海德公園里的大型漂浮金字塔

LONDON — Wearing a hard hat and a cargo jacket, the artist Christo stood on a platform looking over the Serpentine lake one April morning and watched his latest creation come to life. As ducks glided across the water, men in orange jumpsuits began assembling the installation, a crane hovering above their heads.

倫敦——四月的一個(gè)早晨，藝術(shù)家克里斯托(Christo)戴著安全帽，穿著工裝夾克，站在一個(gè)能俯瞰蛇形湖的平臺(tái)上，看著自己的最新作品誕生。鴨子游過(guò)水面，身穿橙色連衣褲的男人們開(kāi)始組裝這個(gè)裝置作品，起重機(jī)的吊臂在他們頭頂伸展。

“The London Mastaba,” Christo’s first major outdoor work in Britain, is now floating (through Sept. 23) in the middle of the lake in Hyde Park. A trapezoidal pyramid of 7,506 painted and horizontally stacked barrels, it’s 66 feet tall — as tall as the Sphinx in Egypt — and weighs roughly 650 tons. Named after a flat-roofed structure with sloping sides that originated some 6,000 years ago in Mesopotamia (the word “mastaba” means “bench” in Arabic), it’s a test for a mastaba roughly eight times as high that Christo hopes to put up in the desert in Abu Dhabi.

《倫敦馬斯塔巴》(The London Mastaba)是克里斯托在英國(guó)的第一個(gè)大型戶(hù)外作品，現(xiàn)正在海德公園的湖中央漂浮(展至9月23日)。這座梯形金字塔由7506個(gè)水平堆放的彩色桶組成，高66英尺，和埃及的獅身人面像一樣高，重約650噸。它的名字來(lái)源于約6000年前美索不達(dá)米亞的一座平頂斜面建筑(mastaba在阿拉伯語(yǔ)中的意思是“長(zhǎng)凳”)。它是克里斯托希望在阿布扎比酋長(zhǎng)國(guó)的沙漠中放置的一座八倍高的馬斯塔巴的試驗(yàn)品。

This is less ambitious than past projects by the Bulgarian-born Christo, 83, and his wife Jeanne-Claude, who died in 2009. These included extending a 25-mile fence across parts of Northern California, as well as wrapping fabric around a bridge in Paris, the Pont Neuf, and around Berlin’s Reichstag building.

83歲的克里斯托生于保加利亞。與他和妻子珍妮-克洛德(Jeanne-Claude，2009年去世)以前的計(jì)劃相比，這個(gè)作品的規(guī)模要小一些。他們之前的計(jì)劃包括穿過(guò)北加州部分地區(qū)的一道綿延25英里的籬笆，以及包裹巴黎新橋和柏林國(guó)會(huì)大廈的織物。

Installing the London sculpture has not been plain sailing, however. Christo had to fund the project himself, at a cost of 3 million pounds, or around $4 million. (Christo does this for all his projects, through artwork sales.) He then spent a year securing permits from local authorities and from the body that manages Hyde Park, and had two and a half months to get everything done.

然而，安裝倫敦的這個(gè)雕塑并非一帆風(fēng)順?？死锼雇幸蕴脱鲞@個(gè)計(jì)劃，花費(fèi)了300萬(wàn)英鎊(克里斯托所有的計(jì)劃都是自費(fèi)，靠的是銷(xiāo)售藝術(shù)品的收益)。然后，他花了一年時(shí)間，獲得了當(dāng)?shù)卣秃５鹿珗@管理機(jī)構(gòu)的許可，用兩個(gè)半月的時(shí)間完成所有的工作。

“Each work of ours is like an expedition, something incredibly invigorating,” said the artist in an interview. “I love to be here with the workers. I like that process. That journey is so incredible, unforgettable.”

“我們的每一件作品都像一次探險(xiǎn)，一種極其令人振奮的感覺(jué)，”這位藝術(shù)家在接受采訪時(shí)說(shuō)。“我喜歡和工人們?cè)谝黄稹Ｎ蚁矚g這個(gè)過(guò)程。那段旅程太不可思議了，難以忘懷。”

The materials for the sculpture had to be transported into the park by more than 70 trucks, which were ordered to drive at about a mile an hour because the park is full of pedestrians.

