Installation view of ‘A Fortnight of Tears’ at White Cube Bermondsey. © Tracey Emin. All rights reserved, DACS 2017. Photography: Ollie Hammick

‘Our lives are in a trilogy. I’m in my last bit, so I’ve got to try and get it right,’ Tracey Emin reflects on the eve of her new solo exhibition, which has just opened at London’s White Cube Bermondsey. What’s the overriding theme of the exhibition? Herself. Because after all, Emin is what Emin does best.

“我们的生活在三部曲里。我在我的最后一个位，所以我得去尝试一下，”TraceyEin在她的新的独唱展的前夜，这个展览刚刚在伦敦的白色魔方伯蒙德西打开。展览的首要主题是什么？她自己。因为毕竟，emin是emin最擅长的。

In the 1980s, she emerged as the fresh faced enfant terrible of the Young British Artists movement. Four decades later and she’s still charged with the same acerbic bite – an unflinching exhibitionist who manages to exhibit both her self and work in a single space. Much to the relief of her admirers and critics, Emin has emerged from her sabbatical no less explosive albeit older, wiser and less of a ‘party girl’. The passion with which she visually and verbally dissects everything from ‘hideous’ Brexit to abortion, rape, relationships and her mother’s death is itself sobering to witness.

在20世纪80年代，她成为了年轻英国艺术家运动中最可怕的一个新面孔的婴儿。四十年过去了，她仍然被控同样的尖刻的咬伤-一个毫不退缩的表现主义者，她成功地展示了她的自我，并在一个空间里工作。令她的崇拜者和评论家感到宽慰的是，艾敏已经从她的休假中解脱出来了，尽管她年纪大了，聪明了些，也不再是个“派对女孩”了。她从视觉和语言上剖析了从“丑恶”英国退欧到堕胎、强奸、关系和母亲去世等各种事情的激情，这本身就是令人清醒的见证。

But the captivating candidness and apparent self-annihilation that earned her public notoriety in youth are not moments she reflects on fondly. ‘I suddenly woke up one morning and realised that I’d really fucked myself over by talking too much... by giving too much away,’ she recalls. But here, within the walls of White Cube it feels as though Emin is entirely in control of her work and self-image – as she puts it, ‘getting her act together’. ‘What this whole show is about is releasing myself from shame. I’ve killed my shame, I’ve hung it on the walls,’ she explains.

但是，在她年轻时赢得公众名声的迷人的坦率和明显的自我毁灭并不是她深情地回忆的时刻。一天早上我突然醒来，意识到我说得太多了，把自己搞得一团糟.她回忆道：“因为付出太多了。”但在这里，在白色立方体的墙内，感觉就好像艾敏完全控制着她的工作和自我形象-就像她所说的，“让她的行动齐头并进”。这整个节目的目的是让自己摆脱耻辱。她解释说：“我杀了我的耻辱，把它挂在墙上。”

It was all too Much, 2018, by Tracey Emin, acrylic on canvas. © Tracey Emin. All rights reserved, DACS 2017. Photography: Theo Christelis. Courtesy of White Cube

太过分了，2018年，特蕾西·艾敏(Tracey Emin)在画布上涂上丙烯酸。特蕾西·艾敏版权所有，DACS 2017。摄影：西奥·克里斯蒂利斯。白立方

Sprawling over 5,440 sq m of White Cube, the artist’s first London show in half a decade feels like a homecoming – a culmination of new and historical painting, photography, film, large-scale sculpture and neon text, of course, the 21st-century answer to Dada’s Readymade. The idea for the exhibition title, ‘A Fortnight of Tears’, long preceded the majority of this work’s creation. She’s had this one in the bank for 15 years, tentatively awaiting the right time to deploy it. ‘It’s the longest I’ve ever cried for I think, a fortnight,’ she says.

在五千四百四十平方米的白色立方体上，这位艺术家五年来第一次在伦敦举办的展览，感觉就像一场返乡之旅-这是新的历史绘画、摄影、电影、大型雕塑和霓虹灯作品的顶峰，当然，21世纪的展览是达达现成作品的答案。展览标题“眼泪的两个星期”的想法早在大多数作品的创作之前就有了。她已经在银行工作了15年，暂时等待合适的时机来部署它。她说：“我想这是我哭的时间最长的一次，也就是两周。”

Themes in the exhibition stem directly from the artist’s own emotions: the loss of her parents and her ‘self-respect’, the female experience, spiritualism and sexuality. Three monumental bronze sculptures – including one portraying her mother in her eighties – are the largest Emin has produced to date. These sit adjacent to new a photographic series Insomnia (a four-year work in progress) alongside a vast quantity of paintings, studies and artefacts including a Ouija board. An early video work How It Feels (1996), chronicling Emin after her harrowing 1990 abortion, is shown in tandem with The Ashes, a new film work shot in the artist’s east London home. The camera pans over a scene in Emin’s light-drenched dining room where her mother’s ashes sit in a wooden box.

展览的主题直接来源于艺术家自己的情感：失去父母和她的“自尊”，女性体验，灵性和性。三件具有纪念意义的青铜雕塑-其中一件描绘了她80多岁的母亲-是迄今为止艾敏创作的最大作品。它们毗邻一个新的摄影系列“失眠症”(这是一项为期四年的工作正在进行中)，旁边还有大量的绘画、研究和工艺品，包括一个Ouija板。一部早期的录影作品“感觉如何”(1996年)，记录了艾敏在1990年不幸流产后的经历，并与这位艺术家在伦敦东部的家中拍摄的一部新电影“灰烬”(TheAshes)一起放映。摄像机拍到了艾敏餐厅里的一个场景，她母亲的骨灰就在那里，她坐在一个木制的盒子里。

‘I’ve killed my shame, I’ve hung it on the walls.’

