前言 | Foreword

“使用相机就像记录视觉日记”

——亨利·卡地亚-布列松

2017 年，富士邀请 Magnum Photos 合作开展一个雄心勃勃的项目：一组摄影师将被要求用同一台相机以自己的风格和感受反映一个主题。他们要探索的主题，这个全世界都知晓的在英语中叫做“home”（译者注：家），正是因为其全球性以及它所传达的内在人类情感而被选择。项目使用的中画幅无反相机让摄影师得以处理和拍摄对象之间谨慎、敏感和亲密的关系。

什么是家？出于直觉，一个平静的避风港的形象浮现在脑海中。一个让人感到安全、被爱和被理解的茧房——一个滋养和宽容的空间。家很温馨。家是心之所在。家就是家人。它是一种母语 - 或多种语言。这是舒适的食物和熟悉的面孔；心爱的宠物。家是一个人的日常生活和家庭生活：一个人的客厅、沙发、电视、书籍和纪念品的舒适。家是一组坐标：房子、街道、城镇、州、国家、城市中的公寓、海边的小屋。家是我们诞生的地方。对某些人来说，它不再存在于物理世界中：它是一段记忆。家就在自己之内。

这个项目为摄影师提供了一个理想的借口去探索他们所珍视的地方，一个熟悉的家庭景观；这是一个向内和向外看的邀请。对一些人来说，家是他们居住的地方；对其他人来说，这是对他们童年记忆的欢迎和和平的回归。有些人选择了一种远距离的视觉方法：从上方或远处拍摄他们家的地理空间，通过雄伟的风景、神奇的灯光，在卢梭式的精神之旅中穿行在街道上，或者开始一场深刻的存在主义公路旅行。其他人则选择关注他们的家庭、过去和后代，借此机会画出他们出生时的婴儿、年迈的父母或即将离巢的十几岁孩子的肖像。这些故事是对家庭纽带的美好致敬，以及它们所承载的所有欢乐、复杂性和错综复杂。他们还以朴素而平和的方式，为历史性展览“人类一家”提供了当代视角，展示了二战创伤后世界的人文主义视野。他们的照片向我们展示了自 1955 年以来世界发生了多么巨大的变化，以及随之而来的家庭、家园、母亲和父亲的概念。

家——一个与生俱来的私密和内省的主题——也是一项艰巨的挑战：在过去的七十年里，玛格南摄影师主要关注他人的生活——很少关注自己的生活。

虽然相机是完美的日记工具，也是记录亲密关系（无论是自己的还是他人的）的理想媒介，但 Magnum 成员的主要使命始终是成为他们社会的一面镜子。街头摄影师，战争摄影师，他们中的大多数人本能地将相机转向他者——往往是被被抛弃的、流离失所者和无家可归者。许多人选择摄影正是因为他们需要冒险离开一个他们觉得自己并不完全属于的家：复原力意味着拒斥，去“他乡”，结识“他人”——用相机来逃避。

对一些人来说，这个项目的困难源于一种挥之不去的错位感：拥有不止一个家的事实，以及将它们全部记录下来的渴望。其他人选择不定居在任何一个特定的地方，而不得不寻找自己对这个词的定义。对一些人来说，回到童年确实是一种情感上的努力，因此家庭是一个令人惊讶的难以记录的主题。但对所有人来说，以如此个人化的方式探索家的概念是一个受欢迎的挑战：邀请自我探索，这导致了一次深思熟虑的旅程。事实上，对于这些背井离乡的狂热旅行者，习惯于流放和永久的中间状态，这个项目构成了一种治疗形式：我应该能够知道我来自哪里'（Moises Saman）。

这十六个视觉短篇故事共同构成了一幅非常美丽、富有诗意和复杂的关于家庭是什么以及它可以是什么的画像。它们同时概括了深刻而矛盾的人的感受：内在和外在，快乐和痛苦。

这个项目构思于东京、伦敦和纽约，带我们去了十多个国家，在纽约首展后将在世界各地广泛传播。这证明了深思熟虑的合作可以产生什么。就其本身而言，通过玛格南的丰富多样性、才华和深度，它体现了摄影在我们社会中的力量和典型作用：它触及我们的核心。

