Published May 16, 2023, 2:20 p.m. by Arrik Motley
Art is not a static object. It is in a constant state of flux, always evolving and moving forward. This is especially true for art that exists in the digital world. translation is one of the key ways that art can move forward, by allowing it to be accessible to new audiences in new languages.
translation is an essential part of the art world, and there are many different ways to approach it. One way is to attend a translation workshop. These workshops can be incredibly helpful, as they provide a space for people to come together and share their knowledge and experience with each other.
At a translation workshop, you will learn about the different challenges that come with translating art. You will also get to practice your skills by working on translations of artworks. This is a great way to improve your own translating skills, and to learn from other people who are also passionate about translation.
If you're interested in attending a translation workshop, there are many different ones to choose from. Art Platform Japan is one organization that offers workshops, and they have a wide range of different topics that you can choose from.
translation Art - translation workshop translating art writing by Art Platform Japan is a great way to learn about the different challenges that come with translating art. You will also get to practice your skills by working on translations of artworks. This is a great way to improve your own translating skills, and to learn from other people who are also passionate about translation.
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thank you everyone for joining me today
for this Workshop translating art
writing we have some 200 participants
registered for today's program which I
think gives some indication of uh sort
of the interest around this topic
and for those of you who
uh might not have noticed we sent out
some Suncoast studio uh in an email last
night that I prepared for you you can
also download it from the chat
momentarily
um the Suncoast studio is not anything
uh that you need to prepare for
one of the documents is the style guide
that I prepared for the art plot from
Japan translation project
it's a reference that you can have on
hand and review at any time
uh both now and and uh afterwards in in
your translation practices
um there's also
a copy of the uh first Japanese
translation of the futurist Manifesto
which I will be introducing uh in the
presentation and then finally
um a very interesting document called
the prototaryability or in fact the
envelope for the prototaria be discussed
you
um which I will also be introducing uh
at the end of of the workshop as uh um
material that you could use to work on
on your own so to get started I'll just
explain a bit about myself I'm an art
writer editor and translator based here
in Tokyo
um and uh
I've been working across all those
platforms
[Music]
but in particular uh
since 2020 I
worked as the the founding editor of the
art platform Japan translation project
and and through those experiences I've
had a chance to
um
work a lot with my own translation work
with other people checking my
translations and check other translators
so uh
today's presentation is going to be
based on on that experience but
to begin with I think it's also
important
to establish what we're talking about
when we talk about art writing so now
I'm going to share my screen
and I'd like us to begin
actually
in
an art space
we are looking at one of the rooms from
the recent exhibition that was held at
the moriart Museum in Tokyo listen to
the sound of the Earth turning
our well-being since the pandemic
this is an installation view of yokono's
uh
grapefruit an important uh book of of
instruction pieces
and that was published here in Tokyo in
1964.
and
um
you see that it is presented in the
exhibition space
if we go up close to one of the works we
see that it's a text
titled Earth peace listen to the sound
of the Earth turning which is the
namesake for the exhibition
um and
simply in
presenting these words
uh or simply in in reading these words
and visualizing what Yoko Ono is
proposing we are in fact now
essentially creating our own artwork or
uh visualizing our own artwork
um and so
I think it's really you know this was
one of the earliest
um
earliest examples of what we now know as
conceptual art where artists are using
words and language to create
works that are more or less immaterial
although of course we can see here there
is a material apparatus behind the text
there's paper there's ink there's a
frame and there are people uh
around me you can see the reflection of
someone in in the glass of the frame
that that informed the experience of the
work but uh
since you're going to in published
grapefruit in Tokyo in 1964
um
it's opened the door to many artists
working with words and language
here's another installation view from
the same exhibition of iama Yuki's uh
artwork we have a neon piece
um
in Japanese at the top of the screen and
then text in Japanese and English
uh at the bottom of the screen
the texts are visitor voices
uh you know this this is a work that is
dealing with uh domestic violence and
experiences of domestic violence and the
artist has asked people to contribute uh
their own comments about their
experiences with domestic violence and
masculinity and gender issues and those
who are in turn uh
presented on the wall of the exhibition
and translated as well so we see here
that you know whereas Yoko Ono's piece
is a sort of detached imperative
statement we can also have very uh
personal and
emotional content being presented as
both text and artwork in the space of
Contemporary Art
um
sorry
uh
here's another piece from the same
exhibition by mayro koisumi good machine
bad machine which is an installation
comprising multiple videos
and Robotics as well as Articles of of
clothing and other sculptural elements
um what you notice is in the back
ground the screens have a sound element
but they also have
um subtitles in English and Japanese and
as part of the installation the artist
is also in the upper left
projected some of
the text or some of the some of the the
content from the videos onto the wall uh
as almost like a sculptural element
um and so from conceptual art
to today's exhibitions uh with the
prevalence of video art
uh I think it's just important to
recognize that text is very much
part of
art itself uh you know we're Familiar of
course with waltex that introduce people
to exhibitions we're familiar with
object labels that maybe explain
about artworks and also give precise
details about artworks such as
measurements and and materials
um and those are very much part of the
traditional apparatus of art but when we
talk about Contemporary Art in
particular we see that there's a lot of
fluidity between uh
artworks and art writing or art or text
and our artworks and that I think is
important to recognize
when we think about how to translate
Contemporary Art so I know there are
there are a lot of people who come from
different disciplines joining us today
uh the focus of today's presentation
will be on contemporary art
um
but it is also something that you can
you know in turn apply to uh
translations of of of craft or or
um pre-modern art for example
um
on some level
so
I wanted to actually I think it was
important to start off uh with uh one of
Yoko Ono's instruction pieces
uh because
there is
I think a lot of there's a pervasive
sense
in the broader public
that that
you know art writing is somehow
something like The Emperor's New Clothes
that uh
it's it's
um sort of overburdened with uh
um
you know uh
sort of over complex uh
statements and thinking about what art
is or that it's creating uh you know
words out of nothing or or as
ornamentation
um and I think that's
