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 voice to important Arab feminists, analyzed Pakistani horror films, documented Egypt’s 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 Hussein’s son Uday.

从2004年中东艺术文化杂志《Bidoun》创刊时起，它向我们展现了一个独特而色彩缤纷的复杂地区。它给重要的阿拉伯女权主义者提供发表意见的渠道，它分析巴基斯坦恐怖影片，记录埃及的解放广场(Tahrir Square)暴动，公布对说唱歌手M.I.A.和画廊老板拉里·加戈西安(Larry Gagosian)的采访。它甚至探讨《星球大战》(Star Wars)对萨达姆·侯赛因(Saddam Hussein)的儿子乌代(Uday)的影响。

This month, Bidoun put its entire archive of thousands of stories and artworks online with free access and asked cultural figures, 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.

2015年12月，《Bidoun》把自己的全部历史资料——包括上万个故事和艺术品——免费放到网上，并邀请文化名人创建自己的小收藏夹，包括土耳其诺贝尔奖得主奥汉·帕穆克(Orhan Pamuk)和策展人汉斯·乌尔里克·奥布里斯特(Hans Ulrich Obrist)。这些资料有的滑稽，有的尖锐，就像这漫长而具有戏剧性的十年的缩影——从9·11事件的影响到阿拉伯之春(Arab Spring)的反响。

“Bidoun was born of a particular moment — the post 9/11 period — and was founded by a bunch of people who are Middle 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 “listening to heavy metal in Tehran or Egyptian tape metal in Kuwait.”

该杂志的高级编辑内加尔·阿齐米(Negar Azimi)说：“《Bidoun》诞生于一个特殊时期——9·11事件后的那个时期。它是由一群广义上的中东人创立的。”她说她的同事是“讲多种语言长大的，可能哪一种讲得都不好”，或者是“在德黑兰听着重金属音乐或在科威特听着埃及磁带”长大的。

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 doesn’t fulfill the expectations of the ‘Clash of Civilizations’ vision that’s so pervasive.”

阿齐米是伊朗裔美国人，在欧洲和美国长大。她补充说：“我们对中东的界定延伸至印度，延伸至洛杉矶。这样的理解肯定与中东是‘文明冲突地带’的普遍看法大不相同。”

For a magazine whose circulation has never gone above 10,000, Bidoun has had an outsize influence, especially in the art world. “Bidoun’s arrival was a clear signal that a new digital 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》的每期发行量从未超过1万，但它的影响力极大，尤其在艺术界。现代艺术博物馆(Museum of Modern Art)的媒体与行为艺术策展主管斯图尔特·科默(Stuart Comer)说：“《Bidoun》的出现是早期新数字化世界主义到来的清晰标志。”

“Conceived in the spirit of 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 Cinémathèque de Tanger; and Art Dubai.

他说：“它是在公民责任感不再可靠的时代精神中诞生的。它成为由艺术家、作家、策展人和设计师所组成的庞大网络的枢纽。”他说，这些人也喜欢贝鲁特Ashkal Alwan文化中心的Home Works活动、沙迦双年展(Sharjah Biennial)、丹吉尔先锋影展Cinémathèque de Tanger)和迪拜艺术节(Art Dubai)等活动。

Bidoun means “without” — as opposed to “within” — in Arabic and Farsi. “When I came up with the name, I was struggling,” said Lisa Farjam, the magazine’s 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在阿拉伯语和波斯语中的意思是without，与within相对。该杂志的创始编辑莉萨·法拉姆(Lisa Farjam)是伊朗裔美国人，创刊时她住在欧洲。她说：“我是在痛苦挣扎中想出这个名字的。我感觉自己没有归属感。我属于很多地方，但又不属于任何一个地方。我是在那种境况下找到这个词的。对我来说，它具有重要意义。”

Ms. Farjam’s father, a businessman based in Dubai, backed the magazine until it became a nonprofit in 2010, based in New York. The magazine’s most recent print edition came out in 2013. 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.

法拉姆的父亲是迪拜的一位商人，他一直资助这本杂志，直到2010年它成为纽约的一本非营利杂志。它的最近一期纸质版出版于2013年。从那以后，它的工作人员——现在只有一位不是志愿者——与纽约大学(New York University)、贝鲁特的斯费尔-塞姆勒画廊(Sfeir-Semler Gallery)和伦敦的蛇形画廊(Serpentine Gallery)等机构合作策划项目和活动。

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 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.

这些年，《Bidoun》成为很多艺术家的试验场，包括法裔摩洛哥艺术家伊托·巴拉达(Yto Barrada)和索菲娅·艾尔-玛丽亚(Sophia Al-Maria)，后者有一半贝多因阿拉伯血统，一半挪威血统。2012年，她把自己在《Bidoun》上发表的作品编纂成回忆录《落入尘世的女孩》(The Girl Who Fell to Earth)。明年，她将在惠特尼博物馆(Whitney Museum)举办个展。

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 magazines from Beirut and Morocco that influenced her in the ’50s and ’60s, an era of transformation across the Arab world.)