最后，正如许多人在这里感人地表达的那样：对于玛格南摄影师来说，玛格南就是家。

Pauline Vermare

策展人，马格南图片社

'Using a camera is like keeping a visual diary'

-Henri Cartier-Bresson

In 2017, Fujifilm invited Magnum Photos to collaborate on an ambitious project: a group of photographers would be asked to reflect on one theme, in their own style and sensibility, with the same camera. The theme that they were to explore, universally known in English as home, was chosen precisely for its global nature, and for the inherently human sentiment that it conveys. The medium format, mirrorless camera to be used would allow for the discreet, sensitive and intimate treatment the subject required.

What is home? Instinctively, the image of a peaceful haven comes to mind. A cocoon where one feels secure, loved, and understood - a nurturing and forgiving space. Home is sweet. Home is where the heart is. Home is family. It is a mother tongue - or multiple languages. It is comfort food and familiar faces; a beloved pet. Home is one's quotidian life, and domesticity: the cosiness of one's living room, sofa, TV, books and memorabilia. Home is a set of coordinates: a house, a street, a town, a state, a country, an apartment in the city, a cottage by the sea. Home is where we were made. To some, it doesn't exist in the physical world any longer: it is a memory. Home is within oneself.

This project provided photographers with an ideal pretext to explore a place they held dear, a familiar and familial landscape; it was an invitation to look both inward and outward. To some, home was the place in which they lived; to others, it was a welcome and peaceful return to their childhood memories. Some chose a distanced visual approach: photographing the geographical space of their home from above or from afar, through majestic landscapes, magical lights, walking through their streets in a Rousseau-like spiritual journey, or embarking on a deeply existential road trip. Others chose to focus on their family, past and future generations, taking this opportunity to draw a portrait of their babies as they were being born, of their ageing parents, or their teenage children about to leave the nest. These stories compose a beautiful tribute to family bonds, with all the joy, complexity and intricacies that they carry. In their elemental and peaceful way, they also offer a contemporary take on the historic exhibition - The Family of Man - that presented a humanist vision of the world after the trauma of World War II. Their photographs show us how dramatically the world has evolved since 1955 and, with it, the notions of family, home, motherhood and fatherhood.

Home - an inherently intimate and introspective subject matter - was also a formidable challenge to take on: for the past seventy years, Magnum photographers have predominantly been looking into the lives of others - and seldom into their own.

While the camera is the perfect diaristic tool and the ideal medium to document intimacy, one's own or that of others, Magnum members' primary mission was always to be a mirror for their society. Street photographers, war photographers, most of them instinctively turned their camera to the Other - more often than not the dispossessed, the displaced, the homeless. Many chose photography precisely because they needed to venture away from a home in which they felt they didn't quite belong: resilience meant rejecting it, traveling to other places, meeting other people - using the camera to escape.

For some, the difficulty of this project was rooted in a lingering feeling of dislocation: the fact of having more than one home, and the yearning to document them all. Others chose not to settle in any one particular place, and had to search for their own definition of the word. To a few, the return to childhood was indeed an emotional endeavour, and home was therefore a surprisingly difficult subject to document. But for all, exploring the notion of home in such a personal way was a welcome challenge: an invitation to self-exploration, which resulted in a deeply thoughtful journey. Indeed, for these uprooted, avid travellers, accustomed to exile and a permanent state of inbetweenness, this project constituted a form of therapy: I should be able to know where I come from' (Moises Saman).

Together, these sixteen visual short stories compose a remarkably beautiful, poetic and complex portrait of what home is, and of what it can be. They encapsulate profound and conflicting human feelings all at once: the inside and the outside, the pleasure and the pain.

This project, envisioned in Tokyo, London and New York, takes us to over ten countries, and will travel extensively throughout the world after it premieres in New York. It is a testament to what a thoughtful collaboration can give birth to. In and of itself, through the wealth of diversity, talent and depth of Magnum, it exemplifies the power and quintessential role of photography in our societies: it touches us to the core.

And, in the end, as many movingly express here: for Magnum photographers, Magnum is home.

Pauline Vermare

Curator, Magnum Photos