a a perception that we have to confront
if we want to produce better
translations of art writing and if we
want to understand what art writing is
because
uh
I think it's really necessary to take
art writing seriously as a genre
especially if you are in the business
position of being a translator what
we're looking at here is uh
an excerpt from an article that was
published in uh 2012 called
International art English where two
researchers
um
went through the Corpus of eflux which
is essentially an email listserv sending
out press releases for contemporary art
exhibitions
and they they took all that material and
uh put it in a text analysis program and
analyzed uh
you know
um the the type of language that was
being used to discuss uh Contemporary
Art and I'll I'll just read uh from
their opening uh synopsis The
internationalized Art World relies on a
unique language its purest articulation
is found in the digital press release
this language has everything to do with
English but it is emphatically not
English it is largely an export of the
anglophone world and can thank the
global dominance of English for its
current reach but convenience can't
account for iae our guess is that people
all over the world have adopted this
language because the disruptive
capacities of the internet now allow
them to believe or to hope that their
writing will reach an international
audience
so ah
the the writers of this article somewhat
uncharitably take
art writing to task
as as
um sort of uh
um
sort of a mishmash of
non-standard English
but behind that critique is we can also
detect
um a mistrust of
translation as well
um
and I think uh you know it's important
to understand that uh
in you know
uh
that um
that uh
sorry let me gather my thoughts
um
you know that that people are uh
interested in in uh
communicating
internationally when it comes to
contemporary art
um so
I don't want to
necessarily make a value judgment about
um
what
uh
you know what language is appropriate or
not for writing about
uh contemporary art
but
I think one thing that this article uh
does well and that that would be
interesting for you to uh
look up on your own is that it it does
at least identify uh
some of the uh characteristics of art
writing that make art writing what it is
so uh they go on to write
a iae has a distinctive lexicon aporia
radically space proposition biopolitical
tension transversal autonomy
an artist's work inevitably interrogates
questions and codes transforms subverts
embracades displaces
though often it doesn't do these things
so much it serves to functions to or
seems to or might seem to do these
things
iaea rebukes English for its lack of
nouns visual becomes visuality Global
becomes globality potential becomes
potentiality experience becomes
experiential ability
so Rule and Levine are scandalized by
this use of language which they identify
as somehow being deviant to Standard
English and which they in fact argue
stems from translations of French
critical theory
uh in the 1970s and 80s
um but
I think
nevertheless it it shows that there are
certain
ways of using language that distinguish
art writing and if you're translating
out writing
um
it is important to think about how
people in the Art Space
use language to communicate and and and
it is important you know you don't
necessarily have to reproduce jargon
um
as is but but you should be aware that
people are using words that are
circulating within their uh professional
sphere and that these words have impact
as such especially you know one thing
that I see with uh Japanese to English
translations is that uh
you know this this sort of
use of constructive
um
components to create new words so visual
individuality you know shikaku into
shikaku say
uh tends to get flattened out and so
shikaku say instead of being visuality
will be translated as visual essence
and that that creates a different
register I would say maybe a more
conservative register and linguistically
speaking than what that writer in
Japanese might be doing
and I don't think we have to say that
English is one way or another you know
uh you know I think uh
English or all languages transform and
evolve through translation as much as
through the Innovations of its poets and
and writers
um
but so I think you know this
identification of
of a particular language
that
uh characterizes art writing is
something that uh Rule and Levine pinned
onto the rise of Internet culture but in
fact we can see going back uh
again into that period after Yoko Ono
emerged and and conceptual art emerged
how
um
artists have always been using language
in a quite particular way what we're
looking at is a text that Lawrence
wiener contributed to Art Journal
special issue on Words and word works
and if we read just the first of these
texts that you see at the top of your
screen we can get a feel for uh
winners unique approach to language
art is not a metaphor upon the
relationships of human beings to objects
and objects to objects in relation to
human beings but a representation of an
empirical existing fact
it does not tell the potential and
capabilities of an object material but
presents a real reality concerning that
relationship
so you have a very stripped down
language uh I think you know some people
on upon encountering it for the first
time might feel that it's it's difficult
to access but I think you know weiner
would say that he's trying to be as
Elemental as possible
uh one thing that happened with the
emergence of conceptual art is that
there was a reaction against the image
and imagery
and so you see that
[Music]
um
winner is is trying to identify the
basic components of art without
resorting to uh
elaborate metaphors
um
and part of that is
using words such as objects
or relation
empirical existing fact but also
using a kind of redundancy or even
willful monotony so human beings to
objects and objects to objects in
relation to human beings
uh which has its own poetry and and uh
is you know it's hard to imagine this
existing as literature uh but neither is
it you know
technical technical writing uh or what
we would normally associate with art
writing
we can see uh that
uh artists in Japan uh were also uh
you know working with similar ideas and
approaches to Art writing
um we're looking at the back matter of
which is one of the uh leading art
journals in Japan uh from the May 1972
Edition you see uh this ten nankai annai
section
which has uh exhibition upcoming
exhibition information on the top half
of the screen and then
um
uh short statements by artists uh
on the bottom half of the page
and I'm looking in particular at this
statement uh associated with Suga
kissio's exhibition uh
where we have things like work details
that have been inserted by the editors
but then we also have a statement
by the artist that was submitted to the
magazine and and inserted into the uh
exhibition announcement section so you
know where wiener is contributing to a
special issue on Words and and word
works uh we can nevertheless find even
in in sort of strange corners of the
magazine of magazines
um
significant art writing and since the
text is a little hard to read uh I've
I've typed it out uh this is suga's
statement uh in tandem with an
exhibition that he was preparing
foreign
uh so Suga is uh you know quite famous
uh for for his
uh difficult to parse uh writing
um
but I think if you look at the first
sentence for example
and you were to translate that think
about how to translate that into
Japanese
a lot of times
translators tend to declutter the
Japanese they want to streamline it into
English
and if you saw this
structure you might just say okay well
this is a definition so a thing is that
which blocks The View
and then you might decide to streamline
it further into a thing blocks The View
and that might you know be considered
initially a stylistically strong English
