沒(méi)了愛(ài)情鎖的巴黎藝術(shù)橋，辦起了雕塑展

　　PARIS — For years, lovestruck visitors to Paris had affixed locks, often inscribed with their initials or names, to the wire mesh panels along the Pont des Arts, flinging the keys into the Seine River below. But last year, after a section of the bridge’s railing collapsed under the weight of some 700,000 declarations of fidelity, the city removed the locks, citing reasons of aesthetics and security.

　　巴黎——曾經(jīng)有很多年，來(lái)巴黎游玩的戀人們把大多刻著自己名字或名字首字母的鎖掛在藝術(shù)橋(Pont des Arts)的鐵絲網(wǎng)上，把鑰匙拋入橋下的塞納河(Seine River)。但是去年，橋的一段欄桿在約70萬(wàn)把表達(dá)愛(ài)情忠誠(chéng)的鎖的重壓下垮掉了，市政府鑒于美觀和安全方面的原因移除了那些鎖。

　　Some people were pleased that what they considered a blight on the city was being eliminated. Others, however, expressed regret that they would not be able to participate in what had become a cherished Parisian ritual. City officials, while acknowledging the sensitivity of the issue, said at the time that they wanted to restore views of the Seine, which the locks had obscured. The pedestrian bridge connects the Institut de France and the central square of the Palais du Louvre.

　　有些人認(rèn)為這些鎖影響市容，為鎖的移除感到高興。也有些人為不能參與這項(xiàng)受到珍視的巴黎活動(dòng)而感到遺憾。市政府官員雖然承認(rèn)此事比較敏感，但是表示，當(dāng)時(shí)他們想要恢復(fù)被鎖破壞的塞納河風(fēng)景。這座步行橋連接法蘭西學(xué)會(huì)(Institut de France)和盧浮宮(Palais du Louvre)中央廣場(chǎng)。

　　Now the Pont des Arts, its iron grillwork freshly painted and protected by plexiglass panes, has taken on a new role, as the setting for an exhibition of sculptures by the contemporary artist Daniel Hourdé.

　　藝術(shù)橋上的鐵絲網(wǎng)被粉刷一新，用有機(jī)玻璃板保護(hù)起來(lái)?，F(xiàn)在它有了一個(gè)新用途：這里正在舉辦當(dāng)代藝術(shù)家丹尼爾·烏爾代(Daniel Hourdé)的雕塑展。

　　The installation, “The Enchanted Footbridge,” opened last week and was to be formally dedicated on Wednesday evening. There are seven pedestals, eight statues, 10 reflective metal “trees” and a kinetic statue of a figure engaged in what appears to be a violent movement or struggle.

　　裝置作品《施了魔法的步行橋》(The Enchanted Footbridge)上周揭幕，周三晚上舉行正式典禮。展覽包括7個(gè)墊座、8個(gè)雕塑、10個(gè)反光金屬“樹(shù)”，以及一個(gè)活動(dòng)雕塑——表現(xiàn)的是一個(gè)人好像在進(jìn)行劇烈的運(yùn)動(dòng)或掙扎。

　　“I imagined a kind of hanging garden,” Mr. Hourdé said in a telephone interview on Wednesday, adding that the works made for a “metallic transition” from when the bridge was weighed down by the locks to its newly lightened state.

　　“我想像出一種空中花園，”周三烏爾代在電話采訪中說(shuō)。他又補(bǔ)充，這些作品是一種“金屬過(guò)渡”——從這座橋被鎖重壓的狀態(tài)過(guò)渡到它全新的輕盈狀態(tài)。

　　“All sculptures are on the verge of equilibrium, on the verge of rupture,” he said.

　　“所有的雕塑都處于平衡和斷裂的邊緣，”他說(shuō)。

　　But, much as they were when the locks were removed, opinions were divided.

　　不過(guò)，很像鎖被移除時(shí)那樣，人們對(duì)這些雕塑的觀點(diǎn)也存在分歧。

　　“I don’t know if I like it,” Cornelia Katsikotoulou, 24, a tourist from Greece, said Tuesday evening as she gazed at a gilded figure of Actaeon, a mythological hunter shown in the company of his dogs, baring their teeth.

　　“我不確定自己是否喜歡它，”周二晚上，24歲的希臘游客科爾內(nèi)莉婭·卡茨科圖魯(Cornelia Katsikotoulou)注視著亞克托安(Actaeon)鍍金雕塑說(shuō)。這位神話傳說(shuō)中的獵人被自己的一群狗圍著，那些狗露出鋒利的牙齒。

　　“I get mythology, I get ‘Apocalypse Now,’ I get Olympics,” Ms. Katsikotoulou said. “I have to understand what it means.”

　　“我感受到了神話，感受到了《現(xiàn)代啟示錄》(Apocalypse Now)，也感受到了奧林匹克運(yùn)動(dòng)會(huì)，”卡茨科圖魯說(shuō)，“我得弄明白它究竟什么意思。”

　　Charlie Saco, 70, a retiree visiting from New Jersey, offered his own interpretation of one of the works.

　　70歲的查理·索科(Charlie Saco)是來(lái)自新澤西州的退休游客。他給出了自己對(duì)其中一件作品的理解。

　　“That has to be something antiwar,” Mr. Saco said of a piece entitled “Le Ciel lui tombe sur la tête,” or “The sky is falling down on him.”

　　“那應(yīng)該是表達(dá)反戰(zhàn)的意思，”索克談起一件名為《天塌下來(lái)砸向他》(The sky is falling down on him)的作品時(shí)說(shuō)。

　　“Is that a plane?” he asked, pointing at a jumble of steel figures tumbling onto a sculpture of a man. Mr. Hourdé said that, in fact, the figures were letters spelling out the Greek word for sky.

　　“那是飛機(jī)嗎?”他指著一堆砸向人物雕塑的亂糟糟的鋼鐵圖形問(wèn)道。烏爾代說(shuō)，那些圖形實(shí)際上是構(gòu)成了希臘單詞“天空”。

　　Mr. Saco did not lament the loss of the love locks, citing the danger their weight posed to the bridge.

　　索科先生沒(méi)有為愛(ài)情鎖的移除感到惋惜，認(rèn)為鎖的重量會(huì)給橋帶來(lái)危險(xiǎn)。

　　Neither did Nicolas A., 31, a French photographer who would not give his last name. “When you have the locks, you have a wall,” he said. “Try putting a notebook in front of your eyes and now choose what you prefer.”

　　31歲的法國(guó)攝影師尼古拉斯·A(Nicolas A.)也是同感。他沒(méi)有透露自己的姓。“那些鎖就像一堵墻，”他說(shuō)，“你試試在眼前放一個(gè)筆記本，然后把它拿開(kāi)，然后再選擇你更喜歡什么。”

　　With the see-through panels on the bridge, he said, “The place has been reclaimed.”

　　他說(shuō)，橋上現(xiàn)在安裝的透明玻璃板讓這個(gè)“地方煥然一新”。

　　On the Left Bank side of the bridge, a photographer for Dior photographed a woman wearing a salmon-colored dress.

　　在橋的左岸，迪奧(Dior)的一名攝影師在給一名穿著淺橙色連衣裙的女人拍照。

　　The photographer, Zhang Jie, 29, who lives in Paris, said he missed the locks. He recalled one engraved with Chinese characters that read: “We’re not together anymore.”

　　這名29歲的攝影師名叫張杰(音)，住在巴黎。他說(shuō)，他懷念那些鎖。他記得有一把鎖上刻著一行中文字：“我們分手了。”