Taryn Simon: The stories behind the bloodlines

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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."

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?

Thank you.

(Applause)