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Yes， I am a Witch
坦白讲，我们都活在一个道德家们深忧的礼崩乐坏的时代，对待艺术的包容性也远不及之前。值得理解的是，太平盛世、和平年代，很多行径难逃 “无病呻吟”，“炒作无下限”的尴尬。然而，有那么一些人、一些群体，遗世独立多年，他们专注创作，无暇顾及其他，也便在惶惶然后熬出了头，为艺术真身正了名。
2015年，纽约现代艺术博物馆（MOMA）高调宣布举办名为“小野洋子·一个女人的展览（1960-1971）”的个人展出。这是继1971年洋子于此地非正式亮相后的首次复出，纽约艺术圈对待洋子这次40年后的回归如省亲般的热情，也让这位毁誉参半的女性艺术家再次出现在主流艺术圈的视野中。
Yoko Ono made her “unofficial” debut1 at the Museum of Modern Art in New York City in 1971， by advertising a “one woman show” that didn’t actually exist. What a difference four decades makes. “Yoko Ono： One Woman Show， 1960–1971，” a new MOMA exhibition of her work opening May 17， is a belated recognition of the importance of Ono’s conceptual and performance art2 in the 1960s.
去妖魔化
“请用三个词形容一下你心目中的小野洋子”，这是笔者动笔撰文前抛给友人们的一个问题。答案并未出乎“列侬”、“遗孀”、“女巫”等字眼其左右；但同时也收获了其他的答案—“执着的艺术家”。在众多答案中，也平行见到了“纯粹的艺术家”、“温存的女人”、“执拗的文人”等描述。近半个世纪，洋子的角色标签中总被冠以夫名，她却深谙不虞之道，在各种身份间逡巡往返，似乎也不并十分介怀人们对她有所偏倚的关注。历经几十年的沉淀，我们见到了一位面对千夫指但依然高产创作的跨界艺术家，更见识了一位从事先锋艺术的亚洲女性于众口铄金的年代中踽踽独行。于是，这一次，笔者决定烫酒谈艺，不神化、更不妖魔化这么一位撩起裙子横亘在东西方文化间的女性艺术家。
Artistically misunderstood， derisively known as the most famous widow in the world and vilified as the catalyst for the breakup of the most famous music group of all time， Yoko Ono in actuality is an uncompromising artistic visionary who was already an avant-garde3 superstar before she met John Lennon. Today， Yoko is finally recognized as an influential artist who pushes the boundaries of4 the art， film， music and theatre media.
一个先锋艺术家
生于一个富庶的日本中产家庭，小野洋子从小便开始接受较为保守正统的文化教育。18岁那年随家人迁居美国后，洋子离经叛道的艺术生涯便如潘多拉的魔盒般被彻底打开。从父母处袭承而来的艺术细胞逐渐在这个年轻女孩身上发酵。洋子一心热爱并积极投身先锋艺术，她凭借着自己的哲学、诗学及音乐教育背景，进行了艺术上的各种尝试。起初，洋子这种近乎激进的艺术创作并不为主流艺术圈所接受，直到遇见了她的第二任丈夫——时下圈内小有名气的爵士音乐家、制作人安东尼·考克斯。
Yoko Ono （whose first name translates to “ocean child”） was born on February 18， 1933 in Tokyo. When she was 18， she moved to America with her family and settled in the affluent suburb of Scarsdale， N.Y. Attending the prestigious Sarah Lawrence College in New York， Yoko dropped out to elope with her first husband， Toshi Ichiyanagi. It was while living in New York’s artsy Greenwich Village that Yoko discovered the world of avant-garde artists. Once absorbed in the scene， she began her life long association with art beginning with informal events then segueing into poetry while developing her fascination for conceptual pieces. Alienated as an “artistic radical5” for years her work was ridiculed or ignored. That began to change once she began her working relationship with American jazz musician/film producer6 Anthony Cox， the man who would eventually become her second husband. 一个无籍艺术家
小野洋子是个肃杀的反叛主义者，她因泾渭分明的性格得罪了不少固守边界的大佬们，这种特质在她的创作生涯和私生活中均可见一斑。然而其中，有两条她高调恪守的原则：其一，与任何派别保持暧昧距离，尽管时下风靡一时的激浪派一再抛出橄榄枝，洋子也以自己渴望“纯粹的艺术”为理由直言拒绝；其二，即使是在美国文人知识分子极力摆脱欧洲影响而推崇亚洲艺术家的后二战时期，洋子也从未卖弄和炫耀过自己的亚洲标签。
Yoko thought of art as pure instruction， paintings that are described rather than realized， which predates conceptual art7. Besides， she was very cautious about dealing with her Asian label even at the age when Americans were passionate about Asian culture. She once said “I didn’t label myself. I thought I was me， just doing my thing.”
