This is Shivdutt Yadav, and he's from Uttar Pradesh, India. Now Shivdutt was visiting the local land registry office in Uttar Pradesh, and he discovered that official records were listing him as dead. His land was no longer registered in his name. His brothers, Chandrabhan and Phoolchand, were also listed as dead.
这位是Shidutt Yadav, 他来自印度的Uttar Pradesh(北方邦) 当Shivdutt去Uttar Pradesh(北方邦)的 土地登记办公室时 他发现 他被列入官方文件的已死亡名单中。 他名下的土地已经 不再属于他。 他的兄弟,Chandrabhan和Phoolchand 也在死亡名单里。
Family members had bribed officials to interrupt the hereditary transfer of land by having the brothers declared dead, allowing them to inherit their father's share of the ancestral farmland. Because of this, all three brothers and their families had to vacate their home. According to the Yadav family, the local court has been scheduling a case review since 2001, but a judge has never appeared.
他们的亲戚贿赂当地官员 签署了这三兄弟的死亡声明, 由此中断三兄弟的土地继承程序 自己继承了这些土地。 这是他们的祖先留下的,属于三兄弟的父亲的土地。 为此,三兄弟和他们的家人 不得不背井离乡。 根据Yadav家族的说法 当地法院自2001年起对此案排期开审 但自2001 年以来 法官从未出庭
There are several instances in Uttar Pradesh of people dying before their case is given a proper review. Shivdutt's father's death and a want for his property led to this corruption. He was laid to rest in the Ganges River, where the dead are cremated along the banks of the river or tied to heavy stones and sunk in the water.
在Uttar Pradesh (北方邦) 很多人直到死 都没能看到他们的案件被妥善审理。 Shivdutt的父亲去世后,家人垂涎他的财产 导致这起腐败案的发生。 他被安葬在恒河 在那里,有的遗体在河岸边被火化, 有的则被缚上巨石沉入河中。
Photographing these brothers was a disorienting exchange because on paper they don't exist, and a photograph is so often used as an evidence of life. Yet, these men remain dead. This quandary led to the title of the project, which considers in many ways that we are all the living dead and that we in some ways represent ghosts of the past and the future.
拍下这些人的照片 是我觉得很困惑。 因为在官方文件里,他们并不存在。 但这一张张照片证明他们确实还活在这个世界上。 然而,照片无法改变他们(在官方文件里)的死亡记录。 这样的困惑使我为展览选择了这个主题: 很多时候 我们都是活着的死人 在很多时候,我们扮演着 过去与未来的鬼魂。
So this story is the first of 18 chapters in my new body of work titled "A Living Man Declared Dead and Other Chapters." And for this work, I traveled around the world over a four-year period researching and recording bloodlines and their related stories. I was interested in ideas surrounding fate and whether our fate is determined by blood, chance or circumstance. The subjects I documented ranged from feuding families in Brazil to victims of genocide in Bosnia to the first woman to hijack an airplane and the living dead in India. In each chapter, you can see the external forces of governance, power and territory or religion colliding with the internal forces of psychological and physical inheritance.
这是我新作品中的第一个故事。 这是一个分成十八个章节的展览,主题是“死亡声明上的活人与其他章节”。 为了这个展览 我在过去的四年时间里踏遍世界 研究和记录血缘关系 和其他相关故事。 我对命运的话题很感兴趣, 我想知道我们的命运是否取决于 我们的血统、机遇和环境。 我记录了各种各样的人和事 从巴西家族间的世代恩怨 到波斯尼亚种族灭绝受害者的经历, 从第一位女劫机犯 到印度的活死人。 在每一个章节中,你能看到一种碰撞, 那是来自政府、统治者、领土和宗教信仰的外部力量 与人们与生俱来的精神 和身体的内在力量之间发生的碰撞。
Each work that I make is comprised of three segments. On the left are one or more portrait panels in which I systematically order the members of a given bloodline. This is followed by a text panel, it's designed in scroll form, in which I construct the narrative at stake. And then on the right is what I refer to as a footnote panel. It's a space that's more intuitive in which I present fragments of the story, beginnings of other stories, photographic evidence. And it's meant to kind of reflect how we engage with histories or stories on the Internet, in a less linear form. So it's more disordered. And this disorder is in direct contrast to the unalterable order of a bloodline.
