to execute a large body of work called "Uses of Evidence."

1996 年，古根漢美術館委託我

It was a cube --

進行一項大型的作品， 叫做《證據的使用》。

a very well large cube, at that.

它是一個立方體，

Each side had a window

非常大的立方體。

in order for the spectators to view the interior of the structure.

每一面都有一扇窗，

The exterior of the structure was a collage of Africa and Africans

讓觀眾可以看到結構的內部。

as portrayed in the Western media and literature.

結構的外部，是非洲 和非洲人的拼貼，

A look through the windows revealed a sharp contrast:

且呈現的是西方媒體 和文獻中描述的形象。

within the cubes are tranquil, civilized, domestic images

透過窗戶，則會看到強烈的對比：

of African family members, friends

在立方體內的影像，是寧靜的、 文明的、家庭的影像，

and Nigerian professionals,

人物是非洲家庭成員、朋友，

ranging from writers, poets, fashion designers, etc.

還有奈及利亞專業人士，

The thing is,

作家、詩人、時尚設計師等等都有。

both the exterior and the interior images are quite true.

重點是，

But the images captured by Western media

外在和內在的影像都是十分真實的。

overwhelmingly depict Africans as basically primitive at best,

但西方媒體報導中的影像

or barely distinguishable from the African animals.

全都把非洲人描繪成 頂多像原始人那樣，

Not much has changed, I'm afraid, since 1996,

或是和非洲動物沒什麼差別。

when I executed this work.

恐怕自從我於 1996 年 做了這作品之後，

I began my professional photography practice in 1994,

仍然沒有多少改變。

but my passion and enthusiasm for photography

我從 1994 年開始做職業攝影，

goes back to childhood,

但我對攝影的熱情和熱愛，

when my parents arranged for us to be photographed

從小時候就有了，

by a professional photographer

當時我父母安排我們合照，

on almost a monthly basis.

由一位職業攝影師拍攝，

It was also an opportunity for my siblings to dress up in our latest gear,

且幾乎每個月都拍。

made by our tailor.

那也是個機會，讓我的 兄弟姐妹們可以穿上

Later, when I was in boarding school,

裁縫師為我們做的最新裝扮。

my friends and I bought Polaroid cameras,

後來，當我進入寄宿學校，

and then I began to experiment with self-portraiture,

我朋友和我買了拍立得相機，

or what I would call

接著我就開始實驗自我人像攝影，

"proto-selfie auto-portraits."

我則將之稱為

(Laughter)

「頭號自拍肖像」。

"Cover Girl 1994" was my first major work

（笑聲）

that was critically well received in the US and Europe

《封面女郎 1994》 是我的第一件大作，

and quite instantly became a part of the school anthologies

在美國和歐洲都得到好評，

at universities and colleges.

很快，它就變成了 學校選集的一部分，

With the "Cover Girl" series,

大專院校都看得到。

I wanted to reimagine the magazine cover

有了《封面女郎》系列，

with imagery totally unexpected, yet profoundly reasonable.

我想要重新思考雜誌的封面，

The "Cover Girl" series proposed a different way

用完全沒被預期到 卻又非常合理的圖像。

the African can be represented in a more complex manner.

《封面女郎》系列提出了 一種不同的方式，

Like "Cover Girl," the "Sartorial Anarchy" series

用比較複雜的手法 將非洲人描繪出來。

is made up of self-portraits.

如同《封面女郎》， 《男裝無秩序》系列

It is an ongoing body of work, started in 2010.

也是用自拍肖像做成。

In each image, I married disparate costumes

這作品從 2010 年就開始， 目前還在進行當中。

from widely diverse traditions, countries and time frames.

在每張影像中，我都 結合了迥然不同的服裝，

And in mixing eras, cultures,

來自廣泛多樣的 傳統、國家，以及時期。

I was able to bring harmony, as it were,

透過混合不同的時代及文化，

to their similarly irreconcilable differences.

可以說，我得以將和諧感帶到

These differences became a source

它們看似水火不容的差異上。

of inspired artistic celebration.

這些差異變成了一個源頭，

For example,

富有靈感之藝術讚頌的源頭。

in "Sartorial Anarchy #4,"

比如，

I mixed a boater hat,

在《男裝無秩序 #4》，

inspired by the traditional Eton-Oxford College Boat Race,

我混合了一頂平頂硬草帽，

with a green Afghan traditional coat

靈感來自傳統的伊頓-牛津大學船賽，

and an American Boy Scout shirt --

加上綠色的阿富汗傳統外套，

a culture clash that works.

以及美國童子軍上衣——

In "Sartorial Anarchy #5,"

這是有效的文化衝突。

I wore a macaroni wig,

在《男裝無秩序 #5》，

inspired by eighteenth-century macaroni headgear from England.