translation but if you're aware of uh
what Lawrence winner and other artists
were writing in English around the same
time and you know that they were
engaging in in a kind of willful
redundancy
then you might
realized that you know this repetition
of mono monowa nagames mono
is is part of the poetry
of
the writing and is as integral to the
writing as as sort of the broader
Concepts and in that sense you know with
this first sentence you might decide to
translate it is a thing is something
that blocks the view or a thing is that
thing which blocks the view
um so I think there are ways that
understanding uh the particulars of art
writing and being willing to lean into
the particulars of art writing uh can
lead to more sensitive uh translations
um for those of you who are not familiar
with the artist's work here is uh one of
the pieces that weiner has installed in
public in Amsterdam a translation from
one language to another so wiener is
working with language to make uh
language sculptural in a way that Yoko
Ono was working with language to to to
make
imaginary paintings for example and
winner
refers to the to the um
to his art as language plus the
materials referred to so he's
using language in a sculptural way
um
this is an installation view of of uh
the work that is associated with the
statement by Suga kissio that I read
just now
and uh
you know what initially looks like
um sort of a complex uh
spatial installation
also kind of has a structural element to
it where he's playing
uh off relationships between one object
and another he's using
um these wires to
show relationships that extend across
space between one item and another and
show how
items or or the objects are
interdependent on each other
um
and you know Suga is is considered one
of the central artists of monoha which
is commonly translated as school of
things but I think you know the
interesting juxtaposition with Weiner is
that we know works with language in a
sculptural way whereas uh Suga works
with objects in a linguistic way
um
I'd so so you know we see how maybe uh
artists writing about are not
necessarily writing about art in an
explanatory way uh
but the ideas do feed into the actual
Works uh and it's important to to bear
that in mind I think another thing uh
that I just like to stress about
art writing is the incredible
multiplicity of its references so a lot
of art writing will of course start with
the work or or
describe a work or an exhibition
but here we're looking at the the first
spread from an article by the artist
takamatsujiro sekai kakudai
uh which I'm currently working on as an
editor with Ray kotomi who's a
pioneering uh translator and Scholar of
post-war avant-garde art
um but in this article or in this essay
takamatsu is
essentially proposing the idea of
absence
fusai as a kind of engine for art and
Imagination but he does so
by drawing upon examples such as
baseball
he talks about
uh an office worker or a salaryman going
out on a date uh
and he talks about uh he he quotes from
sart he quotes from Einstein and so he's
drawing from a lot of different
registers of uh of reference and and
um
and uh and address
um
so
you know that multiplicity is important
but also I think again keeping in line
with with sort of the the through line
of of conceptual art
um
his notion of absence actually is really
at the at the core of both uh art
writing and in a sense translation too
that
um you know we can never quite uh reach
uh the object of our intent uh takamatsu
you know raises the example of a painter
who or of a young woman who who wants to
obtain the perfect Rose and is unable to
obtain it so she she takes up a
paintbrush and and paints a rose which
is an ideal Rose
simultaneously an ideal Rose but also an
Untouchable Rose
um
you know similarly Yoko Ono has a work
called uh painting to exist only when
it's copied or photographed in which the
instruction reads let people copy or
photograph your paintings destroy the
originals that's from Spring of 1964. uh
so
you know I think
conceptual art
recognizes how absence
is an important fulcrum of art and
translation and and and
that's echoed in
um a text by the French artist Daniel
Byrne who essentially
made works with uh Stripes colored
Stripes uh for most of his career
um but also wrote a lot about his art
and he talks about some of the uh
factors that drove him to Road such as
uh ranging from necessity to
um to to commission so sometimes he felt
it was necessary to correct uh or or
sort of take back the stage from the
critic and other times he would have
been commissioned to to write about his
work
but in an essay called why write which
he which Byron submitted to the same
words and word Works a special issue of
of art Journal
um and which he in fact uh composed in
Kyoto in 1981 uh
Buren gets to I think uh you know
re-articulates uh What uh I was what
takamatsu was also raising so uh
quoting from Buren nothing seems more
natural than to speak or write about a
plastic work it's through writing that
we find what we might call the visual
Works baptism of fire an essential
baptism baptism for silent works insofar
as only those which can emerge intact or
reinforced managed to prove they have
something to say beyond the written word
what a visual work has to say if
anything cannot be reduced to any other
saying
that's why all the talk in the world all
the possible texts will end up saying
very little about what is essential to
the visual domain
and it's around that very problem posed
by the uncrossable and impossible
distance between two ways of saying that
the best the most comprehensible
writings about the visual arts
constitute themselves
um so
you know I think
obviously one of the key concerns in
Contemporary Art writing is how an
artist makes a work the process by which
an artist makes work but I think uh
you know
that process itself is
driven by uh silence or absence or
something that is unsayable and that
that you know as Buren uh notes that
that is that unsayability is is part of
the the drivers of the work of the
writing and that's what makes it nuanced
as well uh so I think when we're looking
at Art writing as as an object of
translation we we have to be attuned to
those nuances
ah
that was an artist's perspective
on the other side we have uh one of the
leading critics of recent years who in
1994 was writing about his critical
practice for art form
uh Peter shadow
in critical reflections
um
brings up a text that he wrote as a
young critic which I think
is still quite meaningful uh certainly
for myself and apparently for him as
well uh throughout throughout his career
uh
what do I do as a Critic in a gallery I
learn I walk up to around touch if I
dare the objects meanwhile asking
questions in my mind and casting a bot
for answers all until mind and senses
are in some rough agreement or until
fatigue sets in
I try not to think about what I will
write try to keep myself Pride open I
try to chase in my intellect with the
effort of attention which in
intellectual terms is doubt doubt being
the certainty that you're always missing
something
to stay as close as possible to
confusion anxiety and despair and still
be able to function as the best method I
know
so he's talking about his experience
as a Critic in a gallery engaging with
an artwork
and this
sort of
resistance you know to to or this this
need to keep himself Pride open and to
be open to doubt is I think an important
element of art writing
as much as absence uh and and so
uh you know it's something that again we
have to be sensitive to When We're
translating our writing that you know
we might not always get
uh
everything in the order we expected we
might not always get everything uh
written as clearly as we expected but if
we follow through that process we can
arrive at some kind of recognition or
new perception of both the work and also
