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朋克卷土重来,却变成了讽刺

更新时间:2016-6-10 9:53:14 来源:纽约时报中文网 作者:佚名

Punk Without the Down and Dirty
朋克卷土重来,却变成了讽刺

NEW YORK — Ah! Sex, drugs, rock ’n’ roll. Where would the anarchic world of punk be without them?

纽约——啊!性,毒品,摇滚。朋克的无政府主义世界怎么少得了它们?

In much the same state as the sanitized and bloodless version of punk’s origins and influence delivered by the Costume Institute at the Metropolitan Museum of Art in the name of fashion.

时装学院(Costume Institute)在大都会艺术博物馆举办的展览从时装角度讲述朋克起源与影响力,差不多就是这样经过一番消毒处理,毫无生气可言。

The blasting music catches the pounding energy that ought to be at the heart of “Punk: Chaos to Couture,” which opens to the public Thursday and runs through Aug. 14. But the only moment the show gets faintly down and dirty is in the re-creation of grimy and gritty toilets of the 1970s East Village club CBGB. Even that comes minus any tawdry signs of vomiting or drug-taking (or any reference to Marcel Duchamp).

本次展览名叫“朋克:从混乱到时装”(Punk: Chaos to Couture),周四向公众开放,将一直持续到8月14日。展览上的爆炸性音乐具有震撼人心的活力,这种活力本应是这次展览的核心。但是展览中唯一略显低俗的就是20世纪70年代东村俱乐部CBGB肮脏、粗糙的马桶复制品。甚至连这个马桶上也被抹去了呕吐或者吸毒(或者与马塞尔·杜尚[Marcel Duchamp]相关)的猥琐痕迹。

The entire exhibition ignores any negative aspects of punk like swastikas or drugs — unless you count the Ramones singing “Now I Wanna Sniff Some Glue.”

整个展览忽略了朋克的所有负面形象,比如纳粹十字标或者毒品,除非你把雷蒙斯乐队(Ramones)演唱的《现在我想吸点胶水》(Now I Wanna Sniff Some Glue)算作与毒品相关。

Even the hair — that leitmotif of the period as a rejection of hanging hippie tresses — comes through as identical frizzy wigs, like uninspired Afros.

发型是那个时期的主题,是对嬉皮士披肩长发的排斥,但这里也被弄成了统一的卷曲假发,就像普通的非洲发型。

How could Andrew Bolton, the brilliant and cerebral museum curator, whose blockbuster shows have included the Alexander McQueen retrospective and last year’s fusion of Elsa Schiaparelli with Miuccia Prada, have made punk seem so dull?

安德鲁·博尔顿(Andrew Bolton)怎么能把朋克变得这么乏味呢?他可是一位有才华、有头脑的博物馆长,他策展的重量级展览包括亚历山大·麦昆(Alexander McQueen)回顾展和去年的艾尔莎·夏帕瑞丽(Elsa Schiaparelli)与缪西娅·普拉达(Miuccia Prada)联合展。

Mr. Bolton said that he did not want to “parody” the spikes and mohawks, and gave those directions to the exhibition’s hairstylist Guido Palau. Yet the fantastical hairdos and extraordinary makeup, requiring hours of artistic imagination, were emblematic of defiant, anarchic, rebellious individuals kicking against the boredom of being no-hopers. The hair was as significant as the do-it-yourself clothing.

博尔顿说他不想“拙劣地模仿”钉子头或鸡冠头,所以给本次展览的发型师吉多·帕劳(Guido Palau)下达的指示也是这样。但是那些古怪发型和离奇妆容需要耗费好几个小时的艺术想象力才能完成,象征着那些藐视权威、无法无天、离经叛道的个体,他们竭力对抗身为无用之人的无聊。发型和DIY服装一样意义重大。

And why wouldn’t Mr. Bolton, given his intelligent and intellectual foreword to the accompanying book, have linked that nihilistic spirit of London’s political and social crisis in the 1970s to other 20th-century movements like Dada?

博尔顿能给随附的展览介绍写出那样聪明、智慧的前言,却为什么不把20世纪70年代伦敦政治、社会危机中的无政府主义与20世纪的其他浪潮,比如达达主义,结合起来呢?

“Everyone has an opinion about punk,” said Mr. Bolton as he prepared for the opening gala on Monday night. “It was difficult to keep my thoughts and my focus when it means so much to so many different people who respond to it emotionally.”

