Taryn Simon: The stories behind the bloodlines

譯者: I-Hsiang Lin 審譯者: Xiaojing Zheng

This is Shivdutt Yadav,

這是Shivdutt Yadav，

and he's from Uttar Pradesh, India.

他來自印度的烏塔普拉德許州。

Now Shivdutt was visiting the local land registry office

當Shivdutt去烏塔普拉德許州的

in Uttar Pradesh,

戶政事務所時，

and he discovered

他發現

that official records were listing him as dead.

官方紀錄記載他已經死亡。

His land was no longer registered

而且他的土地已經

in his name.

沒有登記在他名下。

His brothers, Chandrabhan and Phoolchand,

他的兄弟，Chandrabhan和Phoolchand，

were also listed as dead.

也被列為死亡。

Family members had bribed officials

家庭成員賄絡官員，

to interrupt the hereditary transfer of land

為了阻斷土地的祖傳轉移權，

by having the brothers declared dead,

透過宣告父親兄弟的死亡，

allowing them to inherit

允許他們繼承

their father's share of the ancestral farmland.

分配給他們父親的祖產。

Because of this, all three brothers and their families

正因為如此，這三個兄弟和他們的家庭

had to vacate their home.

必須從家中撤離。

According to the Yadav family,

根據Yadav家人的說法，

the local court has been scheduling a case review

自從2001年，當地法院已經安排要

since 2001,

重審此案件，

but a judge has never appeared.

但是法官都不曾出庭。

There are several instances in Uttar Pradesh

在烏塔普拉德許州，

of people dying

很多人在去世前，

before their case is given a proper review.

他們的案子都沒被妥善審閱過。

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

Shivdutt父親的死亡和兄弟覬覦他的財產

led to this corruption.

導致這種腐敗。

He was laid to rest in the Ganges River,

他最後在恆河安息，

where the dead are cremated along the banks of the river

死者在河岸被火葬，

or tied to heavy stones and sunk in the water.

或者被綁上重石沉到河水中。

Photographing these brothers

拍攝這些兄弟的照片

was a disorienting exchange

是種令人感到困惑的交流，

because on paper they don't exist,

因為在紀錄上他們不存在，

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

但照片經常被用來當作生命的證據。

Yet, these men remain dead.

然而，這些人還是被視為已死亡。

This quandary led to the title of the project,

這種窘境引出了這個企畫案的名稱，

which considers in many ways

從很多方面想，

that we are all the living dead

我們都是活著的死人，

and that we in some ways represent

並且在某些層面，我們代表的是

ghosts of the past and the future.

過去和未來的鬼魂。

So this story is the first of 18 chapters

這是我共十八章節的新作品

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

《被宣告死亡的活人和其它章節》中的第一章。

And for this work,

為了這部作品，

I traveled around the world over a four-year period

我花了四年的時間旅居世界各地，

researching and recording bloodlines

研究和記錄血脉，

and their related stories.

還有它們的相關故事。

I was interested in ideas surrounding fate

我所感興趣的議題包括命運

and whether our fate is determined

以及我們的命運是否取決於

by blood, chance or circumstance.

血統、運氣或情形。

The subjects I documented

我紀錄的主題

ranged from feuding families in Brazil

包含了從巴西的世仇家庭，

to victims of genocide in Bosnia

到波士尼亞大屠殺受難者，

to the first woman to hijack an airplane

再到第一位劫機的女性

and the living dead in India.

以及印度的活死人。

In each chapter, you can see the external forces

在每個章節，你可以看到來自統治力、

of governance, power and territory or religion

權力、領土或者宗教的外在強迫力，

colliding with the internal forces

與心理和身理所繼承的內在力量

of psychological and physical inheritance.

相互衝突。

Each work that I make

我的每個作品

is comprised of three segments.

由三部分組成。

On the left are one or more portrait panels

最左邊的展示嵌板有一幅或者多幅肖像，

in which I systematically order

我將同一血統中的成員

the members of a given bloodline.

做有系統的排列。

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

中間是設計成卷軸般橫行排列的文字嵌板，

in which I construct

用來展現

the narrative at stake.

正處緊要關頭的故事。

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

右邊則是我作補充說明的嵌板。

It's a space that's more intuitive

我憑直覺創作，

in which I present fragments of the story,

呈現故事的片段，

beginnings of other stories, photographic evidence.

