娛樂英語 在中東最有影響力的一本藝文雜志

1、小編給你一個美聯(lián)英語官方免費試聽課申請鏈接： HYPERLINK /test/waijiao.aspx?tid=16-73675-0 /test/waijiao.aspx?tid=16-73675-0HYPERLINK 美聯(lián)英語提供：娛樂英語 在中東最有影響力的一本藝文雜志Since its founding in 2004, the Middle Eastern art and culture magazine Bidoun has presented a distinctive, Technicolor vision of a complex region. It has given vo

2、ice to important Arab feminists, analyzed Pakistani horror films, documented Egypts Tahrir Square uprising, and published interviews with the rapper M.I.A. and the gallerist Larry Gagosian. It even explored the influence of “Star Wars” on Saddam Husseins son Uday.從2004年中東藝術(shù)文化雜志Bidoun創(chuàng)刊時起，它向我們展現(xiàn)了一個獨特

3、而色彩繽紛的復(fù)雜地區(qū)。它給重要的阿拉伯女權(quán)主義者提供發(fā)表意見的渠道，它分析巴基斯坦恐怖影片，記錄埃及的解放廣場(Tahrir Square)暴動，公布對說唱歌手M.I.A.和畫廊老板拉里加戈西安(Larry Gagosian)的采訪。它甚至探討星球大戰(zhàn)(Star Wars)對薩達姆侯賽因(Saddam Hussein)的兒子烏代(Uday)的影響。This month, Bidoun put its entire archive of thousands of stories and artworks online with free access and asked cultural fig

4、ures, including the Turkish Nobel laureate Orhan Pamuk and the curator Hans Ulrich Obrist, to create small collections of their favorites. The archive, at turns zany and poignant, is a photo album of a long and dramatic decade, from the aftermath of Sept. 11 to the reverberations of the Arab Spring.

5、2015年12月，Bidoun把自己的全部歷史資料包括上萬個故事和藝術(shù)品免費放到網(wǎng)上，并邀請文化名人創(chuàng)建自己的小收藏夾，包括土耳其諾貝爾獎得主奧漢帕穆克(Orhan Pamuk)和策展人漢斯烏爾里克奧布里斯特(Hans Ulrich Obrist)。這些資料有的滑稽，有的尖銳，就像這漫長而具有戲劇性的十年的縮影從911事件的影響到阿拉伯之春(Arab Spring)的反響。“Bidoun was born of a particular moment the post 9/11 period and was founded by a bunch of people who are Middle

6、 Eastern in a broad sense,” said Negar Azimi, a senior editor. She described her cohort as “people who grew up speaking multiple languages, maybe all of them badly,” or who came of age “l(fā)istening to heavy metal in Tehran or Egyptian tape metal in Kuwait.”該雜志的高級編輯內(nèi)加爾阿齊米(Negar Azimi)說：“Bidoun誕生于一個特殊時期

7、911事件后的那個時期。它是由一群廣義上的中東人創(chuàng)立的?！彼f她的同事是“講多種語言長大的，可能哪一種講得都不好”，或者是“在德黑蘭聽著重金屬音樂或在科威特聽著埃及磁帶”長大的。Ms. Azimi, who is Iranian-American and grew up in Europe and the United States, added: “Our vision of the Mideast extends to India, it extends to L.A. It certainly doesnt fulfill the expectations of the Clash of

8、 Civilizations vision thats so pervasive.”阿齊米是伊朗裔美國人，在歐洲和美國長大。她補充說：“我們對中東的界定延伸至印度，延伸至洛杉磯。這樣的理解肯定與中東是文明沖突地帶的普遍看法大不相同?！盕or a magazine whose circulation has never gone above 10,000, Bidoun has had an outsize influence, especially in the art world. “Bidouns arrival was a clear signal that a new digital

9、cosmopolitanism had arrived with the early aughts,” said Stuart Comer, the chief curator of media and performance art at the Museum of Modern Art.Bidoun的每期發(fā)行量從未超過1萬，但它的影響力極大，尤其在藝術(shù)界?，F(xiàn)代藝術(shù)博物館(Museum of Modern Art)的媒體與行為藝術(shù)策展主管斯圖爾特科默(Stuart Comer)說：“Bidoun的出現(xiàn)是早期新數(shù)字化世界主義到來的清晰標(biāo)志?！薄癈onceived in the spirit o

10、f an era in which citizenship is no longer a secure certainty,” he said, “it has become a hub for a sprawling network of artists, writers, curators and designers” who he said are also drawn to offerings like Home Works, at the Ashkal Alwan cultural center in Beirut; the Sharjah Biennial; the Cinmath

