The Short Films of Shen Jie

October 31, 2015 2015年10月31日

Shen Jie is a Shanghai-based award-winning animator whose short films include RUN!  (2012 – 2013), HORSE (2013), STAMMER (2013), among others. His work is hand-drawn on the computer, often very rhythmic and experimental.


沈杰是上海的获奖动画师,他的短片作品有《RUN!》(2012 – 2013), 《HORSE》 (2013), 《STAMMER》 (2013) 等等。他的作品俱由电脑手绘完成,常常充满节奏感和试验性。

Shen started drawing in junior high school and went on to study multimedia in college, dabbling in design, illustration, photography, animation, film and video. He discovered that he took easily to animation, and continued pursuing it as his main creative medium. He often likes to search for interesting, bizarre, and less popular narratives, and Georges Schwizgebel is a major influence.


沈杰初中开始画画,随后于大学主修多媒体专业,学习涉及设计、插画、摄影、动画及影视。他发现,做动画于他而言非常顺手,便一直持续将动画作为他的主要创作媒介。他常搜寻观看有趣、离奇、略小众的叙事动画,期间Georges Schwizgebel对他产生了巨大影响。

From beginning to end, his process is all achieved on the computer, painted frame-by-frame in Photoshop and AfterEffects in a spontaneous style. Shen Jie says, “Sometimes I think that ‘time’ itself is a great subject matter. You can use time to express an event, or use the event to express time. The advantage of animation over a static image is that time provides more room for expression.”


沈杰的创作由始至终全部在电脑上完成,每一帧画面都顺其自然地在Photoshop和AfterEffects中完成绘制。他说:“有时我认为,‘时间’本身是个很好的题材。可以用时间去表达事件,也可以用事件去表达时间。动画,相比单纯的绘画,它的时间维度提供了更大的表达空间。”

Shen Jie previously worked in the advertising industry, but he recently quit to work on his animations full-time. “I used to run for ten years, running as far as possible every day. Now my heart beats very slowly,” Shen says. “My inspiration these days comes from everyday life, reading novels, and watching Ozu and Edward Yang films. I also like to look at pretty girls.”


沈杰最近刚辞去广告业的工作,转而全职创作动画。“我跑了10年步,尽可能每天都跑。现在心脏跳得非常慢。沈杰说: “现在,我的灵感来自: 日常生活、小说、小津安二郎和杨德昌的电影。我也喜欢看漂亮姑娘。”

At 24 frames per second, often repeating in short loops, yet changing with every iteration, Shen Jie likes to use time in this fashion to push his story forward. His shortest project, 牛YA, took two weeks to complete, while Monkey, a five minute piece, took one year. His next project is a film about swings.


沈杰的作品,每秒24帧,画面反覆循环又不完全重复,以时间为技术将故事层层推进。他最短的片子《牛YA》花了一周完成;最长的作品《猴》,时长5分钟,则耗费了一年时间。他的下个作品将是个有关秋千的动画。

Vimeo: ~/user16760143

 

Contributor: Jia Li


Vimeo: ~/user16760143

 

供稿人:Jia Li

 

Zowoo

October 30, 2015 2015年10月30日

What must it have been like to have lived elsewhere in a different time? People from long ago used to build their own houses and make their own furniture. If you didn’t make it yourself, you would find yourself a carpenter. But in today’s world of assembly lines, mass-produced goods, and living in modern cities – especially in a very big and populous Chinese city, it may be difficult to imagine such a thing. And so, many of us nowadays may start to yearn for the past and a more traditional way of life.


生活在别处。过去的人,搭建房子做家具,不自己动手,也会请来木工做。而在生产流水线化的今天,居住于都市,特别是人口众多的中国都市,几乎很难接触到这样的场面了。于是大家开始向往起这些传统的生活方式。

Such was the case with Zhu Li and Chen Lei-Yu, who had been friends since they were kids. When they grew up, one had opened a shop in Hangzhou, while the other one worked a conventional nine to five in Shanghai. One day, Li sent Lei-Yu some woodwork photos, and coincidentally this was something that his friend was also doing. Some time later, they teamed up and opened a carpentry workshop called Zowoo. During their normal hours of operation, Zowoo is Zhu Li and Chen Lei-Yu’s creative workspace; while on the weekends, Zowoo also offers woodwork classes to teach carpentry enthusiasts and hobbyists how to make some small things out of wood.


朱力和陈雷雨这两个发小也不例外。长大后的他们,一个在杭州经营着一家网络商店,一个在上海朝九晚五。有一天朱力给对方发了一张做木工的照片,巧的是对方也在做一样的事。后来他们就一起开设了这间叫做作物的木工坊。工作日时,作物是朱力和陈雷雨的创作空间;周末时,作物开设木工课程,帮助爱好者们学习制作一些小物件。

Zhu Li studied design at first, before opening a small business in Hangzhou that sold original works by young designers, trying to help them find more creative freedom in the commercial marketplace. But perhaps because he is an introvert by nature, Zhu Li soon realized that there was a gap between reality and his idealism for creative freedom. Soon after selling the shop, he went to the countryside to find a house in a village, bought some equipment, and started playing around at home with woodworking, simply because it was something that one person could accomplish, and it felt worthwhile just to be able to work with his own hands.


