Taryn Simon: The stories behind the bloodlines

翻译人员: Yale Yin 校对人员: Emma Zhao

This is Shivdutt Yadav,

这位是Shidutt Yadav,

and he's from Uttar Pradesh, India.

他来自印度的Uttar Pradesh（北方邦）

Now Shivdutt was visiting the local land registry office

当Shivdutt去Uttar Pradesh（北方邦）的

in Uttar Pradesh,

土地登记办公室时

and he discovered

他发现

that official records were listing him as dead.

他被列入官方文件的已死亡名单中。

His land was no longer registered

他名下的土地已经

in his name.

不再属于他。

His brothers, Chandrabhan and Phoolchand,

他的兄弟，Chandrabhan和Phoolchand

were also listed as dead.

也在死亡名单里。

Family members had bribed officials

他们的亲戚贿赂当地官员

to interrupt the hereditary transfer of land

签署了这三兄弟的死亡声明，

by having the brothers declared dead,

由此中断三兄弟的土地继承程序

allowing them to inherit

自己继承了这些土地。

their father's share of the ancestral farmland.

这是他们的祖先留下的，属于三兄弟的父亲的土地。

Because of this, all three brothers and their families

为此，三兄弟和他们的家人

had to vacate their home.

不得不背井离乡。

According to the Yadav family,

根据Yadav家族的说法

the local court has been scheduling a case review

当地法院自2001年起对此案排期开审

since 2001,

但自2001 年以来

but a judge has never appeared.

法官从未出庭

There are several instances in Uttar Pradesh

在Uttar Pradesh （北方邦）

of people dying

很多人直到死

before their case is given a proper review.

都没能看到他们的案件被妥善审理。

Shivdutt's father's death and a want for his property

Shivdutt的父亲去世后，家人垂涎他的财产

led to this corruption.

导致这起腐败案的发生。

He was laid to rest in the Ganges River,

他被安葬在恒河

where the dead are cremated along the banks of the river

在那里，有的遗体在河岸边被火化，

or tied to heavy stones and sunk in the water.

有的则被缚上巨石沉入河中。

Photographing these brothers

拍下这些人的照片

was a disorienting exchange

是我觉得很困惑。

because on paper they don't exist,

因为在官方文件里，他们并不存在。

and a photograph is so often used as an evidence of life.

但这一张张照片证明他们确实还活在这个世界上。

Yet, these men remain dead.

然而，照片无法改变他们（在官方文件里）的死亡记录。

This quandary led to the title of the project,

这样的困惑使我为展览选择了这个主题：

which considers in many ways

很多时候

that we are all the living dead

我们都是活着的死人

and that we in some ways represent

在很多时候，我们扮演着

ghosts of the past and the future.

过去与未来的鬼魂。

So this story is the first of 18 chapters

这是我新作品中的第一个故事。

in my new body of work titled "A Living Man Declared Dead and Other Chapters."

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”。

And for this work,

为了这个展览

I traveled around the world over a four-year period

我在过去的四年时间里踏遍世界

researching and recording bloodlines

研究和记录血缘关系

and their related stories.

和其他相关故事。

I was interested in ideas surrounding fate

我对命运的话题很感兴趣，

and whether our fate is determined

我想知道我们的命运是否取决于

by blood, chance or circumstance.

我们的血统、机遇和环境。

The subjects I documented

我记录了各种各样的人和事

ranged from feuding families in Brazil

从巴西家族间的世代恩怨

to victims of genocide in Bosnia

到波斯尼亚种族灭绝受害者的经历，

to the first woman to hijack an airplane

从第一位女劫机犯

and the living dead in India.

到印度的活死人。

In each chapter, you can see the external forces

在每一个章节中，你能看到一种碰撞，

of governance, power and territory or religion

那是来自政府、统治者、领土和宗教信仰的外部力量

colliding with the internal forces

与人们与生俱来的精神

of psychological and physical inheritance.

