School Selfie

February 29, 2016 2016年2月29日

Sun Kaiqiang (aka juicy_tour) is a senior at the China Academy of Art in Shanghai studying film and television. His photo project, School Selfie, is a meditative look at everyday life on the Zhangjiang campus of CAA.


孙凯强(又称juicy_tour是一名就读于中国美术学院上海分院影视专业即将毕业的学生。他近期的校园自拍摄影项目,展现出中国美院张江校区在其眼中平日里的幽静怡然模样。

Dappled light and geometric compositions form unexpected images of serenity and order. Sun’s ongoing project started in 2015, and is a record of the school, a “self portrait”. Rather than peace and tranquility, Sun says he wanted to convey the inner world of the things around him.


斑驳的光影和几何构图创造了意想不到且井然有序的画面。孙凯强正在进行的这个项目始于2015年,他把这个项目称之为对校园的一种自画像式的记录。相对于展现平和安宁的校园氛围,他更想通过自己的叙事手法,展示周遭事物的内心世界。

With only a few months left to graduate, Sun says his images illustrate the sense of anticipation of students around him, as well as their disappointment and sense of significance in the contemporary world.

“Although the style of the photos is cozy and ethereal, naturally it reveals a sense of emptiness and confusion about the future. On the surface, the school is the subject, but it also reflects our own inner world. It is a statement concerning our uncertainty about the future. It’s learning and coping with loneliness, as well as the feeling of being forgotten in this hectic world of ours.”


对于即将毕业的孙凯强来说,这些照片形象地表达了他和同学们对未知世界的期待感及对当今社会的失望感并存的矛盾心态。

这种摄影风格看上去给人一种安逸、空灵的感觉,其实自然间流露出内心世界的空虚和对未来的迷茫。与其说表面是拍的学校,不如说再拍自己内心世界、对未来的迷茫、学习情感上的孤独、繁华下落寞。”

Using a Canon DSLR and Lightroom, VSCO, and Photoshop, Sun continues to use his spare time between classes to shoot School Selfie. The project will be finished when he graduates, but afterwards, he plans to continue creating similar projects as experimental short films.


通过使用佳能数码单反相机和Lightroom, VSCOPhotoshop, 孙凯强将继续利用课余时间进行校园自拍的后续创作。该项目将于毕业前完成。毕业后,他还希望创作一个类似的项目,但区别于前者,到那时他想用实验短片的形式去呈现他的想法。

Websitejuicy_tour
Instagram@juicy_tour

 

Contributor: Jia Li


网站: juicy_tour
Instagram@juicy_tour

 

供稿人: Jia Li

The Design of Gaga Café

February 28, 2016 2016年2月28日

In Shenzhen, China, it seems that there is no slowing down in the demand for Gaga Café’s brand of quality coffee, good food, and relaxing interiors. Following the success of COORDINATION ASIA‘s previous designs for Gaga, the new café at Wongtee Plaza in Shenzhen adopts a similar sense of style and refinement, but with a bit more punch and geometric boldness.


深圳的Gaga咖啡连锁店,以⾼质量的饮⾷和优雅舒适的环境正在迅速发展。协调亚洲继成功打造了前两家Gaga分店的内部设计后,在这家皇庭广场的分店延续了主设计风格,但添加了⼏分⼏何立体感。

The café not only entices visitors in from the outside, but it also encourages them to stay and linger for a while. The space has been designed across multiple levels; the walls, floor and ceiling all have unique characteristics and offer an interesting play between lighting and furnishings. One prominent feature is the wooden drop ceiling, which runs across the space from the entrance – in parts transforming into a metal mesh frame that supports hanging planters and a sculptural light volume.


咖啡店的设计主旨是不仅能吸引行⼈入店,并且鼓励顾客在店内停留片刻。这家店的内部空间设计呈现了多层次的构造,从墙壁、地⾯到天花板都体现出独特的风格,与灯光和家具相得益彰。⽊饰面吊顶贯穿于餐厅空间内,在入口区域转变成了铁丝网格样式,用于悬挂绿色植物以及⽀撑装饰吊灯。

COORDINATION ASIA designer Alberto Caiola explains, “The goal for (Gaga at) Wongtee Plaza was to create an environment that satiated both the energetic lifestyle of its patrons and the café’s delicate, yet delicious food.”


“皇庭分店的主要设计理念是既能满足顾客快节奏的⽣活方式,又能体现咖啡店精致的美⾷。”——协调亚洲的设计师Alberto Caiola解释道。

In order to make a connection with the first two Gaga concepts, COORDINATION ASIA selected a common palette of materials. Green is a featured color that oozes across different surfaces within the space, such as in the plush wall textiles and in hanging planter boxes. Black and white opaque tiles line the café, leading from the entrance to the service counter where tasty treats are beautifully displayed. And just like in the first two Gaga cafés, the use of natural wood creates a warm and relaxing environment for people to stop and recharge.


协调亚洲设计团队精⼼挑选的色彩和材料维持了品牌的视觉主旋律,并和前两家店的设计相呼应。绿色作为主色调贯穿整个内部空间,例如靠墙的沙发布料以及悬挂的盆栽。黑⽩瓷砖被交错使用,作为从入⼝处到收银柜的过渡。和前两家咖啡店一样,原⽊的使⽤营造出舒适温馨的氛围。

Furthermore, flexible seating schemes have been devised to help cope with the café’s busiest peak hours, with a variety of different options to cater for groups of all sizes – from small two person tables, high benches to large shared tables. Soft wall textiles have been arranged in an alternating rhythm to break up any sense of modularity and also help soak up unwanted noise, which is often a problem in the design of cafés. The selection of food that Gaga makes is highlighted in both the open display cabinet and the glowing screen of glass, which partially conceal the kitchen and give guests a glimpse into what’s going on behind the scenes.


自由式的座位能应付餐厅最繁忙的时段,其灵活性⼜方便根据不同场合和人数进行相应的组合安排。另外,墙面的软装布料的运用打破了陈规,并且能吸收额外的噪⾳,解决了咖啡店设计中普遍的问题。Gaga的美⾷不仅呈现在柜台,其亮点还体现在备餐区的开放窗⼝,顾客能看到食物的相关细节,对食物品质更放心。

Websitecoordination.asia

 

Contributor: Leon Yan
Photos Courtesy of COORDINATION ASIA


网站coordination.asia

 

供稿人: Leon Yan
图片由协调亚洲提供

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Mirrors & Bathrooms

February 26, 2016 2016年2月26日

A public restroom may not be the first place one looks to find inspiration. But it’s where New York City-based Korean photographer KangHee Kim began her current project, Mirrors and Bathrooms. “I first started to take photographs of mirrors in bathrooms with my cell phone camera,” she recounts. “I love the moment when mirrors reflect the tiles of bathrooms.” KangHee’s series began to grow, and when restroom lighting became too restrictive, she began carrying a small mirror in her bag in order to capture moments with mirrors in other settings. The end result is a collection of images intended to ask viewers to think. “I am questioning what we see every day, and photography as a means for capturing reality.” Scroll below for a selection of images from KangHee’s Mirrors and Bathrooms series.


공중 화장실은 사람들이 영감을 받기 위해 찾는 첫 번째 장소는 아닐 수 있습니다. 하지만 사진 작가 김강희거울과 욕실'이라는 그녀의 현재 프로젝트를 공중 화장실에서 시작했습니다.저는 제 휴대 전화 카메라로 화장실에 있는 거울 사진을 촬영하기 시작했습니다라고 말했습니다. 그녀는 또한"거울이 욕실 타일을 비추고 있는 그 순간을 사랑 해요.” 김강희 작가의 시리즈는 성장 하기 시작 했으며, 화장실 조명이 제한적일 때는, 다른 설정에서 거울에 비친 순간을 포착 하기 위해 그녀의 가방에 작은 거울을 가지고 다니기 시작했습니다. 그 결과 보는 사람들이 이미지가 의미하는 것을 생각할 수 있도록 의도한 이미지의 모음이 탄생하게 되었습니다. “저는 우리가 매일 보는 것들에 질문을 던지기 시작했으며, 실제 현실을 포착하기 위한 수단으로 사진을 찍습니다라고 말합니다. 김강희 작가의거울과 욕실시리즈에 있는 이미지 모음을 스크롤해서 확인해 보세요.

