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  • I'm a potter,

    翻訳: Eriko T 校正: Mari Arimitsu

  • which seems like a fairly humble vocation.


  • I know a lot about pots.


  • I've spent about 15 years making them.


  • One of the things that really excites me in my artistic practice


  • and being trained as a potter

    芸術活動や 陶芸家としての鍛錬を通して

  • is that you very quickly learn how to make great things out of nothing;


  • that I spent a lot of time at my wheel with mounds of clay trying stuff;

    無から素晴らしい物を創りあげる事を 非常に速く学べるということや

  • and that the limitations of my capacity, my ability,

    粘土を手にろくろの前で 多くの時間を創作に費やしたこと

  • was based on my hands and my imagination;

    それに 自分の可能性や能力の限界は

  • that if I wanted to make a really nice bowl

    自分の両手と想像力に かかっていたということ―

  • and I didn't know how to make a foot yet,


  • I would have to learn how to make a foot;

    まだそれに付ける 脚の作り方を知らなくても

  • that that process of learning has been very, very helpful to my life.

    では それを学べば良いのだ

  • I feel like, as a potter,

    この学習プロセスは 非常に重要な人生の糧になって来ました

  • you also start to learn how to shape the world.


  • There have been times in my artistic capacity

    世界を形作る方法をも 学び始めるのだと感じるのです

  • that I wanted to reflect

    幾度か 私の芸術的能力の許す限り

  • on other really important moments


  • in the history of the U.S., the history of the world


  • where tough things happened,

    それも過酷な出来事を 作品に表してみたいと 思ったことがあります

  • but how do you talk about tough ideas

    しかし 難しい概念を

  • without separating people from that content?

    それにまつわる物事から人々を分断せずに 語るには どうしたら良いだろう?

  • Could I use art like these old, discontinued firehoses from Alabama,

    例えば このアラバマから来た 古い 消火ホースの切れ端を芸術として用いて

  • to talk about the complexities of a moment of civil rights in the '60s?

    60年代の市民権運動の頃の 複雑さを語る事が出来ないだろうか?

  • Is it possible to talk about my father and I doing labor projects?

    父と二人で共に作業をした 時のことを語れないだろうか?

  • My dad was a roofer, construction guy, he owned small businesses,

    父は屋根職人として 小さな工務店を営んでいました

  • and at 80, he was ready to retire and his tar kettle was my inheritance.

    80歳にして引退し 私はタールケットル (タールを溶解させる釜)を譲り受けました

  • Now, a tar kettle doesn't sound like much of an inheritance. It wasn't.

    タールケットルはご想像の通り 大した財産ではありませんでした

  • It was stinky and it took up a lot of space in my studio,

    臭いがひどいし スタジオの中で場所を取るし

  • but I asked my dad if he would be willing to make some art with me,

    でも 私は父に一緒にアートを作ろうと言いました

  • if we could reimagine this kind of nothing material


  • as something very special.


  • And by elevating the material and my dad's skill,

    父の技術と材料を 芸術に昇華することで

  • could we start to think about tar just like clay, in a new way,


  • shaping it differently, helping us to imagine what was possible?

    それで様々な形を構想し 私たちの想像を促そうと考えました

  • After clay, I was then kind of turned on to lots of different kinds of materials,

    粘土の後 色々な素材に興味が湧き

  • and my studio grew a lot because I thought, well,

    造形出来るのは素材では無く 創造力があるからなのだと考え

  • it's not really about the material, it's about our capacity to shape things.


  • I became more and more interested in ideas


  • and more and more things that were happening just outside my studio.

    段々とスタジオの外で起こっていることに 興味を持ち始めました

  • Just to give you a little bit of context, I live in Chicago.

    少し背景をご説明しましょう 私はシカゴに住んでいます

  • I live on the South Side now. I'm a West Sider.

    私は今 サウスサイドに住んでいる ウエストサイダーです

  • For those of you who are not Chicagoans, that won't mean anything,

    シカゴの人間では無い人々には 何の意味も持たないことでしょう

  • but if I didn't mention that I was a West Sider,

    でももし私がウエストサイダーだと 言わなかったら

  • there would be a lot of people in the city that would be very upset.


  • The neighborhood that I live in is Grand Crossing.

    私はグランド・クロッシング という地区に住んでいます

  • It's a neighborhood that has seen better days.

    ここはかつて 栄えていたこともありますが

  • It is not a gated community by far.