其它故事的起源，照片證據。

And it's meant to kind of reflect

有點像是反映了

how we engage with histories or stories on the Internet,

我們如何在網路上汲取歷史和故事時的狀態

in a less linear form.

是較非線性的形式。

So it's more disordered.

較為雜亂的。

And this disorder is in direct contrast

而這種雜序和無法更改的血脉順序

to the unalterable order of a bloodline.

直接形成對比。

In my past projects I've often worked in serial form,

我過去的作品通常是用順序排列，

documenting things that have

紀錄一些

the appearance of being comprehensive

透過明確的標題和清楚的展示

through a determined title and a determined presentation,

可讓人充分理解的事物。

but in fact, are fairly abstract.

但事實上，這些是相當抽象的。

In this project I wanted to work in the opposite direction

我想反向製作這個作品，

and find an absolute catalog,

找到絕對的編錄順序，

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

讓我無法選擇如何打斷，策劃或編輯。

This led me to blood.

於是我找到血脉。

A bloodline is determined and ordered.

血脉是已決定且有一定順序的。

But the project centers

但是這個策劃的焦點在於

on the collision of order and disorder --

有序和混亂的衝突 --

the order of blood butting up against the disorder

血統的有條不紊和

represented in the often chaotic and violent stories

時常混亂且暴力的故事所展現的雜亂互相牴觸，

that are the subjects of my chapters.

成了這些章節的主題。

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

在第二章，我拍攝了Arthur Ruppin的子孫。

He was sent in 1907 to Palestine

他在1907年被錫安主義者(擁護猶太教復國)的組織

by the Zionist organization

送往巴勒斯坦

to look at areas for Jewish settlement

目的是找尋猶太人安身的地方

and acquire land for Jewish settlement.

且獲得土地。

He oversaw land acquisition

他代表巴勒斯坦土地發展公司

on behalf of the Palestine Land Development Company

監管收購土地，

whose work led to the establishment

而這公司的經營是為了建立一個

of a Jewish state.

猶太人的國家。

Through my research at the Zionist Archives in Jerusalem,

當我在耶路撒冷的錫安主義中央檔案館做研究時，

I wanted to look at the early paperwork

我想要查看猶太人建國的

of the establishment of the Jewish state.

早期文史資料。

And I found these maps which you see here.

然後我找到這些你現在看到的地圖。

And these are studies

這些所作研究

commissioned by the Zionist organization

受擁護錫安主義組織委任，

for alternative areas for Jewish settlement.

目的是找尋讓猶太人安頓的替代地區。

In this, I was interested in the consequences

在這過程中，我對地理的結果

of geography

很感興趣，

and imagining how the world would be different

我想像如果以色列是在烏干達，

if Israel were in Uganda,

就像是這些地圖所展示這般，

which is what these maps demonstrate.

這個世界將會有多不一樣。

These archives in Jerusalem,

在耶路撒冷的這些檔案中心，

they maintain a card index file

他們用卡片索引編排檔案，

of the earliest immigrants and applicants for immigration

記錄這些最早移民和移民申請者

to Palestine, and later Israel,

到巴勒斯坦，再到以色列的人們，

from 1919 to 1965.

從1919到1965年間。

Chapter three:

第三章：

Joseph Nyamwanda Jura Ondijo

Joseph Nyamwanda Jura Ondijo

treated patients outside of Kisumu, Kenya

在肯亞的基蘇木市外郊行醫，

for AIDS, tuberculosis, infertility,

治療愛滋病，結核病，不孕症，

mental illness, evil spirits.

精神疾病，邪靈附身。

He's most often paid for his services

通常病人付現金，給牛牲或羊隻，

in cash, cows or goats.

作為看診費用。

But sometimes when his female patients

但有時候，當他的女性患者

can't afford his services,

無法負擔看診費用時，

their families give the women to Jura

她們的家人會將這位女性送給Jura

in exchange for medical treatment.

以交換取得醫學治療。

As a result of these transactions,

這些交易的結果是，

Jura has nine wives,

Jura有9位妻子，

32 children

32位小孩

and 63 grandchildren.

還有63位孫子。

In his bloodline you see the children and grandchildren here.

你可以在他的血脉中看到他的小孩和孫子。

Two of his wives were brought to him

他的兩位妻子當初是因為有不孕症

suffering from infertility

被送給他治療，

and he cured them,

然後他治癒了她們，

three for evil spirits,

三個是因為被邪靈附體，

one for an asthmatic condition and severe chest pain

一個是因為氣喘和嚴重的胸痛，

and two wives Ondijo claims he took for love,

還有兩個是Ondijo因為愛而娶來的，

paying their families a total of 16 cows.

