Kawaii Monster Café

September 29, 2015 2015年9月29日

Well-known for his psychedelic and pop-kitsch style, Japanese artist Sebastian Masuda recently gave us a taste of his aesthetic in the newly opened and eye-popping Kawaii Monster Café.


サイケデリックでポップキッチュなスタイルで有名な日本人アーティストの増田セバスチャンが、最近新たに開いた驚きのKawaii Monster Caféで、彼の美学を披露しました。

Located in the heart of the fashionable Harajuku district, the café is hosted by the Harajuku Monster Girls, who greet you as you make a dramatic entrance through the red front doors.


ファッショナブルな原宿の中心に位置するこのカフェは、赤いフロントドアを開けるとドラマチックな入り口で原宿モンスターガールが挨拶して、おもてなしをしてくれます。

As you come in, you first walk past a dazzling, spinning merry-go-round shaped like a gigantic cake with candy animals.


店に入ると、目がクラクラしそうな回るメリーゴーランドの形をしたキャンディアニマルが乗った巨大ケーキを通り過ぎます。

Depending on where you are seated, the Kawaii Monster Girl will then lead you to either: a mushroom disco, a milk stand zone with VIP booths, a quaint tea room decorated with giant macaroons, or a glowing jellyfish bar encased by illuminated tentacles.


席に応じて、カワイイモンスターガールがあなたを次の場所に案内してくれます:マッシュルームディスコ、仕切り席付きミルクスタンドゾーン、巨大マッシュルームで飾られたティールーム、イルミネーション付き触手に覆われた光を放つクラゲバー。

On the menu, visitors can order themed snacks and refreshments, like a “poison” parfait, monster burgers, popcorn shrimp, rainbow pasta, or exotic cocktails. The food on offer is as colorful as the café is, but we are assured that any food coloring is all-natural.


「ポイズン」パフェ、モンスターバーガー、ポップコーンエビ、レインボーパスタやエキゾチックカクテルなどをメニューから注文できます。提供されるメニュもカフェと同じくカラフルですが、食品には全て天然着色料が使われています。

Guests are encouraged to explore this wonderland and take photos. The amount of detail that has been put into the interior design of Kawaii Monster Café is just breathtaking and really deserves a closer look.


このワンダーランドを探検して写真を撮ることをゲストに勧めています。Kawaii Monster Caféのインテリアに施された細かい装飾はとても素晴らしく、近くで見てみる価値が本当にあります。

Surrounding you are illuminated animal heads, towers of melting macaroons, overgrown colorful mushrooms, chandeliers that look like candy, suspended milk bottle lights, giant disembodied lips hanging on a wall, and much more.


光を放つ動物の頭、溶けるマカロンタワー、大きくなりすぎたカラフルなマッシュルーム、キャンディみたいなシャンデリア、吊るされた牛乳瓶のライト、壁の巨大な唇やその他の物体が周囲を囲っています。

The next time you are in Harajuku, be sure not to miss Kawaii Monster Café!


次回原宿にお越しの際は、Kawaii Monster Caféをお見逃しなく!

Address:
YM Square Building 4F
4-31-10, Jingumae, Shibuya, Tokyo
Japan

Phone: +81 3 5413 6142

Websitekawaiimonster.jp


住所:
日本国東京都渋谷区神宮前4丁目31‐10
YMスクエア 4F

電話番号03 5413 6142

ウェブサイトkawaiimonster.jp

Contributor & Photographer: Leon Yan


投稿者&カメラマン:Leon Yan

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The Wall at LBX Gallery

September 28, 2015 2015年9月28日

The Wall is Hangzhou’s first ever graffiti gallery exhibition. Organized by Dalian-born graffiti artist Kiddy and Hangzhou’s LBX Gallery, the exhibition features work from notable Chinese graffiti and street artists including Romi, Soos, Gan, Sanhao Tuya, Kong2, NILone, Rage, Yangyangyang, Jinzhigou, and Los.


迷墙是杭州首次举办的涂鸦群展,由大连出生的涂鸦艺术家Kiddy和杭州的LBX Gallery主办。参展作品来自国内一众知名涂鸦和街头艺术家,包括Romi、Soos、Gan、三好涂鸦、Kong2、NILone、Rage、羊羊羊、金只狗和Los。

Neocha: How popular is graffiti and street art in Hangzhou?

Kiddy: When I was planning the event, I didn’t think too many people would show up. I wasn’t sure if people in Hangzhou were ready for a graffiti gallery exhibition. Only a couple years ago, when we would paint graffiti around Hangzhou, Zhejiang and neighboring cities, people didn’t understand what we were doing. But these days things are changing. Now, when we go out on the streets to paint, little kids will know to call it “graffiti”. Sometimes, they can even decipher and read out the names that we’re writing.


Neocha: 涂鸦和街头艺术在杭州很受欢迎吗?

Kiddy: 在展览准备阶段,我真没想过今天会有那么多人过来,当时还担心很多人接受不了。现在想想,还是觉得挺神奇。可能近来涂鸦渐渐被更多人接受了。不久的几年前,我们在杭州以及浙江的一些周边城市画的时候,旁人根本不了解我们在做什么。但是现在一些小朋友能说出我们在画涂鸦,甚至有时候能认出我们写的字。

Neocha: How did you get started as a graffiti artist?

Kiddy: I used to love street dance, but because of my lack of physical coordination, I had to give it up. I had a lot of friends in the hip-hop scene, but I still didn’t know anything about graffiti. Later on I would watch some films that had graffiti scenes and I would try to copy the letters. At the time, I didn’t even know that you were supposed to use spray paint.

