The One You

May 27, 2016 2016年5月27日

 

无法观看?前往优酷

The One You are monthly planned urban retreats that take city dwellers and working professionals in China to select natural locations in Moganshan or Hangzhou for a rejuvenating weekend trip away from the city. During that time, participants take part in activities such as sessions of yoga, hiking along trails, farming with local villagers, enjoying healthy organic meals prepared by local chefs, and detoxing. In between the activities, there is also a lot of free time for those who simply want to relax and enjoy the weekend’s breathtaking scenery.


“一次旅行”,是个专注于提供国内外养生静修旅行产品的品牌, 带着城市居民和都市白领,回到大自然中,进行一场“逃离”,以健康静心为主题,唤活身心。目前,国内静修周末的行程包括: 瑜伽、冥想 、 沿路爬山、与当地农民劳作、享受由当地厨师准备的健康自然饭食,以及身心排毒。同时,也会留有大量的自由时间,为那些只想在周末好好放松和享受美景的人士而准备。

For Louise Zhang, the founder and organizer of The One You, the most important part of the weekend retreat is for people to relax. Participants can leave behind the stress and worries of their everyday lives back in the city. They are encouraged to leave behind their laptop computers and any electronic gadgets that usually tie them down to anything that is work-related. And in their place, the retreaters are encouraged to explore the natural surroundings around them, and to immerse themselves in yoga and meditation practices. For Louise, nature is the single most important element to these retreats – which is of course inextricably tied to the selected location of the retreat and the planned outdoor activities.


对于“一次旅行”的创立者Louise Zhang来说,这个周末静修最重要的部分就是放松身心,回归健康的生活。参与者得以把他们日常城市生活中的压力和烦恼通通抛之脑后。“一次旅行”鼓励大家把笔记本电脑,以及任何通常代表着工作相关的电子设备留在家里;他们鼓励参与者们探索身边的大自然环境,将自己沉浸在瑜伽和冥想中。对于Louise来说,大自然是静修重要的元素,人在自然中,本身就是一种疗愈。这诚然也是这些静修场地和户外活动规中划密不可分的一部分。

Currently based in Shanghai, Louise Zhang has worked in digital marketing for about eight years. After her stint working in Singapore, she started to participate in themed retreats throughout Southeast Asia. During that time, her travels took her to places like Thailand and Bali. Partaking in these seaside retreats led Louise to discover cleanse diets, scuba diving, and yoga; she says these activities were immensely rejuvenating for both her body and mind. Looking back now, Louise considers that time to have been a transformative period in her life.


目前居住在上海的Louise,曾从事数字营销工作八年。在新加坡工作之后,她开始在东南亚的海边体验不同主题的静修。在现在的她看来,那是她生命中具有转变意义的一段时光。当时的她四处旅行,在泰国和巴厘岛等地潜水,练习瑜伽,做排毒,享受静修给她带来的身心愉悦和治愈。

For some time, she felt an internal and existential conflict between her intellectual self and what she felt in her heart when experiencing these retreats. When Louise returned to Shanghai, she wanted to organize her own retreats to be able to share these kinds of experiences with her friends and colleagues. Part of her objective was to help spread a greater awareness about yoga. She feels that there are many preconceptions about yoga – in mainland China especially, where it is commonly seen as a form of exercise that mainly women do, that often involves being able to achieve difficult movements and positions. In other countries, yoga is practiced by both men and women, regardless of age and body type. Through these retreats, Louise hopes to demystify yoga and introduce it to many newcomers in China. Beginners and more advanced students of yoga alike are welcome to take part.


