JOÃO MIGUEL BARROS - L’INVITATION AU VOYAGE / INVITATION TO THE VOYAGE
誠邀參與展翅翱翔
1. 起落架象徵著思想的托寓，自在翱遊的思緒正是文化的表現之鑰。
借起落架托寓旅程，因文化僅於旅途中流轉、被擁抱，方綻放光華。
思想若不曾遨遊一番，又或停滯不前，便是一種無力的思維，終將因缺乏認同而步向凋零。
2. 19世紀法國浪漫派詩人夏爾·波德萊爾 (Charles Baudelaire) 於1857年發表了著名詩集《惡之花》(Les Fleurs du Mal)，其中便收錄了與該藝術作品結伴同行的這首詩歌。
3. 波德萊爾在飛機問世之前已是時代先驅，然而，他的前輩和後世藝術家、自由思想家紛紛各出奇謀，借助風之翼飛往東方。澳門是一處熱情好客的避風港，因此，讓我們在2024年的今日在此相聚慶賀。
4. 飛機起落架除了是降落的關鍵配件，對於起飛亦同樣重要。若在這片天空中碰上側風，萬般皆有可能。值得慶幸的是，文化並不會滯留原地，我們的每趟旅程和飛行軌跡都伴隨著起落架的帶領，途中遇上的各種阻礙終為滋養文化注入寶貴養分。
João Miguel Barros ( 包偉鋒)
《旅行的邀约》
我的小姑娘，我的好妹妹，
想想那种甜蜜美好
去那里生活在一起！
自由地恋爱，
恋爱直到死去
在像你一样的国度里！
薄雾笼罩的阳光
云雾缭绕的天空
因为我的心思已拥有
如此神秘的诱惑，
你的眼睛出卖了你，
在泪水中波光闪闪。
那里，一切都是有序而美丽的，
无不奢华，静谧而快活。
闪闪发光的家具，
因岁月的打磨而文雅，
装点着我们的卧室；
最稀罕的鲜花
把它们的芬芳掺入
淡淡的龙涎香，
富丽堂皇的天花板，
深邃渺远的镜子，
东方的光彩夺目，
那里的一切都在
向着灵魂悄悄地诉说着
故乡的温柔话语。
那里，一切都是有序而美丽的，
无不奢华，静谧而快活。
看看那些运河之上
航船在沉睡
而它们的心境却是漂泊无定的；
为了满足
你最微小的欲望
它们从世界的尽头纷纷赶来。
——落日的余晖
覆盖着田野，
运河，整个城市，
霞红烟紫，金碧辉煌；
而后世界沉入
一片温暖的光辉里。
那里，一切都是有序而美丽的，
无不奢华，静谧而快活。
波德莱尔： 《恶之花》（伦敦：埃尔金-马修斯，1909 年）
ARTIST STATEMENT
1. The landing gear is an allegory that symbolises thought. Free thought, an attribute of any form of cultural manifestation.
It is an allegory of travel, because culture only finds expression when it travels and is welcomed.
A thought that does not travel, one that stagnates, is a thought that lacks power, prone to dying from lack of recognition.
2. Charles Baudelaire was one of the great French Romantic poets of the nineteenth century. The poem chosen to hitch a ride with this installation was included in his most famous book, Les Fleurs du Mal, published in 1857.
3. Baudelaire was a pioneer, in a time before aeroplanes. But, before and after him, there have been many artists and free-thinkers who, in different ways and still today, have harnessed the wings of the wind to travel eastwards. Macau was always a haven of safety and hospitality. And that is why we are here, in 2024, celebrating.
4. An aeroplane’s landing gear is crucial not just for landing, but also for taking-off. And in the air, with the crosswinds, everything is possible. Thankfully culture is not fixed. Its greatest richness is the ability to drink from the interferences of the many journeys and the multiple routes on which those landing gears now take us.
João Miguel Barros
L'Invitation au Voyage / Invitation to the Voyage
Charles BAUDELAIRE
My sister, my dear
Consider how fair,
Together to live it would be!
Down yonder to fly
To love, till we die,
In the land which resembles thee.
Those suns that rise
'Neath erratic skies,
— No charm could be like unto theirs —
So strange and divine,
Like those eyes of thine
Which glow in the midst of their tears.
There, all is order and loveliness,
Luxury, calm and voluptuousness.
The tables and chairs,
Polished bright by the years,
Would decorate sweetly our rooms,
And the rarest of flowers
Would twine round our bowers
And mingle their amber perfumes:
The ceilings arrayed,
And the mirrors inlaid,
This Eastern splendour among,
Would furtively steal
O'er our skuls, and appeal
With its tranquillous native tongue.
There, all is order and loveliness,
Luxury, calm and voluptuousness.
In the harbours, peep,
At the vessels asleep
(Their humour is always to roam),
Yet it is but to grant
Thy smallest want
From the ends of the earth that they come,
The sunsets beam
Upon meadow and stream,
And upon the city entire
'Neath a violet crest,
The world sinks to rest,
Illumed by a golden fire.
There, all is order and loveliness,
Luxury, calm and voluptuousness.
— Translation: Cyril Scott,
(London: Elkin Mathews, 1909)
