【11.04.11 四月英文深度报道】艾未未被拘留，他就是个骗子（全部翻译完毕）
【原文标题】Detained: Ai Weiwei, Con Artist【中文标题】骗子艾未未被拘留
【登载媒体】四月网英文站
【来源地址】http://en.m4.cn/archives/7391.html
【译者】lisulin（小pia代发）
【翻译方式】 人工
【声明】 本翻译供Anti-CNN使用，未经AC或译者许可，不得转载。
【译文】
BEIJING - Anger is essential to the modern Chinese male character, which is so strikingly "un-Asian" compared with, say, a Japanese with his cool dispassion toward lethal risks or the Thai with his elegant aesthetic of combat as a dance to the death. On the streets of Beijing, it's not uncommon to see a burly bloke belly-bump a police officer while bellowing vulgarities. In most places, it's the cops who bully the civilians; only in China is it the other way around.
一个人日本人怎样冷静理智的对待即将到来的致命危险，或者像泰国人民一样，用高雅艺术舞蹈一样的战斗方式战斗到死，与那些特别引人注目的所谓的“非亚洲人”相比，愤怒则是现代中国男性特征里所必不可少的情绪。在北京的街头，一个粗鲁的小伙子与一名警察互相拉扯碰撞口骂脏话这种事情并不少见。在大多数的地方，往往都是警察欺负公民；但是在中国却恰恰相反。
The recently detained artist Ai Weiwei is an exponent of the macho gesture, Beijing-style. His life work is a rendering of the rude shove, the slamming door, spit and cigarette butts on polished marble floors and tussles in the subway. The leitmotif of one of his art series is the middle figure superimposed over images of China's national monuments. Like the enraged man on the street, the artist brutalizes symbols of authority.
最近被拘留的所谓的艺术家艾未未，其实是一个典型的大男子主义者。他的工作生活就是表演粗鲁的行为以将东西乱塞乱放，如摔门，吐口水，用烟蒂摩擦大理石地板，在地铁上撕扯等等。但是在他的这些一系列艺术作品里中最重要的一个就是对着名胜古迹的镜头竖起那根国际化侮辱的中指，像街上的愤青一样，是一个象征残酷粗鲁但是权威的艺术家。
Surprisingly, his recent arrest at Beijing's airport while trying to board an overseas flight did not stem from his controversial art, radical political views or an assault complaint but was related to a drab and dreary case of financial irregularities involving his new Shanghai studio. Though to his ardent supporters the charges may look like a set-up by the police, Shanghai is rife with commercial scams related to land and zoning codes. Details of the case are by law kept from media release until conviction, and Ai Weiwei himself has never provided answers to the charges, choosing instead to make counter-accusations of political persecution.
出人意料的是，他在北京机场等待去国外的航班时被逮捕，而被逮捕的理由却并不是起源于他备受争议的艺术或政治观点以及人身侵犯的案件，而是涉及到他的嫖妓行为和他在上海工作室的非法财政问题。不过他的那些热心的经费支持者们或许看起来像警方的计划，因为上海是一个充满商业诡计等气息的一个区域。这个事件的法律细节直到被定罪前媒体都不会将之公之于众，并且艾未未他自己也从来没有回答他的那些经费员们，反而选择做一个政治迫害的反控告方。
Shanghai Gang
上海团伙
Ai Weiwei's alleged violation of property regulations, like the myriad of other less-publicized cases in Shanghai, has its origins in those heady days when the municipality was led by municipal party chief Chen Liangyu, who has since been arrested for embezzlement and property fraud. Chen wooed anyone in the cultural field who had connections with the West in the drive to win approval for the city's bid for a World Expo. Often Chen took personal charge by inviting a guest to a private dinner, such as one this author sat in on, to promise that a successful effort to bring over cultural heavyweights from the U.S. and Europe would be rewarded generously.
艾未未声称违反所有权法规，像那些上海其它无数的不宣传案件一样，比如市级党员陈良宇，在领导群众的那段鲁莽的时间里，因为挪用公款和欺骗他人产权而被逮。陈良宇招致一些在文化领域里与西方有，某种关系的人，去世界博览会就是为了获得城市投标的支持。陈良宇经常私人宴请一些作家，并答应他们会使他们转变成为有文化的有影响力的人物，并且欧洲某些国家会对他们慷慨解囊。
In 2000, Ai Weiwei, who had studied at Parsons School of Design and familiar figure in New York's avant garde art scene, was invited to curate a group show in Shanghai. His radical anti-authoritarian opinions were received with enthusiasm by Chen's cultural circle, which included neo-conservative critics of the Cultural Revolution, who in an earlier era would have been deemed capitalist roaders. The city gates were flung open, and the artist got his pick of real estate.
2000年，艾未未曾在帕森斯设计学院和类似的纽约的前卫艺术场景学习，应邀在上海群展中担任牧师助理。他的激进的反独裁的见解受到陈的文化圈的热情欢迎，这个文化圈中包括新保守派评论家（在较早的时代被视为走资派）。于是城门被推开，艺术家得到了实业的选择。
A series of property scandals, triggered by mass evictions of long-time residents, eventually led to the arrest of Chen and his associates. Land titles transferred under hi0s regime have since been reviewed, and hundreds of prosecution cases filed. Ai Weiwei's new studio, which was among the questionable properties was torn down like many other illegal structures. There's nothing extraordinary about this sort of corruption, except for its politicized defense by Ai Weiwei and his foreign sponsors, including the American ambassador to China.
