荒木經(jīng)惟對(duì)他的“繆斯”做了什么

TOKYO — How much does an artist owe his muse?

東京——一個(gè)藝術(shù)家應(yīng)該給他的繆斯多少回報(bào)?

Last month a model who posed for Nobuyoshi Araki, Japan’s most notorious photographer, accused him of exploiting and bullying her for 16 years.

上月，惡名昭彰的日本攝影師荒木經(jīng)惟(Nobuyoshi Araki)的御用模特指控他剝削和傷害她16年。

Now, with a New York exhibition featuring the work of Mr. Araki, known for his sexually explicit images of women, the accusations are raising questions about the power dynamics between a photographer and his subject.

荒木經(jīng)惟以暴露的女性作品著稱，其中一些目前正在紐約展出。相關(guān)指控引發(fā)了人們對(duì)攝影師和拍攝對(duì)象權(quán)力對(duì)比的質(zhì)疑。

In a blog post published in Japanese in early April after “The Incomplete Araki” opened at the Museum of Sex in Manhattan, the model, Kaori — who uses only her first name — said that over their working relationship, Mr. Araki never signed her to a professional contract; ignored her requests for privacy during photo shoots; neglected to inform her when pictures of her were published or displayed; and often did not pay her.

“不完整的荒木”(The Incomplete Araki)4月初在曼哈頓性愛(ài)博物館(Museum of Sex)開(kāi)展后，只愿透露自己叫香織(Kaori，音)的這名模特在一篇用日語(yǔ)發(fā)布的博文中稱，在他們的工作關(guān)系中，荒木經(jīng)惟從沒(méi)和她簽過(guò)專業(yè)合同，在拍攝期間無(wú)視她的隱私請(qǐng)求，在她的照片發(fā)表或展出時(shí)忘記通知她，并且經(jīng)常不付錢給她。

“He treated me like an object,” she wrote.

“他把我當(dāng)成一件物品，”她寫道。

In an interview in Tokyo, Kaori, who stopped working with Mr. Araki two years ago, said she felt empowered to speak out by the international reckoning about sexual harassment and assault known as the #MeToo movement.

在東京接受采訪時(shí)，已在兩年前停止與荒木經(jīng)惟合作的香織說(shuō)，全球反性騷擾和侵犯運(yùn)動(dòng)#MeToo(“我也是”)讓她覺(jué)得自己有了發(fā)聲的力量。

Kaori, who began posing for Mr. Araki, now 77, in her early 20s, has not accused him of sexual assault. Instead, she said she felt emotionally bullied by an artist who never acknowledged her as a creative partner.

香織在20歲出頭的時(shí)候就開(kāi)始當(dāng)現(xiàn)年77歲的荒木經(jīng)惟的拍攝模特。她沒(méi)有指控他性侵。但她說(shuō)她在感情上受到了一個(gè)藝術(shù)家的傷害，對(duì)方從未承認(rèn)她是一個(gè)創(chuàng)作伙伴。

“I want them to know what happened in the past between me and Araki,” Kaori said last month. “I was not allowed to speak out. People should know, and they should look.” Mr. Araki declined repeated requests to comment.

“我想讓他們知道過(guò)去我和荒木經(jīng)惟之間發(fā)生了什么，”香織上月說(shuō)。”“我過(guò)去不能說(shuō)。人們應(yīng)該知道，他們應(yīng)該看到。”荒木經(jīng)惟拒絕了記者多次提出的置評(píng)請(qǐng)求。

Mr. Araki’s work has long ignited controversy, given the provocative nature of his images, which include photographs of nude women bound up in a Japanese technique known as kinbaku-bi. He has been fined on obscenity charges in Japan, and while some critics consider him a maestro, others deem his work pornography.

由于作品的性挑逗意味，荒木的圖片向來(lái)是爭(zhēng)議的焦點(diǎn)，這其中包括用日本的一種稱為“緊縛美”(kinbaku-bi)的手法捆綁起來(lái)的女性裸體。在日本，他曾因淫穢指控被罰款。一些評(píng)論家視他為大師，但也有人認(rèn)為他的作品是色情制品。

Maggie Mustard, co-curator of the Museum of Sex exhibition, said Kaori’s allegations were forcing a new conversation about models’ rights.