我戴著通心麵假髮，

This was paired with a British Norfolk jacket,

靈感來自十八世紀 從英格蘭來的通心麵髮飾。

Yoruba Nigerian trousers,

它搭配的是英國諾福克外套、

and, improbably, a South African Zulu fighting stick.

優魯巴奈及利亞褲子，

All harmoniously coexist on one body.

還有最不可能的： 南非祖魯的打鬥用木棍。

And with "Sartorial Anarchy," I began to invest more

都很和諧地共存在一個身體上。

into the organization of my pictures.

有了《男裝無秩序》， 我便開始投資更多

I also began to investigate the vast possibilities of color:

在我照片中的組織上。

its emotional values,

我也開始研究顏色的廣大可能性：

psychological impulse,

它的情緒價值、

poetic allure

心理衝動、

and a boundless capacity beyond the realm of meaning and logic.

詩意誘惑，

Now, enter Nollywood.

以及在意義與邏輯領域 之外的無限空間。

In October of 2014,

現在，進到奈萊塢。

I returned to Lagos, Nigeria, after over three decades away

2014 年 10 月，

and took photographs of 64 Nollywood personalities.

我在 30 年之後重返 奈及利亞的拉哥斯，

I captured a cross section of the industry,

為 64 位奈萊塢名人拍照。

as well as the next generation of rising stars.

我捕捉到了這個產業的典型，

Nollywood is the first time that you have a school of African filmmakers

以及下一個世代的新興之星。

truly, truly, profoundly in charge of telling African stories.

奈萊塢是第一間有非洲製片人學校，

In their varied movies --

真正是在負責訴說非洲的故事。

from romantic movies, horror films, gangster movies to action movies --

在他們各式各樣的電影中——

one sees Nigerians portrayed with many layers of complexities.

從愛情片、恐怖片、 黑幫片，到動作片——

All the Nigerian, or "Naija," archetypes, if you allow, are there --

都能夠看到對奈及利亞人的描繪 有著多層次的複雜度。

from the divvers, the "Shakara," the coquette,

所有奈及利亞人，或在電影中 稱為「Naija」的原型全都在，

the gangsters, the rich, the corrupt politicians,

從愚蠢的人、炫耀者、調情女子、

the whore, the pimp --

黑幫分子、有錢人、腐敗政客、

all in their swagger.

妓女、皮條客——

And of course, you have the lowlifes and the losers, too,

通通都神氣活現。

all vividly portrayed.

當然，也有下層階級的人和魯蛇，

Nollywood is Africa's mirror par excellence.

全都鮮明地刻劃出來。

Typically, I direct all of my portraits,

奈萊塢是非洲出類拔萃之鏡。

from the way my subject conducts his or her head,

通常我指導所有的拍照，

the way the neck is tilted,

如何擺放攝影對象的頭、

the expression of the fingers,

脖子傾斜的方式、

the gestures of the hands,

手指的表現、

to the gaze

手的姿勢、

and overall bearing and countenance.

眼神的凝視，

Let me describe some of the photographs for you.

以及整體的體態和面容。

Genevieve Nnaji.

讓我為各位描述其中一些照片。

She is the reigning queen of Nollywood.

格內維芙內吉，

Here, I was quoting from the grand, Pharaonic African cultures

她是奈萊塢現任的皇后。

of the Nile Valley civilizations;

在這裡，我引用的是偉大、 有代表性的非洲文化，

namely, Egypt, Sudan and Ethiopia,

來自尼羅河流域的文明，

so as to imbue her with a stately, ironic, calm grandeur.

也就是埃及、蘇丹，以及衣索比亞，

Taiwo Ajai-Lycett is the grande dame of Nollywood.

讓她充滿一種莊重、 諷刺、平靜的華麗。

Every aspect of her being commands attention.

泰沃阿傑莉錫特是奈萊塢的貴婦人。

So I posed her with her back to the audience.

她存在的每一個面向都吸引目光。

Her face turned to meet us with a redoubtable gaze.

所以，我幫她設計背向觀眾。

She doesn't need to seek our approval.

她的臉轉過來，用令人 敬畏的凝視看著我們。

She's all that.

她不用尋求我們的同意。

Sadiq Daba.

她就是那樣。

There was an unspoken authoritarian and imperial bearing

沙迪克達巴。

that Sadiq Daba exudes upon meeting him.

見到達巴時，他會散發 一種不言而喻的

In this portrait, he simply sat

權力主義且宏大的氣度。

and allowed his massive, massive Nigerian caftan

在這張照片中，他只是坐著，

to signal his status.

讓他那件厚重、有腰帶的 長袖奈及利亞服飾

Quite an accomplishment.

來傳達他的地位。

Belinda Effah.