和身体的内在力量之间发生的碰撞。

Each work that I make

我的每个作品

is comprised of three segments.

都由三个部分组成。

On the left are one or more portrait panels

左边的展板是一个或几个人像，

in which I systematically order

我把同一家族的人们

the members of a given bloodline.

按照血缘关系排列，

This is followed by a text panel, it's designed in scroll form,

中间是设计成卷轴样式的文本面板，

in which I construct

用来讲述

the narrative at stake.

最重要的故事。

And then on the right is what I refer to as a footnote panel.

右边的展板用来做脚注说明

It's a space that's more intuitive

这里更直观的展示了

in which I present fragments of the story,

一些故事的片段

beginnings of other stories, photographic evidence.

和另一些故事的开端以及照片凭据。

And it's meant to kind of reflect

这是为了在某种程度模拟

how we engage with histories or stories on the Internet,

我们在网上浏览历史和故事时的状态。

in a less linear form.

那是一种以一种不那么线性的方式，

So it's more disordered.

所以它更无序。

And this disorder is in direct contrast

而这样的无序恰恰与

to the unalterable order of a bloodline.

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,

在我过去的作品中，我经常按部就班

documenting things that have

以一种看起来更易理解的方式

the appearance of being comprehensive

来记录事情

through a determined title and a determined presentation,

总是用确定的标题和确定的展现方式。

but in fact, are fairly abstract.

但事实上，这种记录方式是非常抽象。

In this project I wanted to work in the opposite direction

因此在这个作品中，我想采用一种截然相反的方式，

and find an absolute catalog,

我想按照一个绝对的顺序来编辑，

something that I couldn't interrupt, curate or edit by choice.

一种让我不能随意选择中断、策划或编辑的顺序。

This led me to blood.

我找到了血缘关系。

A bloodline is determined and ordered.

血缘关系是明确而有序的。

But the project centers

而这个展览的核心是

on the collision of order and disorder --

有序和无序的碰撞：

the order of blood butting up against the disorder

血缘关系的有序性

represented in the often chaotic and violent stories

与混乱暴力的故事的无序性之间的碰撞。

that are the subjects of my chapters.

这就是我的作品的主题

In chapter two, I photograph the descendants of Arthur Ruppin.

在第二章，在我拍摄了Arthur Ruppin的后代

He was sent in 1907 to Palestine

Arthur Ruppin在1907年被犹太复国主义组织

by the Zionist organization

送到巴勒斯坦

to look at areas for Jewish settlement

去寻找可以成为犹太人定居点的地方

and acquire land for Jewish settlement.

并且为此获取土地。

He oversaw land acquisition

他作为巴勒斯坦的土地发展公司的代表

on behalf of the Palestine Land Development Company

负责监管收购土地

whose work led to the establishment

他的工作就是为了建立

of a Jewish state.

一个犹太人的国家。

Through my research at the Zionist Archives in Jerusalem,

我在耶路撒冷犹太复国主义档案馆的时候，

I wanted to look at the early paperwork

我想研究一下关于犹太国家建立的

of the establishment of the Jewish state.

早期文史资料。

And I found these maps which you see here.

这就是我找到的地图。

And these are studies

这些是犹太人定居点的备选方案，

commissioned by the Zionist organization

都是犹太复国主义组织

for alternative areas for Jewish settlement.

委托研究的。

In this, I was interested in the consequences

这让我对（这些方案）在地理学方面的

of geography

可能造成的影响很感兴趣。

and imagining how the world would be different

想象一下如果以色列是在乌干达境内

if Israel were in Uganda,

就像这些地图所标注的那样

which is what these maps demonstrate.

这个世界将会多么不一样。

These archives in Jerusalem,

这些是保存在在耶路撒冷的档案

they maintain a card index file

他们保留着卡片索引

of the earliest immigrants and applicants for immigration

记录着最早的移民和入境事务处申请。

to Palestine, and later Israel,

这些是1919年至1965年间

from 1919 to 1965.