我的每个作品 都由三个部分组成。 左边的展板是一个或几个人像, 我把同一家族的人们 按照血缘关系排列, 中间是设计成卷轴样式的文本面板, 用来讲述 最重要的故事。 右边的展板用来做脚注说明 这里更直观的展示了 一些故事的片段 和另一些故事的开端以及照片凭据。 这是为了在某种程度模拟 我们在网上浏览历史和故事时的状态。 那是一种以一种不那么线性的方式, 所以它更无序。 而这样的无序恰恰与 血缘关系的不容更改的秩序形成直接对比
In my past projects I've often worked in serial form, documenting things that have the appearance of being comprehensive through a determined title and a determined presentation, but in fact, are fairly abstract. In this project I wanted to work in the opposite direction and find an absolute catalog, something that I couldn't interrupt, curate or edit by choice. This led me to blood. A bloodline is determined and ordered. But the project centers on the collision of order and disorder -- the order of blood butting up against the disorder represented in the often chaotic and violent stories that are the subjects of my chapters.
在我过去的作品中,我经常按部就班 以一种看起来更易理解的方式 来记录事情 总是用确定的标题和确定的展现方式。 但事实上,这种记录方式是非常抽象。 因此在这个作品中,我想采用一种截然相反的方式, 我想按照一个绝对的顺序来编辑, 一种让我不能随意选择中断、策划或编辑的顺序。 我找到了血缘关系。 血缘关系是明确而有序的。 而这个展览的核心是 有序和无序的碰撞: 血缘关系的有序性 与混乱暴力的故事的无序性之间的碰撞。 这就是我的作品的主题
In chapter two, I photograph the descendants of Arthur Ruppin. He was sent in 1907 to Palestine by the Zionist organization to look at areas for Jewish settlement and acquire land for Jewish settlement. He oversaw land acquisition on behalf of the Palestine Land Development Company whose work led to the establishment of a Jewish state. Through my research at the Zionist Archives in Jerusalem, I wanted to look at the early paperwork of the establishment of the Jewish state. And I found these maps which you see here. And these are studies commissioned by the Zionist organization for alternative areas for Jewish settlement. In this, I was interested in the consequences of geography and imagining how the world would be different if Israel were in Uganda, which is what these maps demonstrate. These archives in Jerusalem, they maintain a card index file of the earliest immigrants and applicants for immigration to Palestine, and later Israel, from 1919 to 1965.
在第二章,在我拍摄了Arthur Ruppin的后代 Arthur Ruppin在1907年被犹太复国主义组织 送到巴勒斯坦 去寻找可以成为犹太人定居点的地方 并且为此获取土地。 他作为巴勒斯坦的土地发展公司的代表 负责监管收购土地 他的工作就是为了建立 一个犹太人的国家。 我在耶路撒冷犹太复国主义档案馆的时候, 我想研究一下关于犹太国家建立的 早期文史资料。 这就是我找到的地图。 这些是犹太人定居点的备选方案, 都是犹太复国主义组织 委托研究的。 这让我对(这些方案)在地理学方面的 可能造成的影响很感兴趣。 想象一下如果以色列是在乌干达境内 就像这些地图所标注的那样 这个世界将会多么不一样。 这些是保存在在耶路撒冷的档案 他们保留着卡片索引 记录着最早的移民和入境事务处申请。 这些是1919年至1965年间 到巴勒斯坦和后来到以色列的人们的记录。
Chapter three: Joseph Nyamwanda Jura Ondijo treated patients outside of Kisumu, Kenya for AIDS, tuberculosis, infertility, mental illness, evil spirits. He's most often paid for his services in cash, cows or goats. But sometimes when his female patients can't afford his services, their families give the women to Jura in exchange for medical treatment. As a result of these transactions, Jura has nine wives, 32 children and 63 grandchildren. In his bloodline you see the children and grandchildren here.
第 3 章: Joseph Nyamwanda Jura Onijo 他在肯尼亚基苏木市外郊区行医 治疗艾滋病、 结核病、 不孕不育, 精神疾病、邪灵蛊术。 他最常收到的诊疗费 是现金、 牛或是山羊 但有时当他的女病人 无法支付诊疗费时 他们的家人就会将这名妇女送给Jura 以换取治疗。 这些交易的结果就是 Jura有九个妻子, 32 个孩子 和 63个 孙子。 你可以在他的血缘关系图中看到这些孩子、孙子
Two of his wives were brought to him suffering from infertility and he cured them, three for evil spirits, one for an asthmatic condition and severe chest pain and two wives Ondijo claims he took for love, paying their families a total of 16 cows. One wife deserted him and another passed away during treatment for evil spirits. Polygamy is widely practiced in Kenya. It's common among a privileged class capable of paying numerous dowries and keeping multiple homes. Instances of prominent social and political figures in polygamous relationships has led to the perception of polygamy as a symbol of wealth, status and power.