学过设计的朱力,之前在杭州经营年轻设计师的原创作品,帮助他们在商业化市场中保持一些自由的创作。然而生性内向的他意识到现实和他自由创作的理想状态的差距。于是卖了店,去乡下找了间农民房,置办了点设备,开始玩起木工,只因为这是一种一个人能完成的东西,并且能以实体的方式记录时间。

Chen Lei-Yu, on the other hand, seemed destined for white-collar management work. It was five or six years ago when he just wanted to buy a simple wood coffee table. When he looked online, he started to become interested in woodworking and carpentry, and later continued studying how to make things by hand. Moving away from his management job to become an art director of woodworking at Shanghai Disneyland, he later eventually founded Zowoo with his friend. Lei-Yu believes that compared to the past when one had to spend three to five years to learn the whole craft, modern woodworking is much more simplified because it is already mostly mechanized. Just about anyone and everyone could take part now, even people in big cities.


做管理出身的陈雷雨,则是五六年前因为想购买一个很简单的原木茶几却不得,开始在网络上关注起木工,继而自己动手学习制作,就一直持续下来。从做管理到上海迪士尼乐园的木制品艺术指导,再到和好友创办作物,他认为相比过去要学个三五年才能出师,现代木工已经因为机械化简单很多,人人都可以参与其中,即便在大城市。

Zowoo, for Zhu Li and Chen Lei-Yu, is about having a balance of practical living and pursuing one’s own personal goals. “At the beginning when we started this space, our first hope was that this was a place where everyone was willing to stay for a while. Secondly it needed to be a thing of beauty. We wanted others to see that it wasn’t a rigid or austere way of living – and perhaps it could inspire others, to pursue the kind of lives that they wanted to lead.”


作物对于他们来说,是一种现实生活与个人追求的平衡。“当初做这样一个空间的时候,第一希望这是个大家愿意呆的地方,第二希望他是个美的东西。我们想让别人看到一个不是那么一成不变的社会生活,也许可以激发他们的一些想法,追求他们自己想要的生活。”

Zowoo believe that woodworking and making things by hand can give people a certain kind of pleasure. For them, they do not think of what they do as an act of “creation”, but rather more simply as “playing”. The ideal scenario for them is a group of like-minded people coming together at the workshop, making things, chatting and conversing.  In addition to the sense of accomplishment that one may get from woodworking, it is more important that in that very moment of creating something by hand, one’s heart is set wholly in this act. “The whole process and act (of woodworking) may help you to relax, and it can also allow you to use your imagination, like a child making clay figures all afternoon. It’s that simple.”


作物认为,木作具有一种肢体带来的乐趣。所以他们在做的,“不叫创作,就是玩”。相同爱好的人聚集一起,做一做东西,聊一聊天,这是作物最理想的状态。除了制作出作品带来的成就感,更重要的是,认真动手制作的时候,那一刻心里只有你在做的东西。木作,“通过一个动作让你安下心来,又可以让你发挥想象力,就像小时候捏泥人,一捏就一下午,就这么简单。”

Two good friends, one carpentry workshop. There really is no better kind of life.


两位好朋友,一间木工坊。生活不在别处。

Address:
258 West Songxing Road, Building No. 9, 2nd Floor
1919 Creative Park
Baoshan District, Shanghai
People’s Republic of China

WeChat: Zowoolife
Weibo@作物zowoo

 

Contributor & Photographer: Banny Wang


地址:
中国上海市宝山区
淞兴西路258号
半岛1919创意园区9号楼2楼

微信:Zowoolife
微博@作物zowoo

 

供稿人与摄影师:Banny Wang

In the Studio with aaajiao

October 29, 2015 2015年10月29日

aaajiao is a Shanghai-based new media artist known for his avant-garde mixture of computer science and art. His multidisciplinary approach uses data, algorithms, vectors, and coding to visualize and produce tangible objects out of highly abstract relationships.


aaajiao是上海的新媒体艺术家,知名于他计算机技术和艺术的前卫结合。他的综合学科研究法,应用数据、算法、矢量和编码,去视觉化和具象化抽象关系。

Born in 1984 in Xi’an, China, aaajiao’s trajectory from computer scientist to new media artist sees him constantly pushing into previously unexplored territories. From founding China’s very first co-working space Xindanwei to also starting the comprehensive Chinese new media blog we-need-money-not-art.com in 2006, aaajiao’s involvement in digital arts and culture in China has been very prolific.


1984年出生于中国西安的aaajiao,其从计算机科学家转变为新媒体艺术家的人生轨迹,见证了他对未探索领域不间断的挺进。 从创建中国首个联合办公空间——“新单位,到2006年开办综合性的中国新媒体博客we-need-money-not-art.com,他在中国数码艺术和文化领域一直非常多产。

This year, aaajiao has moved to a new studio on the outskirts of Shanghai in an old abandoned woodworking factory. Taking over an entire floor which overlooks the Huangpu River, aaajiao and his collaborators now have their own dedicated space to experiment, create, and put the finishing touches on artwork.