KangHee’s art background is originally in painting, and it impacts the work she does behind the camera. “I just treat photography as another medium to create paintings.” KangHee contemplates her compositions with care, and the mirror in this series has added a new element to experiment with. Its reflective nature has created a whole realm of possibilities within each image she constructs. “It was challenging for me to set the mirror at just the right angle when I was working alone,” KangHee says. “It is almost like a live view of photographs contained in a frame without having the actual frame.” Carrying a mirror with her at all times, KangHee may plan locations but never the exact specifics of an image, claiming that, “I feel the most responsive to the photos I took spontaneously.”


김강희 작가의 그림을 그렸던 배경은 그녀의 카메라 작업에 영향을 미치고 있습니다.저는 그림을 그리기 위한 또 다른 매체로 사진을 취급하는 거죠.” 김강희 작가는 주의 깊게 그녀의 작품을 구상하며 이 시리즈에 있는 거울 작품은 실험적인 새로운 요소를 가미한 것입니다. 그 작품의 반사적인 성격은 그녀가 만드는 각 이미지 안에 총체적인 가능성의 영역을 만들어 냈습니다. 김강희 작가는제가 혼자 작업할 때 정확한 각도로 거울을 설정하는 것이 제게는 도전이죠,”라고 말합니다. “실제 프레임 없이 프레임 안에 담긴 살아있는 사진의 정경을 만드는 것과 같습니다.” 김강희 작가는 항상 거울을 가지고 다니기 때문에 작품을 만들 장소는 자유롭게 계획할 수 있지만, 만들어낼 이미지의 정확한 세부사항은 계획 할 수 없습니다. 그래서 그녀는즉흥적으로 사진을 찍는 것이 가장 흥미롭습니다라고 말합니다.

Bathrooms, being private in nature, have presented KangHee Kim with some challenges. “I got in trouble one time for taking photos of mirrors in one of the public bathrooms at Disney World,” she remembers. “I wasn’t taking any photos of people. But some people thought it was really intrusive and reported it to a cleaning lady, which I found really interesting.” It is perceptions such as these of invasiveness or rigidity that KangHee hopes to expose and examine through her photo series. In her mind, photography can serve as a unique vehicle for shifting perceptions. “You cannot hold or control what we see in reality,” she says, “but you can portray in a photograph whatever you want. If you experience or see the world in a slightly different perspective (both literally and metaphorically), you will be able to find small pleasure observing everyday life.”


화장실은 특성상 개인적인 공간이기 때문에 작업을 하는데 약간의 어려움이 있을 때도 있습니다. “한번은 디즈니 월드에 있는 공중 화장실에서 거울 사진을 찍고 있었을 때 어려움을 겪었던 적인 있죠라고 회상했습니다. “전 사람들의 사진을 찍으려는 했던 것이 아니었는데, 어떤 사람들은 제가 공중 화장실에서 사진을 찍는 것을 매우 거슬려 했으며 청소부에게 보고를 했던 일도 있었습니다.” 김강희 사진 작가가 그녀의 작품 시리즈를 통해서 나타내고 실험하려는 것은 침입 또는 경직과 같은 인식입니다. 김강희 사진 작가는 사진은 인식을 전환 시킬 수 있는 독특한 수단으로 작용할 수 있다고 생각합니다.우리는 현실에서 보는 것을 담거나 통제할 수 없죠. 그렇지만 사진을 통해서 원하는 것을 볼 수 있는 사진으로 표현할 수 있습니다라고 김강희 작가는 말합니다. (문자적인 의미에서 그리고 은유적인 의미로) 다른 관점에서 세상을 경험하거나 본다면, 일상 생활을 관찰 하는 것에서 작은 기쁨을 발견할 수 있습니다.”

This story is part of a content partnership and media exchange between Neocha and VSCO®. To see more of VSCO’s Asia content on Neocha, click here.

 


이 이야기는 Neocha와 VSCO®의 콘텐츠 파트너쉽과 미디어 교환의 일환입니다. Neocha에서 VSCO’s 아시아 콘텐츠에 대해 더 많은 것을 보시려면, 여기를 클릭하세요.

Website: kanghee.kim
VSCO Gridvsco.co/kangheekim

 

Media Partner: VSCO®
Photographer: KangHee Kim
Images & Text Courtesy of VSCO Grid®


웹싸이트kanghee.kim
VSCO Gridvsco.co/kangheekim

 

미디어 파트너: VSCO®
사진 작가: 김강희
VSCO Grid®의 이미지 & 텍스트 제공

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Sinostage

February 25, 2016 2016年2月25日

Sinostage is Chengdu’s premiere urban dance studio, offering classes in a wide variety of dance styles including hip hop, jazz funk, and contemporary. A leader within China’s urban dance scene, Sinostage regularly brings in top international dancers and choreographers from abroad to teach, share, and exchange with the local community. Eli Sweet, an American who co-founded the studio with his wife, shares his thoughts on the past and current state of urban dance in China.


Sinostage是成都首间urban dance工作室,这间由来自美国的Eli Sweet与他的妻子共同创立的工作室提供种类多样的舞蹈课程服务,包括hip hop、jazz funk和contemporary。作为中国urban dance领军先锋,Sinostage会经常邀请海外的顶级舞者及编舞师为大家授课,并与本地团体分享和交换心得。他希望借此与大家分享自己对中国urban dance的过去以及当下现状的想法。

Neocha: Can you tell us about the different styles of urban dance in China?

Eli: It is hard to give the right name to different types of urban dance. Inside of the community there is not total agreement about correct names, and in the general public there is even more uncertainty about how to describe different styles. Hip hop is the wellspring from which most of the popular dance trends around China, Asia, and the world evolved… hip hop and Michael Jackson. A lot of Chinese use the term street dance, which could include breakdancing, popping, locking, and traditional hip hop. There is also the more peppy, commercial style of dance that is often called jazz funk, or street jazz – the kind of dance that you might have seen in the choreography of a music video in the mid-00s.

The dance movement that we identify ourselves with is urban dance, a style that emerged in the mid-00s in L.A., also sometimes called L.A. style. It is a blend of the hip hop and commercial styles of the era, together with the abstract expressive choreography of modern dance, the driving rhythms of electronic music, and the soulful groove of R&B. The distinguishing features of urban dance are that it tends to blend different styles of dance, the choreography is narrative or lyrical, and it utilizes videography. Urban dance choreographers position themselves and their choreography as the centerpiece of their videos – rather than using dance as a backdrop for the singer in a music video –  and that was a departure from how choreography was commonly used in the pop culture context.


Neocha: 可否与我们分享一下中国urban dance的不同风格是怎样的?

Eli: 其实很难准确地去给现代urban dance的不同风格命名。关于如何去描述不同的风格,在团体内部依旧尚未达成完全共识,对外就更加不确定了。Hip hop是中国、亚洲乃至全球的大部分流行舞蹈潮流和进化的源泉……Hip hop以及Michael Jackson。很多中国人用术语街舞定义,它包括breakdancing、popping、locking以及传统hip hop,当然还有更具活力和商业风格的舞蹈,通常会将其称为jazz funk或street jazz,你可能会在2000年中期的MV中看到这类编舞。

我们在舞蹈律动中的自我认同即是urban dance,这是在2000年中期的洛杉矶出现的舞蹈风格,有时也会被称为洛杉矶风格。它是hip hop和当时时下的商业舞蹈形式融合的产物,且参入一些富含抽象表达的现代舞编舞,伴随着电子音乐的韵律及情绪丰富的R&B曲调。在我看来,urban dance与众不同的特点是它混合不同风格的舞蹈,编舞是带有叙事性或感性的,并且它也要利用影像记录。Urban dance编舞师将自己及其编排的舞蹈定位为他们影片的核心部分,而非将舞蹈作为MV中歌手的背景装饰,后者则背离了编舞已经普遍用于流行文化的趋势。

 

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Neocha: What is the current state of the urban dance scene in China?