这些一系列丑闻，引发了大规模群众的不满，最终导致了陈良玉和他的合伙人被逮捕。而关于他的土地转让的体系问题已经被审查并且还有上百个控诉案件在等着他。艾未未的那个被质疑的新工作室，也像那些违章建筑一样被拆毁。关于这个从某种意义上来讲的贪污问题，除了他那政治化的抗辩，驻中国的美国大使和他的那些外国赞助者们，没有什么特别的解释。
As the Shanghai case illustrates, Ai Weiwei is not only an artist, architect, filmmaker, curator, social critic and dissenter, he is also a low-end property developer with an apparently sloppy ledger book, rife with shady accounting practices. To some he's a great artistic talent, but as a businessman he's known for skirting the rules. His loosely administered property dealings have long raised eyebrows among academic artists and municipal officials in Beijing.
上海的事件说明了艾未未不仅仅是艺术家、设计师、电影制作者、策划人、评论家等，很明显他更是一个低级行为的一个创造者。对于他伟大的艺术才能先暂且不论，但作为一个商业人士他知道如何与法律打擦边球。他的资产交易的松散管理，引起了学术艺术界和北京市的官员长时间的注意和怀疑。
Now, as the hidden associations with Shanghai's boss, who abused political power to evict thousands of residents from their homes, come out, the truth is blowing apart Ai Weiwei's phony "anti-corruption" crusade. No wonder he keeps his fat mouth shut about the sordid details.
目前，随着滥用政治力量而逐出了上千居民的某人与上海老大秘密联合的曝光，艾未未假冒反腐败改革运动的这个骗局，像迅雷不及掩耳之势般流传开来，所以难怪他对他的那些卑鄙细节只字不提。
Readymade Rebel
现成的造反者
Whatever his claims of political persecution, the fact is that Chinese authorities have shown nearly infinite latitude toward this artistic maverick and social rebel. Their muted acceptance of his barrage of insults illustrates how, at the gut level, the Chinese are more democratic than their ultra-polite and class-conscious peers in Japan, Thailand and India.
他对他所谓的身受政治毒害要求索赔，但是事实上中国当局对他特立独行的艺术和对社会的反叛已经给予了几乎最大限度的人权自由。中国权威当局对艾未未无礼的攻击沉默不语，说明了中国对待粗鲁与阶级意识还是相对日本、泰国和印度来讲比较民主的。
Across the entire continent, there is no artist who can come close to Ai Weiwei in outrageousness, as expressed in 2000 with a group exhibition that he co-curated titled "F--k Off". His publicity materials used all four letters. There are cities in America and Europe where you couldn't get away with printing the offensive word on posters and flyers. Just imagine the reaction to such an arts event in Karachi or Riyadh. So freedom of expression in China is a lot safer than in many other parts of the world.
横跨整个大陆来看， 在2000年的群体艺术展览中，以FUCK OFF为主题，关于这一点就没有哪个艺术家可与艾未未的无耻相媲美。他的宣传材料中使用全是这四个字母，而欧洲和美国的一些城市是绝对不会允许印有攻击性语言的海报和传单在外发放的。甚至可以想象的出如果这种艺术在卡拉奇或者利雅得这样的城市出现，会有什么样的后果。中国的言论自由相对于某些国家来讲还是安全的。
Despite his hatred of authority, Ai Weiwei is no inner-city plebe or impoverished peasant but one of the princelings born to privilege. In his youth, he experienced hardship and poverty not as a commoner but as the son of a once high-ranking cultural official. His father Jiang Zhenghan, a poet who took the pen name Ai Qing, was purged from the Communist Party in 1957 during the anti-rightist movement and exiled to the hinterlands of Xinjiang Province.
尽管他很仇恨政府权威，但其实艾未未的出身并不是贫困的农民或者普通城里的市民，而是享受许多优惠政策的名二代。他小的时候所经历的所谓的苦难也并不像普通老百姓的一样，因为他父亲曾经也是一位文化官员。他的父亲蒋正涵是一位诗人，笔名为艾青，1957年在被共产党划分为反右派分子后，将他流放到了新疆。
Ai Weiwei's memories of banishment are captured in his installation, "Sunflower Seeds" at London's Tate Museum. Piled across the floor of the .turbine room are 100 million porcelain seeds, each handmade in China. Art critics have interpreted the tear-shaped pebbles as an analogy of mass production, exploitation of sweatshop labor, the persistence of individualism in a collective society and the pointlessness of China's national objectives. The artist stated in simpler terms: "In China, when we grew up, we had nothing . . . but for even the poorest people, the treat or the treasure we'd have would be the sunflower seeds in everybody's pockets."
被流放的记忆牢牢安置在了艾未未的记忆中，于是那堆瓜子作品就展示在伦敦泰德现代美术馆里。一亿颗纯手工制作的陶瓷瓜子被铺在了涡轮馆，并且每一颗都不一样。那些像泪珠一样的鹅卵石，被廉价劳动力加工成瓜子一样的产品，被艺术评论家门以最耐心最极端的方式，在中国集体主义的社会里和诠释了什么叫做个体主义。这个艺术家简单的陈述了“在中国长大，我们一无所有”的观点，可是，甚至连中国最穷人们的口袋里，都装满了瓜子。
Under his original conception - later canceled by curators due to the health risks of ceramic dust - museum-goers were encouraged to walk over the fragile seeds, crushing them. Such is the fate of the multitude doomed never to sprout, grow and blossom, these who in their millions end up as empty husks strewn over train platforms and under the tables of beer swillers.