今年,aaajiao搬到上海郊区一个废弃木工厂的新工作室。新工作室是可远眺黄浦江的一整个楼层。如今在这里,aaajiao和他的合作者们拥有了一个可以用来试验、创作和完成作品的独有空间。

Coming from a production process that relied solely on a factory’s manufacturing time, aaajiao says, “My work process is different from other artists because they tend to wait for the factories to make their ideas actualize in the very final step. I use the factory as a tool, and control the process every step of the way.”


从生产过程完全依靠于工厂加工的时代过来,aaajiao: “我的工作过程不同于其他的艺术家。他们倾向于,在最后一步等待工厂来将他们的创意实现。我则当工厂是工具,我会控制生产过程的每一个步骤。

Working with jewellery designer Shen Lei and longtime collaborator Xu Cong, aaajiao created a series of wearable interactive art pieces, called Ornaments. Edible, magnetic, transformative, and also functional, this work raises questions about how technology can integrate with everyday objects.


aaajiao与首饰设计师沈磊以及长期合作伙伴许聪一起,创作了一个可穿戴的互动艺术作品系列,见《事物》。他的作品,可食用、有磁性、能变形、具功能性,引发关于科技如何融入日常事物的问题。

Although his work starts on the computer using programming languages such as Processing, in his new studio it is translated into the physical realm using cotton, copper, LED displays, 3D printing, concrete, and even sugar.


尽管他的作品是用Processing编程语言,在计算机上开始创作,却在新工作室中,被他用棉、铜、LED显示屏、3D打印、水泥,甚至食糖转变到实体范畴。

Currently, aaajiao is working on a clothing series with a fashion designer which will also merge workwear uniforms with uniquely generated pattern designs. He says, “Working with different mediums and production methods is an amazing way to learn new things.”


最近,aaajiao正和一个时装设计师,在做一个在工作制服中融入特殊生成图纹的服装系列。他说: “用不同的媒介和生产方式工作是一个学习的绝佳方式。”

“A lot of people are now also doing new media, but what’s really important is how you use your medium and process to solve interesting problems.”  In addition to fashion, aaajiao also plans to experiment with furniture design in the future.


“很多人在做新媒体,但是现在真正重要的是,如何使用你的媒介和工序去解决有意思的问题。” 除了时装方面,aaajiao也打算在未来体验一下家具设计。

Website: eventstructure.com
Instagram: @aaajiao

 

Contributor & Photographer: Jia Li


网站:eventstructure.com
Instagram: @aaajiao

 

供稿人&摄影师:Jia Li

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Blackbridge Motorcycles

October 28, 2015 2015年10月28日

 

无法观看?前往优酷

Blackbridge Motorcycles is the custom motorcycle workshop of Adrien Macera which focuses on racing and building bespoke motorcycles for China’s budding scene. Named after the artist colony of Blackbridge on the outskirts of Beijing, the shop is a real wonderland for motorcycle aficionados. Every detail is a reflection of Adrien’s passions and interests.


黑桥摩托车是Adrien Macera的定制摩托车工作室,它专注于赛车和为中国正在萌芽的摩托车界打造定制车。这个以北京郊区黑桥这块艺术家聚居地命名的店,是摩托车死忠粉们的仙境。这里的每个细节都是Adrien的激情与爱好的映射。

Born in Egypt and raised in Italy and France, Adrien considers Beijing his home of the past 20 years. After art school in Beijing, Adrien had a number of office jobs before his interest in motorcycles took over. Four years ago he started his private workshop in the Blackbridge area, a self-sufficient creative community where spaces like the shop can exist.


出生于埃及、成长于意大利和法国的Adrien,在过去的20年里,一直将北京视为自己的家。从北京的艺术学校毕业之后,Adrien做过几份办公室工作,直到他全心投入到自己的兴趣中。四年前,他在北京黑桥开办了自己的私人工作室,在这片自给自足的创意社区中,他工作室这样的空间才得以存在。

His dogs and pet pig roam the grounds where racing bikes, vintage bikes, and custom builds are worked on by his three-person team. Besides crafting custom builds, Adrien also leads track races in Ordos, Inner Mongolia, and in Zhuhai, Guangdong for his friends and customers.


在他赛车、赛复古车、三人小团队打造定制车的场地上,他的狗和宠物猪也自由漫步着。除了制作定制车,Adrien也在鄂尔多斯、内蒙古和广东珠海,为他的朋友和客户们引导赛道赛车。

“If you really like motorcycles and it is going to be your form of transportation, you’re going to want to have more than one,” Adrien says, “which is OK, because they don’t get jealous of each other. You can have different motorcycles for different purposes.”


