马塞尔·杜尚，二十世纪最伟大的艺术家之一，是他第一个给蒙娜丽莎加上两撇小胡子，将小便池当作艺术品送去参展，他的出现，直接影响了二战后西方艺术的发展历程，改变了人们认识艺术的方式。

在杜尚之后，艺术与非艺术的边界变得模糊，任何现成品都可能成为艺术，任何人都可能成为艺术家。更为重要的，杜尚改变了人们认识世界、认识人生的方式。在杜尚看来，艺术并不特别或者说崇高，生活本身远远大于艺术，他感兴趣的，是如何能生活得有趣，如何摆脱物质与精神上的各种束缚。杜尚曾言：“我最好的作品是我的生活。”

∞

The public needs stars all the time: Einstein in physics or Picasso in painting. That's their nature. I think every generation of young people needs a template. So I played that role. The public is half to blame in this matter.

As we prepare to auction a pipe Duchamp presented to the legendary chess player George Koltanowski, a look at the artist’s love affair with a game he equated with art.

当我们准备拍卖杜尚(Duchamp)赠送给传奇棋手乔治·科尔塔诺维斯基(George Koltanowski)的烟斗时，让我们来看看这位艺术家对一种他认为等同于艺术的游戏的热爱。

On 10 March 1944 two men — both refugees from Nazi-occupied Europe —sat down for a game of chess. One was Marcel Duchamp, painter of Nude Descending a Staircase No. 2 (1912) and the pioneer of Dada. The other was George Koltanowski, a Belgian-born chess master and seasoned tournament player.

1944年3月10日，两名来自纳粹占领下的欧洲的难民坐下来下棋。其中之一是马塞尔·杜尚(Marcel Duchamp)，他是一位裸体画家，从2号楼梯上走下来(1912年)，也是达达主义的先驱。另一位是出生于比利时的国际象棋大师、经验丰富的锦标赛选手乔治•科尔塔诺斯基(George Koltanowski)。

The men, as Rabinovitch recounts, had known each other since 1919, and met at a number of of tournaments — the first match between them was won by Koltanowski at the 1923 Belgian Chess Championship; the second, miraculously, was won by Duchamp at the 1929 chess Olympiad in Paris.

据拉宾诺维奇回忆，两人从1919年就认识了，并在许多比赛中见过面——1923年比利时国际象棋锦标赛上，科尔塔诺夫斯基赢得了两人之间的第一场比赛;第二场比赛，杜尚在1929年巴黎国际象棋奥运会上奇迹般地获胜。

Marcel Duchamp (1887-1968), Pipe, 1944. Signed and dated ‘M DUCHAMP 44’ (on the side) Carved briar wood pipe bowl. Height: 1⅞ in (4.7 cm), length: 3 in (7.5 cm). Sold for $87,500 on 13 May 2016 at Christie’s in New York

Now in New York, a city alien to both men, they sat down to play once more. Duchamp played white and the game lasted just 29 moves before he was forced to concede. In recognition of Koltanowski’s victory, Duchamp signed and dated his pipe and presented it to Koltanowski.

现在，在纽约这个对两人来说都很陌生的城市，他们又坐下来玩了。杜尚打白棋，比赛只打了29步就被迫认输。为了纪念柯尔塔诺夫斯基的胜利，杜尚在他的烟斗上签名并注明了日期，并把它送给了柯尔塔诺夫斯基。

By now a venerable old man of the art world, Duchamp was able to make his peace with it — helped no doubt by his being ‘discovered’ in the late 1950s by young American artists connected with the Neo-Dada movement, such as Jasper Johns and Robert Rauschenberg. He played chess almost daily, returning to his studio to study games for pure pleasure, while being constantly sought out by journalists who wanted to quiz him about his contributions to modern art.

到现在，杜尚已经是艺术界德高望重的老人了，他能够与它和平相处——毫无疑问，这得益于他在20世纪50年代末被与新达达主义运动有联系的年轻美国艺术家们“发现”，比如贾斯珀·琼斯和罗伯特·劳森伯格。他几乎每天都下国际象棋，回到自己的工作室研究游戏纯粹是为了娱乐，同时也经常被记者们找出来，问他对现代艺术的贡献。

He once explained to Truman Capote: ‘A chess game is very plastic. You construct it. One creates beautiful problems and that beauty is made with the head and hands.’ In his address to the New York Chess Association, he crystallised his thinking still further: ‘From my close contacts with artists and chess players, I have come to the conclusion that while all artists are not chess players, all chess players are artists.’

他曾向杜鲁门·卡波特(Truman Capote)解释道:“国际象棋游戏非常具有可塑性。你构建它。一个人创造了美丽的问题，而美丽是由头脑和双手创造的。在纽约国际象棋协会(New York Chess Association)的演讲中，他进一步明确了自己的想法:“通过与艺术家和棋手的密切接触，我得出结论，虽然所有艺术家都不是棋手，但所有棋手都是艺术家。”

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