Tattoos: how the art gets under our skin

导读

英国的一场文身展览证明这不仅是艺术,更是一种行为。展览上有100只硅制的“断掉”的小臂,纹身师们在上面进行文身。而管理这面展览墙的Alice Snape想要展现的是如今的英国纹身师们能够解决的问题:逃避和掩饰。纹身师们用蜡纸将一些非常个人的故事以歌词的形式文到客人的身上,并且把这样的图片传遍整个Instagram。其中一个展品表达,每一代人都会意识到,文身并非是水手的专利,然而现实却是,文身总体上又是一个很含蓄的艺术。所以对于展览的管理者来说,重要的就是探寻文身的边界。如何能够防止各种杂七杂八的评判标准降低文身的客观价值,从而让这门艺术进入到我们的生活中来,无论这些方法是主动邀请这种艺术,还是哄骗朋友参与,还是劝说朋友甚至是通过取悦或者说好话让朋友们尝试。自然历史其实早已解决这个问题。过去的规矩是,你想了解什么,你就得去捕获什么。波利尼西亚的毛利人,意识到西方游客对纪念品是有多看重,所以过去经常抓人,给他们的脸纹上团,砍下他们的头并且卖给这些收集纪念品的人。达尔文的穿上有个绘图员,就有一个旅行箱里面是用一个死掉的毛利战士纹了身的皮肤做内衬的旅行箱。时至今日,文身者也会自我收集。比如Geoff Ostling,已经表示死后要将自己纹了身的皮肤送给澳大利亚国家美术馆。而另外一个叫Gemma Angel的顾问则在自己的博士学位研究过程中判断人们会越发感兴趣于死后文身的保存问题。多亏这次的展览,人们明白了上述这个想法是多么不合理。Catherine Marston认为,文身是一门艺术,但是它无法收集,当文身者去世,文身也就不复存在了。文身是有时间的,而不是永恒的。这个观点很重要,因为文身其实是也一种行为艺术。接受文身的时候你可能会眩晕并且将那段亲密的瞬间永远封藏在自己的记忆当中。最后,文身用的文身枪可以是任何一种能振动的东西。最早的文身枪甚至是由维多利亚时代的门铃改装的。

更多剧透

第一步:解决高频单词

venerable ['venərəbl]

adj. 庄严的,值得尊敬的

nuisance ['njuːsns]

n. 令人讨厌的东西

contemplate ['kɒntəmpleɪt]

vt. 思考

exploit [ɪk'splɔɪt]

vt. 利用

compromising ['kɒmprəmaɪzɪŋ]

adj.妥协的

preservation [ˌprezə'veɪʃn]

n. 保存

pinpoint ['pɪnpɔɪnt]

vt. 精确地找到,指出

shuddering ['ʃʌdərɪŋ]

adj. 发抖的

intimacy ['ɪntɪməsi]

n. 亲近

lodge [lɒdʒ]

vt. 存放,留住

60p

第二步:精读重点段落

(Tips: 双击文中单词可以查释义并加入你的生词本哦)

第四段:
Practitioners exploit their liminal status even while they bemoan their lack of recognition. In a show full of repeating figures and useful (though never intrusive) signposting, my favourites were the boards that tell you “what the papers said” at different times in history. Every generation, it seems, has come to the same startling realisation that “tattoos aren’t just for sailors”, yet the information never seems to stick. Tattooing is an art that does not want to be fully known.

  • Practitioner 从业者
  • exploit 利用
  • liminal 勉强感觉的到的
  • bemoan 哀叹
  • stick 坚持,遵守

第八段:
It is to this exhibition’s great credit that it takes no time at all to find a voice pinpointing exactly what is so discomforting about this idea. In a cabinet of personal testimonies I find this remark by a Catherine Marston: “Tattoo is an art form but I don’t think they should be collected because when a person dies they die too. You hear of some really weird designers that use skin that’s cut afterwards, once they die then that goes on display. I think that diminishes the whole idea of a tattoo. It’s art with a time zone rather than timeless.”

  • Pinpoint 精确地找到、指出
  • Testimony 证词
85p

第三步:攻克必学语法

But和yet
But: 但是
Yet:与此同时却……
没有and but, 但有and yet
But 表轻巧的转折,yet表强烈的转折

It is very good, but (或yet) it can be better. 这很好,但还能精益求精。
It is strange, and yet it is true. 这挺奇怪,然而与此同时,它却是真的。
The wheel is perhaps the simplest yet (也可以用but但是转折力度减轻) the most remarkable of all inventions.