“如果你喜欢摩托车,并且它会成为你的交通工具的话,你将想拥有不仅一辆的车。” 他说,“也没事就是,因为它们之间不会互相妒忌。你可以为不同的用途配置不同的车辆。”

China is quickly catching up to the global trend of more and more custom shops. “In Beijing, I know 200, maybe 300, people who spend a lot of time customizing and building their motorcycles,” he says.


中国正在快速赶上全球的定制大潮。他说: “在北京,我就认识了两三百个这样的人,他们花大量的时间个性化和铸造自己的摩托车。”

These days, motorcycles are still considered dangerous and somewhat unsavory in public opinion, but that is an attitude which is shifting as more and more people are influenced by BMW and Harley culture seeing it as a sign of wealth. While custom builds can take years and become very expensive, Adrien says some of his favorite bikes are passion projects that are more about taste and self-expression than luxury.


尽管如此,摩托车在公众眼里,还是被认为是危险的,甚至某种程度上是令人憎恶的。但是因为宝马和哈雷文化的影响,越来越多的人开始转变观念,将摩托车看做是财富的一种象征。虽然定制车会相当耗时耗财,Adrien说,某些他最喜欢的车子,更多还是关乎品味和自我表现,而非奢侈。

Facebook~/BlackBridgeMotorcycles

 

供稿人、视频与照片摄影师:Jia Li


脸书~/BlackBridgeMotorcycles

 

Contributor, Videographer & Photographer: Jia Li

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Clothing Project by Shi Jin-Hua

October 27, 2015 2015年10月27日

“Clothing Project”, exhibited in September at this year’s Photo Shanghai, is a work created by one of Taiwan’s very few conceptual performance artists, Shi Jin-Hua. This project was originally conceived when he was an artist in residence at MoMA PS1 in New York, to measure the perimeter of the art institute’s building.


《穿量計劃》是今年9月于上海藝術影像展上展出的作品,由台灣極少數的觀念行爲藝術創作者之一——石晉華創作。這件作品是他在紐約MoMA PS1當代藝術中心駐村期間,以身上穿著的衣服測量PS1當代藝術中心的周長。

During the first phase of the project, he collected clothes donated from some of PS1’s staff and other visiting artists. He then numbered and tagged each article of clothing and put everything on one article at a time, photographing every step of the whole process: 77 photos for 77 pieces of clothing. In the second stage, he cut the cloth from all the clothing into strips, and stitched together a very long “cloth tape measure”. In the third stage, he used this fabric “tape measure” to measure the perimeter of PS1, which turned out to be 21 pieces of clothing.


作品的第一階段,他收集了PS1員工以及駐村藝術家们捐贈的衣物,逐一編號、穿著、拍照,77件衣物,77張照片;在第二階段,他將這些衣物剪成布條,拼接成一大卷“布尺”;第三階段,他用這個“布尺”測量PS1的周長,並得出其周長爲21件衣服的長度。

Clearly, for Shi Jin-Hua, the importance of this measurement isn’t in an abstract mathematical figure or hasn’t any kind of academic purpose. Jin-Hua has instead transformed the act of measuring into a corporeal sensation and an expressive, artistic act. His rather unique methodology isn’t limited only to “Clothing Project”, but often recurs in a lot of his other works, such as “Hugging Project”, “Pencil Walking”, “Searching Center and Boundary”, and so on.


顯然,在石晉華這裏,度量不再是數學上抽象的數字和學術單位,他將它轉化爲一個身體感受的數量。這一特別的方式,不僅是《穿量計劃》,更是貫穿了他多數的作品,例如《擁抱計劃》、《走筆》、《尋找中心與邊界》等等。

Born in 1964, Shi Jin-Hua now lives and works as an artist in Kaohsiung, Taiwan. When he was 17 years old, he started taking insulin injections to control his blood glucose level. Usually when one is first introduced to an artist’s work, his or her medical condition isn’t usually discussed. But when it comes to Shi Jin-Hua, one cannot fail to mention his diabetic condition. Because his life has been inseparable from the “body”, and the daily acts of “documenting” and “measuring”, much of the work he has made as an artist has centered around these three key words.


這位出生于1964年,現生活工作于高雄的台灣藝術家,17歲開始便注射胰島素並長時間使用血糖機紀錄血糖值。當我們介紹一位藝術家的時候,通常不會將其病例也列出來。但談到石晉華的時候,卻不能不提到他的先天性糖尿病。他的生命因此離不開“身體”、“紀錄”和“測量”這三個關鍵詞。他人生至今的諸多藝術作品也是圍繞這三個關鍵詞創作。

As a diabetic who regularly needs to keep a log of his body’s glucose levels every day, Shi Jin-Hua has also applied the idea of measuring data to try to interpret some of the other things he encounters in life. Through a medical condition, which also gave birth to his art, he has found an opportunity to share something of great personal value and meaning from his own life into his work.