这本杂志还引领读者重新发现作家兼艺术家埃泰莱·阿德南(Etel Adnan)。她生于1925年，她的一生反映出20世纪阿拉伯情况的复杂性（阿德南接受过《Bidoun》的采访，还写过关于贝鲁特和摩洛哥小杂志的文章，那些杂志在阿拉伯世界变革的五六十年代对她产生了深刻影响）。

In Bidoun in 2008, the Chicago-based American artist Michael Rakowitz did a series of cartoon drawings called “Strike the Empire Back,” about Saddam Hussein’s 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 Hussein’s Baath Party headquarters in March 1980, six months before the start of the Iran-Iraq war, and the 15-year-old Uday attended.

2008年，芝加哥的美国艺术家迈克尔·拉科维茨(Michael Rakowitz)画了一系列卡通画，名叫《反击帝国》(Strike the Empire Back)，讲的是萨达姆·侯赛因的儿子乌代以及他对《星球大战》的痴迷。据说，《星球大战》在伊拉克的首映是1980年3月在萨达姆·侯赛因阿拉伯复兴社会党(Baath Party)总部的一次私人活动上。六个月后，两伊战争爆发，15岁的乌代参战。

In 1995, Uday formed the Fedayeen 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. Rakowitz’s piece became part of an exhibition of his work at the Tate Modern.

1995年，乌代建立暴力准军事组织萨达姆突击队(Fedayeen Saddam)，向父亲呈献突击队头盔的样品，它是模仿达思·韦德(Darth Vader)的头盔制作的。2003年7月，美军发现并杀死乌代和他的弟弟库赛(Qusay)。2010年，拉科维茨的这一系列作品在泰特现代美术馆(Tate Modern)他的个展上展出。

In 2011, Bidoun produced an issue on the Tahrir Square uprising that led to the toppling of President Hosni Mubarak of Egypt, before the return of military rule in 2014. Called “a rather brief moment in time,” the issue is fractured, impressionistic “like 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.”

《Bidoun》2011年的其中一期是关于解放广场暴动，这次暴动促使埃及总统胡斯尼·穆巴拉克(Hosni Mubarak)下台，2014年，埃及恢复军事统治。这本杂志的高级编辑迈克尔·C·巴斯克斯(Michael C. Vazquez)说，那一期被称为“非常短暂而及时的一刻”，“像一部法国电影”，支离破碎，给人以印象派的感觉。他补充说，目的是展现“一个有革命可能性的时刻”。

To make the issue, Bidoun held meetings, often at Cairo’s Townhouse Gallery, and produced a kind of oral history. Interview subjects 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 “Revolution 2053” in some ways anticipated the rebellion.

为了出版那一期，《Bidoun》多次召开会议，大多是在开罗的市政厅画廊(Townhouse Gallery)进行，留下了一段口述的历史。采访对象包括十几岁的博主、报纸编辑、埃及开罗博物馆(Egyptian Museum of Cairo)的导游（那一期还提到暴乱期间被盗的艺术品）、一名记者（他写的关于穆巴拉克的著作遭到封杀），以及埃及小说家马哈茂德·奥斯曼(Mahmoud Othman)——他自助出版的小说《革命2053》(Revolution 2053)从很多方面预言了这次暴乱。

Bidoun has 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 writer Gary Dauphin, a former editor in chief of Africana.com and BlackPlanet.com; the Indian writer Achal Prabhala; and the cultural critic Sukhdev Sandhu.

《Bidoun》还努力扩展旅行文学的传统，给那些通常很难归类的作家提供发表空间。它出版了以下作家的作品：肯尼亚作家比尼亚万加·瓦伊纳伊纳(Binyavanga Wainaina)——他讲述自己入选《格兰特》(Granta)的散文《如何讲述非洲》(How to Write About Africa)获得的极大成功；洛杉矶作家、Africana.com和BlackPlanet.com网站的前主编加里·多芬(Gary Dauphin)，发表的是他的个人散文；印度作家阿沙莱·普拉哈拉(Achal Prabhala)；以及文化批评家苏克德夫·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, obfuscated, hyperbolized, ventriloquized, photographed, surveyed, and/or exhumed — the vast, vexed, nefarious construct known as ‘the Middle East,’” the magazine’s website reads.

2009年，《Bidoun》开始进行一个图书馆项目，收藏了约3000本图书，从通俗小说到更具智慧的作品。该杂志的网站写道，那些作品“记录了人们描绘和界定‘中东’——这个广阔、动荡、邪恶的概念——的无数方式，比如诽谤、庆祝、混淆、夸张、口述、拍摄、调查和/或发掘，”。

The library has been put on view in six cities, including at the New Museum in New York and the Carnegie International in Pittsburgh.

这个图书馆在六座城市展出，包括在纽约的新博物馆(New Museum)和匹兹堡的卡内基国际展(Carnegie International)上。

Bidoun was sold at high-end bookshops from New York to Paris but often struggled with distribution in the Middle East. Putting the archives online is a way to reach more readers.

《Bidoun》在从纽约到巴黎的高端书店销售，但是在中东地区的发行却往往比较困难。把历史资料放在网上是为了接触更多读者。

“So many times someone said, ‘Oh I wish I could see that issue.’ And now it’s finally there,” Ms. Farjam, the founding editor, said. “Now it’s cemented in the ether forever.”

“我无数次听到有人说：‘哦，真希望我能看到那一期。’现在终于能看到了，”创刊编辑法拉姆说。“现在它将永远存在于网络空间了。”