“每个人对朋克都有自己的看法,”周一晚上博尔顿在为开幕晚会做准备时说,“我很难保持自己的想法和关注点,因为朋克对无数不同的人来说意义重大,他们对它充满了感情。”

He also emphasized that the focus of the exhibition is the enduring influence of the low-down punk on high fashion.

他还强调说本次展览的重点是不入流的朋克对高级时装的持久影响力。

The show opens with Richard Hell, the American luminary of punk, backed up by others including Blondie (New Wave) and Patti Smith. The latter might be seen rather as the end of the hippie era when compared with the British punks whom Johnny Rotten (John Lydon) of the Sex Pistols described as “utterly fearless.”

本次展览以美国朋克的杰出代表理查德·赫尔(Richard Hell)开始,辅之以其他代表人物,包括“金发女郎”(Blondie,新浪潮运动)和帕蒂·史密斯(Patti Smith)。后者如果与英国的朋克人物相比较的话,可能会被看作是嬉皮年代的终结。“性枪手乐队”(Sex Pistols)的“坏牙强尼”(Johnny Rotten,也就是约翰·林顿[John Lydon])称英国的朋克们真是“彻底地无所畏惧”。

Then there is Vivienne Westwood, who, driven by Malcolm McLaren, her partner, offered a sense of rowdy revolution. Her vibrant plaid bondage pants, furry sweaters and anarchic T-shirts make a striking display, interspersed with pieces in a similar spirit, like torn dresses and hose from Rodarte.

然后是薇薇安·韦斯特伍德(Vivienne Westwood),她在伴侣马尔科姆·麦克拉伦(Malcolm McLaren)的推动下,引发了一场喧闹的革命。她充满活力的格子呢紧身裤、毛茸茸的毛衣和不循常规的T恤衫,十分引人注目,里面还点缀着其他类似风格的服饰,比如剪破的连衣裙和罗达特(Rodarte)牌的长筒袜。

The rebel-yell T-shirts include the infamous punk Queen Elizabeth. And an outrageous Westwood commentary from the designer can be heard on a 1970s film, played on a period television set, placed in a re-created version of the couple’s store on King’s Road in London. Its name was changed from “Too Fast to Live, Too Young to Die,” to “Sex” and then to “Seditionaries” as their ideas evolved, says Ms. Westwood, claiming that she did not see herself as a fashion designer “but as someone who wished to confront the rotten status quo through the way I dressed.”

那些叛逆的T恤衫中包括那件臭名昭著的印有朋克伊丽莎白女王的T恤。展览里有这对夫妇在伦敦国王路所开小店的复制品,里面放着一台20世纪70年代的电视机,电视机里播放着当时一部电影的片段,内容是韦斯特伍德发布的骇人评论。这个店铺的名字从“时间太快来不及生活,要死又太年轻”(Too Fast to Live, Too Young to Die)改为“性”(Sex),又改为“煽动分子”(Seditionaries)。韦斯特伍德说这是因为他们的观念在演变。她说她不认为自己是时装设计师,“而是希望通过着装方式对抗腐朽现状的人”。

That is more or less it for examples of original 1970s punk. The next four rooms, their grandiose high ceilings suggesting salons of haute couture, are filled with four decades of punk inspirations, right up to Burberry’s current silver studs.

20世纪70年代朋克起源的例子差不多就是这些。接下来的四个房间有着高高的宏伟的天花板,暗示着高级时装沙龙,里面装满了40年来以朋克为灵感而设计的服装,一直到最近巴宝莉(Burberry)的银色饰钉。

The ranks of high-fashion outfits, shown with no context, start with punk’s first appropriation as wedding and evening dresses by Zandra Rhodes in 1975. That faces off the flesh-exposing black dress, held together with gilded safety pins down the side, that shot Elizabeth Hurley into paparazzi heaven in 1994 at the London premiere of “Four Weddings and a Funeral.”

高级时装展示区没有任何背景,首先看到的是1975年桑德拉·罗德斯(Zandra Rhodes)首次用朋克风格设计的婚纱和晚礼服。对面是1994年伊丽莎白·赫莉(Elizabeth Hurley)在《四个婚礼和一个葬礼》(Four Weddings and a Funeral)的伦敦首映式上穿的那件暴露的黑色连衣裙,这件连衣裙的几个部分是用镀金安全别针结合在一起的,这使她从此成为狗仔队追拍的对象。

Some of the clothes — the recent collection made by Gareth Pugh from garbage bags or the shredded complexity of Comme des Garçons — absolutely deserve their place as imaginative bricolage. Yet the exhibition is static, neglectful of digital opportunities to show the runways and to bring clothes to life, as the Victoria & Albert Museum in London does with its current dramatic screen-filled study of David Bowie.