其实他最初的构想是在这些易碎的陶瓷瓜子上面一边行走一边将他们踩碎，但是因为陶瓷粉尘对健康有危害，很快就被否定了。数百万的人就如同这些永远不会开花发芽的陶瓷瓜子的命运一样，像散布在火车月台的瓜子空壳，被人们所遗忘了。
That bleak outlook, sadly, is Ai Weiwei's view of human existence as sterile, stunted and futile. These are not the fields of yellow blossoms humming with bees in the Xinjiang sunlight, which he saw as a boy in western China, nor the bouquets of Van Gogh cut off from their roots yet pulsating with energy.
艾未未对人类存在的问题上有着让人觉得暗淡、悲伤、枯燥、徒劳的观点。这并不是像一个生活在中国西部城市，在新疆充满阳光的金黄色的田野里与蜜蜂玩耍的小孩子所感悟出来的东西，也不会像梵高一样,从不拔掉那些尚未长成的花朵。
Into the Cultural Elite
进军文化艺术界
A premature dead-end is certainly no reflection of his own career. His family was pardoned with the economic reforms at the start of the Deng Xiaoping era. After being branded a reactionary bourgeois poet, his father Ai Qing saw his reputation restored in 1979 as the lyrical voice of Mao's Yanan-based resistance to Japanese military occupation and a democratic intellectual who had selflessly supported workers' uprisings against the dictatorial Nationalist Party in the 1930s. His rejection of the family name "Jiang" or Chiang, in disgust at the brutal tyranny of Kuomingtang chief Chiang Kai-shek, was again hailed as an exemplary act of moral integrity.
他必定没有反思过他的职业生涯正在一条不成熟的死胡同里。邓小平同志在位的经济改革时期，他们家就已经被赦免。他的父亲艾青曾经被认为是资产阶级反对分子的诗人，但是他在1979年延安根据地的时候，用很抒情的语言和诗句来抵抗日本大军的侵略，赞美了支持1930年工人起义与国民党独裁统治相对抗的聪明无私的民主人们，于是重新得回了名誉。因为不愿意与独裁残忍的国民党主席蒋介石同姓，所以蒋正涵舍弃了他的姓。他这么做被人们称为是典型的艺术家气节。
Just a year before his father's release, from exile Ai Weiwei was enrolled in the Beijing Film Academy, alongside illustrious classmates Chen Kaige and Zhang Yimou, who soon became China's leading filmmakers. Quickly he, too, was welcomed into the nation's cultural elite, as a younger member of the avant garde movement known as "The Stars."
就在他的爸爸释放回来的前一年，艾未未进入了北京电影学院与现在著名的导演陈凯歌、张艺谋成为了同学。很快的，他作为一个行为艺术家新人也被热烈欢迎的加入了文学界，变成了一个文学界的新星。
His alienated generation felt burning anger toward the anti-intellectualism of the Cultural Revolution. Before long, however, many including Zhang Yimou came to terms with the governing populist ideology and joined the upper echelons of the arts establishment. As China's "commanding" film director, Zhang took the political position of accepting the historical necessity of national unity, as depicted in his film "Hero" with the would-be assassin's ultimate decision not to execute the emperor.
他作为一个情绪不满的新一代，在文革时期对反智主义充满愤怒。可是不久以后，很多人（包括张艺谋）对统治平民主义观点表示妥协，并且加入了可以得到更高职位的艺术机构。作为一个中国电影导演的领军人物，张艺谋接受了历史上必然的国家统一的政治姿态，就像英雄里最后那个刺客没有去刺杀那个皇帝一样。
Ai Weiwei, in contrast, rejected what he saw as the shallow and self-serving mantle of "national representative artist", denouncing Zhang Yimou (and Stephen Spielberg) for producing the mass-exercise performance at the opening ceremony of the Beijing Olympics. His reaction was one of "disgust" at "anyone who shamelessly abuses their profession, who makes no moral judgment." Consistent with his iconoclasm, Ai repudiated his own participation in the architectural design team for the Bird's Nest Stadium. The son, like his father, demonstrated extraordinary courage and stubbornness - though under far different circumstances.
与之相比，艾未未就是一个肤浅又自私自利的民族艺术家代表，抗拒他所看见任何的东西，公然抨击由张艺谋（和斯皮尔伯格）策划的北京奥运会开幕式。他对那些他所谓的不知羞耻滥用职权毫无道德审判的人们感到厌恶。与他的打破旧习的理念相一致，他否定了他参与过鸟巢体育场的建筑设计团队。虽然在相差很远的不同的环境下，儿子和父亲一样，都展示了不同寻常的勇气和倔强。
Before heaping praise on Ai Weiwei as a champion of freedom and democracy, Western artists should ask themselves if they have ever taken the same stance against their own involvement with corporate or government sponsors. Has any one of them refused all funding from grants, exhibitions and seminars? If any such uncompromising artists do exist in the West, they can probably be counted on the fingers of one hand.