他的其中两个妻子是因为 患有不孕不育症被送到他那儿 然后他治好了她们; 另外三个妻子是因为邪灵附体(被送来的); 还有一个是因为有哮喘和严重的胸痛; 最后Ondijo声称是因为爱情,他娶了另两个妻子, 并为此支付了16头 牛给她们的家庭。 他的一个妻子离开了他 还有一个妻子在驱赶邪灵时去世了。 一夫多妻在肯尼亚很常见, 尤其是在特权阶级中。 他们有能力支付丰厚的礼金, 也能养活多个家庭成员。 在社会和政治方面有突出地位的人物 都保持着一夫多妻的关系, 这使得一夫多妻被看做是 财富、 地位和权力的象征。
You may notice in several of the chapters that I photographed there are empty portraits. These empty portraits represent individuals, living individuals, who couldn't be present. And the reasons for their absence are given in my text panel. They include dengue fever, imprisonment, army service, women not allowed to be photographed for religious and cultural reasons. And in this particular chapter, it's children whose mothers wouldn't allow them to travel to the photographic shoot for fear that their fathers would kidnap them during it.
您可能会注意到在某几个章节的照片中 有的人像是空白的 这些空的画像代表着一些人 一些活着的但无法出现在画面中的人。 我在文本展板中提到了他们缺席的原因, 包括登革热、 坐牢和参军, 另外由于宗教和文化的原因 某些地方不允许妇女拍照。 在这一章里 缺席的是儿童,因为他们的母亲 不愿让孩子们前往拍摄地点 因为担心他们的父亲会在这路上绑架他们。
Twenty-four European rabbits were brought to Australia in 1859 by a British settler for sporting purposes, for hunting. And within a hundred years, that population of 24 had exploded to half a billion. The European rabbit has no natural predators in Australia, and it competes with native wildlife and damages native plants and degrades the land. Since the 1950s, Australia has been introducing lethal diseases into the wild rabbit population to control growth. These rabbits were bred at a government facility, Biosecurity Queensland, where they bred three bloodlines of rabbits and have infected them with a lethal disease and are monitoring their progress to see if it will effectively kill them. So they're testing its virulence. During the course of this trial, all of the rabbits died, except for a few, which were euthanized.
第六章:1859年,一位英国拓荒者 将二十四只欧洲兔 带到澳大利亚 用来运动和打猎。 一百年内, 24 只兔子爆炸性地繁衍到5 亿只 欧洲兔在澳大利亚没有天敌 它们和本土野生动物与竞争 损害当地原生植物 并降低了土地的质量 自 20 世纪 50 年代开始 澳大利亚人将致命性疾病 带入野生兔子族群 以控制兔子数量 这些兔子由一家 昆士兰生物安全局的政府机构培养。 他们培养了三种不同血统的兔子 让它们感染一种致命的疾病 并监测它们的生长状况 以验证这种疾病是否能杀死这些兔子。 他们在测试病毒的毒性。 这项试验中,所有的兔子死了, 除了几只是被安乐死的。
Haigh's Chocolate, in collaboration with the Foundation for Rabbit-Free Australia, stopped all production of the Easter Bunny in chocolate and has replaced it with the Easter Bilby. Now this was done to counter the annual celebration of rabbits and presumably make the public more comfortable with the killing of rabbits and promote an animal that's native to Australia, and actually an animal that is threatened by the European rabbit.
Haigh's 巧克力, 与澳大利亚灭除兔子基金会 进行合作 停止所有复活节巧克力兔的生产 而将它替换成了复活节袋狸 这样做是为了抵抗 一年一度以兔子庆祝的模式 以期大众能更易接受 杀死兔子这件事 同时他们宣传一种澳大利亚的本地动物 一种实际上正受 欧洲兔子威胁的动物。
In chapter seven, I focus on the effects of a genocidal act on one bloodline. So over a two-day period, six individuals from this bloodline were killed in the Srebrenica massacre. This is the only work in which I visually represent the dead. But I only represent those that were killed in the Srebrenica massacre, which is recorded as the largest mass murder in Europe since the Second World War. And during this massacre, 8,000 Bosnian Muslim men and boys were systematically executed.