100p

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(Tips: 双击文中单词可以查释义并加入你的生词本哦)

Tattoos: how the art gets under our skin

导言:
An exhibition in Falmouth, UK, captures the creepy fascination of tattoos, while showing that they are not just artwork but performances.

  • Creepy 怪异的

第一段:
TURN left as you enter Tattoo: British Tattoo Art Revealed, and you will be led through the history of a venerable and flourishing folk art. Turn right and you will confront a wall of 100 disembodied forearms. They aren’t real, which is a nuisance for the artists who tattooed them – since silicone is nothing like as easy to work with as human skin – but a comfort for the rest of us.

  • venerable 庄严的,值得尊敬的
  • disembody 脱离肉体
  • nuisance 令人讨厌的东西
  • silicone 硅

第二段:
Alice Snape, editor of Things & Ink magazine, curated this wall to showcase the range of work by today’s tattoo artists in the UK. But you really need to see the rest of the exhibition first. You need time to contemplate the problem Snape’s 100 Hands is there to solve, that this is an exhibition whose subject is entitled to wander off, and cover up.

  • curate 管理
  • contemplate 思考
  • wander off 逃离(心理的创伤)
  • cover up 掩饰(心理的创伤)

第三段:
There’s something frustratingly arch about tattooing. Tattooists jealously guard their stencilled designs (called “flashes”) even as they create pieces that, by their very nature, come with their own sales reps. Clients (perhaps influenced by 2005’s reality show Miami Ink) wax lyrical on the deeply personal stories behind their tats, then plaster photos of them all over Instagram.

  • arch 自以为高明的
  • stencilled 用蜡纸的
  • plaster 覆盖粘贴

第四段:
Practitioners exploit their liminal status even while they bemoan their lack of recognition. In a show full of repeating figures and useful (though never intrusive) signposting, my favourites were the boards that tell you “what the papers said” at different times in history. Every generation, it seems, has come to the same startling realisation that “tattoos aren’t just for sailors”, yet the information never seems to stick. Tattooing is an art that does not want to be fully known.

  • Practitioner 从业者
  • exploit 利用
  • liminal 勉强感觉的到的
  • bemoan 哀叹
  • stick 坚持,遵守

第五段:
The problem facing the show’s curators is: how do you define the limits of your enquiry? If the art has to be invited in, cajoled, reassured, even flattered into taking part, how do you stop shaky inclusion criteria from compromising objectivity?

  • Cajole 哄骗
  • Reassured 一再保证
  • flattered 取悦,恭维
  • shaky 不稳固的,摇晃的
  • inclusion (对各种东西的)包含
  • compromising 妥协的

第六段:
Natural history solved the problem long ago. The rule used to be that if you wanted to study something you went out and shot it: the rifle was as much part of your kit as your magnifying glass. The Maoris of Polynesia, aware of the value Western visitors put on souvenirs, used to catch people, tattoo their faces, decapitate them and sell their heads to collectors. The draughtsman aboard Charles Darwin’s ship the Beagle had a travel box lined with the tattooed skin of dead Maori warriors.

  • kit 工具箱
  • decapitate 斩首
  • draughtsman 绘图员

第七段:
These days the tattooed collect themselves. Geoff Ostling, for one, has arranged for his heavily (and beautifully) tattooed skin to go to the National Gallery of Australia after he dies. Gemma Angel, an adviser to this exhibition, spent her doctoral study among the 300 or so items in the Wellcome Collection’s archive of human skin, and she reckons there’s a growing interest in post-mortem tattoo preservation.

  • post-mortem 死后的
  • preservation 保存

第八段:
It is to this exhibition’s great credit that it takes no time at all to find a voice pinpointing exactly what is so discomforting about this idea. In a cabinet of personal testimonies I find this remark by a Catherine Marston: “Tattoo is an art form but I don’t think they should be collected because when a person dies they die too. You hear of some really weird designers that use skin that’s cut afterwards, once they die then that goes on display. I think that diminishes the whole idea of a tattoo. It’s art with a time zone rather than timeless.”

  • Pinpoint 精确地找到、指出
  • Testimony 证词

第九段:
Such voices are valuable here because even this democratic, eclectic exhibition can’t quite capture the shuddering intimacy of the form it celebrates. Tattoos are not just artworks, they are also performances. Getting a tattoo hurts just enough to make you dizzy, and lodges that intimate moment in your memory.

  • eclectic 折中的
  • shuddering 发抖的
  • intimacy 亲近
  • dizzy 令人眩晕的
  • lodge 存放,留住

第十段:
Though the art is the point of the show, it would not work nearly so well without the artefacts it has borrowed from working tattooists and from the Science Museum in London. People make tattoo guns out of virtually anything that vibrates. The first machines were made out of Victorian doorbells. You can salivate at images all you like, but nothing gets under the skin like a doorbell-based tattoo gun once wielded by Johnny Two-Thumbs of Hong Kong.

