2022年经济学人 菲利普·古斯顿引发争议的艺术（2）（在线收听）

As for the later hoods themselves: Guston delighted in telling stories with them, and in the expressions he could conjure in their almost blank visages.

至于后来画的那些兜帽人：古斯顿喜欢跟他们讲故事，喜欢从他们几乎空白的脸上想象出他们的表情。

At bottom, though, they were -- and are -- a reproach.

不过从根本上说，他们过去是——现在也是——一种耻辱。

They are terrible in their ordinariness, surrounded with everyday bric-a-brac, glimpsed smoking or riding in a boxy car.

他们的平凡是可怕的，被一些日常的小摆设所围绕，偶尔吸烟或坐在四四方方的汽车里。

In "The Studio" one sketches a self-portrait, blood on his hand and costume.

在《画室》中，一个兜帽人在画一幅自画像，手上和衣服上都是血。

The stitching in the hoods matches and merges with the window slits in the buildings Guston painted.

兜帽上的缝线与古斯顿画的那些建筑的窗线相互匹配融合。

His hoods are knitted into society.

他的兜帽与社会缝在一起。

They are everywhere.

这样的人到处都是。

These works are an indictment of racism, glaring or insidious, not a case of it.

这些作品是对种族主义的控诉，明里或暗里，而不是种族主义的实例。

But it appeared today's viewers might not get a chance to see that for themselves.

但今天的观众可能没有机会亲眼看到它了。

In 2020 the exhibition (already hit by the pandemic) was postponed by the four museums involved in it, initially until 2024.

2020年，参与展览的四家博物馆推迟了该展览（本已受到疫情的影响），起初决定推迟到2024年。

Opponents of censorship protested, as did many artists.

审查制度的反对者和许多艺术家表示抗议。

Some thought the delay smelled like a cancellation, and that "Philip Guston Now", the show's title, might become Philip Guston Never.

一些人认为，推迟听起来意味着取消，而且展览的名字“现在的菲利普·古斯顿”可能会变成“再也见不到的菲利普·古斯顿”。

They were wrong.

他们错了。

Ahead of the mooted schedule, it opens on May 1st at the Museum of Fine Arts (MFA) in Boston, and will be adapted in Houston, Washington and London.

展览将于5月1日提前在波士顿美术馆开幕，并将被转至休斯顿、华盛顿和伦敦展出。

It is a magnificent exhibition and -- at a febrile, polarised time -- an important one.

这是一场宏伟的展览——在一个狂热的、两极化的时代——也是一场重要的展览。

The MFA brought in African-American curators and has carefully laid out the political context of Guston's life and work.

波士顿美术馆请来了非裔美国策展人，小心地安排陈列了古斯顿生活和创作的政治背景。

Visitors can avoid the hoods if they choose to: they can make up their own minds.

参观者可以选择避开兜帽人：他们可以自己做决定。

But with a few forgivable exceptions, the intended artworks are there; Guston's vision is honoured and explained.

但除了几个情有可原的例外，预期展出的艺术品都摆在那里；古斯顿的构想得到了尊重和理解。

The format gives consideration to those who might be offended, but not a veto.

这种设计安排照顾了那些可能被冒犯的人，但没有完全否决作品。

It affirms and accommodates art's power to provoke, and its right to.

展览肯定并包容了艺术挑衅的力量，以及它挑衅的权利。

Lots of cultural skirmishes end in shouty hostility or shabby retreat.

许多文化冲突都以激烈的敌意或狼狈的撤退告终。

Here is a wiser sort of resolution, relying on a mix of principle, reflection and what you might call tact, or good manners.

而这是一种更明智的解决方案，它依赖于一种原则、反思以及你可能称之为得体或礼貌的东西的结合。

Besides the hoods, other themes and motifs recur.

除了兜帽，还有其他反复出现的主题和图案。

Red was the main colour in Guston's palette, bleeding into pink.

在古斯顿的调色板上，红色是主色，融进粉色。

He was always influenced by the Italian Renaissance masters, especially their gorgeous visions of the apocalypse and the damned.

他一直受到意大利文艺复兴时期大师们的影响，尤其是他们对天启和地狱的华丽想象。

Heaven was dull, he noted, but "when they're going to hell the painter really goes to town".

他曾写道，天堂是枯燥的，但“当他们下地狱时，画家才真正有了创作的热忱”。

The same is true of him, and of the new show: they draw art from anguish and force you to think.

他和这场新展览也是如此：它们从痛苦中汲取艺术，迫使你去思考。