這座雕塑的材料必須由70多輛卡車(chē)運(yùn)進(jìn)公園。由于公園里滿(mǎn)是行人，司機(jī)被要求以每小時(shí)約一英里的速度行駛。

Christo’s nephew Vladimir Yavachev, who oversees all of the artist’s outdoor public projects and was also on site, appeared less worried. “Christo has a lot of engineering sense,” he said. “There is a way to do it, and it’s not impossible.” He said the important thing was to “do it simply” and to “do it quickly, too: It needs to go in, be there, and then go out.”

克里斯托的侄子弗拉基米爾·亞瓦切夫(Vladimir Yavachev)負(fù)責(zé)監(jiān)管克里斯托的所有戶(hù)外公共計(jì)劃，他也在現(xiàn)場(chǎng)。他似乎沒(méi)那么擔(dān)心。“克里斯托有很強(qiáng)的工程意識(shí)，”他說(shuō)。“有實(shí)現(xiàn)計(jì)劃的辦法，不是不可能實(shí)現(xiàn)。”他說(shuō)，最重要的是“簡(jiǎn)單地做”，“快速地做：需要進(jìn)去，放在那，然后出來(lái)。”

Mr. Yavachev — who started working with his uncle in 1991, when he was tasked with carrying the site photographer’s camera bag — said they had regular arguments nowadays, but that it was “actually easier to work with your family, because you can scream at your boss.”

亞瓦切夫1991年開(kāi)始和叔叔一起工作，當(dāng)時(shí)他的任務(wù)是扛著現(xiàn)場(chǎng)攝影師的相機(jī)包。亞瓦切夫說(shuō)，他們現(xiàn)在經(jīng)常爭(zhēng)執(zhí)，但“和家人一起工作其實(shí)更容易，因?yàn)槟憧梢詫?duì)老板大喊大叫”。

“The London Mastaba” rests on a floating platform that’s anchored to the lake bed. This is topped with a steel scaffolding frame that the barrels are attached to. In late April, the floating cubes were only just being laid out over the lake. Two weeks later, the scaffolding frame was partially in place, and a single row of painted barrels had gone up. By early June, the installation looked nearly complete; a green crane lowered rows of barrels onto what was already a hulking mass.

《倫敦馬斯塔巴》坐落在一個(gè)錨定在湖床上的漂浮平臺(tái)上。平臺(tái)上有一個(gè)鋼制腳手架，桶被固定在上面。四月底，這些漂浮的立方體剛被布置到湖面上。兩周后，腳手架框架部分就位，擺起了一排彩色的桶。到了6月初，安裝工作已基本完成，一輛綠色起重機(jī)將一排排桶放上已經(jīng)十分宏大的平臺(tái)。

The Mastaba is part of the summer program of the Serpentine Galleries, and it’s paired with an exhibition of sculptures, drawings and collages focusing on Christo’s work with barrels and with the mastaba shape.

馬斯塔巴是蛇形畫(huà)廊(Serpentine Galleries)夏季計(jì)劃的一部分，與它搭配的一個(gè)關(guān)于克里斯托用桶和馬斯塔巴形狀進(jìn)行創(chuàng)作的雕塑、繪畫(huà)和拼貼畫(huà)展覽。

The Serpentine’s artistic director, Hans-Ulrich Obrist, said he had approached Christo after seeing his 2016 “Floating Piers” installation on Lake Iseo, Italy, for which walkways made of fabric were laid out on the surface of the lake. “There’s always been this thought that, somehow, Christo is missing in London,” Mr. Obrist said.

蛇形畫(huà)廊藝術(shù)總監(jiān)漢斯-烏爾里希·奧布里斯特(Hans-Ulrich Obrist)表示，他在看到克里斯托2016年在意大利伊塞奧湖上的“漂浮棧橋”(Floating Piers)裝置作品后，就開(kāi)始跟他接觸。在那個(gè)作品中，用織物做成的人行道鋪設(shè)在湖面上。“不知為何，一直有這樣一種感覺(jué)：倫敦缺了克里斯托，”奧布里斯特說(shuō)。

Discussions started, and Christo came to London. On a walk through Hyde Park, he “pointed at the very site where the sculpture is going to be,” Mr. Obrist said, recalling the artist’s determination to put up a floating mastaba, “a form that has obsessed him for a long time.”