how we ourselves engage with works or
how we process the world even so so this
is a a very uh epistemological exercise
as well and and I think that's one
reason why art writing and criticism
share a lot of overlaps with
uh with philosophical writing for
example and obviously artists like
Weiner and and Suga even if they're not
uh
specifically citing anybody are
influenced by their readings of
philosophy and and
critical theory
um
as a final rejoinder to the
international art English essay before I
move on to the second half of of the
presentation where I'll be talking about
um
sort of specific approaches to Art
writing I'd just like to
raise
the first Japanese translation
of the futurist Manifesto which you have
in your Sanko Studio
and and are welcome to uh
uh
you know read
on your own a lot of times when I do
workshops I I will have everyone uh
read the text out loud
um it's not possible this time but I
think if you do start to to kind of
cast your eyes over the text and
try articulating it you'll find that
there is a lot of resistance there are
uh obsolete kanji that are being used
they are obsolete
turns a phrase
and idioms
which uh you know even
contemporary Japanese readers would
struggle with so when I when I do the
readings of this text a lot of times
people have to stop and start over they
have to ask someone next to them for
help with the character
um
and I think this text which is sort of
you know a flawed translation of a
flawed document
um
nevertheless you know is is valuable as
a record
of an exchange that happened in time
um in a specific time under specific
conditions
and so
you know I think
of course as as you read the text you
encounter the frustration of dealing
with obsolete text which is ironic in in
that this is the futurist Manifesto and
so there's a bit of a kind of
uh contradiction uh in in time taking
place
uh you will also come across quite uh
incendiary comments such as war is the
only hygiene of the world or uh you know
misogynistic comments uh which are in a
sense neutralized by the obsolete
language but also become more surprising
or more shocking and
precisely because we have to make the
effort of of decoding that language
um
you know but
so you could say that you know
this this translation needs to be
replaced it needs to be updated
and I think that
is really one of the keys
of of translation
uh and that is what excites me about
translation is that it is constantly
updating itself
um but another thing that I want to uh
share about this text is that of course
it was
uh it is also an artifact of of how uh
Contemporary Art writing was
multilingual from from you know the
start of the 20th century so it was
written by a an Italian man who had been
raised in Egypt and various drafts of
the futurist Manifesto were in fact
circulated in Italian uh literary
journals prior to the definitive version
being published in the French newspaper
Le Figaro in in February 1909 and this
Japanese translation
by Maury ogai in fact appeared in in May
1909 in the inaugural issue of a Subaru
the literary journal Subaru so
um
you know I think it's it's a it's a
really fascinating
document of how uh
uh you know whether it's English or or
French or other languages that happen to
be dominant at that time art writing is
nevertheless uh in you know
occurring at the intersections of
multiple languages
um
and
you know another
important document in that regard is the
1920s
datis constructivist uh
uh art group Marvel's Journal which they
published from 1923 to 1925
um
you can see
on the front cover of their first issue
they they have uh a translation of poems
by Kandinsky
next to an illustration of a kind of
constructivist object created by one of
their members
and the magazine was uh
a repository for different translations
of Vanguard thought coming from Europe
and and the USSR
he was also a place where Japanese
artists and creators published you know
data their own dadist poetry their own
dadist
[Music]
um
plays uh but if you turn over the
magazine
and look at the back side of it they
also have a list chimok sabeki sekai
nozashi
uh
which
includes avant-garde magazines from
around the world this style for example
from the Netherlands disturb from
Germany
there's also block from Poland and at
the very bottom you see Marvel included
in that list
and what this says to me is that you
know I think uh being International is
uh
is not necessarily something that you
would actualize specifically by by going
around to different parts of the world
but it's also a mentality it's a
projection of yourself into the world
and it almost doesn't matter whether
that projection is is reciprocated but
uh you know I think in that sense Marvel
which was
written entirely in Japanese projected
itself into the world
as an international entity
by translating texts from English and
other languages German and other
languages into Japanese
and so that's a powerful statement uh
for maybe sort of an ethical position on
what translation can achieve and what
translation means
when you know we're faced with with a
situation where you know you might say
well we don't have enough money to
commission a translation or we're under
uh you know a time crunch so let's just
put something out there of course having
some English is better than no English
in you know in the case of reaching an
international audience but
um
uh I think
there is
something you know
worthwhile it is worthwhile to pursue a
better translation whatever the
circumstances
uh by keeping these other things in mind
um so I'll very quickly run through some
fundamentals of uh translation which
I found a crop up as issues in art
translating
um
you know I mentioned uh the absence of
takamatsujiro and of course Japanese is
famous as a language where uh it's
common not to have subjects as well as
direct objects uh in sentences
um and this is something that I find uh
trips up a lot of of translators
when they're going through the
translations
and it doesn't matter whether you're a
native English speaker or native
Japanese speaker it doesn't matter
whether you're a new translator or an
experienced translator
you know somewhere along the way there's
going to be a really gnarly sentence uh
that has an unstated subject potentially
unstated direct objects potentially
unstated subject changes so I just like
very quickly to to review these
fundamentals uh through some very simple
examples uh
to show how
in turn these these quite simple and
seemingly self-evident translations can
become very difficult when they get
expanded into more complex scenarios so
the first thing we're looking at is a a
complete sentence sentence in Japanese
gen diabetes again diabetes and the
copula da is what tells us that it's a
complete sentence
um
and so if you wanted to reflect uh the
fact that the Japanese is a complete
sentence when he translated into English
you would need to supplement a subject
uh in this case it or this is
Contemporary Art
um
there are also uh
you know issues around active verbs
where in Japanese writing you don't
necessarily have to have the subject of
the active verb and you don't
necessarily have to have the direct
object of the active verb so a sentence
like successda
uh would you know if you wanted to
reflect the fact that there was an agent
performing an action on something you
would translate as I you we they made it
not it was made and this is something
that I see a lot in in art translations
where an artist is talking about
um their creative process
and they use an active verb like
successda and then the translator puts
it in a passive voice and it changes the
agency of of
um
of the text and we also have to keep in
mind that with art writing there are
multiple agents floating around or
multiple subjects floating around
there's there's usually an artist and a
viewer as well as sometimes the artwork