When I left my hometown to study at Hangzhou’s China Academy of Art, I had booked a hotel in advance for my first night there. Then it just so happened that when I arrived at the hotel, there were two guys painting graffiti on the building next door. They were the only graffiti crew in Hangzhou at the time. It was a strange coincidence, it really felt like fate.


Neocha: 你最初是怎么接触到涂鸦的?

Kiddy: 我以前很喜欢街舞,但是我身体协调能力非常差,所以根本就没办法跳。我在这个圈子里认识了很多朋友,但还是不太了解涂鸦。后来无意中看到一个片子里的涂鸦场景,我就试着模仿写那些字。当时我甚至都不知道这需要用喷漆画。

之后,来杭州上美术学院时,我预定了第一晚住的宾馆。到了宾馆碰巧看到旁边有两个人在画涂鸦,而当时杭州的涂鸦团队就只有这一个。这件事让我感觉太巧了,太奇妙了!

Neocha: How does traditional Chinese culture influence your art?

Kiddy: I don’t purposely try to create anything that contains Chinese culture. In my opinion, China doesn’t have too many graffiti or street artists who have expressed our culture well. Most artists are too obvious. They might use calligraphy or a splash-ink technique, and then boast that it’s Chinese culture. I think that’s boring. I try to be more subtle with my work – I might use abstracted versions of Chinese elements. For example, previously I used the Song Ti typeface as a reference for some of my letter shapes. Those who type in Chinese everyday might recognize certain Song Ti strokes or shapes and then make that connection. I don’t need to paint calligraphy in order to express that I’m a Chinese artist.


Neocha: 中国传统文化会影响你的创作理念吗?

Kiddy: 我不会刻意去做很中国文化的东西。在我看来,这方面目前中国没几个涂鸦或街头艺术家做得好,大部分人只是生硬地套入书法和泼墨,就鼓吹这是中国文化。这样挺无聊的。我会选择抽象化用到的中国元素,用更隐晦的方式将它们融合到作品中去。比如之前的画里,我就应用了中文的宋体笔画做成的图形。因为现在大家每天都在打字,很可能会轻易辨认出那些特定的一撇一捺。所以我们不用完全地画一个书法去表现中国味道。

Website: rk-graphic.com

Address:
LBX Gallery
262-264 Zhongshan North Road
Xiacheng District, Hangzhou
People’s Republic of China


网站: rk-graphic.com

地址:
LBX Gallery
中国 杭州市下城区
中山北路262与264号中间

Fan Popo

September 27, 2015 2015年9月27日

29 year old Fan Popo is a young LGBT filmmaker and gay activist who is based in Beijing. After graduating from the Beijing Film Academy, he made a number of documentaries including: New Beijing, New Marriage (2009), Be a Woman (2011), Mama Rainbow (2012) and The VaChina Monologues (2013). His work has been shown in film festivals around the world, and he is currently in production for his next film Papa Rainbow.


29岁的范坡坡是一位居住在中国北京的年轻同性恋题材电影导演和活动家。自北京电影学院毕业后,他制作了多部纪录片,包括:《新前门大街》(2009),《舞娘》 (2011),《彩虹伴我心》(2012),《来自阴道》 (2013)。他的作品也多次在世界各地的电影节上展映,目前他正在筹划自己的下一部影片Papa Rainbow (中文名待定)。

Papa Rainbow focuses on fathers in mainland China and how they interact with their children who have come out. His previous film Mama Rainbow followed six mothers in China and their relationships with their LGBT children. Fan’s Be A Woman (2011) followed local drag queens who worked in a bar in the southern city of Nanning, Guangxi province. Of all of his work so far, his time spent on Be A Woman made the deepest impression on him. Returning again and again to Nanning, he immersed himself in the daily lives of his subjects, gaining their trust and confidence.


影片Papa Rainbow将会讲述中国父亲如何与他们出柜的儿子互动交流的故事。他在之前的影片《彩虹伴我心》中跟拍了六位中国母亲与她们的同性恋孩子的日常关系。2011年的《舞娘》则记录了一群在广西南宁这样的南方城市中,以在酒吧伴“变装皇后”为业的同性恋者的生活。在他所有已完成的影片中,《舞娘》对他的触动最大。拍摄期间,他一次次的往返南宁,他将自己完全置身于那里的场景,也真正地走进了他们内心。

After his film was released, the drag queen bar became well known, picking up coverage from multiple media outlets and documentary groups. Fan says, “After watching my film, they all went and produced different stories on the drag queens, with different angles and interpretations, showing them in a different light and making it more interesting. In this way, it was as if my film continued to live on after I finished it, instead of ending the story and just sitting on the shelf.”


这部影片的播出,让那些变装酒吧声名大噪,各大媒体及纪录片小组对此争相报道。范自己说到:“看了我的影片之后,他们都开始用不同角度去诠释变装皇后的故事,让它变得更有意思。这样,就好像是我影片的延续,而不是一个已经被搁置在货架上完结的作品。”

As a kid, Fan preferred to spend his days reading and daydreaming. Growing up in rural Jiangsu province in southern China, his parents were often absent working long days farming and fishing for his family of five. Having no previous experience in filmmaking, he says he got into the Beijing Film Academy because he couldn’t get into other schools with poor math grades. His love of film came later as he started collecting a large number of LGBT movies in film school.


从小在江苏省的农村长大的他,父母每天都忙于耕作和捕鱼。小时候的他就只爱整天看看书做做白日梦。家里也没有任何人与电影行业有关,他自嘲去北京电影学院完全是因为他的数学成绩太差考不上其它学校。而他对电影的真正热爱则始于在校期间收集的大量同性恋电影。

“Watching these films had the power to change people’s minds,” he says after homophobic classmates eventually became supporters of LGBT culture. Before graduating, Fan published the book Happy Together: Complete Record of 100 Queer Films. To date, Fan has made six documentaries, authored one book, and serves as the director of the Beijing Queer Film Festival.