在第七章,我着重描述 针对某一血统的 种族灭绝行为。 在两天内 这血统的六个人 在雷布雷尼察大屠杀中丧生。 这是我唯一一个, 以视觉方式呈现已经过世的人的作品 但我只呈现 在雷布雷尼察大屠杀中被杀害的人。 这是自第二次世界大战以来 在欧洲发生的最大规模的谋杀 这次大屠杀期间 8,000 个波斯尼亚穆斯林男人和男孩 被有计划的处死。
So when you look at a detail of this work, you can see, the man on the upper-left is the father of the woman sitting next to him. Her name is Zumra. She is followed by her four children, all of whom were killed in the Srebrenica massacre. Following those four children is Zumra's younger sister who is then followed by her children who were killed as well. During the time I was in Bosnia, the mortal remains of Zumra's eldest son were exhumed from a mass grave. And I was therefore able to photograph the fully assembled remains. However, the other individuals are represented by these blue slides, which show tooth and bone samples that were matched to DNA evidence collected from family members to prove they were the identities of those individuals. They've all been given a proper burial, so what remains are these blue slides at the International Commission for Missing Persons.
所以,当你仔细地看这个展板 你会发现左上角上的男人 是坐在他旁边的女子的父亲。 她的名字是 Zumra 她旁边紧接着是她的四个孩子, 四个孩子都在雷布雷尼察大屠杀中丧生了。 四个孩子后面接着是 Zumra 的妹妹 她后面跟着的是她的孩子们 她的孩子们也被杀了 我在波斯尼亚期间 Zumra 的长子遗骨 从万人坑的墓地中被挖掘出来 我因此拍摄到了他 完整的遗骸。 然而,其他人 只能由这些蓝色底的照片来代表 这些照片呈现的 是牙和骨样本 用来与从家庭成员的DNA样本作匹配 以此来证明他们的身份 他们已经全部被体面地安葬, 所以剩下的只有这些 在“寻找失踪人员国际委员会”保留的蓝色的照片
These are personal effects dug up from a mass grave that are awaiting identification from family members and graffiti at the Potochari battery factory, which was where the Dutch U.N. soldiers were staying, and also the Serbian soldiers later during the times of the executions. This is video footage used at the Milosevic trial, which from top to bottom shows a Serbian scorpion unit being blessed by an Orthodox priest before rounding up the boys and men and killing them.
这些都是万人坑的墓地中 挖出个人物品 有待家庭成员来辨认。 这是Potocharti电池厂的涂鸦 荷兰的联合国士兵在等待被处决的时期 曾经驻扎在这里 其后塞尔维亚的士兵也驻扎在这个电池厂。 这是在米洛舍维奇的审判中使用过的视频片段 它完整的展现了 一个塞尔维亚蝎子军事组织(的成员) 接受一名东正教神父的赐福的情景, 在这个仪式之后,他们把男孩和男人集合起来 并杀死了他们。
Chapter 15 is more of a performance piece. I solicited China's State Council Information Office in 2009 to select a multi-generational bloodline to represent China for this project. They chose a large family from Beijing for its size, and they declined to give me any further reasoning for their choice. This is one of the rare situations where I have no empty portraits. Everyone showed up. You can also see the evolution of the one-child-only policy as it travels through the bloodline.
第 15 章更多地是一个表演作品 我在2009年请求中国国务院新闻办公室 挑选一个多代同堂的家庭 在这个展览中代表中国 出于家庭成员人数的考虑,他们选择了一个北京的大家庭, 然后他们拒绝提供 他们选择这个家庭的其他理由。 这个情况很罕见 我没有一张空白的肖像。 每个人都出现了。 您还可以看到独生子女政策 给一个家族带来的变化
Previously known as the Department of Foreign Propaganda, the State Council Information Office is responsible for all of China's external publicity operations. It controls all foreign media and image production outside of China from foreign media working within China. It also monitors the Internet and instructs local media on how to handle any potentially controversial issues, including Tibet, ethnic minorities, Human Rights, religion, democracy movements and terrorism. For the footnote panel in this work, this office instructed me to photograph their central television tower in Beijing. And I also photographed the gift bag they gave me when I left.