Eli: These days, the ubiquity of smart phones, mobile data networks, and social media video sharing platforms has created interconnected communities of dancers. Across the country and the world, they share videos of new choreography with one another on a constant basis. Dance enthusiasts, even working class ones, can access a vastly wider variety of choreography than would have been available to them just a few years ago. This traffic of dance video content is evidenced by the presence of aggregators, who sift through the torrent of shared content and curate it for subscribers on social media such as Meipai or WeChat. This process of constant creative exchange has super-charged the development of the art form, facilitating a cross-pollination of styles and triggering a growth in interest among young Chinese.


Neocha: 中国urban dance界的现状如何?

Eli: 当下智能手机、移动数据网络以及社交媒体影片分享平台的普及,将来自全国乃至全世界的舞者连接起来,他们持续不断地将自己新编排的舞蹈视频相互分享。因此与以往相比,如今舞蹈爱好者们,即便是普通人士,都能获得大量种类丰富的编舞资源。舞蹈视频受欢迎的程度可以从一些视频精选平台来证明,它会从全世界的舞蹈视频中进行筛选,然后通过社交平台来分享给他们的粉丝,如通过美拍或微信。持续不断的创意分享过程为这类艺术的发展注入巨大能量,促进了各种风格之间相互学习进步,也激发了中国年轻人对它的兴趣。

Neocha: How is Sinostage different from other dance studios?

Eli: There are innumerable dance studios across China, and I would divide them into three groups – traditional, first-wave cool, and millennial. Traditional is all of the ballet, folk dance, performance wushu, and whatever studios. First-wave cool is the cheesy hip hop street dance studios that have been around for a long time. Bad graffiti, shallow, generic, urban aesthetic, some good breakdancing, lots of outdated and dislocated symbols of subversion, and no grounding in the cultural context of the place or time. Millennial is all of the studios that come after that – a little slicker and more self-aware, still very hip hop infused, but orienting their identity in the Chinese culture landscape in slightly different ways. We would definitely fall into the latter category, and we are in solidarity with the many other great studios around China that are carving their niche out in unique ways. We work with TI, SDT, and RMB in Beijing; GH5 in Shanghai; and Diamond Freak in Guangzhou among many others, to bring choreographers from overseas to teach, and bridge the gap between China and the global dance community. In the future we will send Chinese dancers overseas to dance as well.


Neocha: Sinostage和其它舞蹈工作室有何不同?

Eli: 中国有数不尽的舞蹈工作室,我会将他们分为三类:传统型、“第一代酷”以及新千年一代。传统型主要是芭蕾、民间舞蹈、武术表演以及其它的一些工作室。“第一代酷”是比较粗俗的hip hop街舞工作室,也是存在蛮久的了,糟糕的涂鸦、肤浅、空泛、城市审美、加一些还不错的breakdancing、太多是过时和混乱的叛逆符号,抑或是脱离于当下或当地文化背景。新千年一代是在那之后涌现的所有工作室,有些圆滑却更有自知之明,仍然充满hip hop的味道,却也十分明确他们自身中国文化背景又略显独特的身份。我们当然会执迷于后者,并且我们也在和中国的其它一些很棒的工作室联合,用独特的方式将他们的优势展现出来。我们合作的有北京的TI、SDT以及RMB,上海的GH5以及广州的Diamond Freak,以及其它的一些团体,我们也邀请海外的编舞师来教学,建立中国和全球舞蹈群体之间的桥梁。今后我们也会将中国舞者输送到海外去表演。

Neocha: What kinds of events does Sinostage organize?

Eli: The most important event that we organize is our annual Arena dance competition, the largest group choreography competition in China. At Arena 2015 there were nineteen teams from around China, each with over twenty members dancing. Our co-organizers for the event are the Kinjaz, a famous U.S. dance crew, runner-up in the 2015 America’s Best Dance Crew competition. Last year’s Arena competition was co-sponsored by Meipai and live streamed on their platform. We are hosting Arena 2016 on May 28th in Chengdu.

Dance is a public utility. It is not just for cool people or professional dancers. We believe that dance should be enjoyable and approachable. I am not a professional dancer, but I do like to dance. The majority of our students are not professional dancers, just people who like to dance. We try to provide the right environment to make that happen.


Neocha: Sinostage会组织怎样的活动?

Eli: 我们组织过最重要的活动是年度Arena齐舞大赛,也是中国最大的团体舞蹈比赛。在2015年的Arena比赛中,有来自全国各地的19个舞蹈团队参赛,每个团队有二十多个成员。我们这次活动的合作组织者是美国知名舞蹈团体Kinjaz,他们在2015年美国最佳舞蹈团体比赛中荣获亚军。去年的Arena大赛由美拍联合主办,并在其平台现场直播。今年5月28日我们将在成都举办2016年Arena大赛。

舞蹈是一种公共事业,它并非只针对型人或专业舞者。我们希望跳舞是快乐的、触手可及的。我不是一位专业舞者,但我喜欢跳舞。我们的大部分学员都不是专业舞者,他们只是一群热爱舞蹈的人。而我们在做的就是提供一个对的环境将其实现。

Address:
Poly Center, Tower East, Bldg. 3, No. 2115
Jinxiu Road No. 1, Wuhou District, Chengdu, China

Website: sinostage.com
Instagram: @sinostage

 

Contributor: George Zhi Zhao


地址:
中国成都市
武侯区锦绣路1号保利中心A座2115室

网站: sinostage.com
Instagram: @sinostage

 

供稿人: George Zhi Zhao

Between The Past and Present

February 23, 2016 2016年2月23日

The Miao is an ethnic minority in China that do not have their own language, but their culture and history remains well-preserved through the distinct designs of their clothing. They have over 200 different clothing styles, all created through batiking and embroidering. The Miao people’s use of geometric patterns is one of the most striking features of their clothing. Between the Past and Present  is a collection created by designer Zeng Lu, and shot by photographer Esa Kapila. The collection is a reimagining of traditional Miao apparel. The design manages to exude elegance through an air of simplicity, while still maintaining the cultural characteristics and charm of original Miao clothing. From design to photography, traditional to contemporary, Asia to Scandinavia – this collection is a balancing act that manages to delicately tip-toe between all these different elements with perfect equilibrium.


苗族这个没有自己文字的中国少数民族,得名于将自己的文化和历史精美地展示在他们的服饰中。在他们200多种的服饰里,蜡染、刺绣、几何图案都是其中最为显著的部分特点。《Between the Past and Present》是设计师曾璐是对中国苗族的图案制作传统进行了一次新的工业尝试,并由Esa Kapila摄影呈现的服装系列。这个系列简洁精美,散发着独特的文化魅力。不管是在设计,还是摄影上,传统和现代、东亚和斯堪的纳维亚碰撞的趣味,都在这个系列中达到完美的平衡。

Zeng Lu is an avid fashion designer that only recently moved back to China. In her eyes, the fusion of contemporary and the traditional design is a projection of the globalization evident in our modern lifestyle. Her concept asks the question: “how can we preserve our cultural roots in the current fast-paced societal progression?”

Esa Kapila is a Helsinki-born photographer, who previously studied interior design in Finland and Japan. He has traveled around the globe, and lived in Japan as well as Indonesia. Through his travels, he has attained a better understanding of foreign culture and a refreshed perspective on aesthetics. Esa found Zeng Lu’s project to be very interesting, and was impressed by her professionalism as well as the entire concept behind the collection. After formally introduced through a mutual friend, they collaborated together to present her Between the Past and Present collection in a visually stimulating photoset. Through Esa’s clean photographs, the essence of the collection was captured – revealing the subtle exchange between static and dynamic moments while placing emphasis on Lu’s intricate designs. The clothing and the photographs flawlessly complements one another.


