wrote a volume called

脚本家のエイドリアン ケネディーは

"People Who Led to My Plays."

「私の劇の役者達」という

And if I were to write a volume,

本を書きました

it would be called,

私が本を書くとしたら

"Artists Who Have Led My Exhibitions"

タイトルはおそらく

because my work,

「私の展覧会の芸術家達」

in understanding art and in understanding culture,

私の仕事である

has come by following artists,

芸術と文化を理解するには

by looking at what artists mean

芸術家達に寄り添い

and what they do and who they are.

その活動の意図や個性に

J.J. from "Good Times,"

注目する必要があります

(Applause)

ジェイ ジェイの「グッド タイムズ」

significant to many people of course

（拍手）

because of "Dy-no-mite,"

みなさんには「ダイ ノ マイト」で

but perhaps more significant

おなじみかもしれませんが

as the first, really, black artist

彼はゴールデン タイムの

on primetime TV.

TVに最初に出演した

Jean-Michel Basquiat,

黒人アーティストなのです

important to me because [he was]

ジャン ミシェル バスキアは

the first black artist in real time

リアルタイムで

that showed me the possibility of

私に芸術の持つ可能性を

who and what I was about to enter into.

示してくれた

My overall project is about art --

最初の黒人アーティストです

specifically, about black artists --

私が主に対象とするのは

very generally

黒人アーティストですが

about the way in which art

彼らを通じて

can change the way we think

芸術がどのように

about culture and ourselves.

文化や自分に対する見方を

My interest is in artists

変える方法を探っています

who understand and rewrite history,

私が興味を持つのは

who think about themselves

歴史を踏まえ 新たにするべく

within the narrative

時代を超えて残る

of the larger world of art,

芸術という世界で

but who have created new places

自らを顧みつつ

for us to see and understand.

私達が見て理解すべき

I'm showing two artists here, Glenn Ligon and Kara Walker,

新たな場所を創った人々です

two of many who really form for me

学芸員としてこれから話すことは

the essential questions that I wanted to bring

グレン ライゴンや

as a curator to the world.

キャロル ウォーカーの様な

I was interested in the idea

芸術家から思いつきました

of why and how

そもそも私は一体どうしたら

I could create a new story,

芸術史や世界史の中で

a new narrative in art history

新しい物語を

and a new narrative in the world.

作り出せるかに

And to do this, I knew

興味がありました

that I had to see the way in which artists work,

そのために私は

understand the artist's studio

芸術家の作品の作り方を見て

as a laboratory,

彼らの創作現場を

imagine, then,

実験室と理解しました

reinventing the museum as a think tank

そこから考えると

and looking at the exhibition

美術館は知識の集積場

as the ultimate white paper -- asking questions,

そして展覧会は

providing the space

質問を投げかけ

to look and to think about answers.

その答えを探し考えるための

In 1994,

白紙の解答用紙なのです

when I was a curator at the Whitney Museum,

1994年に行った

I made an exhibition called Black Male.

ホイットニー美術館での

It looked at the intersection

「黒人男性」という展覧会は

of race and gender

米国の現代芸術で

in contemporary American art.

人種と性別の交わりを

It sought to express

表現するものでした

the ways in which art

展覧会の目的は

could provide a space for dialogue --

芸術表現によって

complicated dialogue,

たくさんの争点を持つ

dialogue with many, many points of entry --

難しいテーマに関する

and how the museum could be the space

対話の場を生み出し

for this contest of ideas.

美術館でその考えを

This exhibition included

競わせることでした

over 20 artists

この展覧会では

of various ages and races,

年齢も人種も違う

but all looking at black masculinity

20人以上の芸術家が

from a very particular point of view.

「黒人男性らしさ」を

What was significant about this exhibition

特定の視点から探りました

is the way in which

この展覧会で重要なことは

it engaged me in my role

私が学芸員として

as a curator, as a catalyst,

そしてつなぎ役として

for this dialogue.

この対話において

One of the things that happened

果たした役割です

very distinctly in the course of this exhibition

展覧会の最中に

is I was confronted with the idea

非常にはっきりと

of how powerful images can be

感じたのは

in people's understanding of themselves and each other.

人はイメージに頼って

I'm showing you two works, one on the right by Leon Golub,

物事を理解するということです

one on the left by Robert Colescott.

右がレオン ゴラブ

And in the course of the exhibition --

左がロバート コールスコット

which was contentious, controversial

この展覧会で

and ultimately, for me,

激しい議論を重ねて

life-changing

芸術の可能性に対する

in my sense of what art could be --

私の考えは

a woman came up to me on the gallery floor

完全に変わりました

to express her concern about the nature

展覧会場で ある女性が

of how powerful images could be

強烈なイメージによって

and how we understood each other.