其实，小野洋子遭人诟病早在与约翰·列侬（前披头士乐队主唱）的结合前便开始了，因为她的各路作品在不同的艺术边界间游离展开，以跨媒介的艺术形式出现在众人面前，而这种行为触怒了主流。然而，该道法却深谙激浪艺术之精髓，也难怪有关人士对于洋子一再拒绝“激浪派”感到不解甚至愤怒。此法不啻“火盆都跨了，却依旧标榜自己是黄花闺女”的即视感。准确地说，激浪派并不是一个运动或者一个派别，而是一个网罗众生相的松散组织。“无边界”是这个团体的唯一法则，吸收了包括艺术家、作曲家、设计师在内的各路从艺人士，并综合了未来主义、新达达主义以及杜尚的现成品概念。他们崇尚“表现”，形式高度囊括了观念艺术、视觉艺术、反艺术、不确定性、无意义作品与文学、城市规划、建筑设计等等（此处省略一万字……）并勾兑成剂，一并施于渴望着变革的艺术家与观者身上。一言以蔽之，洋子与激浪派所身体力行的便是：爱谁谁，谁爱做啥就做 啥。
Yoko Ono was an occasional member of Fluxus8， whose founder George Maciunas， her friend during the 1960s， admired her work and promoted it with enthusiasm. And Maciunas invited her to more formally join the Fluxus group， but she declined because she wanted to remain independent. Fluxus – a loosely organized group of artists that spanned the globe， but had an especially strong presence in New York City. Fluxus is described as， “a fusion9 of Spike Jones， gags， games， Vaudeville， Cage and Duchamp.” And it is noted for blending different artistic media 10 and disciplines in the 1960s. They have been active in performance， Neo-Dada11 noise music and visual art12 as well as literature13 ， urban planning14， architecture15， and design.
一个创造艺术事件的艺术家
从最开始的概念艺术到行为艺术直至实验电影，小野洋子用作品堵住了悠悠众口，将潋滟了的岁月打磨成浆，越熬越香。但凡在网络上叫嚣酣畅、用词可怖的，大多是那些看图说话的人。事实证明，亲历洋子展览的观者一般选择静默，且感同身受地体味那一丝肃静。接下来的时间，让我们感受一下她于众多作品中受人关注度较高的两部系列作品：
Among all the art roles that Ono takes， she is widely accepted as an explorer of conceptual art and performance art and she was also an experimental filmmaker16. Now， let’s enjoy part of them.
切片
小野洋子的作品将“破坏性”这个母题与人际间的各种亲疏关系相互关照。这种考量特别展现在她那部发人深省的行为艺术作品“切片”之中。作为“破坏艺术研讨会”的有机组成，“切片”是她当时众多创作中的经典之作。从1964年于日本的初次亮相到纽约卡纳基音乐厅的艳惊四座，从伦敦与爱人的初次触电到几十年后的巴黎再展，这部作品经久不衰。女体静坐台上，随机邀请观众上台并剪下她身上的一寸衣服直至浑身赤裸，宣泄结束。会羞愧吗？会愤懑吗？会暴躁吗？在短短的9分钟内，仅把这一切消化为一场单调脱衣秀的人着实狭隘了。这是一个事关男人与女人、智者与非智者的博弈；是一个受害者与施暴者的抗衡。
Ono’s work related destruction to interpersonal， often intimate， human relations. This element was particularly thought-provoking17 in Cut Piece， one of many actions she did as DIAS （Destruction in Art Symposium）. Ono had first done the performance in 1964， in Japan， and again at Carnegie Hall， in New York， in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing， covering her breasts at the moment of unbosoming. Cut Piece entailed a disrobing， a denouement of the reciprocity between exhibitionism and scopic desires， between victim and assailant， between sadist and masochist： and， as a heterosexual herself， Ono unveiled the gendered relationship of male and female subjects as objects for each other. 许愿树
“许愿树”是比较典型的参与式或互动性艺术创作，即：观众需要参与到创作中来的一种艺术表达形式。这个装置作品于1981年初次登台展出，期间，观者受邀将写有自己愿望的纸条系在愿望树上。
“许一个愿，
把它写在一张纸上，
将纸折叠系在一棵许愿树的枝条上。
请叫你的朋友也如法炮制，
不断许愿，
直到树枝上挂满愿望为止。”
The Wish Tree project is an example of Ono’s participatory art/interactive artwork18and an ongoing installation art19series as well， started sometime after 1981， in which a tree native to a site is planted under her direction. Viewers are usually invited to tie a written wish to the tree. Her 1996 Wish Piece had the following instructions：
Make a wish
Write it down on a piece of paper
Fold it and tie it around a branch of a Wish Tree
Ask your friends to do the same
Keep wishing
Until the branches are covered with wishes.