新近返回中国的曾璐,是位服装设计师,曾在芬兰学习工作。在她看来,以现代和传统结合的设计是国际化环境中生活方式的映射,是对在现代社会发展中如何保留我们根基的一种思考。

来自赫尔辛基的Esa Kapila,曾在芬兰和日本学习室内设计。在世界各地的旅行和随后在日本和印尼的居住,给了他了解异域文化和美学的激情。自然,他对她作品的主题热情高涨,而她也认可他的职业和对这个设计系列的理解。于是这两人经友人介绍后便一拍即合,用干净的画面,捕捉静与动的氛围,重笔表现精美的图案,与设计本身相得益彰。

Neocha: Can you tell us about how this collection came about?

Lu: I am from the southern part of China, but lived in Finland. I was inspired by the Scandinavian lifestyle a lot. I saw the way people respected traditions there. Moreover, living so far from China allowed me to observe my culture from a different angle. It made me passionate about creating something based on my own experiences. The first fabric I made myself was a piece of wax-resistant dyeing swatch. It’s the starting point of my design career. I decided to combine my traditional techniques with my understanding of Scandinavian culture. The juxtaposition is exciting to me. On one hand, it’s the style famous for industrial simplicity. On the other hand is a culture that admires extreme exquisiteness. I’ve always been interested in traditional culture and how they work in a modern context. This collection was an experimental project that tries to bring the old traditions into the modern world.


Neocha: 这个系列设计的创意从何而来呢?

: 来自中国南方的我深受斯堪的纳维亚生活方式启发。我注意到他们对自己传统的尊重。而距离也让我有机会从不同的角度去审视自己的文化。这让我非常想对此做点什么。第一次给自己做的布料是蜡染布样。这是我设计职业的起点。于是我决定要融合这种传统的技术和我理解的斯堪的纳维亚文化。事实上,这两者所产生的冲突是非常激动人心的。一来,这种风格得名于工业上的简单易行;二来,这是种尊重极度精华绝妙的文化。他们共同组成了我的经验。我总是对传统文化有着浓厚的兴趣,也担心在现代社会中他们的情况。我想用这个系列作为一个将传统带进现代社会的实验。

Neocha: How did you decide on a suitable visual style for her collection?

Esa: After seeing Lu’s collection and hearing all of her ideas behind it, we were immediately on the same page on the atmosphere of the photos. Lu showed me the models we were going to work with, and then we looked for the right location that would allow us to use natural light and have ideal textures on the floor and walls. The white cubes emitted the feeling of simplicity, but in a modern way. At the same time, those cubes allowed us to play around with model placement – to effortlessly make the compositions more alive and playful. I understood Lu’s vision on the clothing and how she wanted the girls to showcase them. It was really fun to shoot the collection.


Neocha: 是什么让你决定以这种形式进行拍摄呈现呢?

Esa看了璐的系列,听了她背后的创意之后,我们马上就这些照片应该有着什么样的氛围上立刻达成一致。璐给我看了我们将要拍的模特,然后我们找了允许我们利用自然光和地板墙壁有我们想要的纹理的合适的地点。白色方块以一种现代的方式给人一种简洁的感觉。同时,它们与许我们玩转,让模特站在不同位置,构成不同的构图,更加生动,更加富有生趣,但是是一一种不费力的简单方式。在理解了璐关于布料的想法,以及她想让模特展现的方式,最后的拍摄就水到渠成了。

Neocha: Can you tell us about some of the challenges you faced while working on this collection?

Lu: The working process is actually a process that involves solving all kinds of problems. I’d say the most challenging part was the early research stage. Although I’m from China, what I understood about Chinese folk wax-resist dyeing wasn’t in-depth. I needed a deeper understanding but I was staying in another country. This made the work more difficult. At the same time, since my intent was to bring the traditional into the modern world, I needed to figure out how to translate this kind of time-consuming manual technique into highly efficient industrial work. That was when I found out about this ethnic group that didn’t have their own language. Their designs alone communicated plenty – it reveals culture, history, religion, and so on. So I decided to focus on digging up their stories and patterns, to try and create my modern take on it – while also still keeping the essence of their culture. To bring the traditional culture into the industrial world, I decided to employ a modern creation process. Though the collection was finished, it was only the beginning for me.


Neocha: 这个系列中你们遇到最大的挑战是什么?

前期的调查。我虽来自中国,但对中国民间蜡染知之甚少。当我需要更深入更具体地了解它时却身在异邦,这让工作更为困难了。同时,鉴于要把传统带进现代世界,我需要考虑怎将这种旧时作业转化为高效的工业操作。我发现对于一个没有自己文字的民族来说,图案中就包含了他们的文化、历史、宗教等。于是我决定专注于挖掘出图案背后的故事和人物,并试图在保留住传统本质的基础上,根据研究创造出现代的图案。此外,为了将传统文化带入工业世界,我决定用现代制作方式来联系这些传统的东西。这个系列虽然完成了,但是它只是这个话题的一个开端。

Esa: When working with a new team and designer you haven’t worked with or know before, it usually takes some time to get to know one another’s style and ways of working. With Lu, I was surprised how quickly we found common ground and figured out the direction we wanted to go. In these photographs, the biggest challenge for me was to have both natural light and supporting lights to work together. We had a limited amount of equipment, but this also reinforced the simplicity we were looking for. Another funny difficulty was the language! I was the only non-Chinese speaker in our team, so sometimes I found myself in the middle of a brainstorming session in a language I really don’t know


Esa和一个你先前并未合作过甚至完全不知道的团队,通常需要一些时间来了解对方的风格和思考方式。我当时被我们这么快就找到共同点、找到我们的工作方向惊讶到。这系列的照片,对我来说最大的挑战就是同时利用自然光和辅助光。我们的器材有限,但是这也倒也和我们要的简单风格相匹配。还有一个好玩的挑战(如果你想这么叫它的话)是语言。我是团队里唯一一个不会讲中文的,所以有的时候我发现我置身于用一个我完全不懂的语言进行的头脑风暴中。

Neocha: What do you enjoy about the collaboration process?

Lu: I enjoyed all of it. The most exciting part for me was the tryouts. We had a lot of ideas, tried many different styles, and discussed how to improve on our ideas. I enjoyed the feeling of being on the same page, working on the same thing, and we basically had no difficulties understanding with one another. Esa worked in a professional way and treated details very carefully.

Esa: This collaboration had all of the elements I love working with: a talented designer with a great point of view, a concept with many strong cultural ties, an inspiring atmosphere, and a friendly team. I learned a lot from Lu, through her aesthetics and approach on directing models. For example, she noticed small details like arm placement.


Neocha: 这次的合作过程中有什么是让你们觉得最为享受的?

我喜欢这个过程中的所有东西。最令人兴奋的是这中间的探索,esa和我有相当多的创意。我们试了不同的风格,互相讨论并改进这些想法。我喜欢我们意见一致,共同为一个东西而工作,我们理解起对方也毫无困难。Esa非常职业,他对待细节非常细心。

Esa这个合作有着我爱的所有元素。有好观点、有才华的设计师,和文化紧密结合的对象,启发身心的气氛,一个友好的团队。通过追随璐在知道模特时的美学和手法,我从璐身上学到很多,还有她希望她们怎么摆放她们的手臂等等诸多细节。我想作为团队,我们找到了一个很好又自然的方式一起工作。

Neocha: As you described, this collection “took a new, industrial approach to the traditional patterns created by the Miao people in China.” What do you think of the future of this kind of merging in fashion design?

Lu: We own such ancient and rich culture, but most of them are fading out due to modernization. However, I believe there will come a time when more and more Chinese designers will want to find out who they were and tell the world. I think it is a topic with potential. Currently, I can’t tell how this work will evolve. But I know that this conflict of the new and the old will have people thinking more about the relationship between culture and design. For me, my work is alive. Whether it’s the traditional patterns, or the shapes of collections. They seem to tell a mythical and ancient Oriental story. The way that viewers think about the work is precisely the communication. This interaction breaks through the limitations of time and space.


Neocha: 你说这个系列是“对中国苗族的图案制作传统进行了一次新的工业尝试”。在你看来,服装设计中这样一种结合的未来是什么呢?