11、que de Tanger; and Art Dubai.他說：“它是在公民責(zé)任感不再可靠的時代精神中誕生的。它成為由藝術(shù)家、作家、策展人和設(shè)計師所組成的龐大網(wǎng)絡(luò)的樞紐。”他說，這些人也喜歡貝魯特Ashkal Alwan文化中心的Home Works活動、沙迦雙年展(Sharjah Biennial)、丹吉爾先鋒影展Cinmathque de Tanger)和迪拜藝術(shù)節(jié)(Art Dubai)等活動。Bidoun means “without” as opposed to “within” in Arabic and Farsi. “When I came up with the name, I

12、 was struggling,” said Lisa Farjam, the magazines founding editor and an Iranian-American who was then living in Europe. “I felt like I was without a place,” she said. “I belong to many places and none. That was when I found that word. It meant a lot to me.”Bidoun在阿拉伯語和波斯語中的意思是without，與within相對。該雜志的

13、創(chuàng)始編輯莉薩法拉姆(Lisa Farjam)是伊朗裔美國人，創(chuàng)刊時她住在歐洲。她說：“我是在痛苦掙扎中想出這個名字的。我感覺自己沒有歸屬感。我屬于很多地方，但又不屬于任何一個地方。我是在那種境況下找到這個詞的。對我來說，它具有重要意義。”Ms. Farjams father, a businessman based in Dubai, backed the magazine until it became a nonprofit in 2010, based in New York. The magazines most recent print edition came out in 201

14、3. Since then, its staff members, all but one of whom are now volunteers, have been working on curatorial projects and events with institutions including New York University, the Sfeir-Semler Gallery in Beirut and the Serpentine Gallery in London.法拉姆的父親是迪拜的一位商人，他一直資助這本雜志，直到2010年它成為紐約的一本非營利雜志。它的最近一期紙

15、質(zhì)版出版于2013年。從那以后，它的工作人員現(xiàn)在只有一位不是志愿者與紐約大學(xué)(New York University)、貝魯特的斯費爾-塞姆勒畫廊(Sfeir-Semler Gallery)和倫敦的蛇形畫廊(Serpentine Gallery)等機構(gòu)合作策劃項目和活動。Over the years, Bidoun has been a testing ground for artists including the French-Moroccan Yto Barrada and Sophia Al-Maria, who is half Bedouin Arab, half Norwegian

16、 and whose work in Bidoun later became her 2012 memoir, “The Girl Who Fell to Earth.” Next year, she is to have a show at the Whitney Museum.這些年，Bidoun成為很多藝術(shù)家的試驗場，包括法裔摩洛哥藝術(shù)家伊托巴拉達(Yto Barrada)和索菲婭艾爾-瑪麗亞(Sophia Al-Maria)，后者有一半貝多因阿拉伯血統(tǒng)，一半挪威血統(tǒng)。2012年，她把自己在Bidoun上發(fā)表的作品編纂成回憶錄落入塵世的女孩(The Girl Who Fell to Ea

17、rth)。明年，她將在惠特尼博物館(Whitney Museum)舉辦個展。The magazine has also allowed readers to rediscover the writer and artist Etel Adnan, who was born in 1925 and whose life traces the complexities of the Arab situation in the 20th century. (Ms. Adnan was interviewed in Bidoun and also wrote on the little magazin

18、es from Beirut and Morocco that influenced her in the 50s and 60s, an era of transformation across the Arab world.)這本雜志還引領(lǐng)讀者重新發(fā)現(xiàn)作家兼藝術(shù)家埃泰萊阿德南(Etel Adnan)。她生于1925年，她的一生反映出20世紀阿拉伯情況的復(fù)雜性（阿德南接受過Bidoun的采訪，還寫過關(guān)于貝魯特和摩洛哥小雜志的文章，那些雜志在阿拉伯世界變革的五六十年代對她產(chǎn)生了深刻影響）。In Bidoun in 2008, the Chicago-based American artist

19、Michael Rakowitz did a series of cartoon drawings called “Strike the Empire Back,” about Saddam Husseins son Uday and his obsession with “Star Wars.” The first Iraqi screening of “Star Wars” is believed to have been held at a private event at Saddam Husseins Baath Party headquarters in March 1980, s

