Photography/Imaging (& Graphic Arts) | | Folklore | Poetry & Literature | | Cinema, Film, TV, Drama | Social Science, Sociology, Ethics, etc. |
| | Questions answered: 0, Questions asked: 0 Easy / 0 PRO | | MasterCard, Visa, American Express, Check, Wire transfer | Sample translations submitted: 2| Chinese to English: Interview with artist | Source text - Chinese
其实从杜尚的艺术革命开始，弊端就已经出现了。杜尚把艺术和人民性拉平了，他的革命很伟大，但是拉平的同时其实又给艺术家留了一个特殊的身份。这个身份是什么？可以说是人人都是艺术家，而且什么东西都可以成为艺术。但是事实上有一个问题，就是艺术家拥有了一种特权，因为我是以艺术的名义，而且我是艺术家，所以我做什么都可以价值连城，而且是意味深刻的。就是说，让艺术发展到这个状况，其实是给现代艺术提出了一个悖论。他说什么都是艺术，是艺术家的行为就可以成为艺术本身，艺术家有特权，可以为所欲为，所有的行为都是有价值的，这个特权是杜尚给的。 | Translation - English
Tracing back, we can find such deficiency taking shape right at the moment when Marcel Duchamp introduced his revolutionary approach to art. While his popularizing art proves to be historically significant, Duchamp nonetheless particularized the identity of artist. On the one hand, anyone can make art and anything can be art. On the other, which I see as an issue, he thereupon privileges the art makers, who, in the name of art making, can turn anything into invaluable and profoundly connotative works of art. What this new theory of art does is that it provides a paradox for the practice of contemporary art. According to Duchamp, everything can be art. The very practice of art by artists is art. Such is a privilege rendered by Duchamp who justified the full freedom of behavior for the artists which now automatically deserves high values. | | English to Chinese: Artwork caption | Source text - English
An Arbitrary History: River is a whimsical, interactive installation that invites visitors to take a boat ride through the artist’s self-made retrospective. Cai takes on the role of curator, suspending a selection of past works from the ceiling above a fiberglass and bamboo riverbed created to the specifications of the gallery space. The chosen works highlight many reoccurring themes within the artist’s oeuvre. For example, Acupuncture for Venice and Moxacautery—for Africa both incorporate the healing power of acupuncture to metaphorically cure social ills. In The Age of Not Believing in God, wooden effigies of religious figures such as Jesus and the Bodisattva Guanyin are pierced with arrows, symbolizing the marginalization of the world’s religions through modern society’s newfound preoccupation with science, materialism, and politics. Boats, an important symbol in Cai’s artistic vocabulary, can be found in Mao, a poetic rumination on his youthful romanticization of Mao and the dynamic transformation of a shipwreck into a rocket in The Dragon Has Arrived! (fig. x). By recontextualizing these disparate ideas within one work, Cai playfully critiques the artificiality of the retrospective format. An Arbitrary History: Roller Coaster is a companion piece that humorously addresses art history on a macro level. Visitors are whisked along a track to the tune of the fourth movement of Gustav Holst’s orchestral suite The Planets, Op. 32 entitled Jupiter, the Bringer of Jollity, while overhead a mosaic of images culled from the artist’s knowledge of the host country’s art history is imprinted on a banner suspended from the ceiling. | Translation - Chinese
充满奇想的互动性装置艺术《随意的历史：河流》邀请观者乘坐小舟穿越艺术家对自我创作的回顾。蔡国强依画廊空间搭建一座纤维玻璃与竹子架成的河床，然后 扮演策展人要角，精选数件旧作，将之沿河床上方天花板悬垂而下。这些作品突显出来的是许多艺术家反复处理的主题；以《为威尼斯针灸》和《 Moxacautery—为非洲》为例，两者皆象征性地用针灸疗法医治社会病态。在《不信神的年代》中，代表耶稣基督与观音的木头雕像被数支利箭射穿，象征现代社会里世界宗教在科学、物质主义和政治思潮崛起下被极度边缘化。船也是蔡国强艺术词汇中一个重要符号，同时出现于《毛》和《龙到了！》（图. X）中，前者诗意地反思自己青年时期对毛择东的浪漫化；后者将沉船残骸转化成火箭，为之富与蓬勃新生。蔡国强将这些不同的想法重新处置安排成一件作品，饶富趣味地批评回顾形式的人工性。姐妹作《随意的历史：云霄飞车》则幽默地而宏观地探讨艺术史。艺术家就自己对展览主办国艺术史的知识拣选数副图画印制成一面马赛克横幅，参观者在霍尔斯特作品三十二号〈行星组曲〉第四乐章〈木星，快乐之神〉旋律中，在高悬于天花板的横幅下方顺流前行。 |
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