Alart Salon @ Image Tunnel

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翻译/罗宾

The Places We Live
by Jonas Bendiksen

在玛格南博客上看到这个作品介绍，其中摄影师对于作品的自述2008年10月23日发表于玛格南博客。

摄影师简介：

Jonas Bendiksen 1977年出生在挪威。19岁时他开始在玛格南伦敦分部实习，随后作为一名摄影记者前往俄罗斯探寻他自己的摄影之路。他在那里一拍就是几年，并完成了他第一本重要摄影画册——《Satellites》，他的拍摄穿越了苏维埃政权解体后最边缘的区域，记录前苏联国家中人们在苏联解体后生活的转变。

不管是在俄罗斯还是在其他地方，他总是关注那个边缘的、孤立的区域。2005年，Bendikse获得了Alicia Patterson基金提供的款项，开始拍摄“我们生活的地方”项目，这个项目关注了世界各地的城市中不断扩大的贫民窟。他在这个项目中结合了摄影、短片和录音，以全方位地进行展示。

Jonas Bendiksen2004年成为玛格南图片社的提名成员，2008年成为正式成员。

引语：
“我喜欢那些被遗忘在头版头条外的故事——在我看来，最有价值、最感人的照片往往隐藏在那些不为人所注意的事件中。”

“我们生活的地方”作品自述：

2005年，我开始拍摄“我们生活的地方”这个项目，这是关于城市中的贫民窟的。在三年的拍摄中，我采访了四个贫民窟里的数十户人家。

“我们生活的地方”并非刻意去寻找城市贫民中的极端例子——我没有去寻找最肮脏的地区、最简陋的小屋或者是犯罪最猖獗的街道。我的目的是探寻人们如何在这些可怕的环境中正常生活并保持尊严的。

在拍摄过程中，我总是会让接受采访的家庭成员“说说这里的生活”。由于我不懂西班牙语、斯瓦希里语、印度尼西亚语、印地语或者马拉地语，我在采访中有一条原则：只要他们还在说，我就不会让翻译把他们打断，所以总是要到几个月之后我拿到录音的翻译稿时，才大致上了解到他们当时所说的故事。对我来说，这样的过程在某种程度上可以防止我把自己对于贫民窟生活的成见投射进去——这意味着这个项目必须是互动的、协作完成的。

前几个月，画册“我们生活的地方”出版，同时，在奥斯陆举办了一个展览。现在我们把部分作品放到了Magnum-in-Motion网站上。

你可以在www.theplaceswelive.com上面看到。

奇怪的是，我觉得把这些故事放到网上是一件与出版画册、杂志发表和展览截然不同的事。接受采访的家庭许可我把这些材料用在我想要的任何地方——事实上，我只采用了很有表达欲望的家庭的故事。但这种恼人的感觉仍然挥之不去，我始终觉得把他们的家庭和生活公布在网上是一件不同的事。

这是不是因为阅读书籍、杂志或是观看展览比上网浏览的经历更为私人化？还是反之呢？这只是我个人的感受，还是大家都这样觉得？

英文原文：

Biography：

Jonas Bendiksen is Norwegian and was born in 1977. He began his career at the age of 19 as an intern at Magnum's London office, before leaving for Russia to pursue his own work as a photojournalist. Throughout the several years he spent there, Bendiksen photographed stories from the fringes of the former Soviet Union, a project that was published as the book Satellites (2006).

Here and elsewhere, he often focuses on isolated communities and enclaves. In 2005, with a grant from the Alicia Patterson Foundation, he started working on The Places We Live, a project on the growth of urban slums across the world, which combines still photography, projections and voice recordings to create three-dimensional installations.

Jonas Bendiksen joined Magnum Photos as a Nominee in 2004 and became a full member in 2008.

Quote:

 "I love working on stories that get left behind in the race for the daily headlines - journalistic orphans. Often, the most worthwhile and convincing images tend to lurk within the hidden, oblique stories that fly just below the radar."

Introduction on The Places We Live

In 2005, I started work on The Places We Live, a project about urban poverty and slums. For three years, I visited dozens of families in four slums around the world.

The Places We Live was not a search for finding the absolute extremes of urban poverty—I wasn't looking for the dirties spot, the poorest hovels or the most crime-ridden street corner. My task was to find how people normalize these dire situations. How they build dignity and daily lives in the midst of very challenging living conditions.

In the project, I asked someone from each family to "tell me about life around here". Since I do not speak either Spanish, Swahili, Indonesian, Hindi or Marathi, I had one rule-of-thumb during the recordings: As long as the subject talked, I didn't interrupt to get translations of what they were saying. Only when I got transcripts of the recordings months later did I see the wide spectrum of stories told. For me, the process was a sort of protection from projecting too much of my own preconceptions of what slum life involves—and meant the project had to be interactive and collaborative.

Earlier this summer, The Places We Live book was published, and an exhibition installation launched in Oslo. Now, we've made a Magnum-in-Motion that gives a sample of some of the work.

You can find it at www.theplaceswelive.com

Oddly, I feel like it is a very different thing putting these stories up on the web, as opposed to the book, magazine articles or exhibition. I had the blessings of all the people in the project to use the material for everything I wanted—I really only used homes where the people were quite eager to tell their stories. But still I somehow can't shake the nagging sensation that putting their homes and lives on the web is somehow different from the other mediums.

Is it that the viewing experience of the book, magazine or exhibition is a more private experience than on the web? Or vice versa? Am I alone to have this feeling, or do others feel the same?

原来早在2008年10月25日，任悦老师在1416教室就已经发布过这个作品的信息，但是没有翻译这一大段。不过她约了laocao写了介绍性文字，链接如下：

http://click.ofpix.com/177.html

这篇介绍性文字非常推荐～