花招：行为艺术和博物馆藏品的伦理

6月，巴西艺术家伊莱·萨图齐(Ilê Sartuzi)从伦敦大英博物馆的陈列柜中取出一枚历史硬币，并将其放入博物馆大厅的捐款箱中。这部名为“Sleight of Hand”的表演作品的片段作为他的研究生 MFA 论文展览的一部分进行了展示。

Brazilian artist Ilê Sartuzi's performance piece, Sleight of Hand, has sparked a debate on heritage, museum collections, and the role of performance art in highlighting social issues.

巴西艺术家伊莱·萨尔图齐 (Ilê Sartuzi) 的行为艺术作品《花招》引发了关于遗产、博物馆藏品以及行为艺术在突出社会问题方面的作用的争论。

Sartuzi's performance involved removing a historical coin from its display case in the British Museum and depositing it in a donation box in the museum's lobby. The event highlighted issues relating to heritage, access to collections, and the safety and security of museums.

萨尔图兹的表演包括从大英博物馆的陈列柜中取出一枚历史硬币，并将其存放在博物馆大厅的捐款箱中。该活动强调了与遗产、收藏品的获取以及博物馆的安全和安保有关的问题。

Sartuzi, a student at Goldsmiths, University of London, spent a year working on his plan to “steal” the coin, developing his technique and observing the museum and its staff. He worked with a lawyer from the conception of his idea to ensure that no laws were broken.

萨图兹是伦敦大学金史密斯学院的一名学生，他花了一年的时间研究“偷”硬币的计划，提高自己的技术并观察博物馆及其工作人员。从他的想法开始，他就与律师合作，以确保不违反任何法律。

Sartuzi was assured that he was safe from a legal standpoint but, especially as the performance was designed to draw attention to the ethics of collecting, is he morally in the clear?

萨尔图兹确信从法律角度来看他是安全的，但是，特别是当表演的目的是引起人们对收藏道德的关注时，他在道德上是清白的吗？

The role of performance art in highlighting social and cultural issues is significant, often used to draw parallels between the two sides of an issue. As it is generally staged in public, it can reach a wide range of people. Performance art may be accompanied by text, but the focus is naturally on the visual aspect. This is where Sleight of Hand becomes ambiguous – by definition, it seeks to create a false impression.

行为艺术在突出社会和文化问题方面的作用非常重要，通常用于将问题的两个方面进行比较。由于它通常在公共场合上演，因此可以接触到广泛的人群。行为艺术可能伴随着文字，但焦点自然是在视觉方面。这就是“花招”变得含糊不清的地方——根据定义，它试图创造一种错误的印象。

The artist is aware of this paradox. Indeed, it is the central tenet of his project – to highlight the “hidden” nature of museum collections, held in trust by self-appointed cultural stewards. There is a deliberate irony in the choice of a British coin for the substitution, given the current focus on the historic acquisition of objects from around the world, especially by European collectors. The artist says he chose an English civil war-era coin because “it is one of the few British things in the British Museum”.

艺术家意识到了这个悖论。事实上，这是他的项目的核心宗旨——强调博物馆藏品的“隐藏”性质，这些藏品由自封的文化管理者托管。鉴于目前的焦点是来自世界各地（尤其是欧洲收藏家）的历史性收购物品，选择英国硬币来替代是故意的讽刺。这位艺术家表示，他选择了一枚英国内战时期的硬币，因为“它是大英博物馆中为数不多的英国藏品之一”。

The British Museum has been increasingly under scrutiny regarding the acquisition, retention and repatriation of objects from around the world. While the institution has, of late, been making attempts at reparation and holding inclusive dialogue on the ownership and care of collections, Sartuzi’s work underlines the fact that the discussio is, rightly, far from over.

大英博物馆在从世界各地收购、保留和归还文物方面受到越来越多的审查。尽管该机构最近一直在尝试赔偿，并就藏品的所有权和保管问题进行包容性对话，但萨尔图齐的工作强调了这样一个事实：讨论理所当然地还远未结束。

However, aside from the core statement behind this performance piece, there are other aspects to consider. The central focus of the project was the coin, its removal from its display and its deposition in a donation box at the museum. Sartuzi has described the practicalities of the project, which included preparing a replica of the coin to replace the original, and the focus of reporting has been on the objects. But it should not go unnoticed that people were (unknowingly) drawn into the performance.