曾璐我们的文化如此古老和丰富,但多数在现代化的影响下都渐渐消逝。然而,我相信现在正是中国设计师自我探寻并对世界宣告我们身份的时候。总体而言,我认为这是个具有深厚潜力的话题。当下,我很难说这个作品是否包含其中,又或,未来的具体形态会是怎样。但我知道这种冲突能在设计领域给人们带来一股清新的文化思考。于我而言,这件作品就是活的。不管是这个系列的传统图案或是外形,看起来都像是像向人讲述一个古老神秘的东方故事。引发观者的思考就是一种交流。这种互动打破了时空的限制。

Esa tells us, in addition to his current ongoing projects, he has plans of moving back to Asia. He wants to continue his visual exploration of people and culture through portraits and fashion. In the future, Lu plans to continue experimenting and attempt to modernize old Chinese traditions through different pieces of work. Even though the conflicting elements of her work results in unpredictability in the early stages of design, she tells us the challenging nature of her work has shifted her attitude towards difficulties. She now views these challenges as an exciting part of creation.


Esa告诉我们,除了目前手上的个人拍摄项目外,他也在计划搬回亚洲居住,继续用时尚和人物肖像摄影进行对人和文化的视觉研究,并期待几年后可以在中国居住一阵子。曾璐将继续通过不同的尝试,把中国传统带入现代社会中,用多面化的方式去演绎冲突的艺术。这种冲突结果在设计的早期阶段的不可预见性,可以让她面对任何困难和挑战时都保持着兴奋状态。

Website: Between the Past and Present

 

Contributor: Banny Wang
Images Courtesy of Zeng Lu and Esa Kapila


网站: Between the Past and Present

 

供稿人: Banny Wang
图片由曾璐和Esa Kapila提供

On the Move in Hong Kong

February 22, 2016 2016年2月22日

Although Chow San works mainly as a graphic designer, he has a camera with him everyday and shoots regularly. His street photos seem to capture people often in transit and on the move in his native Hong Kong. One rather gets the sense that his photos document fleeting moments from an ephemeral world. In this restless and fast-moving world, the people in it seem always to be moving from one destination to the next.


周生雖是一名平面設計師,卻每日隨身攜帶相機,紀錄生活。他的街拍作品記錄著在他的家鄉香港,人們步履不停、行色匆忙。他的照片記錄著那些稍縱即逝的瞬間。在這個躁動不安飛轉不停的世界裡,人們永遠在趕往下一個目標。

Perhaps because of the constant need to deal with digital media for work, Chow San prefers instead to shoot with film. One of his heroes is the great Nobuyashi Araki. San tells us that, even though today there are many new photographers out there, for him it is worth reexamining Araki’s output in greater detail – such is the depth and ingenuity of his work. Read more about Chow San’s work in our recent interview with him below.


或許因為工作上長期與數字媒體打交道,周生更偏好用菲林進行創作。他告訴我們,盡管當今新生代攝影師層出不窮,但他始終認為他的偶像,日本攝影師荒木經惟對於細節的理解和重視的精神,才是他追求創作深度和獨創性的原始動力和支柱。閱讀以下採訪,了解更多關於周生的作品。

Neocha: What kind of spaces do you like to photograph? What kind of lighting do you prefer?

Chow San: Actually any kind of space is suitable for shooting, whether it is in an office or just on the street. A lot of the times, I just shoot the daily commute on the subway, which is more or less because of my routine. I hope that the lighting in my photos is fairly even – it helps with the storytelling aspect. I don’t like to use flash, or to art direct my shots. The lighting shouldn’t be too forced or contrived.


Neocha: 你喜歡在什麼樣的空間裡拍攝?傾向於用什麼樣的光線?

周生: 其實任何地方都可拍攝,辦公室如是,街道上如是。很多時候我的相片是在地鐵的路途上拍攝的,因為工作的關係吧。我希望相片在光線上分佈可以強烈,會較有故事性。但我不愛用閃光燈,也不善長於設計相片。所以我覺得光線不可強求。

Neocha: What are your thoughts on film versus digital?

Chow San: Actually eventhough there are probably more benefits to shooting digital, I personally think digital photography feels quite cold. Film photography for me feels more satisfying. It just feels warmer and has more human qualities, which for me, is similar to how a human being has a body and soul.


Neocha: 你怎麼看待菲林和數碼?

周生: 其實數碼拍攝優點大於菲林拍攝,但數碼給我感覺很冷漠,菲林攝影感覺上整件事比較「完滿」和人性化,好像一個人般有靈魂和驅體一樣。

Neocha: How does Hong Kong inspire you?

Chow San: There really are too many things here in Hong Kong that are inspiring. You can say that there are a lot of interesting social issues here; for example, the relationship between people here in Hong Kong and trees is rather strange. This subject inspired me to shoot my project Together.


Neocha: 香港給予你什麼樣的啟發?

周生: 香港這個地方,太多東西令你有啓發,可能社會上太多問題了。例如在香港人與樹木的闗係是比較奇怪的。這個闗係吸引我拍攝了「共處」了這主題。

Neocha: What are some challenges you face as an artist?

Chow San: In a material, capitalist society like Hong Kong, it is really difficult to make a living as an artist. The government doesn’t help us or give us any kind of aid. The common consumer tends to appreciate art that is just visual appealing or trendy, but then just about ignores everything else. In Taiwan, and even in the mainland, you can see more high-level art.


Neocha: 哪些是你作為藝術家所面臨的挑戰?

周生: 在香港功利主義裏要靠藝術創作生活是艱難的,政府也不會幫助我們。在觀眾層上,我覺得香港人欣賞藝術創作必然要視覺衝擊和潮流這些重要因素,忽略了其他。反觀台灣甚至大陸也有很多高水準藝術創作。

Neocha: What are some things that you have planned in the near future?

Chow San: I’m now looking for a new exhibition space. Last year, I gained a lot of experience after my first solo exhibition Flower at Yi Hu. The next one, Ja Yen Mo Cheung, will compile six to seven years of my photography work. I hope in a few years’ time I’ll have the chance to publish an album of all this work.


Neocha: 近期有什麼計劃嗎?

周生: 尋求合適展覽場地。去年在藝鵠第一次個展「花期」展覽得到很多經驗。「雜影無章」是大約6至7年时间内我的拍摄作品,希望幾年後有機出版自己的「雜影無章」影集。

Websitechow-san.com
Flickr~/notitlexx

 

Contributor: Leon Yan


网站chow-san.com
Flickr~/notitlexx

 

供稿人: Leon Yan

Form & Fragrance

February 19, 2016 2016年2月19日

Christina Poblador, also known as Goldie, is a Filipina artist who uses glass and scent as her means of expression. She seeks to convey the freedom of movement and emotion through transforming glass into feminine forms. Fascinated by the link between scents and memories, she compares the process of creating her fragrant perfumes to alchemy. “Something becomes a more potent version of what it originally represented in nature,” she describes. “The medium is always thrilling, and deeply embedded in the subconscious.” In the ongoing journey of creating her Magnum opus, Goldie’s performances combines these different elements together into multi-sensory experiences.


Si Christina Poblador, na kilala rin bilang Goldie ay isang Filipino alagad ng sining na gumagamit ng bubog at pabango bilang paraan ng kanyang pagpapahayag. Hangarin niya na iparating ang kalayaan sa pagkilos at emosyon sa pamamagitan ng pag-transform ng bubog sa pambabaeng anyo. Dahil sa pagkabighani sa ugnayan ng mga pabango at alaala, ikinukumpara niya ang proseso ng paglikha ng kanyang mga pabango sa alkimya. “Ilang bagay na nagiging mas mabisang bersyon ng kung ano ang orihinal na kinakatawan nito sa uri,” paglalarawan niya. “Ang medium ay laging nakakagulat, at labis kakambal ng imahinasyon.” Sa patuloy na paglalakbay sa paglikha ng kanyang Dakilang akda, pinagsama-sama ni Goldie sa kanyang performance ang iba’t ibang elementong ito kasama ang multi-sensory na mga karanasan.