付給她們的家人總共16頭牛。

One wife deserted him

一個拋棄他

and another passed away during treatment for evil spirits.

還有一個在驅趕邪靈的療程中過世。

Polygamy is widely practiced in Kenya.

一夫多妻制在肯亞很常見。

It's common among a privileged class

這在有特權的階級中很普遍，

capable of paying numerous dowries

他們可給予豐厚嫁妝

and keeping multiple homes.

還有同時養活很多家庭。

Instances of prominent social and political figures

實施一夫多妻制的很多是

in polygamous relationships

著名的社會或政治人物，

has led to the perception of polygamy

導致一夫多妻制被視為

as a symbol of wealth, status and power.

財富，地位和權力的象徵。

You may notice in several of the chapters that I photographed

你可能注意到在很多我列出照片的章節裡，

there are empty portraits.

有些是沒有人的照片。

These empty portraits represent individuals,

這些沒有人的照片代表的是不同的個體，

living individuals, who couldn't be present.

還在世但不能現身的人們。

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

他們缺席的原因皆記載在文字嵌板上，

They include dengue fever,

其中包含罹患登革熱、

imprisonment, army service,

被監禁，服兵役，

women not allowed to be photographed

因為宗教或者文化因素

for religious and cultural reasons.

而不允許被拍照的女人們。

And in this particular chapter,

而在這特別的章節裡，

it's children whose mothers

空白的照片是那些小孩們

wouldn't allow them to travel to the photographic shoot

因為他們的母親不允許孩子前往拍照地點，

for fear that their fathers would kidnap them during it.

怕孩子的父親會在中途綁架他們。

Twenty-four European rabbits

第六章： 在1859時，一位英國的拓荒者

were brought to Australia in 1859

帶了24隻歐洲的兔子

by a British settler

去澳洲，

for sporting purposes, for hunting.

為的是運動用途和打獵。

And within a hundred years,

在一百年之內，

that population of 24 had exploded to half a billion.

兔子的數量從24隻爆增到5億。

The European rabbit has no natural predators in Australia,

在澳洲，歐洲來的兔子沒有天敵，

and it competes with native wildlife

兔子和當地野生動物競爭，

and damages native plants

破壞當地的植物

and degrades the land.

和降低土地品質。

Since the 1950s,

自從1950年起，

Australia has been introducing lethal diseases

澳洲人開始將致命的疾病

into the wild rabbit population

傳入野生兔子族群中

to control growth.

目的是控制其成長。

These rabbits were bred at a government facility,

政府機關 昆士蘭州生物安全疫檢部門

Biosecurity Queensland,

培育這些兔子。

where they bred three bloodlines of rabbits

他們養育了三種血統的兔子，

and have infected them with a lethal disease

而且讓牠們感染致命的疾病，

and are monitoring their progress

監控牠們的成長，

to see if it will effectively kill them.

以驗證此疾病可否有效地殺害牠們。

So they're testing its virulence.

他們在測試它的毒性。

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

在測試的過程中，全部的兔子都死了，

except for a few, which were euthanized.

當中只有一些兔子被安樂死。

Haigh's Chocolate,

黑氏巧克力(澳洲當地知名巧克力品牌)

in collaboration

和澳洲的

with the Foundation for Rabbit-Free Australia,

擺脫兔子機構(Rabbit-Free Australia)合作，

stopped all production of the Easter Bunny in chocolate

停止生產所有的復活節兔子巧克力，

and has replaced it with the Easter Bilby.

取而代之的是復活節袋狸。

Now this was done to counter

這是為了對抗

the annual celebration of rabbits

每年用兔子慶祝的模式，

and presumably make the public more comfortable

還有預設性地讓大眾能平心接受

with the killing of rabbits

殺害兔子這件事，

and promote an animal that's native to Australia,

且宣傳澳洲的本地原生動物，

and actually an animal that is threatened

事實上這動物因為歐洲兔子

by the European rabbit.

而遭受威脅。

In chapter seven, I focus on the effects

在第七章，我著重於

of a genocidal act

集體屠殺行為對於

on one bloodline.

一個血統的影響。

So over a two-day period,

在兩天內，

six individuals from this bloodline

這血統中的六個人

were killed in the Srebrenica massacre.

在斯雷布雷尼察大屠殺中遭受殺害。

This is the only work

這是唯一一個作品中，

in which I visually represent the dead.