在得到别人对他的一致好评之前，艾未未被作为一个自由和民主的拥护者。西方艺术家应该问问自己，是否他们曾经采取过同样的立场来反对共同企业或政府的赞助商。是否有任何一人拒绝从赠款，展览和研讨会中得到资金？如果西方真的有如此坚定的艺术家，或许也是屈指可数的。
The Clubbing Incident
警棍事件
His reputation would have been enshrined forever had Ai Weiwei remained a lone artist in the footsteps of a Vincent Van Gogh or a solitary dissident like novelist Aleksander Solzhenitsyn. His self-righteous refusal of emoluments, however, did not extend to foreign governments. He gladly received cash awards, including the overtly political Prism of Reason from the city of Kassel, Germany, and another from the political science faculty of the University of Ghent, Belgium.
作为一个独立的艺术家，他继续追寻着梵高或是独立见解的小说家亚历山大索尔仁尼琴的足迹，他的名声也将会永远被流传。他自以为是的拒绝了他的酬金，但是却没有拒绝外国的政府。因为他喜欢的是那些奖金（包括在卡塞尔得到的“理性棱镜”奖和在比利时根特大学得到的奖金）。
An inconsistent stance toward state sponsorship at home and abroad undermines his existentialist principles. As with his friend and ally Liu Xiaobo, the 2010 Nobel laureate for literature, his sensational acts of dissent appear to be aimed at currying favor from foreign sponsors rather than toward enlightening his compatriots.
他在国内外对赞助商的不同立场打破了他自己的原则。他的一些感动的有争议的艺术作品和行为，很明显可以看出来是在巴结外国赞助者，比起启示和关心他的朋友和同胞刘殖民（获得了2010年的诺贝尔文学奖）来讲，他更喜欢对国外赞助者溜须拍马。
Especially insensitive was his showing up in the wake of the Sichuan earthquake, video camera in hand, to expose the corruption behind the poor construction of public schools that killed many local children. The problems related to countryside schools are no state secret, especially to the grieving parents, but were already taken up as a serious nationwide discussion, including among the state-run media. A discussion of such gravity in a neo-Confucian society, which accords the highest esteem toward education, the school issue had to be handled with utmost propriety and rationality, and not as a controversy-stirring art statement aimed at foreign audiences.
尤其是他对汶川大地震的无动于衷，让人觉得不可思议。在震后的灾区内，他拿着摄像机站在死伤无数本地儿童的学校废墟前去揭露关于腐败的问题，而这个乡村学校的腐败问题已经不再是什么秘密了，特别是那些失去子女的父母，他们那时早就根本就不关心这个问题了，但是虽然如此，这个腐败的问题还是引起了全国范围内的讨论和媒体的关注。学校的问题无疑已经被最大限度得体的合理的处理了，而关于这个庄严的新儒学社会应与最高尊敬的教育状况一致的讨论，并不是一场激动人心的针对外国观众辩论。
In a consequent incident, the physically large artist pushed a local policeman, who responded with a light warning tap from a billy club to the assailant's head. Soon the artist's skullcap showed signs of swelling. Instead of going to a clinic in China, Ai Weiwei flew to Munich for treatment. His flight abroad, which risked a contusion from low cabin pressure, raised medical suspicions with a Hong Kong physician who told me that the brain swelling might have been symptomatic of a recreational vice from his bohemian lifestyle.
在随后发生的事件里，这个身材高大的艺术家与一名当地警察发生了争执并推了警察一下，随之回应的是被认为是攻击者的一记警棍，打在了这名攻击者（艾未未）的头上。很快，这名艺术家的无边便帽下便显示出了水肿的迹象。相对于去中国的诊所，艾未未更喜欢飞去慕尼黑治疗。他的海外求医旅行，冒着被低舱压挫伤的风险,更加受到了香港医生医疗的猜疑，并且说脑肿胀的原因可能是他放荡不羁的生活方式而带来的副症状。
Father, Son and the Ghost
父子与灵魂
Ai Weiwei is no Surrealist revolutionary or Dada radical assaulting bourgeois sensibilities since he is firmly ensconced in the upper bracket of the cultural establishment. His artistic appeal to wide sections of the capital's elite lies in his ability to invoke a nostalgic longing for the old days when everyone was equal in common poverty, before economic reforms split the Chinese into rich and poor, privileged and exploited, and educated and benighted.
艾未未不是一个超现实主义革命者，自从他稳坐了文化建设上层的高座，也没有激进的攻击资产阶级的达达主义情感。他的艺术呼吁广泛的引起了资产阶级精英们怀旧的渴望，在经济改革时期之前中国被拆分成了富贵和贫穷，特权和功绩，有教养的和愚昧的几个部分，虽然在那个时期每个人都很穷，但是却都到处可见公平之声。
Better to be together and crushed under, his works tell the viewer, than to find yourself alone at the top. As contemporary China's "greatest artist," he knows what it means to be top dog.
他这样的工作告诉了人们，聚在一起压着底层阶级比自己一个孤独在上层要好的多。作为一个当代中国最“伟大”的艺术家，他知道他自己处在一个支配地位。
Whatever innate talents he may possess, his successes are based on the easy access opened to the son a rehabilitated comrade. Since university, his career advancement was constantly favored over other less-connected rivals in compensation for the unjust punishment that had been meted out to his father. Other banned "rightist" intellectuals never lived to see redemption, perishing in the outland with reputations cast to the winds like ghosts. Meanwhile his old schoolmates and childhood friends were left behind, unrecognized in the provincial dust and grime.