  • There is lots of abandonment in my neighborhood,


  • and while I was kind of busy making pots and busy making art

    私が 陶芸などの創作活動や 美術のキャリアを築く事に

  • and having a good art career,


  • there was all of this stuff that was happening


  • just outside my studio.


  • All of us know about failing housing markets

    住宅価格の下落そして それに伴う都市環境の荒廃は

  • and the challenges of blight,


  • and I feel like we talk about it with some of our cities more than others,

    特にその中でも 私の街が 頻繁に取り上げられるようですが

  • but I think a lot of our U.S. cities and beyond

    思うに 多くのアメリカの街や近郊が

  • have the challenge of blight,


  • abandoned buildings that people no longer know what to do anything with.


  • And so I thought, is there a way that I could start to think

    だから こう考え始めました

  • about these buildings as an extension or an expansion of my artistic practice?

    これらの建物を自分の芸術活動の 延長と考えられないだろうか?

  • And that if I was thinking along with other creatives --

    それで もし創造する側の人々と 共に考えを巡らせたら―

  • architects, engineers, real estate finance people --


  • that us together might be able to kind of think

    こうした人々と共に 街を生まれ変わらせ再生する方法を

  • in more complicated ways about the reshaping of cities.


  • And so I bought a building.


  • The building was really affordable.


  • We tricked it out.


  • We made it as beautiful as we could to try to just get some activity happening

    この地区で何らかの活動が起こるように 私たちは この建物を出来る限り美しくしました

  • on my block.


  • Once I bought the building for about 18,000 dollars,


  • I didn't have any money left.

    それで 私は建物の 掃除パフォーマンスを始めました

  • So I started sweeping the building as a kind of performance.

    これはパフォーマンス・アートとして行っていたので 人々は見物に来て―

  • This is performance art, and people would come over,


  • and I would start sweeping.


  • Because the broom was free and sweeping was free.


  • It worked out.


  • (Laughter)

    そこから建物で展示をしたり 小規模の夕食会を開いたりしはじめ

  • But we would use the building, then, to stage exhibitions, small dinners,


  • and we found that that building on my block, Dorchester --

    その区画は 今では ドーチェスター・プロジェクトと呼ばれ

  • we now referred to the block as Dorchester projects --

    その建物が 色々な活動の為の 集会場のようなものになったと気付きました

  • that in a way that building became a kind of gathering site

    私たちは この建物を 「アーカイブ・ハウス」と呼び

  • for lots of different kinds of activity.

    アーカイブ・ハウスでは 様々な 素晴らしい催しが行われました

  • We turned the building into what we called now the Archive House.


  • The Archive House would do all of these amazing things.


  • Very significant people in the city and beyond


  • would find themselves in the middle of the hood.


  • And that's when I felt like

    この新しく生まれつつあるものとは 関係があるのではないかと

  • maybe there was a relationship between my history with clay

    私たちはゆっくりと 人々が持つ サウスサイドの

  • and this new thing that was starting to develop,


  • that we were slowly starting

    それから 1つの家屋が2~3戸に増え

  • to reshape how people imagined the South Side of the city.


  • One house turned into a few houses,


  • and we always tried to suggest


  • that not only is creating a beautiful vessel important,

    私たちは 再開発だけでなく

  • but the contents of what happens in those buildings is also very important.


  • So we were not only thinking about development,


  • but we were thinking about the program,

    どんな繋がりが生まれるだろうか ということを考えていました

  • thinking about the kind of connections that could happen

    この建物は「リスニング・ハウス」 と呼ばれるようになり

  • between one house and another, between one neighbor and another.


  • This building became what we call the Listening House,


  • and it has a collection of discarded books

    店を畳んだ書店からも 本が寄付されました

  • from the Johnson Publishing Corporation,

    私はこれらの建物が出来る限り 有意義な使われ方をするように

  • and other books from an old bookstore that was going out of business.

    力になろうというモノや人を とにかく 仕掛けたかったのです

  • I was actually just wanting to activate these buildings as much as I could

    シカゴには 使われていない 建物が豊かに眠っています

  • with whatever and whoever would join me.

    この建物は 界隈の麻薬密売所だったのですが

  • In Chicago, there's amazing building stock.


  • This building, which had been the former crack house on the block,

    その新たな用途を見い出し 再利用する素晴らしい機会が生まれたのです

  • and when the building became abandoned,

    それでここはブラック・シネマ・ハウス と呼ばれる建物に生まれ変わりました

  • it became a great opportunity to really imagine what else could happen there.