国务院信息办的 前身为中共中央对外宣传办公室 它负责中国所有对外宣传工作 它通过控制所有在中国工作的外国媒体的活动 达到控制中国境外 媒体对中国的的宣传和影像传播 国务院信息办同时监控互联网 并指示本地媒体 如何处理任何可能引起争议的问题, 包括西藏问题,少数民族问题 人权问题、 宗教问题、 民主运动问题和恐怖主义的问题。 在这个作品的脚注说明展板中 我提到这个办公室吩咐我 拍摄他们在北京的中央广播电视塔。 我也拍下了他们在我离开前 给我的礼物袋。
These are the descendants of Hans Frank who was Hitler's personal legal advisor and governor general of occupied Poland. Now this bloodline includes numerous empty portraits, highlighting a complex relationship to one's family history. The reasons for these absences include people who declined participation. There's also parents who participated who wouldn't let their children participate because they thought they were too young to decide for themselves. Another section of the family presented their clothing, as opposed to their physical presence, because they didn't want to be identified with the past that I was highlighting. And finally, another individual sat for me from behind and later rescinded his participation, so I had to pixelate him out so he's unrecognizable.
这些都是Hans Frank的后代 他是希特勒的个人法律顾问 也是波兰被占领后的地方总督 这个家族展板中包含了许多空白的画像 突出一个人的家族史中 复杂的关系 缺席的原因 包括有些人拒绝参与 有些父母自己参加了拍摄 但不让他们的孩子参加拍摄 因为他们认为孩子太小了,还不能决定是否该参与这次拍摄和展览 这个家庭的另一部分人 展示了他们的衣服,而拒绝本人现身 因为他们不想被人联想到 我刚才所说的过去的事情(他们是希特勒的个人法律顾问Hans Frank的后代)。 最后,另一个人 坐下来背对我 最后他还是不愿意参与这个展览, 所以我不得不将他的相片像素化,保证没人认出他。
In the footnote panel that accompanies this work I photographed an official Adolph Hitler postage stamp and an imitation of that stamp produced by British Intelligence with Hans Frank's image on it. It was released in Poland to create friction between Frank and Hitler, so that Hitler would imagine Frank was trying to usurp his power.
在这个作品旁边的脚注说明展板 我拍摄了一张官方的阿道夫希特勒邮资邮票 和一张英国情报机构 仿制的邮票 邮票上有Hans Frank的肖像 仿制的邮票在波兰发行 目的是制造Frank与希特勒之间的摩擦 这样希特勒就会想象 Frank想篡夺他的权力
Again, talking about fate, I was interested in the stories and fate of particular works of art. These paintings were taken by Hans Frank during the time of the Third Reich. And I'm interested in the impact of their absence and presence through time. They are Leonardo da Vinci's "Lady With an Ermine," Rembrandt's "Landscape With Good Samaritan" and Raphael's "Portrait of a Youth," which has never been found.
再次,谈论到命运, 我对某些艺术作品中的 故事和命运感兴趣 这些画是Hans Frank在 在第三帝国期间夺取的 我对这些画作的消失和出现所带来的影响很有兴趣 这些是是达 · 芬奇的"抱银貂的女子" 伦勃朗的"好撒玛利亚人风景" 以及从未被找回的 拉斐尔的"少年画像"
Chapter 12 highlights people being born into a battle that is not of their making, but becomes their own. So this is the Ferraz family and the Novaes family. And they are in an active blood feud. This feud has been going on since 1991 in Northeast Brazil in Pernambuco, and it involved the deaths of 20 members of the families and 40 others associated with the feud, including hired hit men, innocent bystanders and friends. Tensions between these two families date back to 1913 when there was a dispute over local political power. But it got violent in the last two decades and includes decapitation and the death of two mayors. Installed into a protective wall surrounding the suburban home of Louis Novaes, who's the head of the Novaes family, are these turret holes, which were used for shooting and looking.
第 12 章讲述的是 生于战争中的人,战争的起因与他们无关, 却变成了他们的战争 这是Ferraz家族 和Novaes家族 这两个家族间有着血海深仇。 此世仇始于1991年 在巴西东北部的伯南布哥 它造成了 20 名家庭成员 和40名其他相关人士的死亡, 包括雇佣的杀手、无辜的旁观者 和朋友 这两个家庭的紧张关系可以追溯至 1913 年 他们在当地政治权力争斗中产生纠纷 过去的20年间他们之间的矛盾愈演愈烈 还涉及斩首 和两位市长的死亡。 在诺瓦郊区首页的Louis Novaes的 家的周围安装着防护墙,他是 Novaes家族的首领, 防护墙上到处是这样的炮塔孔 其中用于射击和侦查。
Brazil's northeast state of Pernambuco is one of the nation's most violent regions. It's rooted in a principle of retributive justice, or an eye for an eye, so retaliatory killings have led to several deaths in the area. This story, like many of the stories in my chapters, reads almost as an archetypal episode, like something out of Shakespeare, that's happening now and will happen again in the future. I'm interested in these ideas of repetition. So after I returned home, I received word that one member of the family had been shot 30 times in the face.