他在自己的恐同症同学最终成为同性恋文化支持者之后说:“这些电影有着改变人们观念的力量。”毕业前,他出版了一本名为《春光乍泄:百部同志电影全纪录》的书。迄今为止,范一共拍摄了六部纪录片,出版了一本书,并成为北京酷儿影像展的总导演。

“Films are just films, they’re not as important as living. Film shouldn’t interrupt life.  Film lives as a part of life, but life doesn’t live in a film.” – Fan Popo
“电影仅仅只是电影,它不像生存那样重要,电影不应该妨碍生活。电影存在于生活的一部分,但生活并不是电影。” – 范坡坡

As a full-time filmmaker, Fan is a one-man band of director, cinematographer, and editor. In his early days in low-budget filmmaking, Fan carried his gear in a giant backpack traveling great distances on public transportation. Funding has always been an issue. Every project is self-funded and driven out of his bedroom in a working-class compound near Beijing’s Third Ring Road.


作为一个全职的电影人,范一个人包揽了导演,摄影和剪辑的工作。在早期预算极低的情况下,他会一个人背着装有沉重拍摄器材的旅行包,使用各种公共交通工具完成长距离的拍摄工作。资金始终都是一个问题,每一个项目他都要自掏腰包,后期工作也是在他自住的北京三环外的普通居民楼里完成。

The Beijing Queer Film Festival is similarly guerilla-style. Established in 2001, the festival has survived 13 years of raids, arrests, venue changes, warnings and threats. Despite the difficulties he faces, Fan continues to be prolific and optimistic. “As the LGBT community in China becomes more visible in art and culture, we are slowly leaving the fringes and creating our own space in society.”


北京酷儿影像展也是处于打游击的状态。影像展于2001年发起,在过去的13年中经历了突袭,抓捕,更改场地,警告甚至威胁。尽管这个这个展面临重重困难,但范依旧抱着积极乐观的心态。“随着同性恋群体在中国艺术及文化圈的渐渐发声,我们逐渐摆脱边缘文化,开始创造出属于我们自己的空间。”

“I love the German director Fassbinder. His stories were always changing and his personality was very theatrical. All of these traits and false layers added together is actually what reveals his true self. This is what is interesting about film to me. You have to watch a lot of films to be able to understand a person or a world.”


“我很喜欢德国导演Fassbinder。他的故事总是很多变,他的个性也非常富有戏剧性。所有这些特质层层叠加揭示出一个真正的他。这就是电影吸引我的地方,你必须要去看大量的电影才能看懂一个人或一个世界。”

Facebook: facebook.com/popofan1985

 

Contributor: Jia Li
Photography: Jia Li


Facebook: facebook.com/popofan1985

 

供稿人:Jia Li
摄影师:Jia Li

Jeep Kongdechakul

September 26, 2015 2015年9月26日

 

无法观看?前往优酷

Jeep Kongdechakul is a 29 year old illustrator and designer based in Bangkok, Thailand. She applies her handmade, charming style to illustration, design, printmaking, pattern and fabric design, and even shoe design. She meticulously documents her world and infuses her work with cute, pop culture elements.


จิ๊บ ก้องเดชากุลเป็นนักวาดและนักออกแบบอายุ 29 ปี ที่ตั้งรากฐานอยู่ในกรุงเทพ ประเทศไทย เธอปรับใช้สไตล์การผลิตด้วยมืออันน่าดึงดูดไปยังการวาด การออกแบบ การสร้างงานพิมพ์ การออกแบบรูปแบบและผ้า และแม้แต่การออกแบบรองเท้า เธอได้บันทึกโลกของเธอและสอดแทรกองค์ประกอบอันน่ารักและทันสมัยไว้ในงานของเธอ

After graduating from Silpakorn University’s Faculty of Decorative Arts program, Jeep went on to design for fashion brands such as Flynow III. She also illustrated and worked as a columnist for street fashion magazine Cheeze. 


หลังจบการศึกษาที่มหาวิทยาลัยศิลปากร ในคณะศิลปะตกแต่ง จิ๊บได้ออกแบบให้กับแบรนด์แฟชั่น เช่น Flynow III เธอยังได้วาดภาพและทำงานเป็นนักเขียนคอลัมน์ให้กับนิตยสารแฟชั่นวัยรุ่น Cheeze

Wildly prolific, she also designs the Ballet Shoes Since 1959 line of shoes, teaches at Silpakorn University, and founded her own studio/art school The Factory.


ด้วยประสบการณ์อันเต็มเปี่ยม เธอยังได้ออกแบบรองเท้าบัลเล่ต์ตั้งแต่รุ่น 1959 สอนที่มหาวิทยาลัยศิลปากร และก่อตั้งสตูดิโอ/โรงเรียนศิลปะของเธอเองที่ชื่อ The Factory

Her work is filled with detail and tiny, scribbled notes. Drawing from travels, fashion, everyday objects, products, insects, and food, Jeep’s sketches and patterns render everything she comes across in delicate lines and whimsical colors.


งานของเธอเต็มไปด้วยรายละเอียดและบันทึกลายมือตัวเล็ก ภาพสเก็ตช์จากการท่องเที่ยว แฟชั่น วัตถุประจำวัน ผลิตภัณฑ์ แมลงและอาหารของจิ๊บ และลายออกแบบได้แสดงให้เห็นทุกอย่างที่เธอพบเจอในรูปแบบลายเส้นอันละเอียดอ่อนและสีอันตรึงตราใจ

“Art is everywhere. It’s just up to you to pay attention to it.” – Jeep Kongdechakul

Her work translates easily to fabric design. Many of her patterns live beyond the paper sketch, shaped into puffy stuffed dolls, pillows, chairs, scarves and bags. “There’s more value to the products when it allows people to enjoy the art more than if it’s just drawn on paper.”