到巴勒斯坦和后来到以色列的人们的记录。

Chapter three:

第 3 章：

Joseph Nyamwanda Jura Ondijo

Joseph Nyamwanda Jura Onijo

treated patients outside of Kisumu, Kenya

他在肯尼亚基苏木市外郊区行医

for AIDS, tuberculosis, infertility,

治疗艾滋病、 结核病、 不孕不育，

mental illness, evil spirits.

精神疾病、邪灵蛊术。

He's most often paid for his services

他最常收到的诊疗费

in cash, cows or goats.

是现金、 牛或是山羊

But sometimes when his female patients

但有时当他的女病人

can't afford his services,

无法支付诊疗费时

their families give the women to Jura

他们的家人就会将这名妇女送给Jura

in exchange for medical treatment.

以换取治疗。

As a result of these transactions,

这些交易的结果就是

Jura has nine wives,

Jura有九个妻子，

32 children

32 个孩子

and 63 grandchildren.

和 63个 孙子。

In his bloodline you see the children and grandchildren here.

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

他的其中两个妻子是因为

suffering from infertility

患有不孕不育症被送到他那儿

and he cured them,

然后他治好了她们；

three for evil spirits,

另外三个妻子是因为邪灵附体（被送来的）；

one for an asthmatic condition and severe chest pain

还有一个是因为有哮喘和严重的胸痛；

and two wives Ondijo claims he took for love,

最后Ondijo声称是因为爱情，他娶了另两个妻子，

paying their families a total of 16 cows.

并为此支付了16头 牛给她们的家庭。

One wife deserted him

他的一个妻子离开了他

and another passed away during treatment for evil spirits.

还有一个妻子在驱赶邪灵时去世了。

Polygamy is widely practiced in Kenya.

一夫多妻在肯尼亚很常见，

It's common among a privileged class

尤其是在特权阶级中。

capable of paying numerous dowries

他们有能力支付丰厚的礼金，

and keeping multiple homes.

也能养活多个家庭成员。

Instances of prominent social and political figures

在社会和政治方面有突出地位的人物

in polygamous relationships

都保持着一夫多妻的关系，

has led to the perception of polygamy

这使得一夫多妻被看做是

as a symbol of wealth, status and power.

财富、 地位和权力的象征。

You may notice in several of the chapters that I photographed

您可能会注意到在某几个章节的照片中

there are empty portraits.

有的人像是空白的

These empty portraits represent individuals,

这些空的画像代表着一些人

living individuals, who couldn't be present.

一些活着的但无法出现在画面中的人。

And the reasons for their absence are given in my text panel.

我在文本展板中提到了他们缺席的原因，

They include dengue fever,

包括登革热、

imprisonment, army service,

坐牢和参军，

women not allowed to be photographed

另外由于宗教和文化的原因

for religious and cultural reasons.

某些地方不允许妇女拍照。

And in this particular chapter,

在这一章里

it's children whose mothers

缺席的是儿童，因为他们的母亲

wouldn't allow them to travel to the photographic shoot

不愿让孩子们前往拍摄地点

for fear that their fathers would kidnap them during it.

因为担心他们的父亲会在这路上绑架他们。

Twenty-four European rabbits

第六章：1859年，一位英国拓荒者

were brought to Australia in 1859

将二十四只欧洲兔

by a British settler

带到澳大利亚

for sporting purposes, for hunting.

用来运动和打猎。

And within a hundred years,

一百年内,

that population of 24 had exploded to half a billion.

24 只兔子爆炸性地繁衍到5 亿只

The European rabbit has no natural predators in Australia,

欧洲兔在澳大利亚没有天敌

and it competes with native wildlife

它们和本土野生动物与竞争

and damages native plants

损害当地原生植物

and degrades the land.

并降低了土地的质量

Since the 1950s,

自 20 世纪 50 年代开始

Australia has been introducing lethal diseases

澳大利亚人将致命性疾病

into the wild rabbit population

带入野生兔子族群

to control growth.