我在視覺上呈現了過世的人。

But I only represent those

但我只呈現這些

that were killed in the Srebrenica massacre,

在斯雷布雷尼察大屠殺中遭受殺害的人，

which is recorded as the largest mass murder in Europe

這被記載為自從第二次世界大戰以來，

since the Second World War.

歐洲規模最大的大型謀殺。

And during this massacre,

在這次大屠殺中，

8,000 Bosnian Muslim men and boys

8000個波士尼亞穆斯林男人和男孩

were systematically executed.

被有系統化地處死。

So when you look at a detail of this work,

所以當你仔細看這個作品時，

you can see, the man on the upper-left

你會發現，左上角的男子

is the father of the woman sitting next to him.

是坐在他旁邊的女子的父親。

Her name is Zumra.

這名女子叫做Zumra。

She is followed by her four children,

緊接在旁的是她四個小孩，

all of whom were killed in the Srebrenica massacre.

他們都在斯雷布雷尼察大屠殺中遇害。

Following those four children is Zumra's younger sister

在四個孩子之後的是Zumra的妹妹，

who is then followed by her children

接著在她之後的也是她在大屠殺中

who were killed as well.

被殺害的孩子。

During the time I was in Bosnia,

當我在波士尼亞的時候，

the mortal remains of Zumra's eldest son

Zumra最年長的兒子的遺體

were exhumed from a mass grave.

是從巨大墳墓中挖掘出來的。

And I was therefore able to photograph

因此我能夠拍攝到

the fully assembled remains.

完整的遺體。

However, the other individuals

至於其它用

are represented by these blue slides,

藍色為底的呈現的照片，

which show tooth and bone samples

展現了在經過和家族成員

that were matched to DNA evidence collected from family members

DNA比對符合的牙齒和骨頭樣本，

to prove they were the identities

以證明這些樣本是

of those individuals.

他們身份的識別物。

They've all been given a proper burial,

這些人都被妥善地埋葬，

so what remains are these blue slides

所以剩下的都是這些在

at the International Commission for Missing Persons.

“尋找失蹤者國際委員會”中的以藍色為背景的照片。

These are personal effects

這些都是在巨大墳場中

dug up from a mass grave

挖掘出來的個人財物

that are awaiting identification from family members

等待家庭成員來辨識

and graffiti at the Potochari battery factory,

接著這是位於波托卡里的電池工廠的塗鴉，

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

這曾是聯合國德軍的所在地，

and also the Serbian soldiers later

也是之後在處死期間，

during the times of the executions.

塞爾維亞人的所在地。

This is video footage used at the Milosevic trial,

這是前南斯拉夫總統米洛索維奇受審判中所使用的影片，

which from top to bottom

從上到下

shows a Serbian scorpion unit

展示了一個塞爾維亞蠍子軍事組織

being blessed by an Orthodox priest

在集合男孩和男人且殺害他們之前

before rounding up the boys and men

接受一位東正教神父的

and killing them.

賜福。

Chapter 15 is more of a performance piece.

第15章比較像是一個表演作品。

I solicited China's State Council Information Office in 2009

我在2009年時請求中國國務院新聞辦公室

to select a multi-generational bloodline

挑選一個多代同堂的血統

to represent China for this project.

用來在此企畫案中代表中國。

They chose a large family from Beijing for its size,

他們依照人數選了來自北京的一個大家庭，

and they declined to give me

而且他們拒絕給我

any further reasoning for their choice.

他們為何如此挑選的理由。

This is one of the rare situations

這章中很難得的情況是

where I have no empty portraits.

我沒有一張空白的肖像。

Everyone showed up.

每個人都出現了。

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

你也可以透過這個血脉的足跡

as it travels through the bloodline.

看到中國獨生子女政策的演化。

Previously known as the Department of Foreign Propaganda,

前身是中共中央對外宣傳辦公室，

the State Council Information Office

現為中國國務院新聞辦公室

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

負責中國所有對外的宣傳操作。

It controls all foreign media and image production

在外國媒體與中國合作時，

outside of China

此部門控制了所有

from foreign media working within China.

外國媒體和影像產品。

It also monitors the Internet

同時它也監控網路，

and instructs local media

指導當地媒體

on how to handle any potentially controversial issues,

如何處理可能會引起爭議的話題，

including Tibet, ethnic minorities,

包括西藏，少數民族，

Human Rights, religion,

人權，宗教，

democracy movements and terrorism.