无论他是否拥有天生的天赋，他的成功都基于他父亲昔日的名誉。从大学时开始，他在事业方面不断的受到优待（对他爸爸不公平惩罚的酬金等），相对于那些没有门路的竞争者们更能得到提高。而其他被禁的右派知识分子没有活到看见救赎的那一刻，名誉与声望早已在严寒的边境中被抛到九霄云外，像个鬼魂一样。与此同时，他的老校友和同年的伙伴们都被抛弃在那些偏远未开发的地方。
Ai Weiwei is perfectly right not to give thanks to hypocrisy. Yet all the fawning favoritism with its inherent unfairness to his peers must have fueled self-doubt. He never had to earn and really struggle, for everything was given to him by his father's admirers who pulled the strings. How less compromised, how much more honest, how purer it would have been to remain unforgiven. A condemned man has nothing but his pride, but to be forgiven is to silently bear the shame. What Ai Weiwei likely suffers psychologically is an angst that drives his rage and rebellion: the guilt of the forgiven.
艾未未不感谢他的特权和伪善是非常正确的。但是艾未未这些不公平的特权和与生俱来的偏袒奉承，一定会使平辈中人辛苦所学的知识与经验感到自我怀疑并且缺少自信。而他却从没去学过什么或者努力的奋斗过，他得到的一切都是来自于他父亲的仰慕者给予的牵线搭桥。一个被责难的人除了自尊什么都没有，宽恕就是默默的承受着耻辱。艾未未可能会遭受的焦虑心理，就是他的狂怒和反叛（宽容过错）。
The Dark Ages
黑暗时代
The business dealings that led to his detention can be outlined only in broad detail since court proceedings cannot be released until after conviction. The legal case in Shanghai is likely based on violations of zoning regulations, assessment of property value and perhaps illegal methods of clearing the land of tenants. If his case was watertight, the outspoken Ai Weiwei would have by now disclosed the details. His business methods are less than transparent as shown in his arts collective in Bejing.
关于艾未未被抓事件，除非到定罪以后，不然法院的诉讼会使他不能被保释。而他的商业交易也导致了这个拘留事件在国内只有一些简单的报道。在上海的这个法律案件里，或许是他违反了区划条例和房产价的评估以及非法清理房客等这些法则。如果这个案件是密不透风的，那么直言不讳的艾未未现在就应该公开这个案件的全部细节。他商业运作的方式比他在北京集体艺术曝光程度上要小的多。
In 1999 Ai Weiwei led his followers out of the increasingly commercialized 798 artists' colony to a nearby site in Caochangdi village (CCD). There, he demonstrated a rather limited ability at architecture with far less skill than his attempts at conceptual art. The crowded warren is built of plain red-bricks stuck together by a crudely applied impasto of cement. The high walls and sparse windows allow in little natural light. In the present era of the green buildings, the fluorescent-lit complex seems an artifact from the dark age of black attire and techno raves.
1999年艾未未领导他的追随者们离开了那不断商业化的798艺术区，找到了一个离那不远的名叫草场地的地方。在那里，他用了他相当有限的能力去展示了没有装饰和艺术感的建筑风格，试图诠释这种感念艺术。这个拥挤的地区全部用粗糙的红砖和水泥堆砌而成。众多的高墙以及稀少的窗户，只能允许少许的阳光洒落下来。在当代绿色的建筑时期中，这复杂的荧光灯照明就像一个来自于黑暗时期黑衣舞人用来锐舞的手工制品。
Inside, loft galleries serve as live-in quarters and business offices in violation of zoning regulations for residency as well as registration rules for foreign citizens. His coterie of artist friends and gallery owners amassed small fortunes subletting the cheaply built shells to foreigners beguiled by Beijing's hip art scene. Belonging with China's new avant garde was the cachet of Caochangdi Art Space.
据内幕消息称，艾未未将阁楼画廊和营业部作为公寓出租给外国人，这就违反了为外国公民制定的营业法规和地区居住法规。他的那些艺术家朋友和画廊的主人们通过转租这些廉价的房屋给那些被北京艺术舞台吸引的外国人，赚了不少的钱。而草场地艺术区的所有物，也成为了中国前卫艺术的标志。
The illegal rental scams, somehow overlooked by village officials, attracted the notice of the national tax office and Beijing municipal officials, who tried more than once to shut the place down. Then, following a 2006 crackdown on Beijing's rave discos, which were fueled by ketamine-laced Ecstasy smuggled in by Dutch and Israeli traffickers, anti-narcotics detectives began to focus on the city's bohemian art colonies.
由于某种原因被村干部忽视的诈骗性非法出租，引起了国家税务机关和北京市政府的注意，他们不止一次想关闭这些地方。然后，在2006年打击了充斥着由荷兰和以色列贩运者走私的氯胺酮以及北京走私摇头丸的迪吧以后，缉毒警察们开始把工作重点集中于城市中自由奔放的那些艺术群体。
The libertine lifestyle was modeled on anarchist havens in former East Berlin and Crete, which were used by Western intelligence agencies to promote youth revolutions through a false sense of drug-induced "creativity and freedom." American enthusiasm for psychotropic drugs in Iran, Egypt and Syria is described in State Department operative Jared Cohen's book "Children of the Jihad", as preparation for the Twitter protests and Jasmine revolutions.
