WEBVTT 00:00:08.676 --> 00:00:11.806 [Fred Wilson: Beauty & Ugliness] 00:00:11.806 --> 00:00:14.497 Frumusete 00:00:14.497 --> 00:00:16.661 Frumusete, frumusete, frumusete 00:00:16.661 --> 00:00:18.718 Sunt foarte interesat de frumusete. 00:00:18.718 --> 00:00:20.895 [Venice Biennale, 2003] 00:00:20.895 --> 00:00:22.307 Sunt interesat de frumusete 00:00:22.307 --> 00:00:24.220 daca te gandesti la frumusete ca 00:00:24.220 --> 00:00:25.749 o experienta visuala unica 00:00:25.749 --> 00:00:27.558 Dar sunt, de asemenea, interesat in frumusete 00:00:27.558 --> 00:00:33.583 si prin ce inselesuri ascunde. 00:00:33.583 --> 00:00:38.471 Lumea e complexa, 00:00:38.471 --> 00:00:40.185 si deseori noi incercam sa 00:00:40.185 --> 00:00:40.654 ne separam de toate aceste experiente. 00:00:40.654 --> 00:00:43.987 "Asta e frumos. " "Asta este urat." 00:00:43.987 --> 00:00:46.179 "Este o experienta frumoasa-- asta e tot ce e..." 00:00:46.179 --> 00:00:47.648 "... nu are niciun inteles." 00:00:47.648 --> 00:00:57.818 Sau "intelesul nu e important." 00:00:57.818 --> 00:00:59.447 Oamenii trebuie sa se preocupe cu faptul ca 00:00:59.447 --> 00:01:03.051 exista insemnatate in frumusete-- 00:01:03.051 --> 00:01:04.814 exista insemnatate in uratenie. 00:01:04.814 --> 00:01:05.759 [The Studio Museum in Harlem, 2004] 00:01:05.759 --> 00:01:08.932 Si astfel, in toata munca mea -- daca pot-- 00:01:08.932 --> 00:01:18.327 incerc sa creez aceasta tensiune. 00:01:18.327 --> 00:01:20.096 The whipping post and chairs sunt un exemplu perfect 00:01:20.096 --> 00:01:21.412 deoarece scaunele sunt asa de frumoase; 00:01:21.412 --> 00:01:25.296 iar whipping post cu siguranta nu este. 00:01:25.296 --> 00:01:27.174 Ele erau de la prima expozitie pe care am facut-o 00:01:27.174 --> 00:01:29.727 cu colectiile de muzeu. 00:01:29.727 --> 00:01:31.937 A fost in Maryland Historical Society in 1992. 00:01:31.937 --> 00:01:39.189 Este o gama traditionala. 00:01:39.189 --> 00:01:41.050 Nu este nicio manipulare a obiectelor 00:01:41.050 --> 00:01:42.558 alta decat pozitia lor. 00:01:42.558 --> 00:01:44.716 Si asta schimba insemnatatea, 00:01:44.716 --> 00:01:46.823 sau relatia 00:01:46.823 --> 00:01:48.138 sau ceea ce noi credem despre ele. 00:01:48.138 --> 00:01:50.474 Si asta este totul atunci 00:01:50.474 --> 00:01:51.668 cand eu lucrez cu muzee 00:01:51.668 --> 00:01:55.652 si deseori cand lucrez la studio. 00:01:55.652 --> 00:01:59.062 uitandu-ne la arta decorativa a scaunelor de inalta clasa 00:01:59.062 --> 00:02:02.565 si la stalp de biciuire 00:02:02.565 --> 00:02:03.974 ei au o asa de diferita istorie, 00:02:03.974 --> 00:02:06.412 dar relateaza foarte direct ca 00:02:06.412 --> 00:02:08.202 acei oamenii care stateau pe scaune 00:02:08.202 --> 00:02:10.633 aveau un fel de relatie cu 00:02:10.633 --> 00:02:18.173 cei care erau pe stalpul de biciuire 00:02:18.173 --> 00:02:20.275 Nerecunoscand ca lucrurile sunt complexe 00:02:20.275 --> 00:02:22.818 ca frumusetea e complexa 00:02:22.818 --> 00:02:24.726 cred ca e o problema 00:02:24.726 --> 00:02:26.486 in faptul ca oamenii vor sa faca asta. 00:02:26.486 --> 00:02:29.323 Deci, imi place sa fac arta complexa pentru oameni. 00:02:29.323 --> 00:02:32.294 Rasete 00:02:32.294 --> 00:02:35.052 pentru ca asta e lumea mea. 00:02:35.052 --> 00:02:37.615 Rasete 00:02:37.615 --> 00:02:41.615 Fred Wilson: Beauty & Ugliness | "Exclusive" | Art21