itself or art itself and so
um you know sometimes if an artist wants
to give agency to an object it's
important to you know be attuned to that
through the use of verb inflections
obviously the direct object marker o
will also alert you uh to the presence
of a subject
when even when it's not made explicit
uh example three successita a made or
let B make it so you have uh a subject
uh and an indirect subject uh in tandem
with a direct object uh four success
I you we they found the files that IU we
they made
were made to do it and here we also see
uh you know
how singular and plural uh
are encoded into a
you know grammar differently between
Japanese and English
um you can also rephrase this as they
made me do it uh potentially when you're
translating
a lot of times you might say it was
thrown out but you can also put this in
an active construction with a subject it
got thrown out
um
and then uh
you know when you're translating really
complex art writing it's important to be
mindful of the distinctions between wa
and GA and how those inform uh subject
Hood uh so ABC
versus ABC
ABC
would be ABC is
whereas ABC got t equal to that would be
it this means that a b c d you know so a
lot of times uh I think when people are
translating they immediately assume that
both wa and GA identified the subject of
the sentence
uh but that's not always the case a lot
of times God will identify uh the
subject of a relative Clause within the
sentence or a noun clause within within
the broader sentence
and this is something that can really
trip you up uh when you're working on a
complex uh sentence
um
I just mentioned relative clauses this
is an example from Kishi osuga's writing
that uh you know I think
has really stayed with me uh as an
example of how tricky these unstated
subjects can be uh
this is a fragment from a sentence and
if you're just looking at it as a
fragment uh you might be inclined to
think that is the 10 the point that is
not moving so the distance from one
unmoving point to another unmoving point
but in fact this is part of a broader
section in which Suga is writing about
buddhao dance and jazz dance
and and so
understanding that context if you reread
the the the fragment you would
understand that there is a subject uh
that is moving and
um you know the better reading of this
sentence would be something like the
distance from one point where the dancer
does not move to another point where the
dancer does not move
uh
so you know after you identify that
you could always go back and rephrase
the sentence in a way you know you could
say the distance from one point of not
moving to another point of not moving
there are certainly other ways to
translate it but it helps uh to clarify
what's going on in the sentence if you
can pinpoint whether there's a subject
there or not we also see in noun Clauses
something like uh uh Anatole against
you must not forget about being an
artist versus you must not forget that
you are an artist uh you know it's
necessarily whenever you see a complete
sentence or or you know a complete
Clause within a sentence It's always
important to check whether there's a
missing subject or not
um
and again you know this is where you can
get uh tripped up when when there might
be multiple subjects in a sentence that
are unstated
um you know I think
the classic example of an unstated
subject is is where you have a a subject
that is introduced in one sentence and
then it carries over into the next
sentence so uh this example I have here
Coco
is so
we have the subject
any individual thing or individual
things introduced in in one sentence and
although there is no uh
subjects stated explicitly in in the
next sentence
is referring to coconomono from the
previous sentence and so we need to
carry that over into the next sentence
uh
in order to have it make sense
uh in order to also complete the
artist's thought we also have cases of
of subject misdirection
uh again centering around the use of
onega this is uh a sentence that I took
from a children's book called
karasinopanyasan but I you know I I
really like it uh
so if you're reading it as especially an
English native reader and you see you
see okay
your first inclination is to carry that
subject over uh to the to the end of the
sentence and you would come up with
something like reading a customers
gradually stopped coming to buy bread
and they got poorer and poorer but I
think
um
I would hope that it's it's already
relatively evident that it is not the
customers who are getting poorer and
poorer uh but the Bakers who are getting
poorer and poorer so customers gradually
stop coming to buy bread and the Bakers
got poorer and poorer uh or if you
wanted to reflect the Bakers as as the
subject of the entire sentence uh
specifically bimbo ni not techimasta you
might in fact uh
put them at the front of the sentence as
an example see the Bakers got poor and
poorer as customers gradually stopped
coming to buy bread
um you know I think both B and C are are
on some level or fundamentally
acceptable translations uh of this
sentence but you know again
um
you you have to uh just be on the
lookout for these sort of subject
unstated subject shifts
uh one of the most important
things in in translating art writing is
the issue of singular and plural
uh
a lot of times you know if you if you
make reference to a work or a component
of a work in Japanese it's not
necessarily the state specifically uh
whether it's one component or multiple
components in this example uh
the writer is talking about a work by
sugakishio Mado Society
so if you just read it as a fragment you
might say the important early work
infinite situation made just by propping
open a window with a piece of Timber
but if you look at the actual work which
you can see at the bottom of the screen
it's not just one window and one piece
of of Timber it's two windows and two
pieces of Timber
and so
that would in fact you know if you
wanted to be uh
accurate about the nature of the work uh
that would prompt a revision to
something like an important early work
infinite situation made by just made
just by propping open windows with
pieces of Timber and then the question
as a translator is you know how how
specific do you get do you say do you
leave it at windows and pieces of Timber
do you say some windows and some pieces
of of Timber do you specify two windows
and two pieces of Timber
um
and and and uh and I think in in
rereading this you can also see how
maybe the writer is is shortchanging the
nature of the work by trying to focus on
its Simplicity when in fact Suga has
deftly created
a quite complex work that challenges
Notions of of of
Singularity or originality uh in
artworks
um
in that sense there's a there's an
article by Suga uh from from a busy
statue of talks you a special issue on
constant in raccoons brancusi which is
is a significant too
um
Suga starts off his essay talking about
the translation of uh bronchusi's
the title of brancusi's infinite column
into Japanese and he mentions
specifically the infinite column that is
installed in Targa Jew in Romania in
Romania
um but by the end of the essay he talks
about his experience uh
in Paris when he was there for the the
Paris biennale
uh looking at
um
a room full of infinite columns in uh
the Museum of Modern Art
and so you know I think
once you get to the end of the of the
essay and you realize that he's talking
about
a work that is not just one singular
piece but multiple has multiple uh
editions it sort of changes how you
approach the translation and you have to
go back and think through revisit the
translation and see whether you know you
you have to distinguish whether he's
talking about the target juice piece
specifically or whether he's talking
about the body of work uh infinite
column
and so there are all these things akin
to the to the the hidden subject or the