在曾经的东柏林和克里特岛，这种放荡的生活方式被无政府主义者所仿照。通过一种假的引诱和口号——“自主”“创新”，曾经被西方情报机构用来推动年轻人来革命。在伊朗、埃及和叙利亚时，美国特工杰瑞德科恩的书——“孩子们的圣战”被认为是美国人最热爱的精神药物，也为Twitter的 抗议和花花革命做好了准备。
The drug-fueled "free expression" necessary to contemporary art and politics, as defined by Frankfurt School social theorist Herbert Marcuse, had some horrific side effects. Ketamine causes brain swelling and hemorrhaging, Chinese medical doctors became alarmed by the evermore powerful dosages being distributed. The U.S. Drug Enforcement Agency (DEA) was also tracked the new Opium War streaming Ice, X, ket and heroin into and through China.
法兰克福学校的社会理论家赫伯特马尔库塞，定义了由毒品引发的“自由言论”是当代艺术和政治所必须的，这一理论的提出带出了一些可怕的副作用。氯胺酮会引起大脑肿胀和出血，中国医生因为分发这些强劲的药剂而变得焦虑和惊恐。美国药品执法机构（DEA）也是被追踪，冰毒、 X毒、尿酮体和海洛因通过渠道作为新的鸦片战争流入中国。
Drug use and casual sexual attitudes at Caochangdi added to the vices plaguing China's art scene, which include rampant forgeries of antiquities and fronting for money-launderers. Art dealers' collaboration with international mafia was uncovered in the shocking 2004 murder of Hong Kong's Swiss gallery owner Manfred Scheoni, who often met with Russian gangsters at Beijings's St. Regis Hotel. The criminalization of China's cultural industry is emerging as a shameful scandal in a nation deeply resentful of the foreign looting of masterworks by Western troops in the sack of the Summer Palace and by foreign adventurers who pilfered the Dunhuang treasures.
在草场地里加入了毒品使用和随随便便性态度等恶习，使得中国艺术场地遭到了灾祸，其中也包括猖獗的古迹伪造物以及主办洗黑钱的人。2004年香港瑞士画廊，曼弗雷德被谋杀的这一事件揭露了艺术品经销商与国际黑手党的勾结。他们经常在北京的瑞吉酒店与俄罗斯黑帮见面。中国文化产业正在显露出他们对外国不道德的丑闻深深的厌恶，对西方部队在颐和园抢劫我们的杰出作品感到愤怒，对在敦煌的那些所谓的外国探险家偷窃我们的财富表示了愤慨，他们这些作为非常可耻，而且有一些行为构成了刑事定罪。
Increasingly, Chaochangdi art space was seen by visitors as a filthy rat hole, making some art patrons wonder whether Ai Weiwei was using political activism to fend off public demands for police investigation of his associates' criminal activities. His father's admirers in the cultural hierarchy could no longer block or restrain the mounting pressures against a prodigal son.
逐渐的，草场地艺术区被当成了肮脏的老鼠洞，一些艺术赞助商想知道是否艾未未用了某样的政治手段，成功的避开了警察对他和他的合伙人所做的犯罪行动的调查。他父亲在文化阶层的仰慕者对这个败家子的频频施压，也不再会成为他的阻碍。
Jasmine Protests
花花的抗议
Over recent months, the noose has been tightening. Beijing authorities, as the capital's rumor mill suggests, suspected that some Caochangdi galleries were used as a conduit for European and American intelligence funding for protests, including the failed Jasmine Revolution on Wangfujin shopping avenue. U.S. Ambassador Jon Huntsman's covert presence at the first protest with a pair of Marine bodyguards, caught on video by April Media, was followed by his Shanghai speech calling for the release of Ai Weiwei and Liu Xiaobo.
近几个月来，气氛十分的紧张。随着首都的谣言四起捣乱人心，北京官方权威也开始调查并怀疑草场地艺术区中的一些画廊被欧洲和美国收买，利用这些画廊来提供关于群众抗议的情报，其中就包括在王府井大街上进行的花花革命。美国大使乔恩隐藏出席在两个保镖之间，不料被四月网媒体抓了个现行。随后，美国大使乔恩在上海发表了演讲，要求释放艾未未和刘殖民。
This sort of interventionist foreign "solidarity" does nothing to dispel suspicions or disprove accusations. It seems that his sponsors in the United States, Netherlands and Germany are intent on pushing Ai Weiwei onto the gallows as a sacrificial victim. They don't have to push hard.
外国人某种程度上的干涉和团结一致并不能吹散这疑云或者反驳控告。而似乎他的那些美国、荷兰、德国的支持者们坚持要把艾未未推向绞刑台（作为一个献祭的牺牲品）。其实他们大可不必如此。
With his flippancy toward transgression, Ai Weiwei is his own worst enemy. At a March 2010 New York forum with Twitter founder Jack Dorsey - which coincided with covert Western plans for launching the Jasmine Revolutions - the married Ai Weiwei boasted to a stunned audience of his frequent use of short messages to chat up young women for sexual encounters. As any artist who has reached maturity knows, licentiousness is not the same as freedom. Artistic expression as well as other liberties do not come from radical posturing but are earned through self-discipline and taking responsibility for one's own actions.