一個要不停紀錄自己身體數據的糖尿病患者,用這種測量的方式維持自己的方式,也用這種測量方式诠釋生命與事物的意義。疾病帶來痛苦,也催生了他的藝術,讓他找到自己賦予自己生命意義與價值的機會。

Website: shijinhua.com.tw

 

Contributor: Banny Wang
Images Courtesy of Mind Set Art Center


网站: shijinhua.com.tw

 

拱稿人: Banny Wang
图片由MSAC安卓艺术提供

Through Tatsuo Suzuki’s Lens

October 26, 2015 2015年10月26日

Tatsuo Suzuki takes black and white photographs that document the fast pace of urban life in Shibuya, Tokyo. Tatsuo first started shooting in 2008, after getting a Nikon D70. After initially finding the art of photography to be very interesting, he soon became increasingly addicted to the medium. At the beginning he shot mainly in color, but over the years he shot more and more in black and white, as he felt that it captured the passion and emotions of his subjects more effectively.


鈴木達朗氏は白黒写真を撮影し、東京渋谷の都会の生活を記録しています。鈴木氏はNikon D70を手に入れた後、2008年に撮影を始めました。写真撮影に初めて強い関心を持った後、写真という媒体にますます夢中になってゆきました。最初の頃は、カラー写真を主に撮影していましたが、数年後、被写体の情熱と感情をより効果的に捉えると感じた白黒写真を撮影することが多くなってゆきました。

When asked about his background, he says that it is actually in music – and that punk rock, in particular, has left a very deep impression on him. Previously in high school and up until college, Tatsuo was in a punk band. Those days are now over, but one can still get a sense of his punk music past in his gritty black and white street photography.


鈴木氏は経歴について訊かれると、実は音楽にあった言います。そして、特にパンク・ロックが非常に深く印象に残ったと言うのです。かつて高校生から大学生の頃まで、鈴木氏はパンクバンドの一員でした。パンクバンドの日々はもう終わりましたが、今でも鈴木氏のザラザラした白黒のストリート写真からは、パンク的な感覚を感じ取ることができます。

Tatsuo admits the underlying impulse of punk has probably always existed in his photography. The uplifting energy, the irritability of punk, and frenetic rhythm are all in a way visually represented in his work. In his long exposure photography, for example, there is an expressiveness that seems almost musical.


鈴木氏は、内在するパンクロックの衝撃は、自身の写真に常に存在しているであろうと認めています。高揚するエネルギー、パンクの過敏性や熱狂的なリズムが彼の作品に視覚的に表現されています。例えば、彼の長時間露光撮影では、音楽的と思われる表現があります。

He shoots primarily on weekends when he is not working. Typically he would walk around the city and ask subjects if he can take their photo. Sometimes he doesn’t ask at all and just takes a spontaneous shot of a passerby. His interest is mostly in capturing people in their regular daily lives, and not so much about cool and perfect compositions.


彼は、主に働いていない週末に撮影します。普段は街中を歩き回り、被写体になってほしいと思った人に撮影の許可を求めます。時には、全く許可を求めずにに通行人をそれとなく撮影します。鈴木氏は、主として人々の日常生活を捉えることに興味を持っており、格好良く完璧な構図にはあまり興味を持っておりません。 

Tatsuo describes his photographic style as being emotional, impulsive and more documentary in nature. His favorite photographers include Robert Frank, William Klein, and Daido Moriyama. With Moriyama in particular, he shares a lot of stylistic similarities. Often described as being dark, gritty, rough, provocative and blurry, the same could be said of Suzuki’s work.


鈴木氏は自身の撮影スタイルについて、感情的、衝動的であり、どちらかというと記録的な性質が強いと表現しています。気に入っている写真家には、ロバート・フランク、ウィリアム・クライン、森山大道らがいます。特に森山氏とは、スタイルの類似点が多くあります。森山氏の写真は、ダーク、ザラザラしている、粗い、挑発的、ぼやけているとよく表現されますが、鈴木氏の作品にも同じことが言えるでしょう。

His inspiration, he says, comes mainly from within. He believes photographs can be a reflection of what goes on in a photographer’s mind, so if there is a perceived dark side in his work, he admits it probably also represents his inner state. He is not so interested in capturing humorous or comical street scenes, but is drawn more towards scenarios that have a high degree of tension and complexity.


鈴木氏によると、インスピレーションは自分の中から出てくるそうです。そして、写真は、写真家の心の中で起きていることの現れであろうと考え、作品の中に暗い部分が認識されれば、それは恐らく撮影者の心の状態の描写なのであろうと認めているのです。鈴木氏は、ユーモアがあったり、滑稽であったりするストリートシーンの撮影にはあまり興味がなく、かなりの緊張や複雑さを伴うシナリオにより惹かれます。

Like many other street photographers, Tatsuo is inspired by his chance encounters when out shooting, that sudden flash of a moment when first meeting someone. But at the same time, he admits that over the years there haven’t been that many especially memorable or monumental moments that he can recall while shooting. For Tatsuo, every day is a new day and one must always look to the future. He doesn’t typically like to look at past work, except mainly to learn from it and to try to improve on it. In his words, the photo he takes today he hopes will be better than the one that he took yesterday.