missing subject where
um
uh
where uh
sorry um
where where
references multiply
um
I also just mentioned quickly issues of
referentiality It's always important to
uh
try and look at images of works if
possible when you're translating
um there's a a text on Noble secondary's
seminal piece of
of monoha art phase mother earth
in which the writer refers to that
installation or that work as all
thoughts are happening and if you just
take the text at face value you might
say uneven happening or bumpy happening
as possible translations
but when you look at the
actual work and you see that uh the
artist dug out a hollow sphere in the in
the earth and then presented uh
has sort of uh a sculptural
representation of that Hollow uh
next to to the whole uh you you and if
you go back and look at the characters
then you would realize that the the
authors may be using those characters
almost pictographically
and so you might come up with a reading
of concave convex happening or in out
happening neither of which are
necessarily perfect uh renderings but
they get closer to maybe the effect of
the Japanese
um
you know so so
uh when you're doing translations it's
important to to kind of fact check and
um look at
The Works cross-reference the works
against descriptions here's a a
description of a work from
um
an essay in 1964 that mentions a piece
by hiroka hiroko which had a tape
recorder that released concrete sounds
when the viewer comes close to it
uh and so in doing research uh when I
worked on this translation I was able to
understand
you know I I went through different
reviews of of the piece and was able to
identify
how the work was put together and that
then informs the translation and and and
so you can be more precise with the
translation
um it also makes a difference because
sometimes uh you know this is
um an article reviewing the yomi Yuri
independent exhibition which was a
really important exhibition for anti-art
practices at the end of the 50s and in
the 1960s it was an open exhibition and
you have many artists
um exhibiting together in a Summit
chaotic environment and so I think
during the editing process one of the
editors raised the question whether you
know
whether hiroka's work was the actual
work emitting the sound or whether the
sound wasn't coming from a work nearby
and so that was something
in going through a
sort of archives uh you know of of art
writing we were able to confirm that uh
hiroka's work was the one that that was
indeed uh emitting the sound and that
made a big difference on how we are you
know finalizing the translation even if
the initial translation uh the initial
reading of the text was not so far off
um finally I'll just introduce a
an approach to dialogic translation you
know I think with missing subjects and
objects and with references it's very
difficult for any single translator to
stay on top of everything and so uh I
really encourage people to to use a
dialogic approach uh if you're you know
a lot of times you will be working on on
your own but uh you know even if if your
commissioned to translate uh an essay a
curator's essay for a catalog you still
have the curator
as as someone to bounce ideas off of and
and so
um
I always like to use the comments
section uh of Microsoft Word or whatever
uh program you're working with to just
identify points
that I'm a little unsure about which
could be fact-checking details for
example
uh in this deck copy there's a reference
to the yomir independent uh creating
excitement since it's an Inception in
1948
and and the actual exhibition started in
1949 so you know there was a back and
forth to determine what that meant
exactly was this a factual error on the
part of the original writer or or was it
a reference to something else
um
you know they're also
context-specific wordings so
uh you know the Japanese makes reference
to uh
which you could interpret as the new
year
but in fact the yomiri under Panda was
held every year in February and March
and uh you know so in confirming that
detail we change the translation to the
spring rather than the new year which we
sort of was a localization for uh
international Readers even even though
the Japanese is is sort of
um you know
evident to Japanese readers
um
so I've gone a bit over time
but
um you know I think
a and and because of the the the volume
of of people joining us today we weren't
able to do any interactive uh
exercises but I've shared this
proletariability document with you uh
because it might be interesting for you
to try on your own
um
I think it's a fascinating document
which touches on some of the issues
about sort of the internationalism of
art language
uh or art writing as well as uh some of
the details that that sort of crop up
when we're dealing with historic texts
some of the opacities that crop up when
we're dealing with historic attacks
um just to go over some of the features
quickly you know uh this is a an
envelope that contained
um
uh full color reproduction postcards of
selected works from the proletarian art
exhibition of 1930
and so it's it's an object for one thing
uh where you know this is the front this
is the back and on the back covered text
we have slogans from the proletarian art
movement which uh you know are in
Japanese but they're certainly in
dialogue with with uh slogans from uh
socialist movements elsewhere in the
world and so when you're translating
those you might want to refer to uh you
know
translations of of Russian uh socialist
thought or you might want to refer to
translations of Chinese socialist
thought you can draw from
a pool that uh
of a lexicon that goes beyond just mere
Japanese to English translation uh
there's also a quote from uh Lenin here
which is interesting you know I think if
you were to translate it you would maybe
come up with a rough translation and
then Google to see whether this quote
has been translated into English
um there's text
stating the objectives of the
proletarian art movement there's also
this fascinating
um
section called Leo Leo ho so
instructions for use
which states how you know the the
postcards are intended to be distributed
at workplaces or in the home uh and so
there's a lot of different things you
can play with in terms of approaching
the translation uh it's difficult to see
on your screen this is also an era when
there was censorship and and and
increasing policing of thought in Japan
so you have
x a a as in uh or camp and
here at the bottom you also have extra
two nodoshi and so
this is a very uh kind of real example
of how
um
things that might have been relatively
self-evident
in the text
at the time when it was written become
less self-evident and and
so you know you might have to approach
this as a kind of archaeological
exercise to dig into uh different
writings about uh sort of
uh socialism in Japan or social
movements in Japan as well as uh you
know thought police and things like that
in Japan in order to identify
what those missing parts are and then as
you know as a translator you would also
have to consider how much to translate
of that missing content would you uh say
x-camp uh in your translation or would
you if you were able to identify what
the reference is would you simply insert
the reference would you use a footnote
um it raises up a lot of possibilities
for all the different tools that we can
use to to
flesh out our translations
so uh thank you for your patience
uh and and for bearing with me we'll go
into questions now
and uh
the first question we have is from
Brendan C
for your subject misdirection example
can you see an argument for retaining
the unstated nature of the subject as
seen in Translation a in some ways they
which could refer to the Bakers or the
customers in common English use usage
most closely models the vagueness of the
source sentence how do you approach the