渐渐地,她似乎开始感受到大脑的理智判断和内心意愿总会产生冲突,同时也一点点看清内心真正追求的东西。当Louise回到上海,她开始自己组织静修活动,希望能够和更多的朋友分享这种体验。她也有些小私心,就是去帮助推动人们对瑜伽的更多认识。在中国大陆,她发现很多人对瑜伽还是陌生的,他们认为瑜伽是女性的运动,只关乎功克高难度的动作。而在其他国家,进行瑜伽锻炼的人,不管男女老少、不管何种身形的人都有,他们都将此看成了一种身心调和的方式。通过这些静修活动,她希望可以去除瑜伽的神秘,带更多人体验这种健康的生活方式。不管是瑜伽的初学者或较高阶练习者,“一次旅行”都一并欢迎。

In addition to the planned hiking trip and sessions of yoga, another activity during the retreat involves farming with local villagers. The remote Moganshan location is enshrouded by lush bamboo forests, and the locals from the rural community typically harvest bamboo from these wild forests on the mountains. During one of the afternoons, participants of the retreat are also shown how to do this, and later in the day, the bamboo shoots that they have gathered are cooked up by an on-site chef at the resort. Consistent with The One You’s back-to-the-basics philosophy, over the course of the weekend, retreaters are also invited to enjoy a healthy mix of organically farmed vegetarian meals and juice detoxing.


除了爬山活动和瑜伽锻炼等常规项目外,静修中还有另一个活动,那就是与当地村庄的农民一起劳作。比如这一次的莫干山静修 ——在偏远的莫干山,淹没在那些苍翠繁茂的竹林中,这些野生竹林,正是当地农民收割竹笋的地方。在其中的一个午后,参与者们跟农民学习如何挖笋,收获的这些竹笋再由驻场厨师烹烩。秉承着一贯的“回归自然,回归至简,回归自我”的哲学,在这个周末体验中,静修者们还将享用到健康搭配的有机种植素食,以及果汁排毒。

For the Moganshan retreat, one of the locations selected was a reclusive retreat called Zero. From the moment Louise saw its English name, she recognized how conceptually similar it was to what she was trying to achieve through her retreats. For her, the name Zero refers to the idea that we all originate from nothing, and in the end, we all also return to nothingness. Alternately, it also refers to how those who lead a busy and hectic life in the city will yearn to return to a simpler and slower-paced existence in the countryside.


在莫干山静修中,甄选出来的其中一个场地,是为叫做“Zero”的遁世寓所。Louise一看到它的英文名,她就意识到,在概念上,这与她尝试从一次旅行中获取的是如此相似。对于她来说,“Zero”这个名字代表着我们最初始于零最终仍归于零的这么一种概念。它同样指涉,人们在都市繁忙地过活时对乡村简朴的渴望。

These are all also important underlying themes to The One You retreats. In our fast-paced contemporary society – and especially in today’s rapidly developing China, it is very easy to get swept up in job stress, the latest technological thrills, and the unimportant worries of everyday life. Louise hopes that through these weekend getaways and increasing more awareness about yoga, the people who participate on these trips can learn to effectively unwind and disconnect. For her, this is the reason why she organizes these retreats, in the hope that people can experience going back to the basics and get more attuned to what their mind and body really need. In the near future, The One You is planning to organize more domestic retreats under different wellness themes – for example, intensive workouts, healthy dieting, clinical retreats, and yoga training. At the same time, they will also be able to recommend urban retreats that are overseas, offering more options for city dwellers in China seeking healthy and balanced holidays.


这些都是与“一次旅行”的宗旨是吻合的。在快节奏的当代社会,特别是在飞速发展的中国,我们总是轻易地陷入工作中的压力,迷恋对最新科技的兴奋,沉溺于日常生活中不必要的烦恼。Louise希望,通过这样的周末逃离以及对瑜伽的更多认识,参与到这样一次旅行的人们可以得到真正的健康体验和放松。对她来说,这就是她组织这些静修的意图。同时,她希望人们可以从中重新认识自己,看清内心的需求。接下来,“一次旅行”计划在国内组织更多健康主题的静修,例如:运动,素食,结合体检,瑜伽大师集训。与此同时,Louise将会将她在东南亚体验过的养生中心的产品带到中国,让更多人受益。

WeChat: TheOneYou-lz

 

Contributor & Videographer: Leon Yan
Photographer: David Yen


微信: TheOneYou-lz

 

供稿人与视频摄影师: Leon Yan
图片摄影师: David Yen

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The Woman Who Fell to Earth

May 26, 2016 2016年5月26日

 

无法观看?前往优酷

Corporate-owned musicians and songs dominate the airwaves in Japan. Someone like Venus Kawamura Yuki, an independent music producer and DJ, is a rare and special presence in the Japanese music scene. This Tokyo-born music muse was known as “the runaway” in Shibuya’s club scene almost two decades ago. Her parents divorced when she was three and her father took her in; but he believed that raising a child was not “a man’s job” and sent her off to live with her aunt.