民主運動和恐怖主義。

For the footnote panel in this work,

在這個作品的補充說明嵌版上，

this office instructed me

國務院辦公室告訴我

to photograph their central television tower in Beijing.

要在他們的北京中央電視塔進行拍照。

And I also photographed the gift bag they gave me

當我要離開時，我也拍下他們給我的

when I left.

禮物袋。

These are the descendants of Hans Frank

第十一章： 這些是Hans Frank的後代，

who was Hitler's personal legal advisor

他是Hitler(希特勒)的個人法律顧問，

and governor general of occupied Poland.

也是納粹佔據波蘭後的地方總督。

Now this bloodline includes numerous empty portraits,

如今在這個血脉中已經缺失了很多人的肖像，

highlighting a complex relationship

突顯出一個家族歷史當中的

to one's family history.

複雜關係。

The reasons for these absences

這些人缺席的原因

include people who declined participation.

包括拒絕參與的人們，

There's also parents who participated

也有父母參與

who wouldn't let their children participate

但拒絕讓他們孩子加入的情況，

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

因為他們認為孩子還太年輕，無法自己做決定。

Another section of the family

還有一部分的家族成員

presented their clothing, as opposed to their physical presence,

拒絕本人現身，改用他們的衣服呈現，

because they didn't want to be identified

因為他們不想跟

with the past that I was highlighting.

我提到的過去畫上等號。

And finally, another individual

最後，還有個人

sat for me from behind

背對我拍照，

and later rescinded his participation,

之後他選擇退出，

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

所以我得像素化這張照片，讓他不被辨識。

In the footnote panel that accompanies this work

在這個作品的補充說明嵌板上，

I photographed an official Adolph Hitler postage stamp

我拍攝了一個Adolph Hitler的官方郵戳章，

and an imitation of that stamp

還有一個英國情報組織

produced by British Intelligence

仿製的印章，

with Hans Frank's image on it.

上面刻有Hans Frank的肖像。

It was released in Poland

這在波蘭被流傳

to create friction between Frank and Hitler,

目的是製造Frank和Hitler之間的不和，

so that Hitler would imagine

所以Hitler會想像

Frank was trying to usurp his power.

Frank正試著篡奪他的權力。

Again, talking about fate,

談論到命運，

I was interested in the stories and fate

我對特定藝術作品的

of particular works of art.

故事和命運感興趣。

These paintings were taken by Hans Frank

這些畫作在第三帝國時期

during the time of the Third Reich.

被Hans Frank奪走。

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

我很好奇它們消失和出現會有什麼影響。

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

這些畫分別是Leonardo Da Vinci達芬奇的《抱銀貂的女子》，

Rembrandt's "Landscape With Good Samaritan"

Rembrandt倫勃朗的《撒馬利亞人的風景》，

and Raphael's "Portrait of a Youth,"

還有已經遺失的

which has never been found.

Raphael拉斐爾的《年輕人畫像》。

Chapter 12 highlights

第12章談論的是

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

出身在戰爭中的人們，戰爭本與他們無關

but becomes their own.

但戰爭卻影響著他們的生活。

So this is the Ferraz family

這是Ferraz家族，

and the Novaes family.

這是Novaes家族。

And they are in an active blood feud.

這兩個家族現在還有血債血償的世仇。

This feud has been going on since 1991

此世仇起源於1991年，

in Northeast Brazil in Pernambuco,

發生在巴西東北方的伯南布哥州，

and it involved the deaths

涉及的死亡人數

of 20 members of the families

包括了兩個家族中的20個成員，

and 40 others associated with the feud,

還有其他40位相關人士，

including hired hit men, innocent bystanders

包含雇用的殺手，無辜的旁觀者

and friends.

還有朋友們。

Tensions between these two families date back to 1913

這兩個家族間的緊張關係可追溯到1913年，

when there was a dispute over local political power.

他們在當地的政治權力上產生了爭執。

But it got violent in the last two decades

但情勢在過去20年間愈演愈烈，

and includes decapitation

還牽涉到斬首

and the death of two mayors.

和兩位市長的死亡。

Installed into a protective wall

Louis Novaes是

surrounding the suburban home of Louis Novaes,

Novaes家族的家族長，他在郊區的房子

who's the head of the Novaes family,

周圍圍著保護牆，

are these turret holes,

牆上設置這些砲塔的射擊孔

which were used for shooting and looking.