“世界上，总有一个人和你刚见面，便相互吸引，人们称其为反向人”，猛然听起来似童话故事中的登对伉俪，其实不然。按相学原理分析，这种反向关系实则是此消彼长，但凡其中一方之气力已达尽百，另外一方则即将亡去。我以为，小野洋子和列侬便是彼此的反向。是的，若您心心念念等着读浪漫爱情，这里应该就是了。但遗憾的是，世说纷纭，竟没人能言准，这段人尽昭著的爱情故事是悲是喜。我只能说，有一种爱情炽烈到足以抵御排山倒海，强大到能够让人变成扑火的飞蛾。当从纪录片中看到依偎在列侬怀中的小野洋子任凭周围人潮喧沸、听任讨伐时，我相信，那时他们对待爱情的笃定；我也相信，当寡居多年后的洋子语调平和地谈起与列侬的生活点滴时，漾在嘴角的笑意绝非虚情假意。他们这场阴阳相隔的爱情故事也不需要再由世人续写了，毕竟是人家的书，就由他们自己执笔完成 吧。
论众人口诛也好，笔伐也罢，她便是小野洋子，一个先锋艺术的实践者，一个不甘落寞的前卫艺术家，一个那些年我们从流言中听说的女人。
坦白讲，我们都活在一个道德家们深忧的礼崩乐坏的时代，对待艺术的包容性也远不及之前。值得理解的是，太平盛世、和平年代，很多行径难逃 “无病呻吟”，“炒作无下限”的尴尬。然而，有那么一些人、一些群体，遗世独立多年，他们专注创作，无暇顾及其他，也便在惶惶然后熬出了头，为艺术真身正了名。
2015年，纽约现代艺术博物馆（MOMA）高调宣布举办名为“小野洋子·一个女人的展览（1960-1971）”的个人展出。这是继1971年洋子于此地非正式亮相后的首次复出，纽约艺术圈对待洋子这次40年后的回归如省亲般的热情，也让这位毁誉参半的女性艺术家再次出现在主流艺术圈的视野中。
Yoko Ono made her “unofficial” debut1 at the Museum of Modern Art in New York City in 1971， by advertising a “one woman show” that didn’t actually exist. What a difference four decades makes. “Yoko Ono： One Woman Show， 1960–1971，” a new MOMA exhibition of her work opening May 17， is a belated recognition of the importance of Ono’s conceptual and performance art2 in the 1960s.
去妖魔化
“请用三个词形容一下你心目中的小野洋子”，这是笔者动笔撰文前抛给友人们的一个问题。答案并未出乎“列侬”、“遗孀”、“女巫”等字眼其左右；但同时也收获了其他的答案—“执着的艺术家”。在众多答案中，也平行见到了“纯粹的艺术家”、“温存的女人”、“执拗的文人”等描述。近半个世纪，洋子的角色标签中总被冠以夫名，她却深谙不虞之道，在各种身份间逡巡往返，似乎也不并十分介怀人们对她有所偏倚的关注。历经几十年的沉淀，我们见到了一位面对千夫指但依然高产创作的跨界艺术家，更见识了一位从事先锋艺术的亚洲女性于众口铄金的年代中踽踽独行。于是，这一次，笔者决定烫酒谈艺，不神化、更不妖魔化这么一位撩起裙子横亘在东西方文化间的女性艺术家。
Artistically misunderstood， derisively known as the most famous widow in the world and vilified as the catalyst for the breakup of the most famous music group of all time， Yoko Ono in actuality is an uncompromising artistic visionary who was already an avant-garde3 superstar before she met John Lennon. Today， Yoko is finally recognized as an influential artist who pushes the boundaries of4 the art， film， music and theatre media.