他的这种侵犯性的无礼行为，其实表现了艾未未最大的敌人就是他自己的这个道理。2010年3月 艾未未与Twitter的创始人捷克多尔赛在纽约论坛上关于西方的隐藏计划达成了一致——花花革命。已婚的艾未未对听众们自吹自擂他经常用微博短信去搭讪一些年轻的女孩来寻求性经历。作为任何一个成熟的艺术家都应该知道的是，放肆和自主是完全不同的两个概念。艺术和自由的表达不是只要做激进的行为就可以的，而是通过对自己行为的负责和自身修养而获得的。
Flagrant defiance of social mores does matter when it comes to impressionable young people, as stressed in his own words: "Your own acts or behavior tell the world who you are and at the same time what kind of society you think it should be." That should have been his Twitter message.
容易受影响的年轻人对这个社会风俗的公然蔑视，就如同他们的格言：“让你们的行动告诉这个世界你是谁，你所认为社会应该是什么样的。”这几句话应该已经是在微波博的名句了。
Cowardice of the Artistes
艺术家的懦弱
Ai Weiwei might find redemption if only he could become what he professes to be: the heir to the creator of Dada, Marcel Duchamp. The iconoclastic Frenchman's genius was rooted in his devastating wit. And that is exactly where his would-be successor has gone wrong, careening down the emotional blind alleys of anger and, worse, sentimentality. Humor is the only revenge against hypocrisy.
只要他自称是达达主义的创始者——马塞尔杜尚的继承人的话，艾未未是有可能被救赎的。这个打破旧习的法国天才充满了毁灭性的智慧。这正是他一直想要成为的人，但是却误入了歧途。唯一能够报复虚伪的武器只有“幽默”。
What's disturbing to someone who has worked in the art field in New York, and later as an occasional critic in Tokyo, is the sheepish code of political correctness among critics and artists, Chinese and foreign. By uncritically defending an egocentric bully like Ai Weiwei, the arts community shows its spinelessness in failing to question his nihilistic stance on art and life. A double standard is also at work here, when it comes to artistic freedom in China and the West. The critics are not exactly rushing out of cafes on the Left Bank or East Village to defend the free speech rights of John Galliano.
最令人困扰的是曾经在纽约艺术区工作过的艺术家，不久之后还在日本客串了一把评论家。艾未未既温顺又识时务的在艺术家和评论家，中国人和外国人之间来回转换。不加批评的去防备像艾未未一样的以自我为中心并且欺凌弱小的人，整个艺术圈在未有的问题前没骨气的显示了对艺术和生活的无政府主义的立场。当谈到艺术在中国和西方自由度的问题上，双重标准原则同样也适用于这里。可笑的是这些评论家们根本就不会冲出咖啡馆为言论自由权辩护。
Are the authorities really to blame? The Chinese edition of Global Times stated: "China needs a multiplicity of voices, and for this reason diverse opinions should not be suppressed. Ai Weiwei, however, has gone too far in mimicking American ways and his behavior is naive and childish." That's hardly the stuff of repression, just a very light slap on the wrist.
这些真的都是政府的错吗？环球时报表示：“中国需要有不同的声音，允许大家各抒己见，言论自由不应该被抵制”。但是艾未未所做的事情与模仿美国模式相差甚远，可以说是天真幼稚的行为。这样的行为不能去真正的解决一些事情，只是表面的功夫而已。
Taking the liberty to summarize the present situation more bluntly than the well-mannered Chinese press: Ai Weiwei's involvement in financial irregularities, Western vices and foreign propaganda campaigns has done immeasurable harm to the democratic cause that he espouses and to the arts community. As a leading cultural figure, he should have shown better judgment in dealing with his Western sponsors, since those with ulterior motives have taken advantage of his gullibility while others have used him to push their business or political agendas (as happened before the Olympics), which have nothing to do with democracy for the Chinese people. Now that he's losing his credibility as an internationally recognized artist, those "sponsors" are going turn their backs on him.
中国出版社以自主的话题坦率的总结了中国当前的形式：艾未未介入了金融违法，西方的恶习和外国的宣传活动因为他的支持而大大的损害了民主主义以及艺术界。作为一个领军文化界的人物，当那些容易受骗的人们被别有用心的西方列强利用的时候，还有一些已经习惯利用西方赞助去推动他们的事业和政治会议的时候，他应该对西方赞助者们的这些行为，显示出更准确更清晰更理智的判断，因为那些行为对中国人民的民主问题没有任何帮助。而身为一个国际性众所周知的艺术家，他却又失去了他的信誉，他的那些西方支持者们也将离他远去。
The contemporary arts scene in Beijing and Shanghai is badly compromised - not due to government meddling or censorship but because of the crass motives of the artists themselves - and that, unfortunately, includes the would-be reformers. Hell can't be blamed on some devil when it's your own sins that put you there.
