纪录片《文明》 第198期 重要的火花（10）（在线收听）

..Diese Zukunft restlos uns gehort.

...未来完全属于我们

Kiefer's first project was called Occupations...

基弗的第一个设计叫"占领"

..A combination of performance and photography,satirical poses meant to pierce the conspiracy of forgetting.....a wound opener.

是一系列表演和摄影 带有讽刺意味的姿势揭露了遗忘的阴谋...撕开伤口

Off he went where the Panzer divisions had gone,often wearing his father's Luftwaffe uniform,Sieg Heil to scenery

他去的地方都是装甲师去过的 他经常穿着他父亲的纳粹德国空军制服 对着镜头高喊纳粹的"胜利万岁"

but also to the seductive spell of German art memories.

不过也是对德国艺术记忆的魅力喊的

But satirical provocations alone would never have made Kiefer a great artist.

但只有讥讽的挑衅 是不可能使基弗成为一位伟大的艺术家的

This did.

让他成名的是这个

Paint thick with memory, physically encrusted with the debris of history's destructions...

带有浓厚记忆色彩的画 这是被历史破坏后的残骸包装之后的样子

..Images that recall the blasted,bombed-out cities in which Kiefer himself grew up.

让人回想起灰暗岁月的图像 也是基弗家乡被炸弹袭击之后的样子

But look closer.

但仔细看

There are names, written in Kiefer's spidery hand,great figures of all the Germanic peoples from history, culture, art...

基弗蛛网般地写下了这些名字 这些名字都属于德国历史 文化 艺术上的伟人们

..Painters like Durer, generals like Wallenstein,an indiscriminate gathering of both the gifted and the dangerous.

就像画家丢勒 华伦斯坦将军 那些天才与危险的人物 无差别地都被放进了画里

Their names recall a building and a moment around which German national identity had been formed.

他们的名字使人回想起建立起德国国家认同感的 那座建筑和那个时刻

This is the Walhalla, near Regensburg,finished in 1842,the pet project of Ludwig, King of Bavaria.

这是雷根斯堡附近的瓦尔哈拉 于一八四二年建成是巴伐利亚国王路德维希二世据个人喜好所建

He took the Norse idea of Valhalla,resting place of the greatest warriors fallen in battle,and Germanised it,

他取了北欧神话中瓦尔哈拉的概念 那是在战争中牺牲的伟大战士的归宿路德维希二世将这一概念德国化

filling this neoclassical pantheon with portrait busts,heroes of German culture...

这座新古典主义的神庙里装点着德国文化中的英雄的半身像

..The very same names that Kiefer includes in his paintings.

正是基弗在画中所写的那些名字

In the 1930s, of course, the Walhalla became a place of cultural pilgrimage for all good Nazis.

在二十世纪三十年代 瓦尔哈拉成为了杰出纳粹人士的文化朝圣地