question of when to extrapolate and make
explicit elements that are given
implicitly in the Japanese yeah you know
I think
um
you know
you can always go back and consider
uh how much
to make explicit uh you know with with
these missing subjects and missing
objects
um I think
for art writing it's important to
understand that
art writing is granular it's dealing
with how we engage with objects a lot of
the time
it's dealing with
um how objects you know sit on top of
other objects it's dealing with things
like body position
um
and and uh relations between one actor
and another or one object and another
and so
with art writing I think it helps to to
sort of lean into that granularity
um
because you know it's it's it's not
always obvious in the Japanese but it's
there in the Japanese and I think that's
you know ultimately what writers are
trying to get at
um
uh you know when they're talking about
their engagement with art or engagement
with artworks
um yeah let's see if we have uh any
other questions
um feel free to send them in
uh
we have a question from kanamiyazawa how
do you translate historical materials
where the artists in Focus are no longer
alive
um
yeah I think uh
you know you have to start with the text
uh and do a close reading of the text
and then you have to Branch out from
there and and uh and continue uh
building a structure for approaching the
text that goes beyond just what you have
in front of you and that's that's I
think one of the points that I wanted to
make with uh with the missing subject
examples is that there's a lot more
happening around the text than what we
see uh in front of us in the text
um so with with a historical
figure who is no longer alive
you might
want to read extensively in all of their
writings to get a sense for what their
concerns are what motivates them how
they use language whether they have any
recurring terminology that they rely on
um
and you can also read criticism of their
works you know there's a lot of uh
intertextuality that is that is
happening particularly in art writing
because it is a conversation that is
going on between different people
across texts
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so looking at how other writers have
described that artist looking at for
example uh
what
uh what gets quoted by other writers
when they're talking about that artist
so you know I you know I I showed you
these exhibition statements from kishio
Suga and those in fact do get quoted by
people writing about uh suga's art and
that tells us something about how those
texts were presented how they were
received and their importance to the
artist's practice
um
I'm trying to think if there is there's
anything else also you know interviewing
people who who uh had interactions with
the artist if if those people are still
alive
um interviewing other specialists in the
artist you know I think uh there's no
reason to limit your your yourself to to
to to to kind of your own knowledge you
can you can draw on on Knowledge from
other people
um and you can also draw on a sort of
horizontal
connections uh
you know so so I I have been translating
uh suga's collected writings over the
past few years that's why I I drew upon
Him extensively for this presentation
um
but in in that process I happen to meet
a Korean translator who is working on
translating Liu funds texts from
Japanese into Korean and you know we
were able to have a really interesting
exchange about
um how these two peers uh who were
Central to the moonaha movement
approached language uh in different ways
and how they understood Concepts such as
mono which is suga's preferred term
versus jibutsu
which is a term that Liu fun tends to
use more often so so there are all kinds
of ways that you can kind of
um
Branch out from the text proper and I
think when you're doing something that
has historic value it's worth the effort
um
and I think that's what gives it
you know added value Beyond just the
Google translation
uh let's see we have another question
from sayaka Takahashi as a non-native
English speaker I would like to know any
tips for checking or copy editing of
translated texts especially the fine
nuances is very hard for us if you have
any guidebooks that would be appreciated
so
um
I guess you're talking about checking
somebody else's translation
uh
from Japanese into English I think you
know as I mentioned the the missing
subject is is sort of one of the key
cruxes around which a lot of
misinterpretations happen also singular
plural and context-specific references
to to to works in terms of
[Music]
you know guidebooks or or something you
know I think it helps to have a
technical understanding of the Japanese
language
and a technical understanding of the
English language that's why in the
survey I was curious to know if people
were working with something like Chicago
Manual of style
um
and if you can bring that technical
understanding to reading the Japanese
text and thinking about how to put it
into English or vice versa then then
that improves uh the possibilities for
for
how you can decode particularly complex
sentences
there are also a
you know there are really great
references for thinking about
the Japanese language and how to
translate Japanese into English Yoko
Hayashi
has produced a Rutledge course on
translation that you could look for
there's also
Judy wakabayashi's recent book on
translating Japanese
uh and so reading one of those books or
reading multiple of those books would
would help to you know both whether
you're a translator as a or or or a
checker would help you to get a hold on
on
techniques or or strategies for
translating Japanese into English and I
would also say for native English
speakers who are translating uh Japanese
into English and having Japanese native
speakers check their work you know I
think it's really important to be open
and receptive to what the checkers are
saying I think you know I've noticed
that people tend to get a little prickly
about having their translations checked
and it's easy to say well I'm the native
speaker
um you don't know what you're talking
about but I think you know a lot of
people in Japan especially in the art
scene are you know quite competent in
English they're reading text in English
uh and they're they're reading
specialist literature in English and so
you know I think it's important to be
open
uh to to to their uh viewpoints when
they when they raise them and also you
know think of it as a dialogue uh so you
can
um you know start from a question is
this the right reading and then you can
take it from there and a lot of times
those sort of fuzzy intuitions about
about whether something is is
being translated to the well or not it
can lead to interesting discoveries
um let's see
from Jennifer Pastore if you have to
choose do you prioritize the writer or
the reader of the translated text
faithfulness to original versus
readability accessibility yeah I think
this is something that you have to
approach on a case-by-case basis
with the art platform Japan translations
we wanted to
have something that would mirror quite
closely the the Japanese text so that
way bilingual researchers both Japanese
and English and other
languages uh could could read the
translations and compare them to the
Japanese and use them as an aid to their
own research but I think there are other
cases where
um you know
focusing on readability as you say uh is
more appropriate I just you know again
with the reason I brought up the
examples of wiener and Suga is that
sometimes what we think is readable is
not necessarily what the artist is going
for uh when it comes to Art writing and
art writing is not always interested in
conforming to
um you know the standard values of the
of the broader Society uh you know I
think a good term for that in Japanese
is hetauma where a lot of artists will