ผลงานของเธอนำไปสู่การออกแบบผ้าได้อย่างง่ายได้ ลายออกแบบหลาย ๆ แบบของเธอเป็นมากกว่าการสเก็ตช์บนกระดาษ และได้รับการปรับรูปทรงให้กลายเป็นตุ๊กตายัดใส้ตัวนุ่ม หมอน เก้าอี้ ผ้าพันคอและกระเป๋า ผลิตภัณฑ์จะมีคุณค่ามากขึ้นเมื่อมันทำให้ผู้คนสนุกกับศิลปะ มากกว่าการเป็นแค่การวาดบนกระดาษ

Facebook: ~/jeepkongdechakul.page
Blogjeepkongdechakul.wordpress.com

 

Contributor, Videography, and Photography: Jia Li


Facebook: ~/jeepkongdechakul.page
Blogjeepkongdechakul.wordpress.com

 

ผู้สนับสนุน, พาร์ทเมนต์และถ่ายภาพ: Jia Li

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Book & Beer

September 25, 2015 2015年9月25日

Japan’s bookstore culture is well-known throughout the world, but Book & Beer has some special characteristics that set it apart from other Japanese bookstores.


日本の書店文化は世界に広く知られていますが、Book & BeerB&B)には従来の日本の書店とは違った特徴があります。

Located in the Shimokitazawa district in Tokyo, B&B is a cozy bookstore that allows its visitors to enjoy drinking beer (and other drinks) while browsing its unique selection of books.


東京の下北沢にある居心地のいい書店B&Bでは、個性的な本を選びながらビールやその他の飲み物を楽しむことができます。

The store also hosts events, every day that it is open. Additionally, the shelves, tables, chairs and the other furniture in the store are all available for purchase. All those items can be found at: kontrast.jp 


B&Bでは毎日営業中にイベントも開催しています。さらに本棚や机、椅子やその他の家具は全て購入することができます。商品はすべてkontrast.jp に掲載されています。

The two founders of the bookstore, Koichiro Shima and Shintaro Uchinuma, came up with this concept for a very simple reason: they really like to drink beer! They thought one day, “how fantastic would it be to be able to browse books while also drinking beer.” From that moment, the store was born.


この書店の創業者である嶋浩一郎氏と内沼晋太郎氏の構想はとてもシンプルな理由から始まりました。2人はビールが大好きだったのです!ある日2人は「本を選びながらビールを飲めたらどんなにいいだろう」と考え、そこを出発点としてこの書店が生まれました。

Although Terashima Sayaka, the store manager of B&B, admits only liking beer when it’s hot in the summertime, she very much enjoys pouring beer for customers from the tap. Sayaka hopes the store will continue implementing all kinds of new ideas as a bookstore in the future and looks forward to being in Shimokitazawa for a long time to come. The next time you are in Tokyo, be sure to give this bookstore a visit!


B&Bのマネージャーである寺島さやか氏自身は夏の暑い日にしかビールを嗜まないものの、訪れるお客のためにビールを注ぐことを楽しんでいます。寺島氏は書店に様々な新しいアイデアを導入しながら、これからも下北沢で長く営業していけることを願っています。次に東京を訪れる際には、ぜひこの書店をお試しあれ!

Address:
2F, 2-12-4 Kitazawa
Setagaya-ku, Tokyo
Japan

Hours: 12pm~12am
Phone
: 03 6450 8272

Websitebookandbeer.com

 

 


住所:
日本国東京都世田谷区北沢2-12-4 2階

営業時間12時00分~24時00分
電話番号:
03 6450 8272

ウェブサイトbookandbeer.com

Contributor & Photographer: Leon Yan


投稿者&カメラマン:Leon Yan

Mooncake Craft

September 24, 2015 2015年9月24日

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Lita Mu is a handbag designer based in Shanghai whose biggest hobby is baking for her friends and family in her spare time. Lita bakes Chinese mooncakes by hand, making them from scratch. Each mooncake is carefully crafted in her small design studio. Along with traditional mooncakes, she also makes unusual black mooncakes with red bean filling. The raw ingredients are soaked, crushed, cooked, molded, baked, and then later packaged in sets of six. Mooncake crafting is quite a labor-intensive and meticulous process, so Lita’s mooncakes are highly coveted as a special gift during the Mid-Autumn’s Festival holiday in China. She shows us the whole process from start to finish in this short video.


慕惠希是生活在上海的手袋设计师。业余时间,的最大爱好就是为亲朋好友烘焙,自然也少不了做手工月饼。在她小小的设计工作室中,惠希为每一个月饼精雕细琢。除了比较传统的月饼外,她还做罕见的黑色红豆馅儿月饼。做手工月饼是个慢工出细活的事,原材料要经过浸泡,碾磨,烹煮,压模,烘烤,最后再六个一打进行包装。所以惠希的月饼在中秋时节倍受垂涎。在短片中,她给我们展示了整个制作过程。

“I don’t want to give someone a gift that tastes bad, so I started experimenting with making truly delicious mooncakes. I think that giving this type of gift during Mid-Autumn’s Festival is more thoughtful. I still have a soft spot for traditional mooncake flavors, but rarely did I find any that tasted very good. For it to be truly delicious, the sweetness has to be controlled and you have to use really good ingredients. The buttery taste has to mask the taste of the beans so that the flavor is more smooth.”