以控制兔子数量

These rabbits were bred at a government facility,

这些兔子由一家

Biosecurity Queensland,

昆士兰生物安全局的政府机构培养。

where they bred three bloodlines of rabbits

他们培养了三种不同血统的兔子

and have infected them with a lethal disease

让它们感染一种致命的疾病

and are monitoring their progress

并监测它们的生长状况

to see if it will effectively kill them.

以验证这种疾病是否能杀死这些兔子。

So they're testing its virulence.

他们在测试病毒的毒性。

During the course of this trial, all of the rabbits died,

这项试验中，所有的兔子死了，

except for a few, which were euthanized.

除了几只是被安乐死的。

Haigh's Chocolate,

Haigh's 巧克力，

in collaboration

与澳大利亚灭除兔子基金会

with the Foundation for Rabbit-Free Australia,

进行合作

stopped all production of the Easter Bunny in chocolate

停止所有复活节巧克力兔的生产

and has replaced it with the Easter Bilby.

而将它替换成了复活节袋狸

Now this was done to counter

这样做是为了抵抗

the annual celebration of rabbits

一年一度以兔子庆祝的模式

and presumably make the public more comfortable

以期大众能更易接受

with the killing of rabbits

杀死兔子这件事

and promote an animal that's native to Australia,

同时他们宣传一种澳大利亚的本地动物

and actually an animal that is threatened

一种实际上正受

by the European rabbit.

欧洲兔子威胁的动物。

In chapter seven, I focus on the effects

在第七章，我着重描述

of a genocidal act

针对某一血统的

on one bloodline.

种族灭绝行为。

So over a two-day period,

在两天内

six individuals from this bloodline

这血统的六个人

were killed in the Srebrenica massacre.

在雷布雷尼察大屠杀中丧生。

This is the only work

这是我唯一一个，

in which I visually represent the dead.

以视觉方式呈现已经过世的人的作品

But I only represent those

但我只呈现

that were killed in the Srebrenica massacre,

在雷布雷尼察大屠杀中被杀害的人。

which is recorded as the largest mass murder in Europe

这是自第二次世界大战以来

since the Second World War.

在欧洲发生的最大规模的谋杀

And during this massacre,

这次大屠杀期间

8,000 Bosnian Muslim men and boys

8,000 个波斯尼亚穆斯林男人和男孩

were systematically executed.

被有计划的处死。

So when you look at a detail of this work,

所以，当你仔细地看这个展板

you can see, the man on the upper-left

你会发现左上角上的男人

is the father of the woman sitting next to him.

是坐在他旁边的女子的父亲。

Her name is Zumra.

她的名字是 Zumra

She is followed by her four children,

她旁边紧接着是她的四个孩子，

all of whom were killed in the Srebrenica massacre.

四个孩子都在雷布雷尼察大屠杀中丧生了。

Following those four children is Zumra's younger sister

四个孩子后面接着是 Zumra 的妹妹

who is then followed by her children

她后面跟着的是她的孩子们

who were killed as well.

她的孩子们也被杀了

During the time I was in Bosnia,

我在波斯尼亚期间

the mortal remains of Zumra's eldest son

Zumra 的长子遗骨

were exhumed from a mass grave.

从万人坑的墓地中被挖掘出来

And I was therefore able to photograph

我因此拍摄到了他

the fully assembled remains.

完整的遗骸。

However, the other individuals

然而，其他人

are represented by these blue slides,

只能由这些蓝色底的照片来代表

which show tooth and bone samples

这些照片呈现的

that were matched to DNA evidence collected from family members

是牙和骨样本

to prove they were the identities

用来与从家庭成员的DNA样本作匹配

of those individuals.

以此来证明他们的身份

They've all been given a proper burial,

他们已经全部被体面地安葬，

so what remains are these blue slides

所以剩下的只有这些

at the International Commission for Missing Persons.