20、ix months before the start of the Iran-Iraq war, and the 15-year-old Uday attended.2008年，芝加哥的美國藝術(shù)家邁克爾拉科維茨(Michael Rakowitz)畫了一系列卡通畫，名叫反擊帝國(Strike the Empire Back)，講的是薩達姆侯賽因的兒子烏代以及他對星球大戰(zhàn)的癡迷。據(jù)說，星球大戰(zhàn)在伊拉克的首映是1980年3月在薩達姆侯賽因阿拉伯復(fù)興社會黨(Baath Party)總部的一次私人活動上。六個月后，兩伊戰(zhàn)爭爆發(fā)，15歲的烏代參戰(zhàn)。In 1995, Uday formed the Feda

21、yeen Saddam, a violent paramilitary organization, and presented his father with a prototype for its helmet, modeled on that of Darth Vader. In July 2003, United States forces found and killed Uday and his brother Qusay. In 2010, Mr. Rakowitzs piece became part of an exhibition of his work at the Tat

22、e Modern.1995年，烏代建立暴力準(zhǔn)軍事組織薩達姆突擊隊(Fedayeen Saddam)，向父親呈獻突擊隊頭盔的樣品，它是模仿達思韋德(Darth Vader)的頭盔制作的。2003年7月，美軍發(fā)現(xiàn)并殺死烏代和他的弟弟庫賽(Qusay)。2010年，拉科維茨的這一系列作品在泰特現(xiàn)代美術(shù)館(Tate Modern)他的個展上展出。In 2011, Bidoun produced an issue on the Tahrir Square uprising that led to the toppling of President Hosni Mubarak of Egypt, befo

23、re the return of military rule in 2014. Called “a rather brief moment in time,” the issue is fractured, impressionistic “l(fā)ike a French film,” said Michael C. Vazquez, a senior editor. The aim, he added, was to capture “whatever it means to betray a moment of revolutionary possibility.”Bidoun2011年的其中

24、一期是關(guān)于解放廣場暴動，這次暴動促使埃及總統(tǒng)胡斯尼穆巴拉克(Hosni Mubarak)下臺，2014年，埃及恢復(fù)軍事統(tǒng)治。這本雜志的高級編輯邁克爾C巴斯克斯(Michael C. Vazquez)說，那一期被稱為“非常短暫而及時的一刻”，“像一部法國電影”，支離破碎，給人以印象派的感覺。他補充說，目的是展現(xiàn)“一個有革命可能性的時刻”。To make the issue, Bidoun held meetings, often at Cairos Townhouse Gallery, and produced a kind of oral history. Interview subjects

25、 included teenage bloggers; newspaper editors; a tour guide at the Egyptian Museum of Cairo (the issue also featured lists of artworks stolen from it during the uprising); a journalist whose books on the Mubaraks had been banned and the Egyptian novelist Mahmoud Othman, whose self-published novel “R

26、evolution 2053” in some ways anticipated the rebellion.為了出版那一期，Bidoun多次召開會議，大多是在開羅的市政廳畫廊(Townhouse Gallery)進行，留下了一段口述的歷史。采訪對象包括十幾歲的博主、報紙編輯、埃及開羅博物館(Egyptian Museum of Cairo)的導(dǎo)游（那一期還提到暴亂期間被盜的藝術(shù)品）、一名記者（他寫的關(guān)于穆巴拉克的著作遭到封殺），以及埃及小說家馬哈茂德奧斯曼(Mahmoud Othman)他自助出版的小說革命2053(Revolution 2053)從很多方面預(yù)言了這次暴亂。Bidoun ha

27、s also sought to broaden the conventions of travel writing by giving space to writers who are often hard to categorize. It published the Kenyan author Binyavanga Wainaina reflecting on the viral success of his Granta essay “How to Write About Africa,” and personal essays by the Los Angeles-based wri

28、ter Gary Dauphin, a former editor in chief of A and BlackP; the Indian writer Achal Prabhala; and the cultural critic Sukhdev Sandhu.Bidoun還努力擴展旅行文學(xué)的傳統(tǒng)，給那些通常很難歸類的作家提供發(fā)表空間。它出版了以下作家的作品：肯尼亞作家比尼亞萬加瓦伊納伊納(Binyavanga Wainaina)他講述自己入選格蘭特(Granta)的散文如何講述非洲(How to Write About Africa)獲得的極大成功；洛杉磯作家、A和BlackP網(wǎng)站的前主

29、編加里多芬(Gary Dauphin)，發(fā)表的是他的個人散文；印度作家阿沙萊普拉哈拉(Achal Prabhala)；以及文化批評家蘇克德夫桑杜(Sukhdev Sandhu)。In 2009, Bidoun began a library project, a collection of about 3,000 books ranging from pulp fiction to more intellectual works, that “documents the innumerable ways that people have depicted and defined that is, slandered, celebrated,