用來射擊和觀察。

Brazil's northeast state of Pernambuco

巴西東北方的伯南布哥州

is one of the nation's most violent regions.

是國家中最暴力的區域之一。

It's rooted in a principle of retributive justice,

他們奉行報復性正義的原則，

or an eye for an eye,

以眼還眼，

so retaliatory killings

因此報復型態的殺害

have led to several deaths in the area.

已經導致這地區多人死亡。

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

這個故事就像我作品中很多故事一樣，

reads almost as an archetypal episode,

看起來幾乎就是原型的連續劇，

like something out of Shakespeare,

像是莎士比亞作品的情節，

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

現在正在上演，而且未來也會再發生。

I'm interested in these ideas of repetition.

我對這些一再重覆的歷史感興趣。

So after I returned home, I received word

當我回到家後，

that one member of the family

我得到一個消息，

had been shot 30 times in the face.

其中一個家族成員臉上被射擊30槍。

Chapter 17

第17章

is an exploration of the absence of a bloodline

在探索一個消失的血統，

and the absence of a history.

和一段消失的歷史。

Children at this Ukrainian orphanage

烏克蘭孤兒院的小孩們，

are between the ages of six and 16.

年紀介於6歲和16歲間。

This piece is ordered by age

這個作品根据年紀排序，

because it can't be ordered by blood.

因為沒有辦法用血緣排序。

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

我待在孤兒院的12個月中，

only one child had been adopted.

只有一個小孩被領養。

Children have to leave the orphanage at age 16,

小孩16歲時就得離開孤兒院，

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

儘管事實是他們通常沒有其它地方可以投靠。

It's commonly reported in Ukraine

在烏克蘭，普遍記載的是

that children, when leaving the orphanage

這些小孩離開孤兒院後

are targeted for human trafficking,

成為人口販賣，

child pornography and prostitution.

兒童色情行業和娼妓的目標。

Many have to turn to criminal activity for their survival,

很多人為了生存必須從事犯罪活動，

and high rates of suicide are recorded.

自殺率很高。

This is a boys' bedroom.

這是一間男孩的臥房。

There's an insufficient supply of beds at the orphanage

孤兒院的床位不足，

and not enough warm clothing.

也不能提供足夠保暖的衣物。

Children bathe infrequently

因為熱水到10月才開始供應，

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

小孩不能定期洗澡。

This is a girls' bedroom.

這是一間女孩的臥房。

And the director listed the orphanage's most urgent needs

孤兒院主管列出最急需的物資是

as an industrial size washing machine and dryer,

一台工業用大小的洗衣機和烘乾機，

four vacuum cleaners, two computers,

四台吸塵器，兩台電腦，

a video projector, a copy machine,

一台投影機，一台影印機，

winter shoes and a dentist's drill.

冬天的鞋子和牙醫鐵鑽。

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

這張照片是我在孤兒院的一間教室拍的，

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

我回家後翻譯了照片中的標語。

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

意思是：「不知道自己過去的人

are not worthy of their future."

未來沒有意義。」

There are many more chapters in this project.

在我這個作品中還有很多的章節。

This is just an abridged rendering

這只是超過1000張照片

of over a thousand images.

刪減過後的呈現。

And this mass pile of images and stories

這一大疊的照片和故事

forms an archive.

構成一個資料庫。

And within this accumulation of images and texts,

在這堆累積的照片和文字中，

I'm struggling to find patterns

我努力想在這些圖像中找出一個模式，

and imagine that the narratives that surround the lives we lead

並想像著我們的生活周遭的故事

are just as coded as blood itself.

如同血脉一樣被編碼了。

But archives exist

但資料庫存在的意義

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

是因為有些事情是不需要被講出的。

Something is said in the gaps

有些事情在蒐集資訊的縫隙中

between all the information that's collected.

被顯示出來。

And there's this relentless persistence

正因為有出生和死亡

of birth and death

這種不停歇的持久性，

and an unending collection of stories in between.

當中存在著無止境的故事。

It's almost machine-like

這近乎於機械化的

the way people are born and people die,

有人生，有人死 的循環形式

and the stories keep coming and coming.

使故事源源不斷。

And in this, I'm considering,

在這當中，我思考的是

is this actual accumulation

是否這種實際的累積

leading to some sort of evolution,

導向某種演化？

or are we on repeat

又或者我們只是

over and over again?

一再地重覆歷史？

Thank you.

謝謝。

(Applause)

(掌聲)