在“寻找失踪人员国际委员会”保留的蓝色的照片

These are personal effects

这些都是万人坑的墓地中

dug up from a mass grave

挖出个人物品

that are awaiting identification from family members

有待家庭成员来辨认。

and graffiti at the Potochari battery factory,

这是Potocharti电池厂的涂鸦

which was where the Dutch U.N. soldiers were staying,

荷兰的联合国士兵在等待被处决的时期

and also the Serbian soldiers later

曾经驻扎在这里

during the times of the executions.

其后塞尔维亚的士兵也驻扎在这个电池厂。

This is video footage used at the Milosevic trial,

这是在米洛舍维奇的审判中使用过的视频片段

which from top to bottom

它完整的展现了

shows a Serbian scorpion unit

一个塞尔维亚蝎子军事组织（的成员）

being blessed by an Orthodox priest

接受一名东正教神父的赐福的情景，

before rounding up the boys and men

在这个仪式之后，他们把男孩和男人集合起来

and killing them.

并杀死了他们。

Chapter 15 is more of a performance piece.

第 15 章更多地是一个表演作品

I solicited China's State Council Information Office in 2009

我在2009年请求中国国务院新闻办公室

to select a multi-generational bloodline

挑选一个多代同堂的家庭

to represent China for this project.

在这个展览中代表中国

They chose a large family from Beijing for its size,

出于家庭成员人数的考虑，他们选择了一个北京的大家庭，

and they declined to give me

然后他们拒绝提供

any further reasoning for their choice.

他们选择这个家庭的其他理由。

This is one of the rare situations

这个情况很罕见

where I have no empty portraits.

我没有一张空白的肖像。

Everyone showed up.

每个人都出现了。

You can also see the evolution of the one-child-only policy

您还可以看到独生子女政策

as it travels through the bloodline.

给一个家族带来的变化

Previously known as the Department of Foreign Propaganda,

国务院信息办的

the State Council Information Office

前身为中共中央对外宣传办公室

is responsible for all of China's external publicity operations.

它负责中国所有对外宣传工作

It controls all foreign media and image production

它通过控制所有在中国工作的外国媒体的活动

outside of China

达到控制中国境外

from foreign media working within China.

媒体对中国的的宣传和影像传播

It also monitors the Internet

国务院信息办同时监控互联网

and instructs local media

并指示本地媒体

on how to handle any potentially controversial issues,

如何处理任何可能引起争议的问题，

including Tibet, ethnic minorities,

包括西藏问题，少数民族问题

Human Rights, religion,

人权问题、 宗教问题、

democracy movements and terrorism.

民主运动问题和恐怖主义的问题。

For the footnote panel in this work,

在这个作品的脚注说明展板中

this office instructed me

我提到这个办公室吩咐我

to photograph their central television tower in Beijing.

拍摄他们在北京的中央广播电视塔。

And I also photographed the gift bag they gave me

我也拍下了他们在我离开前

when I left.

给我的礼物袋。

These are the descendants of Hans Frank

这些都是Hans Frank的后代

who was Hitler's personal legal advisor

他是希特勒的个人法律顾问

and governor general of occupied Poland.

也是波兰被占领后的地方总督

Now this bloodline includes numerous empty portraits,

这个家族展板中包含了许多空白的画像

highlighting a complex relationship

突出一个人的家族史中

to one's family history.

复杂的关系

The reasons for these absences

缺席的原因

include people who declined participation.

包括有些人拒绝参与

There's also parents who participated

有些父母自己参加了拍摄

who wouldn't let their children participate

但不让他们的孩子参加拍摄

because they thought they were too young to decide for themselves.

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

Another section of the family

这个家庭的另一部分人

presented their clothing, as opposed to their physical presence,

展示了他们的衣服，而拒绝本人现身

because they didn't want to be identified

因为他们不想被人联想到

with the past that I was highlighting.