巴西的东北状态的伯南布哥 是这个国家暴力冲突最激烈的地区之一。 报复性正义原则, 或者说“以牙还牙,以眼还眼”的原则在这里根深蒂固, 所以报复性杀人 造成这一地区多人死亡。 这个故事,像很多我的章节中的故事 读起来就像文学作品里的经典情节 像是莎士比亚的故事(一样不可思议)。 但这却是正在发生的事情,并且将来还会继续发生。 我对这种不断重复的故事很感兴趣。 然而当我回到家,我得到消息 那个家族的一名成员 脸上被射了30枪。
Chapter 17 is an exploration of the absence of a bloodline and the absence of a history. Children at this Ukrainian orphanage are between the ages of six and 16. This piece is ordered by age because it can't be ordered by blood. In a 12-month period when I was at the orphanage, only one child had been adopted. Children have to leave the orphanage at age 16, despite the fact that there's often nowhere for them to go. It's commonly reported in Ukraine that children, when leaving the orphanage are targeted for human trafficking, child pornography and prostitution. Many have to turn to criminal activity for their survival, and high rates of suicide are recorded.
第 17 章 是一个与血脉无关的故事 一个与历史无关的故事 这个故事说的是乌克兰孤儿院收养的孩子们 大的16岁,小的 6岁。 这部分作品是按照年龄排序的 因为我无法将他们按照血缘联系起来。 我在那个孤儿院待了12个月, 期间只有一个孩子被领养。 这些孩子年满16岁就必须离开孤儿院 尽管事实上他们经常无处可去。 这样的事情在乌克兰经常发生: 孩子们一旦离开孤儿院 就成为了人口贩卖, 儿童色情和卖淫等犯罪的目标。 许多人为了生存,不得不从事犯罪活动。 他们的自杀率非常高。
This is a boys' bedroom. There's an insufficient supply of beds at the orphanage and not enough warm clothing. Children bathe infrequently because the hot water isn't turned on until October. This is a girls' bedroom. And the director listed the orphanage's most urgent needs as an industrial size washing machine and dryer, four vacuum cleaners, two computers, a video projector, a copy machine, winter shoes and a dentist's drill. This photograph, which I took at the orphanage of one of the classrooms, shows a sign which I had translated when I got home. And it reads: "Those who do not know their past are not worthy of their future."
这是一个男孩子的卧室。 孤儿院的床位不够 也没有足够的御寒衣物。 孩子们不能经常洗澡 因为只有到了10月,孤儿院才供应热水。 这是个女孩的卧室。 孤儿院长列出了孤儿们最紧迫的需求 一台工业用洗衣机和烘干机, 四个真空吸尘器,两台电脑, 一台视频投影机,一台复印机, 冬天的鞋子和一个牙医用的牙钻。 这张照片,是我在孤儿院里的一个教室里拍的。 我回到家中才翻译出标语的意思 标语的意思是:"那些不知道自己的过去的人 不配拥有未来。"
There are many more chapters in this project. This is just an abridged rendering of over a thousand images. And this mass pile of images and stories forms an archive. And within this accumulation of images and texts, I'm struggling to find patterns and imagine that the narratives that surround the lives we lead are just as coded as blood itself. But archives exist because there's something that can't necessarily be articulated. Something is said in the gaps between all the information that's collected. And there's this relentless persistence of birth and death and an unending collection of stories in between. It's almost machine-like the way people are born and people die, and the stories keep coming and coming. And in this, I'm considering, is this actual accumulation leading to some sort of evolution, or are we on repeat over and over again?
在这个展览中还有很多章节。 这里只是对这一千张多图片 作个简单介绍。 这长篇累牍的图片和故事 形成了一个档案馆。 在这图片和文本的累积中 我竭力想找到一个模式 我努力想像这关于生命的种种故事 就像血缘关系本身一样,早已被编写。 但这档案存在的意义在于 有些无法用言语叙述的东西, 就存在于这些文字的 字里行间。 那就是出生与死亡 这无情的存在 和生死之间无止境的故事。 人们的出生和死亡 几乎就像机器一样 而这些故事不断地发生。 在这里,我思考着 这实实在在的积累 是否导致着某种形式的进化? 还是我们只是一遍又一遍地 重复这个过程?
Thank you.
谢谢。
(Applause)
(掌声)