性愛(ài)博物館展的聯(lián)合策展人瑪吉·馬斯塔德(Maggie Mustard)說(shuō)，香織的指控迫使人們?nèi)ビ懻撃Ｌ氐臋?quán)利。

“This gives us the opportunity to talk about what happens to a muse — and I use that word with air quotes — when she doesn’t have a contract or a sense of economic or legal agency about how her image was used,” Ms. Mustard said in a telephone interview.

“這給了我們一個(gè)機(jī)會(huì)去討論繆斯——我會(huì)給這個(gè)詞打個(gè)引號(hào)——當(dāng)她在沒(méi)有合同，不知道通過(guò)經(jīng)濟(jì)或法律手段約束自己照片的用途時(shí)會(huì)怎樣，”馬斯塔德在接受電話采訪時(shí)說(shuō)。

Ms. Mustard added that she had spoken with Kaori and would incorporate her comments into the exhibition’s programming materials. Already, the wall text mentions another model’s anonymous allegations of inappropriate sexual contact by Mr. Araki, noting that “the controversy surrounding Araki’s work has almost exclusively been about reception and meaning, and far less about the issues of consent and the potential abuses of power that can be at the foundation of artistic practice and artistic production.”

馬斯塔德說(shuō)她和香織有過(guò)交流，會(huì)把她的評(píng)論加進(jìn)展覽資料中。墻上的文字已經(jīng)提到另一名模特對(duì)荒木經(jīng)惟不當(dāng)性接觸的匿名指控，稱“圍繞荒木作品的爭(zhēng)議幾乎都只是關(guān)于褒貶和意義的，知情同意和權(quán)力濫用問(wèn)題則談得很少，而那可能是藝術(shù)實(shí)踐和創(chuàng)作的基礎(chǔ)”。

In Japan, Kaori’s disclosures come as women are just starting to raise questions about male power, sexual harassment and assault.

在香織做出這些揭露的同時(shí)，日本的女性正剛剛開(kāi)始對(duì)男性權(quán)力、性騷擾和性侵犯提出質(zhì)疑。

Last year, when one of Japan’s best-known television journalists was accused of rape, his accuser received only a smattering of attention in the Japanese media. Last month after a television reporter anonymously asserted that a high-level civil servant in the Finance Ministry had sexually harassed several women, the official resigned, although he has denied the charges. The ministry has acknowledged he harassed a reporter.

在一名日本知名電視記者去年被指控強(qiáng)奸時(shí)，控訴者在日本媒體上只獲得了極少的關(guān)注。上個(gè)月，一名電視記者匿名舉報(bào)一名財(cái)務(wù)省高級(jí)公務(wù)員性騷擾多名女性，該官員否認(rèn)這一指控，但仍然辭去了職務(wù)。財(cái)務(wù)省承認(rèn)他騷擾了一名記者。

In this staunchly patriarchal culture, women are often subservient to men. Japan consistently ranks low among developed countries on gender equality in health, education and the economy and has one of the world’s worst records for women in politics.

父權(quán)在日本文化中根深蒂固，女性往往服從于男性。這個(gè)國(guó)家在衛(wèi)生、教育和經(jīng)濟(jì)方面的性別平等一直是發(fā)達(dá)國(guó)家中排名較低的，還是世界上女性參政情況最糟的國(guó)家之一。

For models working in Japan’s art world, it is difficult to make demands of a male artist.

在日本藝術(shù)界工作的模特很難向男性藝術(shù)家提出要求。

“I can imagine that as a male photographer who is more than 70 years old, he unconsciously has the perspective towards women that he can do whatever he wants,” said Yukie Kamiya, head of the Japan Society Gallery in New York, speaking of Mr. Araki. “Male power is such a common understanding, and women don’t have much of a voice.”