企業などの組織や団体などが所有、コントロールするミュージシャンや楽曲が独占していると言っても過言ではない日本の音楽業界で、インディペンデント音楽プロデューサー兼DJであるヴィーナス・カラムラユキのような人物は、極めて珍しい存在である。この東京生まれの音楽ミューズは、ほぼ20年前に渋谷のクラブシーンで家出娘として知られていた。彼女は、3歳の時に両親が離婚し、父親に引き取られたが、育児など男のすることではないという考えの持ち主である父によって、叔母のもとに預けられた。

Venus’ aunt was a single woman working in the dressmaking business. She introduced Venus to her favorite fashion model, Sayoko Yamaguchi, as well as some of her favorite bands, like Yellow Magic Orchestra and Plastics. Venus was immediately hooked and got sucked into the world of fashion and electronic music. Eventually Venus’ father remarried, and she was sent back to live with her father and stepmother – but after moving back, she ended up not getting along with her stepmother. Venus ran away from home at the age of 18. Wandering through the nightscape of Tokyo, she would end up in clubs and often found herself dancing the night away. “Music really got me through these hard times,” Venus said.


縫製業で働く独身女性であったヴィーナスの叔母は、ヴィーナスに、彼女の大好きなファッションモデル・山口小夜子や、YMO、プラスチックスなどと言ったバンドを紹介し、彼女はたちまち魅了され、ファッションとテクノ・ミュージックの世界に引き込まれていった。その後、ヴィーナスの父が再婚し、彼女は父と継母のもとへ引き取られる。しかし、継母と折が合わず、18歳で家出してしまう。東京の夜をさまよい、クラブで一晩中踊る日々を過ごす。「音楽のお陰で辛い時期を乗り越えることができたんです」とヴィーナスは語る。

It was also around this time when she got the name that has stuck with her to this day. “I was in the powder room at one of these clubs. I was about to leave and someone called out to me, ‘You’re Venus!’ It was a total stranger. A beautiful foreigner.” That story immediately spread amongst her peers, and it became her nickname. “I’m not fond of it to this day, but it is the name I go by.”


そして、『ヴィーナス』と言う今日まで彼女に定着した名前が付けられたのもその頃であった。「ある夜、クラブのトイレで『あなたはヴィーナスね!』って言われたんです。まったく知らない人に。美しい外国人でした」。この逸話は、仲間内で瞬く間に広がり、彼女のニックネームとなった。「未だに好きじゃないんだけど、それが私の名前です。」

Having become a regular in the local club scene, the people she hung out with started to take notice of her good taste of music and her ability to captivate people’s attention. This led to her becoming a music promoter. “I didn’t speak a word of English, but I learned by myself and started to bring techno and dance music artists from all around the world to Japan,” she says. This career path developed into other opportunities for her, and Venus eventually became a DJ, then a music producer, then a singer and writer. Venus now writes columns, novels, and lyrics for Japanese anime series theme songs, such as Naruto and Bakuman. Venus also hosts her own weekly internet radio program on block.fm.