一个先锋艺术家
生于一个富庶的日本中产家庭，小野洋子从小便开始接受较为保守正统的文化教育。18岁那年随家人迁居美国后，洋子离经叛道的艺术生涯便如潘多拉的魔盒般被彻底打开。从父母处袭承而来的艺术细胞逐渐在这个年轻女孩身上发酵。洋子一心热爱并积极投身先锋艺术，她凭借着自己的哲学、诗学及音乐教育背景，进行了艺术上的各种尝试。起初，洋子这种近乎激进的艺术创作并不为主流艺术圈所接受，直到遇见了她的第二任丈夫——时下圈内小有名气的爵士音乐家、制作人安东尼·考克斯。
Yoko Ono （whose first name translates to “ocean child”） was born on February 18， 1933 in Tokyo. When she was 18， she moved to America with her family and settled in the affluent suburb of Scarsdale， N.Y. Attending the prestigious Sarah Lawrence College in New York， Yoko dropped out to elope with her first husband， Toshi Ichiyanagi. It was while living in New York’s artsy Greenwich Village that Yoko discovered the world of avant-garde artists. Once absorbed in the scene， she began her life long association with art beginning with informal events then segueing into poetry while developing her fascination for conceptual pieces. Alienated as an “artistic radical5” for years her work was ridiculed or ignored. That began to change once she began her working relationship with American jazz musician/film producer6 Anthony Cox， the man who would eventually become her second husband. 一个无籍艺术家
小野洋子是个肃杀的反叛主义者，她因泾渭分明的性格得罪了不少固守边界的大佬们，这种特质在她的创作生涯和私生活中均可见一斑。然而其中，有两条她高调恪守的原则：其一，与任何派别保持暧昧距离，尽管时下风靡一时的激浪派一再抛出橄榄枝，洋子也以自己渴望“纯粹的艺术”为理由直言拒绝；其二，即使是在美国文人知识分子极力摆脱欧洲影响而推崇亚洲艺术家的后二战时期，洋子也从未卖弄和炫耀过自己的亚洲标签。
Yoko thought of art as pure instruction， paintings that are described rather than realized， which predates conceptual art7. Besides， she was very cautious about dealing with her Asian label even at the age when Americans were passionate about Asian culture. She once said “I didn’t label myself. I thought I was me， just doing my thing.”
其实，小野洋子遭人诟病早在与约翰·列侬（前披头士乐队主唱）的结合前便开始了，因为她的各路作品在不同的艺术边界间游离展开，以跨媒介的艺术形式出现在众人面前，而这种行为触怒了主流。然而，该道法却深谙激浪艺术之精髓，也难怪有关人士对于洋子一再拒绝“激浪派”感到不解甚至愤怒。此法不啻“火盆都跨了，却依旧标榜自己是黄花闺女”的即视感。准确地说，激浪派并不是一个运动或者一个派别，而是一个网罗众生相的松散组织。“无边界”是这个团体的唯一法则，吸收了包括艺术家、作曲家、设计师在内的各路从艺人士，并综合了未来主义、新达达主义以及杜尚的现成品概念。他们崇尚“表现”，形式高度囊括了观念艺术、视觉艺术、反艺术、不确定性、无意义作品与文学、城市规划、建筑设计等等（此处省略一万字……）并勾兑成剂，一并施于渴望着变革的艺术家与观者身上。一言以蔽之，洋子与激浪派所身体力行的便是：爱谁谁，谁爱做啥就做 啥。
Yoko Ono was an occasional member of Fluxus8， whose founder George Maciunas， her friend during the 1960s， admired her work and promoted it with enthusiasm. And Maciunas invited her to more formally join the Fluxus group， but she declined because she wanted to remain independent. Fluxus – a loosely organized group of artists that spanned the globe， but had an especially strong presence in New York City. Fluxus is described as， “a fusion9 of Spike Jones， gags， games， Vaudeville， Cage and Duchamp.” And it is noted for blending different artistic media 10 and disciplines in the 1960s. They have been active in performance， Neo-Dada11 noise music and visual art12 as well as literature13 ， urban planning14， architecture15， and design.