然而，除了这个表演作品背后的核心陈述之外，还有其他方面需要考虑。该项目的核心焦点是这枚硬币，将其从陈列中移走并存放在博物馆的捐款箱中。萨尔图兹描述了该项目的实用性，其中包括准备一枚硬币的复制品来代替原来的硬币，报道的重点是对象。但不应忽视的是，人们（不知不觉地）被吸引到表演中。

The museum worker from whom the coin was unknowingly “stolen” during a session when the public were allowed to handle museum objects was a volunteer and, the day before, another volunteer guide stopped the previous attempt. These types of sessions are built on trust. Staff have the right to not be put in a difficult position, and the public (including artists and other professionals) have the right to continue reaping the benefits of direct engagement with artefacts.

在允许公众处理博物馆物品的一次会议上，这枚硬币在不知不觉中被“偷”的博物馆工作人员是一名志愿者，而前一天，另一名志愿者导游阻止了之前的尝试。这些类型的会议建立在信任的基础上。工作人员有权不陷入困境，公众（包括艺术家和其他专业人士）有权继续从直接接触文物中获益。

Where does this leave that relationship if access has to be withdrawn or restricted due to extra security precautions which, for the most part, should not be necessary?

如果由于额外的安全预防措施而必须撤回或限制访问权限，而这种关系在大多数情况下是不必要的，那么这种关系将在哪里？

Theft from public museums is relatively rare, but the seeming ease of the coin switch implies otherwise. Various media reports on the performance used the word “stole”, despite emphasis that the coin never left the building – perhaps an indicator that despite the legality of the deed, the optics are saying otherwise.

公共博物馆的盗窃事件相对较少，但硬币转换看似简单却暗示了事实并非如此。各种媒体对表演的报道都使用了“偷”这个词，尽管强调硬币从未离开过这座建筑——这也许表明，尽管这一行为合法，但光学却另有说法。

The original coin was uncatalogued, but as part of a collection that the public is allowed to handle the guidelines for storage and use are different. Much has been made of the recent losses from the British Museum’s department of Greece and Rome, and this new “loss” has been added to the mounting pile of negative press. (Sartuzi asserts that the timing of these cases was an unfortunate coincidence.)

最初的硬币没有编目，但作为收藏品的一部分，允许公众处理，存储和使用的准则有所不同。大英博物馆希腊和罗马部门最近的损失已经引起了很大的关注，而这一新的“损失”又被添加到越来越多的负面新闻中。 （萨图齐声称这些案件发生的时间是一个不幸的巧合。）

Nevertheless, at a time when many museums are understaffed or underfunded, and rely heavily on volunteers who generously offer their time and knowledge, such scrutiny places the heritage sector under even more pressure.

然而，在许多博物馆人手不足或资金不足，并且严重依赖志愿者慷慨提供时间和知识的情况下，这种审查使遗产部门面临更大的压力。

Historically, artefacts have not always been acquired or managed ethically, but contemporary museums adhere to a common code of practice, with the Museums Association producing and regularly updating a sector-wide code of ethics. Most museums deal with a large amount of retrospective documentation but have plans in progress to manage it – this is also a condition of accredited status, which is awarded for achieving the industry standard and is also subject to regular review to ensure continued accountability.

从历史上看，文物的获取或管理并不总是符合道德规范，但当代博物馆遵守共同的行为准则，博物馆协会制定并定期更新全行业的道德准则。大多数博物馆处理大量的回顾性文件，但正在制定计划来管理它们——这也是获得认可地位的一个条件，获得认可地位是为了达到行业标准，并且还需要接受定期审查，以确保持续的问责制。

The audience for Sartuzi’s exhibition has broadly applauded his performance, hailing it as a strong statement on the acquisition and ownership of heritage. Others have been more critical, while the British Museum has expressed its “disappointment” at the deception involved.

萨尔图齐展览的观众普遍称赞他的表演，称赞这是对遗产的获取和所有权的有力声明。其他人则更为批评，而大英博物馆则对所涉及的欺骗行为表示“失望”。

Some have questioned the museum’s integrity and whether it has the right to feel that way, in light of its controversial history of acquisition. Sartuzi’s project seems

鉴于博物馆颇受争议的收购历史，一些人质疑博物馆的诚信度，以及它是否有权有这样的感觉。 Sartuzi 的项目似乎