“我杀了我的耻辱，我把它挂在墙上了。”

In the first gallery, visitors are reacquainted with the artist’s infamous bed – but this time it’s Emin in bed, 50 times over in a grid of self-portraits on the gallery’s walls. This format is nothing fundamentally new: Emin has been performing the selfie before the selfie was even born. In these portraits, viewers become intimately acquainted with Emin’s surgery scars, facial lacerations and cyclical changes in mood and nightwear.

在第一个画廊里，参观者们重新认识了这位艺术家臭名昭著的床-但这一次是艾敏躺在床上，在画廊墙壁上的自画像网格里，超过了50倍。这种形式并不是什么新鲜事：艾敏在自拍诞生之前就已经开始进行自拍了。在这些肖像中，观众对艾敏的手术疤痕、面部伤口以及情绪和睡衣的周期性变化非常熟悉。

Some are humorous, some are haunting and one was taken the night she knew her mother had died. This is the ongoing Insomnia series, which sees Emin alone, tormented by fatigue but incapable of sleep. ‘I had it [insomnia] in my early twenties in art school, but I loved it then, I could do whatever I wanted and it seemed that I had more hours in the day. As I’ve got older it’s got more and more soul destroying. Insomnia is not an affectation, it’s crippling,’ she says.

有的是幽默的，有的是闹鬼的，还有一个是在她知道母亲去世的那晚被带走的。这是正在进行的失眠症系列，艾敏独自一人，饱受疲劳的折磨，却无法入睡。我在艺术学校二十出头就患上了失眠，但当时我很喜欢，我可以做任何我想做的事，而且我一天中似乎有更多的时间。随着年龄的增长，越来越多的灵魂被摧毁。她说：“失眠不是矫揉造作，而是致残。”

Insomnia 14:39, 2018, by Tracey Emin, Giclee print. © Tracey Emin. Courtesy of White Cube

失眠症14：39，2018年，由特蕾西·艾敏著，Giclee打印。特蕾西·艾敏白立方

But it’s Emin’s paintings that steal the show, both in their immense quantity and volatile passion. They Held Me Down While He Fucked Me 1976 and But You Never Wanted me (both 2018) are two of the many portraits depicting gestural female nudes – presumably Emin – reclining, sleeping, bleeding and masturbating. The paint seeps in visceral layers riddled with trauma, rage, rejection and sexual aggression – Schiele-esque in twisted, gritty composition and Munch-like in eerie dilution.

但这是敏的绘画作品，以巨大的数量和变化无常的激情来窃取节目。他们在1976年搞砸了我，但你从来都不想要我（2018年这两个）都是描绘手势女性裸体的许多肖像中的两个，大概是emin-斜倚、睡眠、出血和手淫。内脏层的油漆渗入了创伤、愤怒、排斥和性攻击-席勒--在扭曲的、沙砾的组合物和Munch-likeinEie稀释中。

With its acute commentary on the extremities of the female experience, it’s difficult to avoid drawing parallels with the today’s #MeToo and Time’s Up movements. ‘I kept trying to say [this] to people years ago’, Emin exclaims. ‘Suddenly I’m allowed to express myself and to have the language and the voice that I’ve had for years and years. Now we’re in a time where we can put things right, and this is what my work is about.’

它尖锐地评论了女性的极端体验，很难避免与今天的#meto和Time‘s Up动作相提并论。“几年前，我一直试图对人们说这句话，”艾敏喊道。突然间，我被允许表达自己，拥有多年来我所拥有的语言和声音。现在我们所处的时代，我们可以把事情做好，这就是我工作的意义所在。

So once again, we’re voyeurs in the next phase of this turbulent artistic existence, no less gripped, but perhaps now a little more empathetic. The White Cube show feels far beyond raw personal confession and seems to assert the precision and complexities of the broader human experience. ‘I don’t have anything else in my life,’ she says, ‘my work has completely taken over now and I’m completely dedicated to it.’ §

所以再一次，我们是这个动荡的艺术存在的下一个阶段的偷窥者，也同样被抓住，但也许现在更多的是同情。“白方秀”不仅让人感觉到了赤裸裸的个人忏悔，而且似乎表明了更广泛的人类体验的精确性和复杂性。她说，我的生活中没有别的东西，我的工作现在已经完全接管了，我完全致力于它。

你一直看着我，2018年，特蕾西·艾敏，亚克力在画布上。特蕾西·艾敏版权所有，DACS 2017。摄影：西奥·克里斯蒂利斯。由于白色立方体，你一直看着我，2018年，由特蕾西埃明，亚克力帆布。特蕾西·艾敏版权所有，DACS 2017。摄影：西奥·克里斯蒂利斯。白立方

“两星期的眼泪”在白魔方伯蒙德西的安装图。C.TraceyEin.所有权利保留，DAC2017。摄影：奥莉·哈米克（OllieHammick）在白魔方伯蒙德西的“两星期的眼泪”。C.TraceyEin.所有权利保留，DAC2017。摄影:OllieHammick

有时没有理由，2018年，由特蕾西·艾敏，亚克力在帆布上。特蕾西·艾敏版权所有，DACS 2017。摄影：西奥·克里斯蒂利斯。由于白色立方体，有时没有理由，2018年，由特蕾西埃明，丙烯酸在帆布上。特蕾西·艾敏版权所有，DACS 2017。摄影：西奥·克里斯蒂利斯。白立方