“我不想把不好吃的东西送给别人吃,于是就开始自己尝试着做真正美味的月饼,我觉得这样送出去的中秋礼物才够得上有心意! 我对传统口味的月饼是情有独钟的,但是很少能吃到做得好的。提升口味的一个重要因素就是要控制用糖,还有食材一定要好。 黄油香浓的味道完美地掩盖住豆子的腥味,能让口感也更加滑润。”

“I make two types of skins for the mooncakes: a traditional one and a pure black one (made with bamboo charcoal powder) that is more unconventional. These two kinds paired together make up a perfect black and white combo, and can create a sense of mystery. The bamboo charcoal powder also has positive health effects for the body. The enthusiasm that everyone has shown for the mooncakes has given me a lot of encouragement. Even though the process can be quite difficult, it really does make me happy. I hope to start my own brand of desserts in the future and come up with new interesting sweets every month for everyone to try.”


“我做了传统和创意的两种月饼皮。纯黑色的这款,是我用食用竹炭粉混在面粉里做成的,正好呼应一黑一白两种馅料的颜色,在视觉上也给食客很大的神秘感。而且竹炭粉可以为身体排毒,非常养生。做月饼这个事上,大家的喜爱真的给了我莫大的鼓舞,虽然制作过程很辛苦,但是真的好开心。我觉得以后我可以做自己的甜品品牌,每个月出一款有意思的美味点心给大家吃。”

Websitemayelife.com

 

Contributor & Videographer: Jia Li
Photography: Chan Qu


网站mayelife.com

 

供稿人与视频摄影师: Jia Li
照片摄影师:Chan Qu

The Factory Studio & Arthouse

September 20, 2015 2015年9月20日

The Factory Studio & Arthouse is a studio and art school in Bangkok, Thailand. It was founded in 2011 by Jeep, Keng, Name, and Tung as a collective collaboration and shared space. They are respectively: an illustrator, a painter, conceptual cupcake artist, and sculptor.


The Factory Studio & Arthouse เป็นสตูดิโอและโรงเรียนศิลปะในกรุงเทพ ประเทศไทย มันก่อตั้งขึ้นโดยจิ๊บ เก่ง เนม และตั้งในปี 2011 ในฐานะที่เป็นพื้นที่ส่วนรวมสำหรับการร่วมมือทำงาน พวกเขาเป็นนักวาด นักระบายดี ศิลปินออกแบบคัพเค้กและนักปั้น ตามลำดับ

Mainly targeted toward teenagers and kids, The Factory is a learning institute that helps them prepare for college entrance exams or general studio arts education. What is most unique about the Factory is not that it also functions as an artist studio to work in, but that the entire environment is very much handmade and analog. Students are taught how to draw, render, and create by hand. Logos, advertising campaigns and billboard graphics are all painted by hand with the precision of computer vectors but the unmistakable quality of hand rendering.


The Factory หลัก ๆ แล้วมุ่งเป้าให้กับวัยรุ่นและเด็ก มันเป็นศูนย์การเรียนที่ช่วยให้พวกเขาได้เตรียมเข้ามหาวิทยาลัยและการให้การเรียนการสอนศิลปะในสตูดิโอโดยทั่วไป สิ่งที่พิเศษสำหรับ The Factory ไม่ได้เป็นเพียงแค่ว่ามันยังใช้งานเป็นสตูดิโอสำหรับศิลปิน แต่สิ่งแวดล้อมทั้งหมดของมันยังสร้างด้วยมือ มีการสอนให้นักเรียนวาด ฉาบปูน และสร้างโดยมือ มีการวาดโลโก้ ทำแคมเปญโฆษณาและกราฟิกบิลบอร์ดโดยมือ ซึ่งกำหนดทิศทางโดยคอมพิวเตอร์อันแม่นยำ ดังนั้นจึงมีคุณภาพในการทำผลงานด้วยมือที่สูง

Modeled after Warhol’s Factory, the studio/arthouse came about when the four childhood friends discussed creating a dream space for making artwork as well as sharing it with younger generations. The Factory is centrally located in Bangkok down a quiet soi.  The modest two-story building is painted with excerpts of Clowes’ Art School Confidential on its walls. Portraits of Andy Warhol, Pantone swatches, fresh flowers, bicycles, and a sleeping weiner dog all contribute to its casual charm.


สตูดิโอ / บ้านศิลปะดังกล่าวเลียนแบบมาจาก Warhol’s Factory มันได้รับการสร้างให้สำหรับเพื่อนในวัยเด็กสี่คน เพื่อทำการปรึกษากันเกี่ยวกับการสร้างพื้นที่ในฝันสำหรับการสร้างศิลปะ และแบ่งปันมันให้กับวัยรุ่น The Factory ตั้งอยู่ในใจกลางกรุงเทพในซอยอันเงียบสงบ ผนังตึกสองชั้นได้รับการวาดด้วยเรื่องย่อของ Clowes’ Art School Confidential  มีรูปวาดของ Warhol, ผ้า Pantone, ดอกไม้สด จักรยาน และสุนัขนอนหลับ ซึ่งสร้างมนต์สเน่ห์ให้กับสถานที่นี้

Sculpting, block printing, rubber stencil carving, painting, paper cutting, and drawing are all offered in the curriculum. In addition, the studio space is used for exhibitions, workshops, and to support various fields of art and events.