相手を理解した気になるのを

And she pointed to the work on the left

心配していました

to tell me how problematic this image was,

彼女は 左の絵を指して

as it related, for her, to the idea of

こちらの絵は 今までの

how black people had been represented.

黒人のイメージを描いていて

And she pointed to the image on the right

問題があると思うが

as an example, to me, of the kind of dignity

右は メディアで語られてきた

that needed to be portrayed

イメージに抵抗する

to work against those images in the media.

自尊心が感じられる

She then assigned these works racial identities,

いい作品だと私に言い

basically saying to me that the work on the right,

自信を持って 作者の人種は

clearly, was made by a black artist,

右の作品が

the work on the left, clearly, by a white artist,

黒人アーティストで

when, in effect,

左が白人だと

that was the opposite case:

答えましたが

Bob Colescott, African-American artist;

実際は正反対

Leon Golub, a white artist.

ボブは黒人で

The point of that for me was

レオンは白人です

to say -- in that space, in that moment --

その場所で その時に

that I really, more than anything,

そう言われた私が

wanted to understand

知りたくなったのは

how images could work, how images did work,

伝えたいイメージが

and how artists provided

実際どのように伝わるのか

a space bigger than one

芸術家はどのように

that we could imagine in our day-to-day lives

私達が日常からは

to work through these images.

想像できない空間を

Fast-forward and I end up in Harlem;

イメージによって創るのかです

home for many of black America,

私が今いるハーレムは

very much the psychic heart

米国に住む多くの黒人にとって

of the black experience,

「黒人らしい」生活ができる

really the place where the Harlem Renaissance existed.

心の故郷であり

Harlem now, sort of explaining

ハーレム ルネッサンスの地でした

and thinking of itself in this part of the century,

またハーレムは

looking both backwards and forwards ...

今世紀におけるあり方を探って

I always say Harlem is an interesting community

過去や未来も見つめています

because, unlike many other places,

ハーレムが面白いのは

it thinks of itself in the past, present

他の都市とは違い

and the future simultaneously;

過去と現在と未来を

no one speaks of it just in the now.

同時進行で考えていることです

It's always what it was and what it can be.

ハーレムの今を語るには

And, in thinking about that,

過去や未来の話がつき物なのです

then my second project, the second question I ask is:

そう考えていた時に

Can a museum

思いついた疑問が

be a catalyst in a community?

美術館が

Can a museum house artists

地域のつなぎ役として

and allow them to be change agents

地域社会に自らを再認識させる

as communities rethink themselves?

変化の担い手となる芸術家に

This is Harlem, actually, on January 20th,

場所を提供できないかです

thinking about itself in a very wonderful way.

1月20日のハーレムです

So I work now at The Studio Museum in Harlem,

とても素晴らしい日でした

thinking about exhibitions there,

現在私はハーレムの

thinking about what it means to

スタジオ美術館で展覧会をし

discover art's possibility.

芸術の可能性を発見する意味を

Now, what does this mean to some of you?

考えています

In some cases, I know that many of you

皆さんはどう思いますか

are involved in cross-cultural dialogues,

皆さんと同じような環境で

you're involved in ideas of creativity and innovation.

異文化との対話や

Think about the place that artists can play in that --

創造的革新的な考えの中で

that is the kind of incubation and advocacy

芸術家が創作できるとしたら？

that I work towards, in working with young, black artists.

私はそういう形の支援を目指して

Think about artists, not as content providers,

若い黒人の芸術家と仕事をしています

though they can be brilliant at that,

芸術家の仕事は

but, again, as real catalysts.

素晴らしい作品を作る他に

The Studio Museum was founded in the late 60s.

真のつなぎ役をすることです

And I bring this up because it's important to locate

私の取り組みを語る上で

this practice in history.

歴史に触れる事は重要で

To look at 1968,

スタジオ美術館の

in the incredible historic moment that it is,

1968年の開館は

and think of the arc that has happened since then,

歴史的な瞬間でした

to think of the possibilities that we are all

その後の出来事も考慮した上で

privileged to stand in today

現在の私達の特権的な立場を

and imagine that this museum

考えてみましょう

that came out of a moment of great protest

そしてこの美術館は

and one that was so much about

公民権運動が盛んな時代に設立され

examining the history and the legacy

米国の芸術史における

of important African-American artists

アフリカ系米国人の

to the history of art in this country

歴史と伝統の持つ意味を

like Jacob Lawrence, Norman Lewis,

ジャコブ ローレンスや

Romare Bearden.