“我可以想象，作為一名超過(guò)70歲的男性攝影師，他無(wú)意識(shí)地產(chǎn)生了一種女性觀，認(rèn)為自己可以對(duì)她們?yōu)樗麨椋?rdquo;紐約日本協(xié)會(huì)畫廊(Japan Society Gallery)負(fù)責(zé)人神谷幸江(Yukie Kamiya)這樣評(píng)價(jià)荒木。“(在日本)男權(quán)是普遍共識(shí)，而女性沒(méi)有太多的聲音。”

Kaori, who trained in Paris as a dancer, began posing for Mr. Araki after meeting him at a party in 2001.

香織曾在巴黎接受舞蹈演員培訓(xùn)，2001年，她在一個(gè)派對(duì)上結(jié)識(shí)荒木，之后開(kāi)始擔(dān)任他的模特。

She said he paid her 100,000 yen (about $930) to pose in the studio wearing a kimono or performing dances that Mr. Araki would photograph. For nude projects, he took her to so-called “love hotels” and paid her about 50,000 yen for each assignment.

她說(shuō)荒木付給她10萬(wàn)日元(約合930美元)，要她穿著和服擺姿勢(shì)或跳舞，供他拍照。他還把她帶到所謂的“愛(ài)情旅館”拍攝裸體項(xiàng)目，每次支付她大約5萬(wàn)日元。

But she said he also called her for impromptu, unpaid sessions where he took photos while she walked in a park or sat in a bar at his command.

但她說(shuō)，他還打電話約她出來(lái)做即興的無(wú)償拍攝，拍下她在公園里走路或在他的指揮下坐在酒吧里。

It was not enough to make a living. Asked how she supplemented her income, Kaori demurred. “I don’t want to say,” she said.

這些錢不夠她維持生計(jì)。被問(wèn)及其他的收入時(shí)，她有些遲疑。“我不想說(shuō)這個(gè)，”她說(shuō)。

In public, Mr. Araki described her as his “muse,” but she said he did not tell her when or where the work would be published or exhibited, and she had no say in how the images were composed. “For him, a muse means someone who doesn’t speak or have any of her own opinions and just keeps obeying his orders,” she said.

在公開(kāi)場(chǎng)合，荒木說(shuō)她是自己的“繆斯”，但她說(shuō)，他從不告訴她作品會(huì)在何時(shí)何地發(fā)表或展出，她對(duì)圖片的創(chuàng)作也沒(méi)有發(fā)言權(quán)。“對(duì)他來(lái)說(shuō)，繆斯就是一個(gè)不說(shuō)話、沒(méi)有任何自己觀點(diǎn)的女人，只知道一直服從他的命令，”她說(shuō)。

Early on, the two did have a consensual sexual relationship, Kaori said.

在早期，兩人確實(shí)有過(guò)雙方自愿的性關(guān)系，香織說(shuō)。

During one photo session, she balked when he snapped Polaroid pictures of her and sold each individually without paying her any royalties. “That money that he earned is based on my contribution,” Kaori said.

一次拍攝期間，荒木把為她拍攝的寶麗來(lái)照片逐張出售，卻沒(méi)有支付她任何版稅，她對(duì)此感到不快。“他賺的這筆錢是基于我的貢獻(xiàn)，”香織說(shuō)。

“He says, ‘I am Araki, and you must be happy and honored that I am taking a picture of you,’” she said.

她說(shuō)：“他說(shuō)，‘我是荒木，你應(yīng)該為我給你拍照感到高興和榮幸。’”

Kazuko Ito, a lawyer whom Kaori consulted last November, said Kaori told her that after nude photos appeared without her permission, a stalker broke into her home. Kaori asked the lawyer for help obtaining some rights to the photos, but Ms. Ito said that such disputes were very rare in Japan and that she was unlikely to win in court.

去年11月，香織咨詢了律師伊藤和子(Kazuko Ito)。伊藤稱香織告訴她，在裸照未經(jīng)她允許發(fā)表后，一個(gè)跟蹤狂闖入了她家。香織要求這名律師幫她爭(zhēng)取這些照片的一些權(quán)利，但伊藤表示，這樣的糾紛在日本非常罕見(jiàn)，她不太可能在法庭上勝訴。

Ms. Ito said she had heard similar complaints from other models for Mr. Araki.

伊藤表示，她聽(tīng)到了荒木的其他模特提出了類似的控訴。

Of course, power inequities between artists and models are not unique to him. “There has been no public discourse about this structural problem within the industry and the photographer-model relationship,” said Michio Hayashi, a professor of art history at Sophia University in Tokyo.