Goldie graduated from the Rhode Island School of Design with an MFA in glass and is now based in New York. “My work is a statement. Rooted in inherited culture, personal and collective narratives of the Philippines. It is unashamed of its origins,” she describes. “I use performance, glass, scent, installation, and sound to represent untold stories of Filipino culture. “ Currently, she is working on a series of work for a solo exhibition to be held in the Philippine Consulate Gallery later in March. The exhibit will feature several pieces of work from her Venus Freed series as well as other never before seen artwork. Neocha recently had the opportunity to discuss inspirations and personal identity with this talented artist.


Si Goldie ay nagtapos sa Rhode Island School of Design na may MFA sa bubog at ngayon ay nakatira sa New York. “Ang trabaho ko ay isang pahayag. Nag-ugat sa namanang kultura, pansarili at pinagsama-samang kuwento ng Pilipinas, hindi nito ikinahihiya ang pinanggalingan nito,” paglalarawan niya. “Gumagamit ako ng performance, bubog, pabango, instalasyon, at tunog upang kumatawan sa hindi mabilang na kuwento ng kulturang Filipino. “ Sa kasalukuyan, nagtatrabaho siya sa serye ng likha para sa solong eksibit na gaganapin sa Gallery ng Konsulado ng Pilipinas sa susunod na Marso. Itatampok ng eksibit ang ilang obra maestra mula sa kanyang Venus Freed series gayundin ang iba pang hindi pa nakikitang likhang sining. Kamakailan ay nagkaroon ang Neocha ng pagkakataon para talakayin ang inspirasyon at personal na pagkakakilanlan ng talentadong alagad ng sining na ito.

Neocha: When did you first start to use glass as an art medium? What sparked your interest?

Goldie: I first started blowing glass in 2009, in order to create my undergraduate thesis project about scent, and the narratives of the village where I grew up. The environment changed a lot, and natural disaster influenced a shift in the direction of my work. I wanted to work with memory, and that brought me to scent. Which then brought me to the most obvious medium that perfumers work with – glass.


Neocha: Kailan ka nagsimulang gumamit ng bubog bilang kasangkapan sa sining? Ano ang nagpatindi sa iyong interes?

Goldie: Una akong nagsimulang gumamit ng bubog noong 2009 para gawin ang aking proyekto sa undergraduate thesis tungkol sa pabango at mga kuwento ng nayon kung saan ako lumaki. Napakaraming nagbago sa kapaligiran, at ang likas na sakuna ay nakaimpluwensiya sa pagbabago ng direksyon ng aking ginagawa. Gusto kong magtrabaho kasama ang alaala, at nagdala iyon sa akin sa pabango at pagkatapos ay nagdala sa akin sa mas kilalang kasangkapan na ginagamit ng mga gumawa ng pabango – ang bubog.

Neocha: Can you tell us how feminism ties into your work? What would be your definition of feminism?

Goldie: My body of work is not just about the female condition; rather it argues that an awakening of the inner femininity, the carrier of our emotions and experience of all things sensual – from rapture to despair – is able to benefit humankind and perform an alchemical change of the soul. Feminism can be a tricky word these days. A lot of principles that inspire the work are indeed from feminist theory. For instance, the personal is political. I believe in that. My work is a celebration of the expressive, and is grounded in nature and deep spirituality that I inherited through my culture as a Filipina woman. It draws particularly on the Philippine pre-colonial priestess, the babaylan, who represents alignment with natural principles. It is celebrated today as a feminist symbol of the renewed Filipina woman.


Neocha: Maaari mo bang ikuwento sa amin kung ano ang kaugnayan ng peminismo sa iyong gawa? Ano ang iyong pakahulugan sa peminismo?

Goldie: Ang sentro ng aking paggawa ay hindi lamang tungkol sa kalagayan ng babae; sa halip ay ipinaliliwanag nito ang paggising ng panloob na pagkababae, ang tagapagdala ng ating emosyon at karanasan sa lahat ng bagay na senswal – mula sa kagalakan hanggang sa kawalan ng pag-asa – na kapaki-pakinabang sa sangkatauhan at nagagawa ang alkemikong pagbabago ng kaluluwa. Ang peminismo ay maaaring maging mapanlinlang na salita sa ngayon. Ang maraming simulain na nagbibigay inspirasyon sa trabaho ay tunay na na nagmula sa peministang teorya. Halimbawa, ang personal ay pampulitika. Naniniwala ako doon. Ang aking gawa ay pagdiriwang ng pagpapahayag, at nagmula sa kalikasan at malalim na ispirituwalidad na namana ko sa aking kultura bilang babaeng Filipina. Ipinakikita nitong mabuti ang Babaylan na pristesa ng Pilipinas bago ang pananakop, na kumakatawan sa pagkakasunod-sunod ng likas na mga simulain, at ipinagdiriwang ngayon bilang simbolo ng peminista ng binagong babaeng Filipina.

Neocha: Does Manila, your hometown, ever leave its mark in you as an artist?

Goldie: Definitely. In many ways it is the foundation of my work. I would not be where I am without my mission to rebuild my identity in some way. My country has been colonized in so many ways. I feel lucky to be where I am, and to be working as an artist representing where I am from. The generation of my parents had very specific paths carved out for them. Filipinas in general who live abroad usually work as nurses, doctors, or care givers. Through the hard work of those who came before me, I am able to work towards something more than a career, but towards a mission I truly believe in.


Neocha: Ang Maynila ba na iyong sariling bayan ay nag-iwan sa iyo ng markang ito bilang alagad ng sining?

Goldie: Talaga. Ito ang pundasyon ng aking gawa sa maraming paraan. Wala ako rito ngayon kung wala ang aking misyon na itatag muli ang aking pagkakakilanlan sa ilang paraan. Ang aming bansa ay sinakop sa napakaraming paraan. Napakapalad ko kung nasaan ako ngayon, at magtrabaho bilang alagad ng sining na kumakatawan sa aking pinagmulan. Ang henerasyon ng aking mga magulang ay nagkaroon ng napaka-espesipikong daan na itinatag para sa kanila. Karamihan sa mga Filipina na nakatira sa ibang bansa ay karaniwang nagtatrabaho bilang nars, doktor, o tagapag-alaga. Sa pamamagitan ng pagsisikap ng mga taong nauna sa akin, nagawa kong magtrabaho tungo sa isang bagay na higit pa sa karera, ngunit tungo sa misyon na tunay kong pinaniniwalaan.

 

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Neocha: As an artist, what’s been your biggest challenges so far? 

Goldie: Funding! Working part time helps a lot, but it is a constant struggle for balance. Since I moved to New York, I now work from my room, which is also my studio. I also sculpt at Urban Glass in Brooklyn.


Neocha: Bilang alagad ng sining, ano ang naging pinakamalaking hamon sa iyo?

Goldie: Pondo! Malaking tulong ang pagtatrabaho ng part time, ngunit patuloy na pagsisikap para maging balanse. Simula nang lumipat ako sa New York, nagtatrabaho ako ngayon sa aking silid, na studio ko na rin. Nag-uukit din ako sa Urban Glass sa Brooklyn.

Neocha: Which of your works do you consider to be your most important work?  What do you have in the works for the near future?

Goldie: Nothing is more important than the other. When something is less successful than another, it always tells you something. My solo exhibition in the Philippine Consulate Gallery is what is in the near future. I am also working on a luxury line of perfumes and jewelry that will feature Philippine flowers and scents. I am really excited about that.


Neocha: Alin sa iyong mga gawa ang itinuturing mong pinakamahalaga mong likha? Ano ang mayroon sa gagawin mo sa susunod?

Goldie: Walang mas mahalaga kaysa sa iba. Kapag may bagay na hindi gaanong matagumpay kaysa sa iba, laging may nais itong ipahiwatig sa iyo. Ang aking solong eksibit sa Gallery ng Konsulado ng Pilipinas ay malapit na. Nagtatrabaho ako sa mamahaling hanay ng mga pabango at alahas na magtatampok sa mga bulaklak at pabango ng Pilipinas. Nananabik na ako para diyan.