一个创造艺术事件的艺术家
从最开始的概念艺术到行为艺术直至实验电影，小野洋子用作品堵住了悠悠众口，将潋滟了的岁月打磨成浆，越熬越香。但凡在网络上叫嚣酣畅、用词可怖的，大多是那些看图说话的人。事实证明，亲历洋子展览的观者一般选择静默，且感同身受地体味那一丝肃静。接下来的时间，让我们感受一下她于众多作品中受人关注度较高的两部系列作品：
Among all the art roles that Ono takes， she is widely accepted as an explorer of conceptual art and performance art and she was also an experimental filmmaker16. Now， let’s enjoy part of them.
切片
小野洋子的作品将“破坏性”这个母题与人际间的各种亲疏关系相互关照。这种考量特别展现在她那部发人深省的行为艺术作品“切片”之中。作为“破坏艺术研讨会”的有机组成，“切片”是她当时众多创作中的经典之作。从1964年于日本的初次亮相到纽约卡纳基音乐厅的艳惊四座，从伦敦与爱人的初次触电到几十年后的巴黎再展，这部作品经久不衰。女体静坐台上，随机邀请观众上台并剪下她身上的一寸衣服直至浑身赤裸，宣泄结束。会羞愧吗？会愤懑吗？会暴躁吗？在短短的9分钟内，仅把这一切消化为一场单调脱衣秀的人着实狭隘了。这是一个事关男人与女人、智者与非智者的博弈；是一个受害者与施暴者的抗衡。
Ono’s work related destruction to interpersonal， often intimate， human relations. This element was particularly thought-provoking17 in Cut Piece， one of many actions she did as DIAS （Destruction in Art Symposium）. Ono had first done the performance in 1964， in Japan， and again at Carnegie Hall， in New York， in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing， covering her breasts at the moment of unbosoming. Cut Piece entailed a disrobing， a denouement of the reciprocity between exhibitionism and scopic desires， between victim and assailant， between sadist and masochist： and， as a heterosexual herself， Ono unveiled the gendered relationship of male and female subjects as objects for each other. 许愿树
“许愿树”是比较典型的参与式或互动性艺术创作，即：观众需要参与到创作中来的一种艺术表达形式。这个装置作品于1981年初次登台展出，期间，观者受邀将写有自己愿望的纸条系在愿望树上。
“许一个愿，
把它写在一张纸上，
将纸折叠系在一棵许愿树的枝条上。
请叫你的朋友也如法炮制，
不断许愿，
直到树枝上挂满愿望为止。”
The Wish Tree project is an example of Ono’s participatory art/interactive artwork18and an ongoing installation art19series as well， started sometime after 1981， in which a tree native to a site is planted under her direction. Viewers are usually invited to tie a written wish to the tree. Her 1996 Wish Piece had the following instructions：
Make a wish
Write it down on a piece of paper
Fold it and tie it around a branch of a Wish Tree
Ask your friends to do the same
Keep wishing
Until the branches are covered with wishes.
“世界上，总有一个人和你刚见面，便相互吸引，人们称其为反向人”，猛然听起来似童话故事中的登对伉俪，其实不然。按相学原理分析，这种反向关系实则是此消彼长，但凡其中一方之气力已达尽百，另外一方则即将亡去。我以为，小野洋子和列侬便是彼此的反向。是的，若您心心念念等着读浪漫爱情，这里应该就是了。但遗憾的是，世说纷纭，竟没人能言准，这段人尽昭著的爱情故事是悲是喜。我只能说，有一种爱情炽烈到足以抵御排山倒海，强大到能够让人变成扑火的飞蛾。当从纪录片中看到依偎在列侬怀中的小野洋子任凭周围人潮喧沸、听任讨伐时，我相信，那时他们对待爱情的笃定；我也相信，当寡居多年后的洋子语调平和地谈起与列侬的生活点滴时，漾在嘴角的笑意绝非虚情假意。他们这场阴阳相隔的爱情故事也不需要再由世人续写了，毕竟是人家的书，就由他们自己执笔完成 吧。
论众人口诛也好，笔伐也罢，她便是小野洋子，一个先锋艺术的实践者，一个不甘落寞的前卫艺术家，一个那些年我们从流言中听说的女人。