他の多くのストリートフォトグラファーと同様に、鈴木氏は外で撮影中に出会う機会からインスピレーションを得ます。それは、誰かに初めて合う時に突然ちらりと見える瞬間なのです。しかし、それと同時に鈴木氏は、ここ数年で思い出すことができるような、特に記憶や記念として残る撮影中の瞬間はないと認めています。鈴木氏にとり、毎日が新しい一日です。常に将来を見るべきなのです。鈴木氏は、過去の作品から学び、改善を試みるようなこと以外、普段は過去の作品に興味を示しません。「今日撮った写真は、昨日撮った写真よりもよく撮れていれば」というのが本人の言葉です。

Shalanaya Festival Shanghai

October 25, 2015 2015年10月25日

 

无法观看?前往优酷

Shalanaya Festival is an annual psytrance and electronic music event held near Shanghai in Zhujiajiao ancient town. Organized by Blaine and creative partners Lulu and Pablo, the festival brings together people from around the world for a celebration of music, art, culture and life.


一年一度的Shalanaya音乐节是由Blaine以及他的创意伙伴Lulu和Pablo组织,于上海朱家角古镇举办的电子音乐节。它把世界各地爱音乐、爱艺术、爱文化、爱生活的人们聚集到一起。

Psytrance is a genre of electronic music that originated in Goa, India in the late 1980s, and has since become a global sound. In the early 2000s, psytrance also emerged in China with underground events organized by music collectives Magic Garden and Goa Productions. Shiva Lounge, formerly an after-hours club that was opened by Blaine in Shanghai, further played a role in bringing the sound to a Chinese audience.


Psytrance是电子音乐的一个流派,发源于上个世纪80年代后期的印度果阿,之后逐步风靡全球。在中国,psytrance最早出现在两千年初音乐团体Magic Garden和Goa Productions举办的地下活动中。由Blaine开设于上海,前身为夜店的Shiva Lounge,也在psytrance在中国的传播中扮演了举足轻重的角色。

In 2015, Shalanaya Festival is in its third year, continuing to share the psytrance sound with those who are both familiar with and new to the experience. According to the organizers, the music festival “is about expressing yourself through dance, of opening your heart to others, exchanging positive vibes and being your true self. People should expect an interesting day and night – a journey of music and dancing, exploration, odd coincidences, synchronicities, meeting and making new friends, re-connecting with old ones and connecting with our friends on a deep and satisfying level.”


Shalanaya音乐节一直将psytrance之音分享给体验过和没体验过的人们,到今年已是第三届了。组织者说: “Shalanaya音乐节在于通过舞蹈表达自我,在于敞开心扉、交流正能量,在于做真正的自己。它是一场这样的一天一夜的旅程: 音乐,舞蹈,探索,奇遇,同欢,结识新友,重聚故交,在一个更深更充实的层面发展友情。”

Website: shalanaya-festival.org

 

Contributor & Videographer: George Zhi Zhao
Music courtesy of goaproductions.com


网站: shalanaya-festival.org

 

供稿与视频制作人:George Zhi Zhao
音乐支持goaproductions.com

LOST Magazine

October 23, 2015 2015年10月23日

LOST is a magazine founded by Nelson Ng, a Singaporean art director who is currently based in Shanghai. Featuring personal stories and photo essays from contributors traveling the world over, the thick bilingual magazine is both stunning and meditative. The stories draw from a talented community of writers, designers, photographers, and artists whose travel experiences are not typically covered by the glossy editorial spreads of other travel magazines. Instead, Nelson curates the stories to be more about travel as a state of mind.


LOST》是一本由定居上海的新加坡籍艺术总监Nelson Ng创立的独立杂志,它主要刊载一些周游各地的旅行爱好者所投稿的个人和照片故事,厚厚一本双语杂志,内容精彩,让人回味无穷。杂志中会有来自作家、设计师、摄影师和艺术家们的旅途故事,而这些并非我们在传统旅行杂志上所看到由编辑撰写的文章,相反的,Nelson挑选这些投稿时都会尽量让这些故事以旅行心情的角度去呈现。

Travel can be inspiring, foreign, fun, extremely uncomfortable or ugly. “I called it LOST after a trip where I took a ship from China to Japan all alone and realized that travel could be an entirely different experience. I realized that travel wasn’t really about sightseeing at all, but about what goes on in your mind when you’re traveling,” Nelson says, “It was actually quite an uncomfortable trip, because I didn’t know the place and didn’t know the language. But after I came back from the trip I felt that I had learned and grown so much, and I realized this is the true value of travel, and it was a great feeling,”


旅行可以是启发人心的、异域风情的、愉悦的、超不爽抑或是惨烈的。“在一次乘船从中国到日本的独自旅程后,我将这本杂志取名《LOST》,因为我意识到旅行可以是完全不一样的体验。旅行的意义不在于去名胜观光,而在于这场体验是你内心领悟的过程。”Nelson说,“那次其实是一场不怎么顺心的旅途,因为我路不熟又语言不通,但回来后我发觉到自身的成长和得到的收获,于是意识到这才是旅行的真正价值,这种感觉很棒。”

The first issue of LOST came about as the result of an experiment when Nelson tapped into his network of friends in the creative industry for interesting stories about their trips around the world. “Each person came back with a very different interpretation of travel. One person wrote about the language barriers when traveling in a foreign land such as Japan, another person wrote only about the people she met during her trip in Yunnan, and someone else merged his writing with his photography to create a visual poetry of his feelings when he climbed mountains. It was all very personal and just people sharing what they saw and felt during their trip.”