Website: goldieland.com
VimeoGoldie Poblador

 

Contributor: Banny Wang

Images Courtesy of Goldie Poblador


Website: goldieland.com
Vimeo: Goldie Poblador

 

Kontribyutor: Banny Wang

Ang Mga Imahen na Mula kay Goldie Poblador

The Sounds of The Horde

February 18, 2016 2016年2月18日

The Horde is a Shanghai-based band that creates what can only be best described as epic folk music. The group consists of five members: Ho Tom The Conqueror, Fierce Franco, George Goliath, Nick Nasty, and Johnny 2.0. During their live shows, Tom is on the very front of the battlefield conquering with his guitar, while Franco is fiercely plucking away a monstrous tune on the mandolin. Meanwhile, Nick is on the keyboard, getting unreasonably nasty with it. Then there’s George, a towering goliath of a man, asserting complete dominance on the harmonica. On the other side of that sits Johnny, who is seemingly robotic with his rhythmic precision on the cajón. Their sound, while resembling Americana folk rock, is actually a genre-defying acoustic onslaught that blends together different unlikely styles.


The Horde是一支上海乐队,他们所创作的音乐大概用史诗民谣来形容最合适不过。该乐队成员五名,分别为Ho Tom The Conqueror、Fierce Franco、George Goliath、Nick Nasty和Johnny 2.0。表演时,Tom带着他的吉它激战于舞台最前阵;Franco的曼陀林在他的疯狂弹拨下,声声震耳;与此同时,Nick在一边对着键盘下狠手;当然,还有巨汉George雄霸着口琴;在整个阵列令一侧,坐着Johnny,在箱鼓上精准地打着节拍,俨然机器人一般。他们的音乐,类似美式民谣摇滚,但事实上是将各种想不到的风格融合在一起,可谓自成一派。

These five joined forces through a series of fortunate encounters. Tom, Nick, and George were previously co-workers. Through their mutual interest in music, they ended up hanging out frequently and eventually started jamming together. Franco later came along in 2010 and met them at Anar in Shanghai, where the three were already playing regular gigs on Monday nights. Convinced that the trio absolutely needed a mandolin in the mix, he soon joined the team. Johnny, a regular at the bar they played at, later joined the group after revealing his finesse on the cajón.


这五个人的组合也是各种机缘巧合。Tom、Nick和George是曾经的同事,对音乐的共同热爱让他们时常聚一起,也最终让他们开始一起玩音乐。2010年,这三人已经固定每周一晚上在上海的Anar演出。Franco就是在这个时候的Anar认识了他们三个。被三人组对曼陀林的绝对需求说服后,Franco迅速加入了他们。Johnny,是三人组表演所在酒吧的常客,在展露了他在箱鼓演奏上的娴熟之后,也于随后加入了乐队。

Shanghai – or China in general, is an unlikely place to hear Americana-style folk music. The band never never really planned to bring the folk sound to Shanghai. But serendipitously, these five musicians had a similar mindset to create, and with their different musical influences – ranging from bluegrass, to Afrobeat, and even psychedelic rock. It all came together to culminate into their epic folk sound.


上海,乃至整个中国,都罕见美式民谣。这个乐队也并不曾特意要将民谣带入上海。可无巧不成书,这五个人在音乐创作上有着相似的理念,加之受到不同音乐的影响——从蓝草音乐,到魂克,到迷幻摇滚,他们的史诗民谣风格就这么形成了。

The band tells us that producing Consider Yourselves Conquered, the group’s first album, was an excruciating process. Although they had all played many live shows together, the recording studio proved to be a completely different environment and this resulted in a lot of wasted time. The album starts with “Shanghai Train”, which uses an ambient soundscape sampled from field recordings by Nick Nasty. The same track quickly and unexpectedly dives into a poem about Shanghai. The remaining songs on the record are all quite different from one another: from fast-paced jams like “The North”, to the blues-inspired sounds of “Shakespeare’s Coat”. The short five-track EP is as acoustically diverse as it is entertaining.


他们告诉我们,第一张专辑《Consider Yourselves Conquered》的创作极为艰辛。尽管他们在现场表演上已轻车熟路,但是录音室却完全是另一回事,这导致他们不得不花费大量时间于其间摸索。单曲《Shanghai Train》是整张专辑的开场,采用Nick Nasty在现场录音时采样的环境音,音轨迅速、意外一转,呈现出一个关于上海的激昂诗篇。专辑中其余的单曲也各自风格迥异。从快节奏的《The North》,到受蓝调启迪的《Shakespeare’s Coat》,这张仅由五首曲子组成的EP十分具有娱乐性。


The band reveal that, ever since the release of Consider Yourselves Conquered, it has been a roller-coaster ride filled with many ups and downs. A wide variety of issues plagued the band and delayed the album release: from studio dramas, to personal issues, and changing priorities. Overcoming every hurdle that came their way – as conquerors often do, they released their newest album Fahuazhen earlier this year. A 12-track album that includes “Space Wars”, a genre-transcending track that manages to draw influences from a variety of musical styles. The whole album then concludes with a song, which is sung completely in Chinese and was inspired by a pingtan performance that Tom saw in Zhejiang. In this quirky ballad, he sings about a Chinese family’s disapproval of a relationship due to a number of money-related reasons, like not having a house, a car, or a Shanghai hukou.


据乐队披露,自专辑《Consider Yourselves Conquered》以来,他们一路的经历跌宕起伏,犹如过山车。工作室抓马、个人问题、轻重缓急的改变,无一不困扰着乐队,导致这张专辑发行的一再延误。正如征服者们通常所为,他们也一路披荆斩棘,并于今年早前发行了最新专辑《法华镇》。专辑由12首歌曲组成,其中包括 《Space Wars》,一首不同音乐风格影响下跨越流派的产物。专辑以一首完全中文的曲目收尾,其灵感来源于Tom在浙江时观看的一场评弹演出。这首神奇的民谣讲述了一段由于在物质方面没房没车没钱没户口而导致不被中国家庭认可的恋爱故事。


Listen to The Horde’s latest album Fahuazhen below:

The Horde – Blossoms of the East
The Horde – Living on the Run
The Horde – Dark Eyes
The Horde – Peripheral Thought
The Horde – Spring Roll
The Horde – Take A Step Back
The Horde – Prodigal Sons
The Horde – Town
The Horde – Valentina Zhou
The Horde – A Moment in the Moment
The Horde – Space Wars
The Horde – Babamama


以下曲目来自The Horde的最新专辑《 法华镇》,欢迎试听:

The Horde – Blossoms of the East
The Horde – Living on the Run
The Horde – Dark Eyes
The Horde – Peripheral Thought
The Horde – Spring Roll
The Horde – Take A Step Back
The Horde – Prodigal Sons
The Horde – Town
The Horde – Valentina Zhou
The Horde – A Moment in the Moment
The Horde – Space Wars
The Horde – 我不知道为什么你的爸爸妈妈不喜欢我的爸爸妈妈

Unfortunately, following the release of this album, The Horde has announced an indefinite hiatus due to core members moving from Shanghai. Tom says that he wishes more people would continue making music in Shanghai, about Shanghai. Although the future is uncertain, they have hinted at the possibility of bringing back The Horde further down the road, but it will most likely consist of different members. So until that day comes… consider yourselves conquered!


遗憾的是,这张专辑发布之后,随着核心成员搬离上海,The Horde也宣布了无限期解散。Tom表示他希望在上海有更多人继续创作关于上海的音乐。尽管未来难料,他们暗示了The Horde回归的可能性,当然届时很可能是由新面孔组成。在那之前,consider yourselves conquered!

Website: thehorde.bandcamp.com
Facebook~/thehordeband

 

Contributor: David Yen
Images Courtesy of The Horde & Rachel Gouk


网站: thehorde.bandcamp.com
脸书~/thehordeband

 

供稿人: David Yen
图片由The Horde & Rachel Gouk提供

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Let Her Petals Go

February 18, 2016 2016年2月18日

Shadow Chen is an illustrator and graphic designer from Ningbo. She shares an equal passion for almost every form of visual art including traditional painting, digital art, and mixed media.