มีการนำเสนอหลักสูตรรูปปั้น การพิมพ์บล็อก การแกะสลักยาง การตัดกระดาษ การทาสี และการวาดภาพ นอกจากนี้ พื้นที่นี้ยังได้รับการใช้งานสำหรับนิทรรศการ เวิร์กชอป และเพื่อให้การสนับสนุนศิลปะและกิจกรรมหลายแขนง

Address:
924/5 Soi Ruamrudee2 Ploenchit Phatumwan Lumpini
Bangkok 10330
Thailand

Hours: 10am~5pm
Phone: +6689-164-5304 / +6684-104-0433
Emailthefactory-studio@hotmail.com

Websitethefactorybkk.com


ที่อยู่:
924/5 Soi Ruamrudee2 Ploenchit Phatumwan Lumpini
Bangkok 10330
Thailand

เวลาเปิดทำการ: 10am~5pm
หมายเลขโทรศัพท์: +6689-164-5304 / +6684-104-0433
อีเมล: thefactory-studio@hotmail.com

เว็บไซต์: thefactorybkk.com

Contributor: Jia Li
Photography: Jia Li


ผู้สนับสนุน: Jia Li
ช่างภาพ: Jia Li

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We Are Neocha

September 15, 2015 2015年9月15日

In 2006, we were inspired by the creative culture around us in China, but noticed that there wasn’t anything that connected this burgeoning community or its fans. Leveraging the technology that was starting to connect people around the world online, we founded Neocha as a social networking and portfolio site for Chinese artists, designers, and musicians.


在2006年,我们注意到没有一个真正的平台将正在蓬勃发展的中国创意文化及群体抑或它的追随者们联结起来。所以利用当时刚刚兴起的网络技术我们建立了Neocha(新茶),一个让中国艺术家、设计师和音乐人展示个人作品的社交媒体平台。

While the social networking site was successful in providing a much needed online platform for Chinese creatives to promote their work and engage with their fans, we struggled to find a workable business model around the website. At the time, a new creative community in China was just emerging and still quite niche. Although the website had aggregated most of the creative community across all of China’s provinces, the advertising models for online communities simply weren’t scalable to the relatively small size of our own community.


虽然这个社交平台及时并成功地为中国创意人提供了一个推广个人作品和与粉丝互动的机会,但Neocha本身却一直在寻找一种成功的商业模式。在当时,中国的创意社区才刚刚起步,尽管我们已经集结了中国各地的创意群体,但在线社区通过广告盈利的模式在相对小众的用户规模下显得非常有限。

Advertising wasn’t the solution for our business model, but many brands and ad agencies still saw great value in the community we were supporting, curating, and nurturing. These companies were looking to find meaningful ways to tap into the vibrant and talented, but still largely undiscovered, Chinese creative community. Learning from this, our company then evolved into two entities: Neocha, which remained a social networking website until about 2010, and NeochaEDGE, which emerged as our creative agency and consultancy for servicing clients.


商业模式的解决方案并不是通过广告盈利,嗅觉敏锐的品牌和广告商们还是在我们所建立起来的社交平台中看到巨大的价值。这些组织也一直在寻找一个更有意义的方式来充分展示这个激速发展、才华横溢,却还一直被埋没的中国创意群体。正因如此,我们演变成为2个分支:Neocha依旧作为一个社交平台(保留至2010年左右);而NeochaEDGE(新茶锋潮)则成为我们用于服务客户的创意机构

Although the original social networking website was eventually repurposed into a curated online magazine, the objectives of the company throughout these changes always stayed the same: to showcase and celebrate emerging Chinese creative talents, to support the development of China’s creative industry and community, and to create more exciting commercial (and non-commercial) opportunities for Chinese creatives.


我们也将原有的社交平台经过重新整合转变为网络杂志,但贯穿这些变革的终极目标却始终如一,那就是:发掘并分享中国新生创意势力,支持中国创意产业的发展及创意社区之间的联系,为中国创意人创造振奋人心的商业/非商业机会。

More than ever, this all still rings true today at Neocha. Now in 2015, the company has undergone another refresh. For simplicity, we’ve dropped the “EDGE” from our name and have reverted back to using only Neocha, or 新茶  (which means “new tea”) in Chinese. The Neocha name itself has multiple meanings for us. Derived from early 2000’s Chinese internet slang, it refers to Niucha (牛X) or Niubi (牛逼), which means “f*cking awesome”. Neocha is also a reference to our signature neo-traditional style and aesthetic. “Neo” represents our fearlessness in trying out new things and conveys our willingness to explore new technologies and techniques in our work. “Cha,” which means tea in Chinese, connotes our association with artistic tradition and culture.


即便时至今日,Neocha对这一切的定义依旧不变。进入2015年,我们决定由繁化简,略去“EDGE”(“锋潮”),回归到Neocha, 中文译为新茶。因为Neocha这个名字本身对我们来说包含了太多的意义。它衍生于2000年初的中国网络流行用语——“牛X”、 “牛逼”。Neocha本身就透露着传统与创新;“Neo”充分传达了我们对尝试新事物的无畏与对新科技及革新性技法的探索;而”Cha”,中文译为“茶”,透露出浓浓的文化底蕴和艺术气息

With a new visual identity and a completely revamped online magazine, we have also expanded our focus and scope to encompass the entire Asia region. Shanghai is still our hub, but now in addition to greater China, our mission and services will include other markets throughout East and Southeast Asia.


在推出全新的视觉形象和全面变身的网络杂志同时,我们也将视野和焦点扩大至整个亚洲地区。上海依旧作为我们的根据地,但如今除了大中华地区,我们的关注点和服务将覆盖至整个东亚和东南亚市场。

Our magazine aims to be the premier platform curating stories about culture and creativity in Asia. Why? Because Asia’s burgeoning creative class is unfortunately still underrepresented on the global stage and we strive to provide a voice for these inspiring creative talents. We want to tell their and the larger Asian creative community’s story to the world. It’s a story that deserves to be told and told well. Alongside the magazine, our creative agency continues to achieve ambitious ideas and inspired storytelling for the most forward-thinking brands in the world.