  • vibrate 震动
  • salivate 垂涎
  • wield 使用,挥舞

 

200p

venerable ['venərəbl]

adj. 庄严的,值得尊敬的

nuisance ['njuːsns]

n. 令人讨厌的东西

contemplate ['kɒntəmpleɪt]

vt. 思考

exploit [ɪk'splɔɪt]

vt. 利用

compromising ['kɒmprəmaɪzɪŋ]

adj.妥协的

preservation [ˌprezə'veɪʃn]

n. 保存

pinpoint ['pɪnpɔɪnt]

vt. 精确地找到,指出

shuddering ['ʃʌdərɪŋ]

adj. 发抖的

intimacy ['ɪntɪməsi]

n. 亲近

lodge [lɒdʒ]

vt. 存放,留住

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下载音频

Tattoos: how the art gets under our skin

导言:
An exhibition in Falmouth, UK, captures the creepy fascination of tattoos, while showing that they are not just artwork but performances.

[1] TURN left as you enter Tattoo: British Tattoo Art Revealed, and you will be led through the history of a venerable and flourishing folk art. Turn right and you will confront a wall of 100 disembodied forearms. They aren’t real, which is a nuisance for the artists who tattooed them – since silicone is nothing like as easy to work with as human skin – but a comfort for the rest of us.

[2] Alice Snape, editor of Things & Ink magazine, curated this wall to showcase the range of work by today’s tattoo artists in the UK. But you really need to see the rest of the exhibition first. You need time to contemplate the problem Snape’s 100 Hands is there to solve, that this is an exhibition whose subject is entitled to wander off, and cover up.

[3] There’s something frustratingly arch about tattooing. Tattooists jealously guard their stencilled designs (called “flashes”) even as they create pieces that, by their very nature, come with their own sales reps. Clients (perhaps influenced by 2005’s reality show Miami Ink) wax lyrical on the deeply personal stories behind their tats, then plaster photos of them all over Instagram.

[4] Practitioners exploit their liminal status even while they bemoan their lack of recognition. In a show full of repeating figures and useful (though never intrusive) signposting, my favourites were the boards that tell you “what the papers said” at different times in history. Every generation, it seems, has come to the same startling realisation that “tattoos aren’t just for sailors”, yet the information never seems to stick. Tattooing is an art that does not want to be fully known.

[5] The problem facing the show’s curators is: how do you define the limits of your enquiry? If the art has to be invited in, cajoled, reassured, even flattered into taking part, how do you stop shaky inclusion criteria from compromising objectivity?

[6] Natural history solved the problem long ago. The rule used to be that if you wanted to study something you went out and shot it: the rifle was as much part of your kit as your magnifying glass. The Maoris of Polynesia, aware of the value Western visitors put on souvenirs, used to catch people, tattoo their faces, decapitate them and sell their heads to collectors. The draughtsman aboard Charles Darwin’s ship the Beagle had a travel box lined with the tattooed skin of dead Maori warriors.

[7] These days the tattooed collect themselves. Geoff Ostling, for one, has arranged for his heavily (and beautifully) tattooed skin to go to the National Gallery of Australia after he dies. Gemma Angel, an adviser to this exhibition, spent her doctoral study among the 300 or so items in the Wellcome Collection’s archive of human skin, and she reckons there’s a growing interest in post-mortem tattoo preservation.

[8] It is to this exhibition’s great credit that it takes no time at all to find a voice pinpointing exactly what is so discomforting about this idea. In a cabinet of personal testimonies I find this remark by a Catherine Marston: “Tattoo is an art form but I don’t think they should be collected because when a person dies they die too. You hear of some really weird designers that use skin that’s cut afterwards, once they die then that goes on display. I think that diminishes the whole idea of a tattoo. It’s art with a time zone rather than timeless.”

[9] Such voices are valuable here because even this democratic, eclectic exhibition can’t quite capture the shuddering intimacy of the form it celebrates. Tattoos are not just artworks, they are also performances. Getting a tattoo hurts just enough to make you dizzy, and lodges that intimate moment in your memory.

[10] Though the art is the point of the show, it would not work nearly so well without the artefacts it has borrowed from working tattooists and from the Science Museum in London. People make tattoo guns out of virtually anything that vibrates. The first machines were made out of Victorian doorbells. You can salivate at images all you like, but nothing gets under the skin like a doorbell-based tattoo gun once wielded by Johnny Two-Thumbs of Hong Kong.

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