自己制作水位报警器:Breath of violence品味暴力

　　Contemporary art that reflects the many-sided violence afflicting Pakistan
　　反映巴基斯坦方面的让人感到痛苦的暴力的当代艺术
　　Pakistani art巴基斯坦的艺术
　　
　　AFTER well-received debuts in New York and Paris, Pakistani contemporary art is making a splash at home with an exhibition of works by 42 artists at an elegant museum, the Mohatta Palace, in Karachi. Big, brash Karachi vies with more staid Lahore as the heart of Pakistan's art scene. The show "The Rising Tide: New Directions in the Art from Pakistan 1990-2010", brings together the two urban schools of art to reveal the virtuosity and variety of painters, sculptors, video-makers and photographers, many of them under 40.
　　在纽约和巴黎大受欢迎的首次展出获得热烈反响后，由42位艺术家的作品组成，在位于卡拉奇Mohatta宫这个讲究的博物馆举办的当代巴基斯坦艺术展在家门口引起了不小的轰动。更大更激进的卡拉奇（市）一直都在与更加一本正经的拉合尔（市）较劲谁才是巴基斯坦的艺术中心。一场旨在展示包括许多40岁以下的，由多个领域的技艺精湛的画家、雕塑家，影视制作和摄影家在内的名为"涨潮：巴基斯坦1990-2010新的艺术方向"的展览让这两个城市艺术学校团结在了一起。

　　Until now Pakistan's art scene has been largely private, hidden away in small galleries or elite living rooms. The curator of the current exhibition, Naiza Khan, who is herself a prominent artist, was determined to open contemporary art to a wider Pakistani public.
　　直到今天，绝大多数的巴基斯坦艺术品都被收藏在私人的细小画廊或者精英阶层的住宅里面。正是意识到这种状况，这次展览的组织者，著名艺术家Naiza Khan遂决心将当代艺术带到更广泛的巴基斯坦公众的视野当中。

　　To do so she brought back important works by two of Pakistan's star contemporary artists, Rashid Rana and Imran Qureshi, from Dubai and Hong Kong (a painting by Mr Qureshi is shown below). She also invited contributions from two young artists-Abdullah Syed and Nusra Latif Qureshi-who work in Australia.
　　为了做到这一点，Naiza Khan从迪拜和香港带回两位有名的当代巴基斯坦家Rashid Rana 和 Imran Qureshi的重要作品（一幅由Mr Quresh创作的油画将会在下面展示）。她同时也获得两名在澳洲工作的年轻艺术家Abdullah Syed and Nusra Latif Qureshi的慷慨捐赠。

　　Mr Syed assembled a mobile of dozens of miniature drones made from box cutters, a silvery fleet of the American death machines that hunt and kill the Taliban in Pakistan's tribal areas. That many of the works deal with death and violence is hardly surprising. In Karachi alone more than 1,350 people have been killed in the streets so far this year, many of them in the drive-by shootings that have become the tragic hallmark of a war of ethnic rivalries.
　　由许多发出银色光亮美国杀伤力机群组成的部队在巴基斯坦的部落地区搜索和杀害那些塔利班分子。因此像MR Syed组装了由箱子切割而成的可移动的大量微小的雄蜂这些涉及死亡与暴力的大量艺术品那就很难令人感到惊讶了。直到今年现在为止，在卡拉奇已经有超过1350人在街道上被杀害，并且它们中的大多数是由于种族间对抗被那些从行驶的汽车射击作案的意外地杀死。

　　But Ms Khan has been careful not to overdo the violence. In choosing the art, her emphasis is on exploring the urban condition of a country struggling to withstand a more complicated internal war. That means dealing not only with missiles and bombings but also with demographics, land usage and history.
　　但是Ms Khan已经尽量小心避免过分渲染这些暴力事件。在选择这些艺术作品的过程中，她的重点在于探索在努力经受一场更加复杂的内战后国内城市的现状。这意味着不仅仅要考虑那些导弹这些武器，同时还要将人口特征，风土人情和历史纳入考虑范畴。

　　In many respects, the exhibition demonstrates the maturing of the spirit that grew out of the artistic rebellion against the military dictatorship of General Zia ul Haq in the 1980s. In those years artists had to work furtively in hidden studios. In the early 1990s far-sighted art administrators struggled to expand a handful of art schools.
　　Now competition to get into such colleges is fierce. A young art entrepreneur, Umer Butt, whose gallery Grey Noise in Lahore lent works to the show, aspires to be an influential dealer. "Rising Tide" suggests that Pakistani artists do not have to go abroad, though some still do, to express their country's turmoil.
　　在许多方面，这次展览展示在与General Zia ul Haq上世纪80年代的独裁军事统治抗争下日渐成熟的艺术反抗精神。在那些年代，艺术家只能在秘密的工作室偷偷地从事艺术创作。在上世纪90年代早期，一些富有艺术远见的管理员积极争取去开办一些艺术院校。
　　如今进入这类院校的并不容易，一位住在拉合尔的叫Umer Butt的年轻工作室负责人将 Grey Noise画廊的作品借给这次展览，并希望通过此成为一位有影响力艺术品商人。尽管仍有一些艺术家仍然出走国外表达巴巴基斯坦的战乱，"涨潮"还是希望本国的艺术家不用这样做。