我们网络杂志的目标就是要成为宣扬亚洲文化和创意的平台。理由?因为正在蓬勃发展的亚洲创意群体从未在国际舞台上得到充分展示,而我们将积极地为这些具有启发性的创意人才发声,将他们及更为庞大的亚洲创意群体故事展示给全世界——这些故事值得被呈现并被完美呈现。 与此同时,我们的创意机构会为全球最具前瞻性的品牌实现更出奇的想法,建立更深远的影响力。

We are Neocha.

Thanks for believing in us and our mission. Without your support over the years, we wouldn’t be able to do what we do.


我们是Neocha

感谢你们一直以来的信任和支持。没有你们的支持,我们无法发展至今日。

Stay updated with our stories and agency work, or follow us elsewhere online:

Facebook / Twitter / Weibo / VSCO Grid / Instagram / Tumblr / Pinterest


实时关注我们的最新报道创意项目,或在其他网络平台上关注我们:

Facebook / Twitter / 微博 / VSCO Grid / Instagram / Tumblr / Pinterest

Contributors: Leon Yan, Adam J. Schokora, Sean Leow
Photographers: Chan Qu, Crown Wang


拱稿人: Leon Yan, Adam J. Schokora, Sean Leow
摄影师: Chan Qu, Crown Wang

The Photography of Shin Noguchi

September 13, 2015 2015年9月13日

When first looking at Shin Noguchi’s photographs, one is almost immediately drawn to the humor and vitality that is present in the images.


初めてShin Noguchiの写真を見る者は、画像に息づくそのユーモアと生命力にたちまち惹きつけられる。

Based in Tokyo and Kamakura, Noguchi has won a number of major photography awards for his perceptive and detailed photographs.


東京と鎌倉に拠点を置くNoguchiは過去に、遠近法を用いた克明な写真作品で一流の写真賞を受賞している。

In his words, he tries to “capture moments of excitement, beauty and humanism in the midst of everyday life”. His poetic and mysterious style of street photography is capable of showing us the intricacies and complexities of Japanese culture.


彼によると、「日常生活の中の高揚・美・ヒューマニズムの瞬間をとらえ」ようと努力している。ストリート写真に見られる彼の詩的かつ神秘的なスタイルは、日本文化の複雑性を如実に示すものである。

At the beginning of his career, Shin fell in love with the classic, black-and-white realism of Magnum Photos, as well as some color street photography from the 70’s and 80’s. Later on, he started to find and develop his own personal style of photography, focusing primarily on color photography.


その経歴の初期においてNoguchiは、マグナム・フォトの古典的なモノクロのリアリズムのほか、7080年代のカラーのストリート写真にも傾倒した。その後、主にカラー写真に焦点を当てつつ、彼独自の写真スタイルの開拓を始めた。

Street photography often depicts reality and realism, but the reality that Noguchi typically explores is not the kind that can be easily detected. There is a subtext to the moments that he captures. These moments exist in society, on the street, and in the lives of everyday people. As he observes and captures these moments, he tries to stay objective and as free from his own bias as possible.


ストリート写真は現実性や写実主義を描くものであるが、Noguchiが探究する現実性は容易に見抜かれる種のものではない。Noguchiがとらえる一瞬の背後に意味が隠されている。その一瞬一瞬は、社会や街角、そして人々の生活の中に存在する。その一瞬一瞬を観察し、とらえる時、彼は客観性を失わないよう、また、彼自身の先入観を排除するよう努めるのである。

When asked about his photography career and whether there have been any memorable experiences, Shin says that every moment has been memorable and special. There was one moment in particular when he saw and photographed a mother walking on the sidewalk in the Ginza district of Tokyo in 2014. She was carrying her children in her arms in an unusual way, which strongly contrasted with her surroundings. Seeing this moment on the street greatly inspired him.


彼の経歴について、また、これまで特に忘れられない体験をしたかと尋ねると、Noguchiはすべての一瞬が忘れられないものであったと言う。特筆すべき一瞬は、彼が2014年に銀座の歩道を歩くある母親を目撃し、写真を撮ったこと。Noguchiの目には、双子の子どもを珍しい格好で抱くその母親が、その周囲とひどく対照的に映った。街角で垣間見るそんな一瞬は彼を大いに刺激するものである。

Shin Noguchi often works in between Tokyo and Kamakura, two cities which are polar opposites in many ways. Tokyo is a busy and fast-paced metropolis, while Kamakura is a much more laid-back city with a rich history. Shin’s photography often reflects the differences in how he feels about these two cities.


Shin Noguchiはもっぱら、東京と鎌倉といういろいろな意味で両極端な2つの都市間で活動している。東京が慌ただしく目まぐるしく移り変わる大都市である一方、鎌倉は豊かな歴史を持つ穏やかな街である。Noguchiの写真は、この2つの都市に彼が感じる違いを反映したものが多い。

While Shin will often spend between six to nine hours on the street each day, he may only take one or two shots. Still, he rarely feels bored or gets tired of his work. For him, being able to observe the lives of other people is a wondrous and beautiful thing.


Noguchiは通常、毎日6~9時間を街角で過ごすものの、撮るのは1~2枚である。それでも、彼が作業に退屈したり飽きたりすることはめったにない。彼にとって、人々の生活を観察することは、素晴らしく、そして美しいことなのである。

SLATE

September 12, 2015 2015年9月12日

SLATE is the contemporary dance company founded by Anneliese Charek in Shanghai, China. Its members and collaborators appear around the city in site-specific performances, often in unconventional spaces that serve as one-time venues. Recently, Anneliese choreographed a performance entitled “As One” at 1933, a historic slaughterhouse in the Hongkou district in Shanghai.


SLATE是一家位于中国上海的现代舞公司,创始人是Anneliese Charek。其成员与合作者时常现身于上海各种场域特定艺术表演中,通常是一些只提供一次性演出场所的非专业空间。最近,Anneliese编排了一场名为“As One”的舞蹈,表演场地选定在现名1933老场坊位于上海虹口区,曾是一个饱含历史的屠宰场。

Neocha: Who did you collaborate with and what was the process in which you worked together?