willfully go against the grain of what
is considered uh acceptable or or
um
uh
um
standard
um
sorry and also I have a comment from
Lynn Riggs who's
joining us uh the you know the reference
to Yoko hasagawa's book is The Rutledge
course on Japanese translation
um let's see
uh
so uh here's a comment from
curious to hear any concrete tips
especially resources that are available
for those uh not affiliated with
institutions
I think we've covered this already but
again you know you might want to check
out some some texts on uh
Japanese translation
um
I recommend you know reading through the
Chicago manual style and or some other
style guide and figuring out uh you know
understanding different approaches to to
working with English I also recommend uh
reading art writing as much as possible
if you're interested in pursuing more
translation of art writing there are
online journals like art form or freeze
that are posting quite you know
I haven't you know art form would have
like 300 word reviews of exhibitions
from around the world and so you can go
online and read one of those daily and
over time build up
a pretty good understanding or build up
your understanding of of what's
happening in art discourse and and you
know what uh terms are are kind of
circulating
um in the art discourse
uh
let's go to another question
um
from an anonymous question or do you
have any rules for when how to involve a
copy editor Checker in the process
um
you know I think ideally
all English writing would go through an
editing process and typically for for
example with English magazines or
exhibition catalogs produced by uh you
know museums in the U.S there will be a
kind of a commissioning editor
who works with the writer on uh sort of
the big picture
uh aspects of the text
there will be a copy editor who works on
the technical aspects of the of the text
and then
there would also be a proofreader
who's checking the text in layout and
and uh
able to to again recommend tweaks to to
the writing so
all English text in the Contemporary
area era generally goes through a quite
rigorous editing process although that
is of course changing with with the
increase of online platforms such as
blogs and news aggregators and whatnot
but um but if you're writing on for for
a a formal
um
occasion uh or or a formal venue then
then there would be an intensive editing
process
um and so you know I think fundamentally
uh translation is no different once it's
being presented as an English text uh
it's worthwhile to put it through an
editing process and that at that point
it's up to the translator to negotiate
with the editors about you know what is
an appropriate edit or not to the
translation it's important for the
translator to communicate to the editors
and what are the stylistic features of
the text that that make that text what
it is and then work around that uh but
but all translations benefit uh from
editing and you know the problem is that
in Japan of course
institutions are are sort of maxed out
in terms of budget already you know
simply in putting aside money to
commission someone to translate a
catalog essay is a big commitment uh
it's a substantial Financial commitment
it's also a time commitment
um and so you know a lot of times what
happens is is we as translators end up
you know being our own we're first of
all the translator then we we have to be
our own uh copy editor and and sometimes
we might have some interactions uh with
with the curator or whoever commissioned
the text and get a little feedback but
um it's rare to have editing beyond that
so
I think you know that that's just a you
know one of the tough facts of being in
Japan but that's why I I think it's
important to be fundamentally sound in
your readings of the Japanese text and
fundamentally sound
in in how you're putting out the English
um as well you know in in terms of using
English uh technically
let's see
we're down to the last five minutes or
so
uh
if anyone has another question uh feel
free to submit
um
you know I think
today's
[Music]
Workshop is just a start and and there's
a lot of
um
a lot more topics that we could go into
in terms of of translating art writing
or what makes uh art writing
um
unique or uniquely challenging to work
with
um
you know I think having a Passion about
art is is also important uh taking art
seriously
is important you know I'm sorry I I
didn't quite uh deliver the uh reference
to International art English uh in the
way that I I would have liked to at the
beginning but
um
it is easy to be cynical about art
writing sometimes and there certainly is
uh
you know there are better art writers
and and worse art writers and and it's
not always pleasant when you're the
translator who's working on a text that
is not
um
you know
you know does not
flow naturally from one language to the
other or does not you know seem to be
um
particularly strong uh in the in the
original language even but you know I
think uh if you're
if you're entering into that agreement
to to translate somebody's writing then
I think you you know you owe it to them
to to to take that writing seriously and
to
um
try and understand
uh what the writer hopes to express in
the case of of of a living writer you
know it is possible to dialogue with
them uh so and you know if you've been
uh
commissioned to translate a catalog
essay and someone makes a reference to
you know kishu suga's infinite situation
and they say you know it's a piece that
was made by propping a piece of timber
in a window and you look at the image
and you realize hey it's not just one
window it's two windows
you could go back and say is this really
what you wanted to say or
um is it significant that they're
is more than one window
and that would create a dialogue that
could then lead to
um
you know the the original writer
revising
you know their their the original text
uh not just the translation and and I
think uh you know writers are generally
appreciative of that I also have a lot
of experience
um
you know
having my writing translated into
Japanese in particular because I am one
of the editors of the online
art publication art it and for the past
uh you know since 2010 I've been doing
some five or six interviews with artists
every year uh that come out as you know
long form four thousand to five thousand
word interviews and I've been checking
those interviews when they're translated
from English into Japanese
um
every time and and and and I you know I
think uh as a writer I'm really
appreciative of being translated it you
know it
I you know I I'm happy that I'm reaching
a different audience uh than what I
would ordinarily be able to to reach and
and you know I'm always happy to work
with the translator to
um improve the translation especially if
the translator brings issues to me uh
but
you know I think a lot of writers are
just simply happy uh to be to be
translated uh full stop and so that's
something that you know as a translator
you can you can
um
give somebody uh so yeah I mean I think
the reality of translation in Japan is
that we have you know people who are
native Japanese speakers people who are
native English speakers
people who are coming from an academic
background people are coming from uh you
know a self-taught background uh people
who are art Specialists people who are
not art Specialists but I think you know
we can all work together uh to to
increase the pool of of of
Japanese art writing in Translation and
and I think that
um
you know
in the process as you gain experience
you will find uh a path to to a sort of
better art translation if you if you
take it seriously so we're out of time
uh I really appreciate everyone for for
joining again uh and uh I I you know I
think I I imagine that there will be
opportunities for more uh workshops like
this in the future thank you
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