Shadow Chen是来自宁波的插画师、平面设计师,同时她对几乎所有视觉艺术形式都有着相等的热情,例如传统绘画、数码艺术和综合材料。Shadow的灵感来自她周遭事物、人和音乐。

Shadow’s inspiration comes from her surroundings, people and music and her style is distinctive – full of colors, often in liquid, psychedelic forms and sprinkled with Chinese traditional twists.


Shadow的灵感来自她周遭事物、人和音乐。她的风格是如此独特,富含色彩,多以液体、迷幻形式呈现,又捎带着那么一点中国传统的转折。

 

Trained as a product designer, Shadow has worked on projects ranging from magazine covers and apparel designs to wooden furniture designs.


受训为产品设计师,Shadow的工作项目却由杂志封面和服装设计泛及木质家具设计。

 

  • Size: 38 cm x 59.5 cm (15″ x 23.5″)
  • Limited-edition of 100, exclusive to Neocha Shop
  • Certificate of Authenticity with artists’ personalized seal
  • Printed on Epson Matte Fine Art Paper

  • 尺寸: 38 cm x 59.5 cm (15″ x 23.5”)
  • 限量版数100,由EDGE商店独家贩售。
  • 带防伪证书以及艺术家本人封印
  • 印制纸张为爱普生磨砂精细艺术纸


Shadow Chen的《Let Her Petals Go》

¥550

立刻购买

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The Photography of 3cm

February 16, 2016 2016年2月16日

3cm is Yung Cheng Lin, a photographer from Tainan, Taiwan whose work focuses on body manipulation, the female form, and visuals that can be both beautiful and gory at the same time. His photography tends to examine the topics of sexuality, birth, maturity, fragility, and often feature surreal compositions. These stunning images mixed with blood, hair, and skin compel and disturb viewers at the same time. We spoke to him recently about the themes behind his work.


3cm(林永政)是一名來自台灣台南的攝影師應承琳的艺名。他的創作主要專注於女性輪廓以及頗具美感的視覺元素的結合拍攝。他的作品詳細的描述了諸多關於出身,性,成熟,脆弱和超現實的場景。這些令人驚嘆的圖像常與血液,毛髮和皮膚混合,總能讓觀者深感壓迫與不安。近期,我們與他探討了隱藏在其作品之後的故事。

Neocha: Can you tell us about how you first got into photography, and what you studied or did previous to that? Was there anything in particular that set you off on the path of photography? What are some of your biggest influences in life, or in the way that you approach your art?

3cm: In art school, I studied fine arts and related subjects. Photography to me was easier to control, and I could quickly see the results onscreen. After I graduated, working took up most of my time, and left less time for painting and sculpture, so eventually that was replaced by digital mediums. In the past few years I’ve mainly focused on my own creative photography.


Neocha: 可否談談你是如何踏上攝影之路的?你之前的專業或是工作主要是做什麼的?有沒有什麼特別的東西導致你踏上攝影之路?對你人生或創作方式上產生最大影響的是什麼?

3cm: 求學時期就讀美術相關科系。然而「相機與畫筆」也就只是媒材上面的轉換,攝影對我來說甚至更好掌控,且能快速呈現畫面。出了社會,工作時間佔了大多數,能騰出足夠空間來作畫或雕塑更是少之又少,逐漸的由數位取代了既有的方式。因此,近幾年的自主創作以攝影為大宗。
 

Neocha: You work with mostly women in your photography. Is there a significance to that?

3cm: The traditional perception of women is that they are very fragile and elegant beings. The idea of that, alongside the topics I tend to explore, often relates to females and femininity. These things cohesively comes together to form into my work, which I then present to viewers for their own interpretation.


Neocha: 在你的攝影作品中大部分出現的都是女性,可否談談這樣做的意義?

3cm: 在傳統認知上,女性給人的印象是優雅的及脆弱的,加上個人所探討的議題多與女性相關,構成上是符合想呈現給觀看者的感受。

Neocha: Birth, pain, sexuality, intimacy, rot, and disease seem to be referenced in your work. What draws you to these themes, if they are indeed there? How do you come up with your ideas and concepts?

3cm: Social structures can contain a lot of gender inequality, unequal distribution and stratification, blind and senseless gender norms. These have all been a part of my life and experience.

In my ongoing series Red Line, I explore people’s belief in religion: is it real or is it imagined? The red line in the images represents faith, the pursuit of marriage, also bearing witness to sacrifices made in the name of love. How does a mere red line help someone reach salvation, and is it real? The feeling of pain is the first thing that I want viewers to see. The feeling of loneliness and lack of love is something I’m playing with between the photographer and the viewer, kind of an interesting twist on interactive feedback.

I love reading poetry. The words form a fantasy world, which I then combine with my real life experiences to create my work. Ancient poetry often provides me new ideas to make more complex images.


Neocha: 出生、痛苦、性、親密關係、衰敗以及疾病似乎都是你作品中會出現的影子。你為什麼會創作這類主題?它們是真實存在你生活中的嗎?你是如何萌發靈感和創作概念的?

3cm: 社會結構上存在著各種權利分配的不平等和曲解,即性別階層化,探討各性別理所面對的矛盾、盲目甚至無理的兩性規範,也都是我生活周遭的經驗和體悟所得的。

就如同目前正在進行的系列作品(紅線),探討的是人民追隨宗教信仰,那是實還是虛呢,畫面裡出現的紅線正是代表著信仰,拜月老求姻緣,也述說著為愛情做出的改變與付出,區區一條紅線為何能幫助自己得到救贖,是真實的嗎?疼痛感是觀看者第一眼的感受也是我希望的,反思而產生對於被攝者的關懷,如同缺乏愛情的人總是覺得寂寞需要多一點的關愛,也是種互動回饋概念,耐人玩味。

平常喜愛閱讀詩詞,藉由文字間產出的幻想及畫面的浮現,再與生活經歷結合,咀嚼成一個作品。故詩詞總能給予我新思維,創造出更多元化的影像。

Neocha: What is your work process like, in terms of idea creation, posing, casting, and technical detail? Do you shoot only with one kind of camera? Is there a lot of post-production involved? Do you mainly shoot in controlled environments or venture out to public spaces?

3cm: I usually shoot with quite simple equipment: only one camera, with minimal equipment and people. Before shooting, I have a sketch of how I want the image to be, so that I can communicate to the model and know what to do for post-production. But usually, I shoot it just the way I want it to be and don’t add much during post-production.

I like to shoot both indoors and outdoors – both kinds of environments can give me unexpected effects, which I think is good.


Neocha: 從創意靈感、姿勢、選角以及技術等細節上來講,你的工作流程是怎樣的?你是否只是用一種相機?會不會有大量後期工作?你會比較傾向於在可控的環境中工作還是去公共區域來些即興發 ?

3cm: 進行拍攝時設備簡單為主,只使用一台相機來進行拍攝,沒有過多的裝備和人力,通常在拍攝前就會把畫面擬畫成草圖也方便與model溝通和後期工作,但拍攝時基本上會盡量就達到我要的畫面,後期的工作占比較小。

兩種環境下我都會使用,也都會有預期不到的效果,對我來說都是好的。

Neocha: What are you currently working on and what are you looking forward to in the future?

3cm: I plan to create visuals based on the text from the book Lover’s Discourse. Also I hope to collaborate in different projects with others artists or brands in the future. Maybe mixing together different mediums to create something fun.


Neocha: 你最近在創作什麼?未來有什麼打算?

3cm: 計畫把戀人絮語一書內的優雅文字轉化成圖像,也希望能多與他人或是商業案合作,多元結合,玩味性高。

Flickr: ~/3cm
Facebook: ~/by3cm

 

Contributor: Jia Li


Flickr: ~/3cm
臉書: ~/by3cm

 

供稿人: Jia Li