《LOST》 创刊号是Nelson的首次尝试,他在自己的创意友人圈中征集大家在世界各地的旅途故事。“每个人回来后都会有各自对旅行截然不同的诠释。有人会在行至异国比如日本时遭遇语言障碍问题,也有人只是单纯分享她在云南旅行时遇见的人,还有人结合自己的文字与图片给大家呈现一场视觉诗篇来表达自己的登山体验。都是些非常个人的东西,就真的是与大家分享自己的旅途见闻。”

As one of the only few bilingual magazines coming out of China, LOST has rapidly picked up distribution outside of Shanghai and Singapore to Taiwan, London, Berlin, Amsterdam and New York. Mainly carried in small independent cafés and lifestyle shops, it remains at heart a self-published magazine that connects both Asian and Western audiences.


作为创刊在中国的几本双语杂志之一,《LOST》迅速扩展到上海以外的地方,大家同样可以在新加坡、台湾、伦敦、柏林、阿姆斯特丹和纽约购买到它。售卖点通常在一些小型独立咖啡馆或家居小铺里,它本质上还是一个让东西方互相了解彼此的独立杂志。

“The reception has surpassed my expectations,” Nelson says, “submissions are already in up to the fourth issue, and I think the stories will only get better and better.” Apart from LOST, he’s also working on another small zine focusing on stories about farmers and craftsmen.


Nelson说,“它受欢迎的程度远远超过我的预期” ,“目前已经增订到第四期,并且我相信我们将给读者带来越来越好的故事。”除了《LOST》,他同时还在筹备一个关于农民和手艺人的小型电子杂志。

Websitelostmagazine.org
Facebook ~/lostmagazine.org

 

 

Contributor: Jia Li


网站: lostmagazine.org
Facebook ~/lostmagazine.org

 

 

供稿人:Jia Li

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Seung Yul Oh

October 22, 2015 2015年10月22日

Seung Yul Oh is a Korean artist based in Auckland who creates life-like, hyperreal sculptures of Korean noodle dishes out of resin. Using epoxy resin, silicone, steel, and aluminium, his strands of noodles can stretch up to 12 feet above their bowls, dangling from chopsticks.


성열 접착제를 이용하여 한국의 국수요리 조각상등을 극사실주의로 살아있는 듯하게 창안해 오클랜드에 기반을 두고 있는 예술가입니다에폭시 접착제, 씰리콘, 강철과 알류미늄을 이용한 그의 국수가닥들은 접시 위에 365cm 높이로 젓가락 끝에 매달린 채로 흔들리고 있습니다.

Experimenting with materials and appearances, Seung Yul Oh defies gravity with his work. The noodle dishes featured are traditional Korean Ramyun, Naeng Myun, Jab Chae, Jja Jang, and others, floating out of perfectly sculpted soup broth, eggs, vegetables, and beef. His idea is to show the food in action but without having the person present.


물질과 현상을 실험하면서 성열은 그의 작품에서 중력을 무시하고 있습니다 국수 요리들은 흐르는 국물, 알류, 채소류, 쇠고기등과 함께 완벽하게 조각된 한국의 전통적인 라면, 냉면, 잡채, 자장면과 같은 것들입니다그의 아이디어는 사람의 간섭 없이 음식들이 움직이는 것을 보여 줍니다.

Seung Yul Oh’s work often redefines and challenges ordinary objects and spaces in a whimsical way. Working across painting, installation art, sculpture, video, and performance art, he likens his creative process to cooking, even when it comes to deep-frying his paintings. His autobiographical approach is inspired by moving from Korea to New Zealand as a teenager and being thrust into a completely new environment and culture.


성열의 작품은 가끔 기발하고 종잡을 없는 방식으로 평범한 사물과 공간을 도전적으로 재해석 합니다그는 회화, 설치, 조각, 영상, 행위예술을 종합한 작품활동으로 그의 회화에서 튀김에 이르기까지 요리를 창조적 과정으로 비유하고 있습니다그의 접근방식은 그가 십대 때에 한국에서 질랜드라는 완전히 낯선 환경과 문화에 던져짐으로써 영감을 받은 것입니다.

Seung Yul Oh has exhibited at Art Basel HK, Auckland Art Gallery, The Museum of New Zealand, The National Gallery of Victoria, among others.