北京和上海的当代艺术场景随之受到了严重的牵连，这不是由于政府的瞎搅合或者审查什么之类的原因，而是因为这些艺术家们他们自己愚蠢的所谓的改革运动而引起的不幸。
Art of the Masses for the Classes
上流社会的大众艺术
The discussion in Beijing today is about the artist's social role and hardly about art. His work still should be judged apart from the current business and political scandal. His work is, ironically, similar to his own dig at former classmate Zhang Yimou. Both of these leading artists have transferred social realism's credo of "the masses" into the contemporary Chinese context of hypercapitalism with Confucian characteristics. The vast numbers of Ai Weiwei's old windows and doors piled at Kassel Documents 12 in 2007 and of artificial seeds at the Tate, like Zhang's army of dancers at the Olympic opening, are reduced to empty spectacle.
在北京，现今的讨论重点是艺术家的社会角色和艺术的艰难。除了艾未未现在的商业和政治行程之外，他的工作仍然应该会被审判。他的工作其实就是“讽刺”，与挖苦他以前的同班同学张艺谋的工作类似。他们都是艺术家里面的领导者，可以把群众的社会现实主义信条调动进以儒家为代表的中国当代环境下。艾未未在卡塞尔第12届文献展上展示的大量旧门窗和人造瓜子，就好像张艺谋在08年北京奥运会开幕式上策划的跳舞军团一样，沦为了没有意义的场面。
The difference is that Ai Weiwei does it intentionally as critique, while Zhang Yimou exploits grandiosity for its entertainment value. Their opposition is not a personal duel between a state-approved artist and a radical dissident, since both act as the "anointed" icons chosen for a two-line struggle within the governing elite over the role of art in contemporary China. How can art best serve the national interest: as a unifying tool or a corrective whip?
不同的是艾未未这么做是故意的，而张艺谋是利用宏伟和夸张来体现娱乐价值。他们的对立并不是一个国际化的艺术家和一个偏激议论人士之间的个人斗争，而是他们两个充当了权力精英和中国当代艺术角色这两线斗争的代表人物。怎么样才能让艺术为国民提供最好的服务，一个统一的工具抑或一条惩治的鞭子？
Missing from both their oeuvres, and from the debate, is the economy of means necessary to strong art. However positive the intent or outcome of a grand social enterprise, it is the individual who makes the sacrifice and pays the price. Thus the solitary person, despite and because of the uniqueness of one's quirks and aberrations, conveys the internalized trauma wrought by historical change that a million representatives cannot express. The individual suffers a high price for social change and only by examining this psychological toll can a true measure or appreciation of that progress be gained. At the end of this transitional reform era, one must let go of the forms of the past, since parodies of the Cultural Revolution are now trite. The challenge now is for artists to find a new way of seeing through the eyes of the individual.
在他们的全部作品和争论中所缺少的，是怎样在猛烈的艺术中节约不必要的人力物力和财力，但是那些个人主义者们却认为这些财力是必不可少学费和牺牲品。因此这些孤独的人由于憎恨自己的独特性、怪癖和畸形，传达了他们对历史转变的内在化创伤的锻造，这不是一百万个议员就能够表达出来的。个人的遭受因为社会的变化而付出了昂贵的代价，而这些东西只有通过付出心灵上的代价才能得一个真正衡量的标准，在这个过渡性改革时代末期，一个人必须放弃过去的形式。而现在要是拙劣的模仿文革那就是陈腐的。艺术家现在的挑战，其实是通过个人的眼力来找到一条全新道路。
Ai Weiwei has come full circle - from impoverished exile rising to the pinnacles of fame and now plummeting into disrepute as a pariah. Those brilliant fields of sunflowers, their promise of longing fulfilled and of a vision within reach, remain a world away from the darkening shadows over this forbidding city. Hope can be extinguished but art never dies since it's endlessly reborn - even if somewhere else.
艾未未兜了个圈又回到了原地，从贫困的流放到名望的峰顶，再到现在的骤然下降，于是他变成了一个坏名声的贱民。那些灿烂的向日葵，渴望履行他们的承诺和触手可及的视觉，为人们保持着一个充满阳光没有黑暗阴影笼罩的世界。希望可以破灭，但是艺术却永远不会凋零。在哪里都一样。
Yoichi Shimatsu is Editor-at-large at the 4th Media, a Hong Kong-based environmental writer and former editor of the Japan Times Weekly.
岛津洋一，四月传媒的资深编辑，香港环保作家以及日本时报周刊的前任编辑。 lz加油，我们支持你！！！ 中文翻译翻得太拗口了，看得很累。
请你把文章的来源也交待一下。 Q20) verygood！！！ 等待下文......Q40) 建议楼主发到各个英文媒体。 诡异，这个文章是谁写的？是4月的人写的么？自己人写为嘛还要翻译回来……？ ZF终于学会MD的手法了，对于这种东西还是要讲究策略的。 英文感觉有点不对。 回复 3# aol
不好意思，主要是这篇文章本身难度和长度都比较大，译者也是抽空在做o3O126) 来源貌似开头有交代哦，原文链接是有的 回复 7# clover213
这是四月英文站的外国专家拿英文直接写的，所以必须翻过来。。。 回复 11# 批一啊pia
还有外国专家 四月越来愈强大了~~ 翻译的比我好。。。
前段时间被论文翻译搅的一塌糊涂，哎。。。
不知道ac里的tanslator有几个在外国生活过的，翻译起来肯定容易多了吧 看着费劲！ 楼主，快干活儿，等不急了！呵呵 写的不错o3O141) 坐等...... 水很深Q56) 继续编~原文作者，我想请他给做我的策划总监！ 四月网越来越象一个桥梁。双语互通。
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