SLATE: The showing of “As One” at 1933 involved a number of collaborators: the sound artist Pan Daijing, fashion label OBJECT OCCULT, and 12 dancers from the Suzhou Dance Company. I also worked with the ladies from Redscale StudioTina Blakeny and Margot Hamer. Over the summer, Tina and I had made a “Dance for Camera” film. That film was then manipulated and used during the performance.


新茶:你与哪些人合作过,合作过程是怎样的?

SLATE:在1933老场坊呈现的这场“As One”有许多合作者一起参与:音乐人潘岱静时尚厂牌OBJECT OCCULT以及来自苏州舞蹈团体的十二名舞者。同时我也和来自Redscale工作室的Tina Blakeny与Margot Hamer合作。我和Tina在今年夏天为一条短片拍摄排了一段舞。后来这部影片有用在我们的演出中。

Neocha: How do different venues, architecture or audiences change the performance? What was unique about 1933?

SLATE: Since I’ve been choreographing pieces in Shanghai, most of my work has become site-specific dance. This is due to the fact that Shanghai has virtually no small theaters or performance spaces for this type of work. When creating a piece I always have to keep it in mind that it will be performed in an unconventional performance space, which actually is an interesting challenge. The piece then directly reflects the type of place that we will be performing in. The venue space also changes the performance a lot for the dancers as they have to adjust their movement quality to work in the space.

For the performance at 1933, we really took into account the architecture of the space. Redscale Studio created an installation that took advantage of the curving hallways. Unlike previous performances in other venues, the dancers had a lot more room to move around freely. In general, there were many more interesting opportunities to respond to the space with this performance.


新茶:不同的场所、建筑或观众是如何影响整场演出的?1933老场坊又有何独特之处?

SLATE:我在上海编排了很多场舞蹈作品,大部分都成为了场域特定舞蹈。这是因为上海基本没有适合这类演出的小剧院或表演艺术空间。每当创作时,我会时刻提醒自己这将会在一个非专业表演空间上演,而这也是一个有趣的挑战。因此在每个作品诞生时也会充分反映出所在演出空间本身的类型。场地空间也会很大程度上影响舞者对整场演出的呈现,因为他们需要根据场地环境来调整自己的舞步动作。

选择1933老场坊演出,我们是有特别考虑到这个空间的建筑结构。Redscales创作了一个能巧妙利用场坊弯道的装置。不同于之前在其它场地的演出,这次舞者们有了更大的可移动空间。基本上,这次的表演我们有了更多有趣且可以将舞蹈与演出空间融合的机会。

Neocha: What themes did you want to address in this performance?

SLATE: The choreography was based around the theme of the individual versus the mass and conformity. It was inspired by what I observed from the dancers during my time with them. I was surprised to find that they are professionals in a creative field, but are never actually asked to be creative. They aren’t given the opportunity to make their own work or improvise, and mostly just execute steps handed down from a “master”. So I made the piece centered around the concept of the dancers breaking away from conformity. I had each dancer create a solo using movements that they made which we then refined together. It was my hope that this would encourage them to start generating their own work, and then find their individual artistic voices.


新茶:你想要通过这场演出传递怎样的主题?

SLATE:这次的编舞是基于个体独立和群体协作的主题。这是我从与舞者们平日相处的时光得到的启发。我对他们在创意领域的专业性感到惊讶,事实上他们并没有被要求需要具备多少创造性。他们也没有什么机会去做自己的作品或即兴表演,通常都只是按“师傅”的要求照做就行。因此我围绕着舞者们冲破遵从惯性的这一想法创作了这个作品。我让每一个舞者都创作一段独舞,动作由他们自己原创然后大家一起优化。我希望这可以激励他们逐渐创作出自己的个人作品,并且找到自身的艺术声音。

Neocha: How does your work tie into the dance community here in China?

SLATE: When I first arrived four years ago, I was really bothered by the fact that a city as big as Shanghai had virtually no small performance groups, performances, or classes to attend. This is something that is pretty easy to find anywhere else in the world, even small cities. There were a few independent local choreographers that showed work sporadically. I started my small dance company SLATE two years ago just because of this. Since nothing else was around, I felt like I had to start something myself.

For myself, I think it is necessary to create work and present it in unconventional spaces for dance. I have most of my performances in art galleries, or as part of outdoor events and fairs, that are normally not a place for performances. Inserting my work into these alternate venues has the added benefit of exposing people who might not normally be interested in contemporary dance to my work, and has opened up opportunities for other kinds of collaborations like what we did at 1933.


新茶:你如何将作品融入中国的舞蹈群体中?

SLATE:当我四年前初来这里,我很纳闷为何像上海这样一个大都市竟然没有一个像样的小型演出群体、演出或课程可以参加。这是在其它任何国家甚至更小的城市里都可以轻易找到的,那里会有一些本土的独立编舞者偶尔表演自己的作品。因此在两年前我创建了自己小小的舞蹈团体SLATE. 因为在这里没有任何成熟的环境,我觉得需要自己开创一些东西。

对我而言,我认为创作舞蹈作品并在非专业空间展示很有必要。我的大部分表演都呈现于艺廊,也会作为户外活动或市集的一部分,而这些地方通常并非表演之地。在这些场所表演可以增加平日不太关注现代舞的人群对我作品的关注度,也可以带来许多潜在的合作机会,就好像在1933所做的这种特定场域艺术表演。

Websitecontemporarydanceshanghai.com

 

Contributor: Jia Li
Photography: Jia Li


网站contemporarydanceshanghai.com

 

供稿人:Jia Li
摄影师:Jia Li