ロメール ベアデンの

And then, of course,

作品を通じて探り

to bring us to today.

今日に至ったという事に

In 1975, Muhammad Ali

思いを馳せて下さい

gave a lecture at Harvard University.

1975年にモハメド アリが

After his lecture, a student got up and said to him,

ハーバード大で講演をしました

"Give us a poem."

講演後ある学生から

And Mohammed Ali said, "Me, we."

詩を作って欲しいと頼まれた彼は

A profound statement about the individual and the community.

「Me，We」と答えました

The space in which now,

個人と社会の関係をとらえた

in my project of discovery, of thinking about artists,

意味深い言葉です

of trying to define

私が芸術家と接しながら

what might be

探っているのは

black art cultural movement of the 21st century.

今世紀における

What that might mean

黒人芸術運動の状況であり

for cultural movements all over this moment,

現代における

the "me, we" seems

文化的な運動の意味です

incredibly prescient

アリの「Me，We」の言葉は

totally important.

現代社会に対する

To this end,

重大な予言でした

the specific project that has made this possible for me

私の目標を達成するために

is a series of exhibitions,

「自由形式」 「頻度」 「流動」の

all titled with an F --

テーマで行った

Freestyle, Frequency and Flow --

一連の展覧会について

which have set out to discover

お話ししましょう

and define

展覧会の目的は

the young, black artists working in this moment

現在活躍していて

who I feel strongly

将来も期待できる

will continue to work over the next many years.

若い黒人アーティストを

This series of exhibitions

発掘することでした

was made specifically

この展覧会では特に

to try and question

現代において

the idea of what it would mean

芸術をつなぎ役と

now, at this point in history,

とらえる考え方に

to see art as a catalyst;

疑問を投げかけ

what it means now, at this point in history,

黒人文化に限らず

as we define and redefine culture,

私達が一般的に

black culture specifically in my case,

文化を再定義する上で

but culture generally.

芸術の持つ意味を

I named this group of artists

探りました

around an idea, which I put out there

私は何人かの芸術家を

called post-black,

「ポスト ブラック」と

really meant to define them

呼んでいます

as artists who came and start their work now,

その芸術家達は

looking back at history but start in this moment, historically.

過去の歴史を踏まえたうえで

It is really in this sense of discovery

歴史的一歩を踏み出す人達です

that I have a new set of questions that I'm asking.

このような中で私が

This new set of questions is:

思いついたことがあります

What does it mean, right now,

現在の米国の

to be African-American in America?

アフリカ系米国人の立場が

What can artwork say about this?

どういうものであるのかを

Where can a museum exist

芸術で表現したり

as the place for us all

みんなで こうした事を

to have this conversation?

話し合うに ふさわしい

Really, most exciting about this

美術館があるのかです

is thinking about the energy and the excitement

若い芸術家が持っている

that young artists can bring.

あり余るパワーを考えると

Their works for me are about,

とても わくわくします

not always just simply

芸術家の作品は

about the aesthetic innovation

自分の心情や意見だけを

that their minds imagine, that their visions create

革新的な芸術表現として

and put out there in the world,

反映させている

but more, perhaps, importantly,

ものばかりではありません

through the excitement of the community

より大切なことは

that they create as important voices

芸術作品が

that would allow us right now to understand our situation,

コミュニティの議論を活性化し

as well as in the future.

私達が現状や将来の状況を

I am continually amazed

理解できることです

by the way in which

人種というテーマが

the subject of race

思いがけないほど

can take itself in many places

様々な場面で

that we don't imagine it should be.

顔を出すことに

I am always amazed

いつも驚いています

by the way in which artists are willing

芸術家達が積極的に

to do that in their work.

そのテーマに取り組んでいるのも

It is why I look to art.

素晴らしいことです

It's why I ask questions of art.

私が芸術に関心を持ち

It is why I make exhibitions.

疑問を投げかけ

Now, this exhibition, as I said,

展覧会を開くのはこのためです

40 young artists done over the course of eight years,

この展覧会では

and for me it's about considering the implications.

8年間で40人の若手作家が

It's considering the implications of

他の世代の人々に

what this generation has to say to the rest of us.

暗に伝えたい事を

It's considering what it means for these artists

深く考えました

to be both out in the world as their work travels,

作品が世界中を回り

but in their communities

広く世に出ると同時に

as people who are seeing and thinking

私達が直面している問題を

about the issues that face us.

内部の人間として考えることを

It's also about thinking about

芸術家はどう思うのでしょう

the creative spirit and nurturing it,

この展覧会はまた

and imagining, particularly in urban America,

創造性について考え