口袋博物馆

For the past two decades, photographer Dayanita Singh has been the subject of exhibitions and retrospectives at museums around the world.

在过去的二十年里，摄影师戴雅妮塔.赛因一直是世界各地博物馆的各种影展和回顾的对象。

Her poetic images of Indian family life and architecture, abandoned spaces and private moments, are the kind of classically beautiful works coveted by curators and collectors.

她诗意化地记录印度的家庭生活，建筑，废弃的空间和私人生活的照片，一直是博物馆长和收藏家们想要收藏的古典的美丽作品。

But in recent years, Singh became frustrated with the conventional gallery format.

不过近年来，赛因却开始怼传统的画展形式感到厌倦。

"Photography is such a magical form but it's gotten a little stunted," she says.

“摄影是一种神奇的艺术形式，不过它受到了一些限制。”她说。

"The most magical experience of photography is when it's in your hands, because it's here — you're touching it, you can hear it, you can smell it."

“看照片最好的体验应该是拿在手里，因为在手里时—你可以抚摸它，听到它，闻到它。”

In her latest exhibition, Museum Bhavan, Singh set out to recreate the tactile experience of leafing through an old family album.

在她于巴凡博物馆召开的的最新影展中，赛因开始重建一种触觉上就像翻阅家庭影集一般的体验。

Instead of a brick-and-mortar space, her galleries are housed in a small box you can purchase at a bookstore.

摒弃了传统的砖石空间，她的画廊设置在了一个你可以在书店买到的小盒子里面。

Each box contains nine slim accordion books that expand into a 7.5-foot-long gallery of black and white photographs.

每个盒子里装有九个小手风琴式页面的书，可以展开成7.5英寸长的黑白照片画廊。

The images are drawn from across Singh's career, and feature characters and themes from her previous collections in new storylines. Singh calls them portable "pocket museums."

这些照片是从赛因的摄影生涯中挑选的，以新的故事线展示她曾经收藏的独特人物和主题。赛因把它们叫做移动的“口袋博物馆”。

"I'm inviting you — you — to be the curator of my work," she says.

“我邀请你—就是你—来做的我作品的馆长，”她说。

"And certainly when you have an exhibition of my work in your house, it's a great privilege for me. It's a privilege to be in a museum, but it's also a privilege to be in a domestic space."

“假如你在家中收藏我的作品，这是我极大的荣幸。能在博物馆展出是一种荣幸，不过能在一个个人空间里展出也是很荣幸的。”

Mario Kramer is a curator at the Museum of Modern Art in Frankfurt, Germany.

马里奥.克里莫是德国的法兰克福的现代艺术博物馆的馆长。

He's been collecting Singh's work for years, and he acknowledges that with her new book she's defying the authority of institutions like his own.

他收藏赛因的作品已经很多年了，他也承认有了这种新书之后，对像他掌管的博物馆这样的机构的权威是一种挑战。

He says, "It's a whole exhibition in a pocket format ... and this intimacy in your two hands with a book is something totally different than standing in front of a wall."

他说，“它把整个展出做成了口袋书...这种拿在手里的亲密感跟站在一堵墙面前是截然不同的。”

Singh was born in New Delhi in 1961.

赛因1961年出生于新德里。

From a very early age, she rebelled against what was expected of her as a young woman from a "good" Delhi family and pursued a career in the arts.

很小的时候，她就开始反抗那些期望她成为一个好的德里家庭出来的女性的眼光，而追求自己的艺术事业。

She studied with the classical musician Zakir Hussain and found a community among writers and musicians.

她和古典音乐家扎克.胡赛因一起学习，在作家和音乐家之间找到了一种连接。

With the encouragement of acclaimed documentary photographer Mary Ellen Mark, she enrolled in New York City's International Center for Photography.

在著名的记录摄影师玛丽.艾伦.马克的鼓励下，她进入了纽约的国际摄影中心学习。

Although Singh began her career as a journalist, she eventually abandoned that approach for a more evocative view of Indian life.

尽管赛因刚开始是做记者，不过她最终放弃了这门职业而转为用更有激情的视角看待印度生活。

She says, "Too often, and partly because of photojournalism, the photograph is too much about the point that it's trying to make.

她说，“通常，有时是出于新闻摄影的缘故，照片总是为了表达某种观点。”

So the photograph, if it leaves you sort of not quite sure about what else is going on, or if it hints at that, you know it doesn't give you a finished experience, then obviously it's going to linger with you.

因此，如果照片留给你关于到底发生了什么事那种不确定的感觉，或者暗示你故事还没有结束，那么这个照片就一直留在你的脑海里。

And that really is the magic of photography, when it can go where there are no words."

“这才是摄影真正的美丽。能够表达语言无法表达的东西。”

The writer Teju Cole describes Singh's work as an invitation to see a culture through the eyes of an assured insider.

作家特尤.科尔将赛因的作品描述为一种邀请，希望观众通过参与其中的眼光来看待一种文化。

In 2016, he published an essay in The New York Times Magazine criticizing the limitations of the exotic pictures of India featured in magazines like National Geographic.

2016年，他曾在《纽约时报》上撰文批评了像在《国家地理》中刊登的印度的异国照片的限制。

Cole says Singh's choice to work mostly in black and white, and to focus on poetic portraits and private spaces, defies the expectations of the predictable Indian photograph.

科尔说赛因选择大部分拍摄黑白照片以及对诗意的肖像和私人空间的表现，是一种对传统的印度摄影印象的颠覆。

"I adore the way Dayanita Singh's work is able to capture the quiet moment," he says.

“我很敬佩戴雅妮塔.赛因的作品能够捕捉到安静的瞬间，”他说。

"There's nothing exotic about it, and it embraces all sides of Indian life. And because of her instincts for what picture should come after which picture, all of it feels like it belongs."

“其中并没有强调异国情调，而是展现了印度生活的方方面面。另外因为她对照片如何排序的直觉，所有的照片看起来位置刚刚好。”

In addition to defying the exotic frame, Singh has constantly challenged the limitations of the modern photography exhibition.

除了打破异国的束缚，赛因还不断地挑战着现代艺术展览的局限。

Her previous works were a series of large cabinet-like structures that open and close like Japanese screen doors and contain dozens of thematically connected images.

她之前的作品是一系列的橱窗式的像日本的屏风一样可以开合的结构，里面有几十张主题相关的照片。

Singh described them as giant hardback books. (Last year, New York's Museum of Modern Art acquired one of those works.)

赛因将其描述为巨型硬脊书。（去年，纽约的现代艺术博物馆收藏了其中一本。）

Now, with the new pocket museums, Singh says she's finally found a form that allows her to adapt the gallery experience for every collector.

现在又出了口袋博物馆，赛因说她终于找到了一种可以改变每一个收藏者的画廊体验的形式。

Each small Museum Bhavan includes almost 300 images and can be purchased for less than $100.

每一本巴凡博物馆包含300张照片，不到100美元就能买到。

Last fall, Museum Bhavan won the Paris Photo Book of the Year Prize, and it has recently been awarded the International Center of Photography's highest honor.

去年秋天，巴凡博物馆赢得了巴黎的年度摄影集奖，最近又获得了国际摄影中心最高荣誉。

In the digital age when images are created and forgotten so quickly, Singh says she wants to recreate the tactile music of leafing through an old family album.

在一个照片迅速拍摄又被迅速遗忘的数字时代，赛因说她想要重建一种诗意地浏览家庭影集般的感觉。

That, too, is a museum, she says.

而这，也是一种博物馆，她说。

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