我对于上世纪90年代初 科隆艺术博览会的印象很好，尤其是 Unfairs。

　　They were fantastic When we started the magazine and began traveling to look at art,

　　他们非常棒。当我们创办这个杂志并开始旅行欣赏艺术时

　　fairs were already very important places for learning about artists and meeting people—for working out what was going on, basically.

　　博览会已经是可以见到艺术家和认识人的重要地方了，去那儿起码可以知道人们都在干什么。

　　You were quoted recently in The Guardian as saying you first had the idea for the fair in 1998，

　　《卫报》最近引用过你们的话说 你们最早是1998年有创办博览会这个想法的，

　　which was surprising to me, given what I understand to have been the surrounding context at the time.

　　这让我很惊讶，因为想到了当时的环境背景，那时的博览会更少。

　　There were fewer fairs, certainly. And I imagine, perhaps naively, that they did not yet have the complexion of creative entities.

　　也许我想得有些天真，那个时候他们还没有创造性实体的特性。

　　How were you looking at art fairs at that point?

　　从这点上看，你是如何看待博览会的？

　　Well, I actually don’t think there’s been such a huge change; they were important culturally then, as they are now.

　　实际上我不认为有这么大的变化；就像现在一样它们当时在文化上是很重要的。

　　Cologne had the kind of energy that I think Frieze has now.

　　科隆具有的那种活力，我想Frieze现在也具备了。

　　But I do remember our thinking that when you get all these interesting people together in one place,

　　但是我记得我们的想法，当你让所有有趣的人汇聚到一个地方时

　　you could make the whole experience less trade-fair-like and more art-like, or more festival-like.

　　你应该让他们感到这里更具有艺术感，而不是商业感，或者说，更像个节日。

　　Not to say there aren’t great distinctions between these endeavors, but we saw ignored opportunities for making fairs more interesting places.

　　不要说这些努力之间没有差别，但是我们错过了让展会更有趣的机会。

　　The first person we employed was actually a full-time curator, Polly Staple,

　　我们雇佣的第一人是全职策展人波莉斯戴博，

　　with whom we set up a nonprofit foundation to really arrive at what would be most interesting to us within this particular context.

　　与她一道，我们建立了—个非盈利基金，以触及这个特殊的环境里我们觉得最有趣的事物

　　Polly created a remarkable program that, I should say, gave me the opportunity to see things I wouldn’t have otherwise.

　　波莉创造了一个非凡的项目，可以说，这使我有机会去观看一些事物，而这些事物是在其他地方看不到的。

　　But I would like to take a step back and ask how these and other moves—some art-like, some no-set your fair apart from others.

　　但是我想后退一步了解一下，这些或那些运动，其中一些和艺术有关，一些和艺术无关，将你们的博览会与他人的区分开。

　　You’ve already mentioned the earlier example of Cologne, but what about our own day?

　　你曾经提过科隆博览会这个早期的例子，那么现今我们又是什么情况呢？