有些衣服的确配得上其展厅的主题:充满想象力,利用零碎物品制作的服装(bricolage),比如最近加勒斯·普(Gareth Pugh)用垃圾袋或者川久保玲(Comme des Garçons)用复杂碎片制作的系列。但是这场展览是静态的,没有用数字技术展示时装秀,没有赋予这些服装生命力。不像伦敦的维多利亚与阿尔伯特博物馆(Victoria & Albert Museum)那样,用激动人心的视频资料探究大卫·鲍伊(David Bowie)。

To take John Galliano’s recycled shreds and threads for Dior haute couture entirely out of context is to lose the detailed intricacy of broken beauty; and to fail to explain why bringing Dior down to the level of punky do-it-yourself seemed so scandalous.

如果不展示约翰·加利亚诺(John Galliano)采用回收来的碎片和布条设计迪奥高级定制服装的来龙去脉,就丢掉了破碎之美的精细之处,就不能解释为什么把迪奥降低到朋克DIY的水平会如此令人震惊。

Having attended every single collection that brought these stationary clothes to life, I can remember the impact of Martin Margiela’s models, dressed in transparent dry-cleaning bags, walking the suburbs of Paris followed by gawping multicultural kids.

我观看过每一场使这些静止的服装充满活力的发布会,所以我还记得马丁·马吉拉(Martin Margiela)的模特们所带来的震撼:她们穿着透明的干洗袋走在巴黎郊区,后面跟着一群生活在多元文化中的孩子们,瞪大眼睛看着。

I watched the designer Katharine Hamnett, wearing a T-shirt declaring war on nuclear missiles, encounter British Prime Minister Margaret Thatcher in 1984. But how many museum visitors will know it as the source of the famous image? And how would they understand its relationship as “graffiti and agitprop” to splash-paint ball dresses from Dolce & Gabbana or the colorful work of Stephen Sprouse?

我看过设计师凯瑟琳·哈姆内特(Katharine Hamnett)在1984年穿着反核导弹T恤与英国首相玛格丽特·撒切尔会面时的情景。但是博物馆里有几个人知道这件著名服装的起源呢?他们又怎么能理解它被放在“涂鸦和政治宣传”展厅的原因,以及它与杜嘉班纳(Dolce & Gabbana)的泼溅染色舞会连衣裙或者史蒂芬·斯普劳斯(Stephen Sprouse)的鲜艳服饰的关系呢?

The final room, focusing on destroy and deconstruction, creates a valid place in fashion history, even if the museum was unable to get the piece that started it all: the famous “gruyère cheese” sweater with deliberate holes from Rei Kawakubo of Comme des Garçons.

最后一间展厅关注毁灭和破坏,为这个主题在时装史上营造出一席之地,尽管博物馆没能借到引发所有这一切的那件著名的服装:川久保玲设计的那件故意带着窟窿的“格鲁耶奶酪”(gruyère cheese)毛衣。

The premise of the exhibition is worthwhile. But the Metropolitan Museum is facing a quandary. Its much-anticipated, celebrity-fueled, fundraising galas risk overwhelming the museum shows themselves.

本次展览的意图毋庸置疑是极好的。但是大都会博物馆正面临着一个窘境。它那备受期待、明星云集的筹款晚宴似乎抢走了博物馆展览本身的风头。

However intelligent and intellectual Mr. Bolton’s commentary in the catalog, the imaginative and often exceedingly expensive concoctions walking the red-carpeted steps on Monday night may well outshine the exhibition.

不管博尔顿在目录中的评论写得多么聪明、智慧,周一晚上出现在红毯上那些富有想象力的、往往造价过高的各类混搭时装可能远比这次展览要耀眼得多。

The true punks — those who lived and survived that moment — should find an exquisite irony in the idea that their no-future kick at a dead-end society should, 40 years on, have moved from a defiant statement from society’s impoverished and self-proclaimed social outcasts to a display of clothes for global celebrities and the super-rich having a ball.

真正的朋克们——在那个时代生活过并挺过来的人们——应该会觉得这简直是微妙的讽刺:40年后,他们对走投无路的社会的无望抨击已经从穷困潦倒、自认为是社会弃儿的人的挑衅表达,演变为国际名人和超级富豪的舞会服装展览。

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