討論開(kāi)始了，克里斯托來(lái)到倫敦。奧布里斯特說(shuō)，在海德公園散步時(shí)，克里斯托“指著這個(gè)雕塑即將出現(xiàn)的地方”，回憶起自己想要建造一個(gè)漂浮的馬斯塔巴的決心，“馬斯塔巴的形狀在他心頭縈繞了很長(zhǎng)時(shí)間”。

Christo denied that his pharaonic projects were signs of an oversized ego. “There’s a lot of humor there,” he said. “They’re bombastic, they’re very simple,” and “not something intimidating.”

克里斯托否認(rèn)自己的法老計(jì)劃是過(guò)于自負(fù)的表現(xiàn)。“這里面有很多幽默，”他說(shuō)。“它們很浮夸，很簡(jiǎn)單”，“不是什么令人膽怯的東西”。

Making them happen, however, was a high-stakes exercise, he recalled.

不過(guò)，他回憶說(shuō)，實(shí)現(xiàn)這些計(jì)劃的過(guò)程充滿(mǎn)風(fēng)險(xiǎn)。

“Running Fence” — which was up for two weeks in 1976, and stood on the private properties of 59 California ranchers — required 42 months of discussions, 18 public hearings, and three sessions of the Superior Courts of California. It involved more than 2 million square feet of nylon fabric suspended from a steel cable.

1976年，《奔跑的籬笆》(Running Fence)在加州59位農(nóng)場(chǎng)主的私人土地上豎立了兩個(gè)星期。為了這個(gè)計(jì)劃進(jìn)行了42個(gè)月的討論，舉行了18次公開(kāi)聽(tīng)證會(huì)，加州高等法院三次開(kāi)庭。它需要把200多萬(wàn)平方英尺的尼龍織物懸掛在鋼纜上。

Some residents resented the fence, so Christo’s machinery was destroyed, and there were bomb threats against the installation. “We had to have an airplane flying” to prevent damage, he recalled.

一些居民很反感那個(gè)籬笆，他們毀掉了克里斯托的機(jī)器，還威脅要炸掉裝置。他回憶說(shuō)，“我們不得不用飛機(jī) ”，以防裝置遭到破壞。

The wrapping of the Pont Neuf nearly fell through when the mayor of Paris tried to revoke a permit he had granted for it. The Reichstag project involved prior testing at a castle and an airplane hangar, bodyguards for Christo because of the death threats against him, and a parliamentary vote introduced by the project’s chief adversary: German Chancellor Helmut Kohl.

當(dāng)巴黎市長(zhǎng)試圖撤銷(xiāo)克里斯托已獲得的許可時(shí)，他包裹新橋的計(jì)劃差點(diǎn)落空。德國(guó)國(guó)會(huì)的計(jì)劃先在城堡和飛機(jī)庫(kù)里進(jìn)行了測(cè)試。由于對(duì)克里斯托的死亡威脅，他還請(qǐng)了保鏢。該計(jì)劃的主要的反對(duì)者德國(guó)總理赫爾穆特·科爾(Helmut Kohl)還提出了進(jìn)行國(guó)會(huì)投票。

“The London Mastaba” faced no such obstacles, and Christo’s team said the installation went through smoothly.

《倫敦馬斯塔巴》沒(méi)有遇到這樣的障礙，克里斯托的團(tuán)隊(duì)表示，安裝進(jìn)行得很順利。

Now the next big thing for Christo is the desert “Mastaba.” He has no idea whether it will materialize, he said, “But we are advancing.”

現(xiàn)在，克里斯托的下一個(gè)大計(jì)劃是沙漠“馬斯塔巴”。他表示，他不確定能否實(shí)現(xiàn)，“但我們正在推進(jìn)”。

“I am like a chess player,” he added.

“我就像一個(gè)棋手，”他還說(shuō)。

“I hope to live to when the project has happened,” Christo said. “This is the most important thing.”

“我希望自己能活到那個(gè)計(jì)劃建好之時(shí)，”克里斯托說(shuō)，“這是最重要的。”