很不簡單的成就。

Belinda Effah's portrait allowed me to indulge my passion for color,

貝琳達埃芙法。

dressed in a long, fitted blue dress that emphasizes her curves,

貝琳達埃芙法的照片 讓我能滿足對顏色的熱情，

seated on an upholstered green velvet bench.

她穿著很長、很合身的 藍色禮服，強調她的曲線，

I gamely employed the multicolored carpet

坐在有裝上墊的綠色絲絨長凳上。

and a vibrant color,

我很大膽地採用了多色的地毯，

in order to evoke the splendor of the multicolored painted bunting bird.

以及明亮的顏色，

Everything was designed to harmonize the figure of Belinda within the frame.

以帶出多色巫屬鳴鳥的光彩。

Monalisa Chinda is, shall we say,

所有的設計，目的都是要讓 貝琳達和整個畫面能夠很和諧。

the epitome of the luxe existence and lifestyle.

蒙娜莉莎秦達可以說是

Her picture, or portrait, pretty much speaks for itself.

奢侈存在和生活風格的縮影。

Alexx Ekubo is a sharp study

她的照片，或肖像， 無需說明就不言自喻。

in simplified elegance and dignity

艾力克斯伊庫柏讓我敏銳地探究了

and a harmony in blue and white, as well.

簡化的高雅和尊嚴，

Enyinna Nwigwe is a Nollywood matinee idol.

還有藍與白的和諧。

There is whiff of the rake about him,

艾因納維格威是 奈萊塢的日場表演偶像。

and that gives him an enchanting edge.

他有一種富家蕩浪子的味道，

That's what I felt when I designed and organized the portrait.

那讓他有迷人的優勢。

Now, Nollywood is a new phase of Africa.

那是我設計和組織肖像時的感受。

It is modern, post-modern,

奈萊塢是非洲的新階段。

meta-modern, bold

它是現代的、後現代的、

sexy, shrewd

超現代的、大膽的、

and with a contagious attitude worth catching.

性感的、機靈的，

As the finale of the project,

且有一種有感染力的態度， 很值得去捕捉。

I assembled the Nollywood stars

做為這計畫的壓軸，

into a group grand portrait of 64 subjects,

我把奈萊塢的明星組合起來，

called "The School of Nollywood,"

成為 64 個人物的大形肖像，

which was inspired by Rafael's "School of Athens,"

取名為《奈萊塢學院》，

that was done circa 1509.

靈感來自於拉斐爾的《雅典學院》，

It is at the Vatican.

那是他大約 1509 年的作品。

This grand group portrait

現在在梵蒂岡。

is the exact same size as Rafael's "School of Athens."

這幅宏偉的團體肖像，

It measures roughly 27 feet in width

尺寸和拉斐爾的 《雅典學院》完全一樣。

by six and a half feet in height.

大約寬 27 英尺，

Nollywood also exemplifies a type of modernity

高 6.5 英尺。

never before seen in Africa.

奈萊塢也算是現代的例子，

Think of it:

是非洲以前不曾有過的。

there has never been anything so ubiquitous

想想看：

with such iconic optics

從來沒有任何東西是如此無所不在，

to come out of Africa

有著如些代表性的光學，

since the Nile Valley civilizations

是出自非洲的，

of Egypt, Sudan, Ethiopia.

從埃及、蘇丹、衣索比亞這些

Outside of Nollywood,

尼羅河流域文明出現以來就沒見過。

the image of Africa remains frozen in the old "National Geographic" mode

在奈萊塢之外，

and safari perspective.

非洲的形象仍然停留在 老式的「國家地理頻道」模式

But as Africans continue to step and see themselves portrayed by Nollywood

以及狩獵角度。

in their varied and fantastic complexities,

但，隨著非洲人持續前進， 並看見奈萊塢用多樣化

they will, in turn, propagate and perpetuate

且了不起的複雜性來描繪自己，

the positive image of themselves.

他們遲早也會傳播出他們的

This is what Hollywood did and continues to do for the West.

正面形象並讓它永垂不朽。

As shocking as this may be,

好萊塢從過去到現在 一直都在為西方這麼做。

it is almost a taboo in the art world

雖然這可能很讓人震驚，

to show Africans in a modern framework --

但在藝術世界中

that is to say, as polished, dry-cleaned,

以現代架構呈現非洲人 幾乎是一種禁忌。

manicured, pedicured and coiffed.

也就是說，不把非洲人 以優美、穿乾洗過的衣服、

(Applause)

修過指甲、修過趾甲、 做過頭髮的方式呈現。

Part of my job is to keep beautifying Africa for the world,

（掌聲）

one portrait at a time.

我工作的一部分，是要持續 將非洲美化給這個世界看，

Thank you.

一次一張肖像。

(Applause)

謝謝。