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）。

And finally, another individual

最后，另一个人

sat for me from behind

坐下来背对我

and later rescinded his participation,

最后他还是不愿意参与这个展览，

so I had to pixelate him out so he's unrecognizable.

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

在这个作品旁边的脚注说明展板

I photographed an official Adolph Hitler postage stamp

我拍摄了一张官方的阿道夫希特勒邮资邮票

and an imitation of that stamp

和一张英国情报机构

produced by British Intelligence

仿制的邮票

with Hans Frank's image on it.

邮票上有Hans Frank的肖像

It was released in Poland

仿制的邮票在波兰发行

to create friction between Frank and Hitler,

目的是制造Frank与希特勒之间的摩擦

so that Hitler would imagine

这样希特勒就会想象

Frank was trying to usurp his power.

Frank想篡夺他的权力

Again, talking about fate,

再次，谈论到命运，

I was interested in the stories and fate

我对某些艺术作品中的

of particular works of art.

故事和命运感兴趣

These paintings were taken by Hans Frank

这些画是Hans Frank在

during the time of the Third Reich.

在第三帝国期间夺取的

And I'm interested in the impact of their absence and presence through time.

我对这些画作的消失和出现所带来的影响很有兴趣

They are Leonardo da Vinci's "Lady With an Ermine,"

这些是是达 · 芬奇的"抱银貂的女子"

Rembrandt's "Landscape With Good Samaritan"

伦勃朗的"好撒玛利亚人风景"

and Raphael's "Portrait of a Youth,"

以及从未被找回的

which has never been found.

拉斐尔的"少年画像"

Chapter 12 highlights

第 12 章讲述的是

people being born into a battle that is not of their making,

生于战争中的人，战争的起因与他们无关，

but becomes their own.

却变成了他们的战争

So this is the Ferraz family

这是Ferraz家族

and the Novaes family.

和Novaes家族

And they are in an active blood feud.

这两个家族间有着血海深仇。

This feud has been going on since 1991

此世仇始于1991年

in Northeast Brazil in Pernambuco,

在巴西东北部的伯南布哥

and it involved the deaths

它造成了

of 20 members of the families

20 名家庭成员

and 40 others associated with the feud,

和40名其他相关人士的死亡，

including hired hit men, innocent bystanders

包括雇佣的杀手、无辜的旁观者

and friends.

和朋友

Tensions between these two families date back to 1913

这两个家庭的紧张关系可以追溯至 1913 年

when there was a dispute over local political power.

他们在当地政治权力争斗中产生纠纷

But it got violent in the last two decades

过去的20年间他们之间的矛盾愈演愈烈

and includes decapitation

还涉及斩首

and the death of two mayors.

和两位市长的死亡。

Installed into a protective wall

在诺瓦郊区首页的Louis Novaes的

surrounding the suburban home of Louis Novaes,

家的周围安装着防护墙，他是

who's the head of the Novaes family,

Novaes家族的首领，

are these turret holes,

防护墙上到处是这样的炮塔孔

which were used for shooting and looking.

其中用于射击和侦查。

Brazil's northeast state of Pernambuco

巴西的东北状态的伯南布哥

is one of the nation's most violent regions.

是这个国家暴力冲突最激烈的地区之一。

It's rooted in a principle of retributive justice,

报复性正义原则，

or an eye for an eye,

或者说“以牙还牙，以眼还眼”的原则在这里根深蒂固，

so retaliatory killings

所以报复性杀人

have led to several deaths in the area.

造成这一地区多人死亡。

This story, like many of the stories in my chapters,

这个故事，像很多我的章节中的故事

reads almost as an archetypal episode,

读起来就像文学作品里的经典情节

like something out of Shakespeare,

像是莎士比亚的故事（一样不可思议）。

that's happening now and will happen again in the future.

但这却是正在发生的事情，并且将来还会继续发生。

I'm interested in these ideas of repetition.

我对这种不断重复的故事很感兴趣。

So after I returned home, I received word

然而当我回到家，我得到消息

that one member of the family

那个家族的一名成员

had been shot 30 times in the face.