當(dāng)然，藝術(shù)家和模特之間的權(quán)力不平等并不只存在他一個(gè)人身上。“目前，還沒(méi)有關(guān)于這個(gè)行業(yè)的結(jié)構(gòu)性問(wèn)題以及攝影師和模特關(guān)系的公開(kāi)討論，”東京上智大學(xué)(Sophia University)的藝術(shù)史教授林道郎(Michio Hayashi)表示。

Kaori described one incident when foreign photographers came to observe Mr. Araki as he took pictures of her. She did not want to appear nude in front of strangers, she said, but Mr. Araki told her, “They aren’t here to photograph you, they’re here to photograph me.”

香織講述了一件事。有幾位外國(guó)攝影師來(lái)觀看荒木給香織拍照。她表示，她不想在陌生人面前裸露身體，但荒木對(duì)她說(shuō)，“他們不是來(lái)給你拍照的，他們是來(lái)給我拍照的。”

But when pictures from that session came out in print, Kaori appeared in them, naked. “He invited many photographers into the studio and he ordered me to spread my legs in front of that big audience,” she said. “I didn’t like that.”

等到那批照片印出來(lái)時(shí)，香織的裸體出現(xiàn)在上面。“他邀請(qǐng)了很多攝影師到攝影棚，還命令我當(dāng)著那么多人的面把腿張開(kāi)，”她說(shuō)，“我不喜歡那樣。”

Still, it took her a long time to quit as Mr. Araki’s model. She started working with him when she was young, and he was already famous. When he was hospitalized, she did not want to abandon him.

盡管如此，她還是過(guò)了很久才辭掉這份工作。她年輕時(shí)就開(kāi)始與當(dāng)時(shí)已經(jīng)成名的荒木合作。后來(lái)他住院了，她不想拋棄他。

“Looking back now, everything was excessive and extreme,” she wrote on her blog. “Something in me was numb. He asked me to do abnormal things, and I did them as if they were normal.” At one point, she became suicidal.

“現(xiàn)在回想起來(lái)，一切都太過(guò)分、太極端了，”她在自己的博客上寫道，“當(dāng)時(shí)我心里是麻木的。他讓我做一些不正常的事，我就照做了，好像那是正常的事一樣。”她一度想自殺。

By 2015, the relationship had soured so badly that Mr. Araki insisted she sign a document vowing not to defame him or his business. In 2016, Kaori, who by then was running her own ballet school, stopped working with him.

到了2015年，他們的關(guān)系嚴(yán)重惡化，荒木堅(jiān)持要求香織簽署一份文件，發(fā)誓不會(huì)詆毀他或他的生意。2016年，香織不再與他合作了，經(jīng)營(yíng)起自己的芭蕾舞學(xué)校。

When she requested that he stop republishing or exhibiting some photographs of her, he warned in a March 2017 letter that she had no rights. “All models should understand the potential for unlimited use of the work,” he wrote in the letter, seen by The New York Times. “I will decide which publication, which exhibition, when to publish and what kind of products I will give permission to use my work. It’s all up to me.”

當(dāng)她要求他停止再版或展出她的一些照片時(shí)，他在2017年3月的一封信中警告稱，她沒(méi)有這樣的權(quán)利。“所有的模特都應(yīng)該知道，作品是可以無(wú)限使用的，”他在信中寫道?！都~約時(shí)報(bào)》查閱了這封信。“哪本出版物、哪個(gè)展覽或哪種產(chǎn)品什么時(shí)候使用我的作品由我決定。一切都取決于我。”

Kaori said she did not expect an apology from Mr. Araki, and she is not asking the Museum of Sex to remove the three photos of her it is displaying.

香織表示，她并不指望荒木道歉，也不是要求性愛(ài)博物館撤下正在展出的她的三張照片。

The work, she said, should serve as a reminder. All she wants, she said, is for visitors to “know my sad background and experience.”

她表示，這些作品應(yīng)該成為一個(gè)提醒。她想要的只是讓觀眾“了解我悲慘的背景和經(jīng)歷”。