성열은 Art Basel HK(아트 바젤 HK), Auckland Art Gallery(오클랜드 아트 겔러리), The Museum of New Zealand( 질랜드 박물관), The National Gallery of Victoria(빅토리아 국제 겔러리) 밖의 여러 곳에서 전시회를 가졌습니다.

Websiteohseungyul.com

 

Contributor: Jia Li


웹싸이트ohseungyul.com

 

글쓴이: Jia Li

Koenji Awa Odori

October 21, 2015 2015年10月21日

At the end of every summer, Kōenji plays host to Tokyo’s largest Awa Odori. This Japanese traditional dance festival originally started in Tokushima and was later adopted in Kōenji post-war by urban migrants from Tokushima Prefecture. Every year it attracts as many as 12,000 dancers and 1.2 million visitors over the course of just two days.


毎年夏の終わりになると、高円寺は東京最大の阿波踊りの開催地となります。徳島を起源とするこの日本伝統の踊り祭りは、のちに徳島県から上京した都市移住者により戦後高円寺で取り入れられました。毎年わずか2日間の開催期間中、この祭りは実に12千人の踊り手と120万人もの観光客で賑わいます。

Known to many as being the birthplace of Japanese punk music, Kōenji is a trendy neighbourhood in Tokyo, just west of Shinjuku. It is home to many boutique shops, live houses, and small restaurants. During the Awa Odori, its streets are lined with happy spectators, festival revellers, and thousands of dancers parading in colorful Japanese traditional costumes.


日本のパンク音楽の発祥地として多くの人に知られる高円寺は、新宿のすぐ西に位置し、東京でも近年人気の高い地区です。数多くのブティック、ライブハウス、小さなレストランが立ち並ぶ界隈です。阿波おどり開催中は、この地区の通りに祭りを楽しむ見物客や酒を飲んだ陽気な人々がひしめき合う中、色とりどりの伝統衣装に身を包んだ何千人もの踊り手が踊り歩きます。

The procession is made up of around 200 local dance troupes weaving their way through the shopping streets on the north and south side of Kōenji, accompanied by shamisen lute, traditional drums, shinobue flutes and cymbals. The rhythm of the procession builds up to a dramatic and exciting conclusion at the event’s finishing line.


地域の踊り手による約200の団体から成るこの行進は、三味線、太鼓、篠笛、シンバルといった鳴り物を伴奏に、高円寺の北側と南側に位置する商店街を踊り歩くものです。行進のリズムが、祭りの最終地点で、劇的で活気に満ちたクライマックスに達します。

The 59th Kōenji Awa Odori held this year in late August was organized under the theme of “Spreading Smiles” with the hope that the infectious smiles of the many thousands of participating dancers would lift the spirits of all the visitors and the local community of Kōenji.


59回高円寺阿波おどりは、参加する何千人もの踊り手の笑顔が広がり、高円寺を訪れるすべての人々と地域社会を元気づけることを目的に『笑顔に出会いたい』をテーマに掲げ、今年8月末に開催されました。

Historically, the Awa Odori festival probably originated and evolved from the Obon festivals in Tokushima, which have existed since the 16th century. It is said to have started more specifically in 1586 when the Lord Hachisuka Iemasa of Awa Province organized a celebration for the opening of Tokushima Castle.


阿波おどりの歴史は、16世紀から受け継がれる徳島の盆踊りを起源として発展したものと考えられています。具体的には、阿波国の武将、蜂須賀家政公が1586年に徳島城の落成を祝う祭を主催したことに端を発すると言われています。

Fueled by great amounts of sake, the drunken revellers on that night started to sing and dance. Some of the locals picked up some musical instruments and improvised music for the festivities. From then on, every year in Tokushima it became a popular major event that would last often for more than three days at a time. It wasn’t until the early 20th century, however, that the festival was officially coined Awa Odori.


当時祭りの夜、多量の酒に煽られた酔客が歌い踊り始めました。楽器を手に取り、祭りを祝って即興演奏を始める地元の者もいました。それ以来、徳島では毎年、一度に3日以上続く名高い主要行事になったわけです。とはいえ、この祭りが正式に阿波おどりと呼ばれるようになったのは20世紀初頭以降のことです。

These days the Kōenji Awa Odori is a major event in Tokyo that is popular with both locals and tourists alike. Typically held in late August of every year, the festival’s exuberant energy, costumes, dancing, and music are all bound to delight and bring smiles to the faces of the millions of spectators and participants involved. To find out more about next year’s festival, be sure to check out the event’s website.


今日、高円寺阿波おどりは、地元住民と観光客に同様に愛される東京の一大行事です。例年8月末に開催されるこの祭りの熱狂的なエネルギーや衣装、踊り、音楽は、何百万人にも見物客や参加者に笑顔を届ける大きな楽しみです。来年度の開催についてさらに詳しく知りたい方は、当イベントのウェブサイトをご覧ください。

Websitekoenji-awaodori.com

 

Contributor & Photographer: Leon Yan


ウェブサイトkoenji-awaodori.com

 

投稿者&カメラマン:Leon Yan

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