脸上被射了30枪。

Chapter 17

第 17 章

is an exploration of the absence of a bloodline

是一个与血脉无关的故事

and the absence of a history.

一个与历史无关的故事

Children at this Ukrainian orphanage

这个故事说的是乌克兰孤儿院收养的孩子们

are between the ages of six and 16.

大的16岁，小的 6岁。

This piece is ordered by age

这部分作品是按照年龄排序的

because it can't be ordered by blood.

因为我无法将他们按照血缘联系起来。

In a 12-month period when I was at the orphanage,

我在那个孤儿院待了12个月，

only one child had been adopted.

期间只有一个孩子被领养。

Children have to leave the orphanage at age 16,

这些孩子年满16岁就必须离开孤儿院

despite the fact that there's often nowhere for them to go.

尽管事实上他们经常无处可去。

It's commonly reported in Ukraine

这样的事情在乌克兰经常发生：

that children, when leaving the orphanage

孩子们一旦离开孤儿院

are targeted for human trafficking,

就成为了人口贩卖，

child pornography and prostitution.

儿童色情和卖淫等犯罪的目标。

Many have to turn to criminal activity for their survival,

许多人为了生存，不得不从事犯罪活动。

and high rates of suicide are recorded.

他们的自杀率非常高。

This is a boys' bedroom.

这是一个男孩子的卧室。

There's an insufficient supply of beds at the orphanage

孤儿院的床位不够

and not enough warm clothing.

也没有足够的御寒衣物。

Children bathe infrequently

孩子们不能经常洗澡

because the hot water isn't turned on until October.

因为只有到了10月，孤儿院才供应热水。

This is a girls' bedroom.

这是个女孩的卧室。

And the director listed the orphanage's most urgent needs

孤儿院长列出了孤儿们最紧迫的需求

as an industrial size washing machine and dryer,

一台工业用洗衣机和烘干机，

four vacuum cleaners, two computers,

四个真空吸尘器，两台电脑，

a video projector, a copy machine,

一台视频投影机，一台复印机，

winter shoes and a dentist's drill.

冬天的鞋子和一个牙医用的牙钻。

This photograph, which I took at the orphanage of one of the classrooms,

这张照片，是我在孤儿院里的一个教室里拍的。

shows a sign which I had translated when I got home.

我回到家中才翻译出标语的意思

And it reads: "Those who do not know their past

标语的意思是："那些不知道自己的过去的人

are not worthy of their future."

不配拥有未来。"

There are many more chapters in this project.

在这个展览中还有很多章节。

This is just an abridged rendering

这里只是对这一千张多图片

of over a thousand images.

作个简单介绍。

And this mass pile of images and stories

这长篇累牍的图片和故事

forms an archive.

形成了一个档案馆。

And within this accumulation of images and texts,

在这图片和文本的累积中

I'm struggling to find patterns

我竭力想找到一个模式

and imagine that the narratives that surround the lives we lead

我努力想像这关于生命的种种故事

are just as coded as blood itself.

就像血缘关系本身一样，早已被编写。

But archives exist

但这档案存在的意义在于

because there's something that can't necessarily be articulated.

有些无法用言语叙述的东西，

Something is said in the gaps

就存在于这些文字的

between all the information that's collected.

字里行间。

And there's this relentless persistence

那就是出生与死亡

of birth and death

这无情的存在

and an unending collection of stories in between.

和生死之间无止境的故事。

It's almost machine-like

人们的出生和死亡

the way people are born and people die,

几乎就像机器一样

and the stories keep coming and coming.

而这些故事不断地发生。

And in this, I'm considering,

在这里，我思考着

is this actual accumulation

这实实在在的积累

leading to some sort of evolution,

是否导致着某种形式的进化？

or are we on repeat

还是我们只是一遍又一遍地

over and over again?

重复这个过程？

Thank you.

谢谢。

(Applause)

（掌声）