    ブラック・シネマ・ハウスは この地区で

  • So this space we converted into what we call Black Cinema House.

    私の周りに住んでいるような人々にとって 重要で関連深い映画を上映する場所で

  • Black Cinema House was an opportunity in the hood to screen films

    例えばメルヴィン・ヴァン・ピーブルズの映画を 鑑賞できるような場所なのです

  • that were important and relevant to the folk who lived around me,


  • that if we wanted to show an old Melvin Van Peebles film, we could.


  • If we wanted to show "Car Wash," we could.


  • That would be awesome.


  • The building we soon outgrew,

    ブラック・シネマ・ハウスは 小さな粘土の塊から始まり

  • and we had to move to a larger space.

    より大きな粘土の塊へと育ち それは今や私のスタジオとなりました

  • Black Cinema House, which was made from just a small piece of clay,


  • had to grow into a much larger piece of clay, which is now my studio.


  • What I realized was that for those of you who are zoning junkies,


  • that some of the things that I was doing


  • in these buildings that had been left behind,

    「住宅は住居空間として利用しなさい」 と警告を受けることがありました

  • they were not the uses by which the buildings were built,

    でも それがもし誰もそこに住もうとも思わないような 地域の事だったら 一体どうしますか?

  • and that there are city policies that say,

    引っ越せる財力があった人々は もう既に去って行った後の

  • "Hey, a house that is residential needs to stay residential."


  • But what do you do in neighborhoods when ain't nobody interested in living there?

    それで 私は文化によって 建物たちを目覚めさせようと考えました

  • That the people who have the means to leave have already left?


  • What do we do with these abandoned buildings?

    プロジェクトへの反応がとても高かったので より大きな建物が必要になりました

  • And so I was trying to wake them up using culture.


  • We found that that was so exciting for folk,


  • and people were so responsive to the work, that we had to then find bigger buildings.

    私達が「アート・バンク」と呼ぶ この建物は当初ひどい有様でした

  • By the time we found bigger buildings,


  • there was, in part, the resources necessary to think about those things.


  • In this bank that we called the Arts Bank, it was in pretty bad shape.


  • There was about six feet of standing water.


  • It was a difficult project to finance,


  • because banks weren't interested in the neighborhood

    ゴミ溜めでした 何も無い どこでも無い そんな場所でした

  • because people weren't interested in the neighborhood

    それで私達は想像し始めたんです― ではこの建物でどんなことが出来るだろう?

  • because nothing had happened there.


  • It was dirt. It was nothing. It was nowhere.


  • And so we just started imagining, what else could happen in this building?


  • (Applause)


  • And so now that the rumor of my block has spread,

    今や展覧会や資料館 音楽ホールとなるセンターになり

  • and lots of people are starting to visit,

    人々はこの いわば私たちがおこした火に惹かれ

  • we've found that the bank can now be a center

    興味を持ち この建物たちの近くに集まりだしました

  • for exhibition, archives, music performance,

    興味を持ち この建物たちの近くに集まりだしました

  • and that there are people who are now interested

    その中の一つが ジョンソン出版社による 資料館になる予定です

  • in being adjacent to those buildings because we brought some heat,

    私達は近所に住んでいる人や かつて住んでいた方々から

  • that we kind of made a fire.

    アメリカの歴史に関する 記念品を収集し始めました

  • One of the archives that we'll have there is this Johnson Publishing Corporation.

    中には虐げられた 黒人の姿を描いたものもあり

  • We've also started to collect memorabilia from American history,

    私たちの意識に強く訴える 内容の歴史を映し出しています

  • from people who live or have lived in that neighborhood.


  • Some of these images are degraded images of black people,

    人種や階級の複雑さを語る為の アイデンティティを

  • kind of histories of very challenging content,


  • and where better than a neighborhood


  • with young people who are constantly asking themselves about their identity

    ある意味 この「銀行」は 私たちが かなり本格的な文化活動の中心拠点を

  • to talk about some of the complexities

    創りだそうとしていることから ハブを象徴しています

  • of race and class?


  • In some ways, the bank represents a hub,


  • that we're trying to create a pretty hardcore node of cultural activity,


  • and that if we could start to make multiple hubs


  • and connect some cool green stuff around there,


  • that the buildings that we've purchased and rehabbed,

    美しい緑地帯で これらの建物を繋げたら―