やがて、彼女は地元のクラブシーンの常連となり、彼女の仲間達は彼女の音楽センスの良さと人々を惹きつける才能に気づき始めた。それが、彼女を音楽プロモーターにさせた切っ掛けとなる。「英語は一言も喋れなかったけど、独学で覚えて、テクノやダンスミュージックのアーティストを世界中から日本へ招聘しました。」と、彼女は言う。この進路が別のチャンスへと発展し、ヴィーナスは、DJとなり、その後、音楽プロデューサー、さらにシンガーや作家となっていった。彼女は現在、コラム、小説などを執筆する他、『Naruto -ナルト-』や『バクマン。』といった日本のアニメ番組の主題歌の作詞も手がけている。また、block.fmにて自らのインターネットラジオ番組の司会も毎週務めている。

In 2010, she opened Shibuya Oiran, a DJ bar located in her beloved city of Shibuya. Her music platform Oiran Music later launched in 2014. “Meeting these female artists led to me starting Oiran Music,” she said of her serendipitous meeting of three female artists. One of them is Sakiko Osawa, who made her debut not from Japan, but from Amsterdam. The other two artists are Mako Principal and Namacolove. Mako Principal is a painter that has worked with famous Japanese artists like Makoto Aida and has exhibited work at renowned museums such as Mori Museum. Namacolove is a visual artist that was previously known for her fascination with sea cucumbers and uniquely illustrated characters.


2010年、彼女は自身がこよなく愛する街、渋谷にDJバー『しぶや花魁』を開店した。その後2014年には音楽プラットフォームOiran Musicを開設。「女性アーティスト達との出会いがOiran Musicを始めるきっかけとなりました」と、女性アーティスト達との出会いについて語る。その中の一人、Sakiko Osawa(サキコ・オオサワ)は日本でなくアムステルダムよりデビュー。もう一組のナマコプリは、マコ・プリンシパルとナマコラブという二人のアーティストによるユニットだ。マコ・プリンシパルは、会田誠などの有名アーティストとのコラボ経験を持つ画家で、これまで森美術館といった著名な美術館で展覧会を開催している。ナマコラブは、ナマコへの愛やユニークなイラストのキャラクターで知られたビジュアルアーティストである。

After meeting Namacolove and Mako Principal at Shibuya Oiran, Venus was instantly fascinated by their voices. She proposed the idea of making a song together, and thus the “artist idol unit” Namakopuri was born. Venus brought together these two artists, both of whom have no music backgrounds, and have been creating genre-bending music ever since. Their sound is an intriguing blend of trap music, techno music, and hyper kawaii pop vocals that’s bizarrely addictive. Only time will tell what other types of genre-defying sounds will come from these talented women in the future.


しぶや花魁でこの二人に出会ったヴィーナスは、二人の声に魅了され、一緒に曲を作ってみないか、と提案した。こうして”芸術家・アイドルユニット”ナマコプリが誕生したのである。ヴィーナスは、音楽的経歴を持たないこの二人のアーティストを引き合わせ、以来、ジャンルを超えた音楽制作を続けてきた。トラップとテクノミュージック、そして異様にハマってしまう超カワイイポップボーカルの不思議なブレンドが彼女達のサウンドの特徴である。将来、彼女達がどんな展開を見せてくれるのかは想像もつかない。

Website: ~/YukiKawamura
Soundcloud: ~/Namakopuri


ウェブサイト: ~/YukiKawamura
Soundcloud: ~/Namakopuri

Contributor, Photographer & Videographer: Yasuyuki Kubota


寄稿者、カメラマン&ビデオ撮影: Yasuyuki Kubota

The Aesthetics of ViSH

May 25, 2016 2016年5月25日

You’ve probably visited a vintage store at one point in your life – it’s often a small space filled with an array of items from different countries and periods of time. But in Shanghai’s French Concession, hidden beneath the leafy canopy of Julu road, lies a specialty vintage shop called ViSH. This store carries a a tightly curated collection of Scandinavian-designed products that exude elegance through simplicity. The store’s entire atmosphere breeds a sense of nostalgia and longing for simpler times. Neocha recently had the chance to speak with Annie, one of the founders of of ViSH, to find out more about her vision and what motivated her to open this unique store.


可能,形形色色的中古商店你已经闲逛了很多,那些来自于不同时期、国度的产品像一锅大杂烩聚集在一起,杂乱无序地堆砌在狭小空间里等你来走马观花。在上海,在法租界,在两旁梧桐遮天蔽日的巨鹿路深处,藏着一家专做斯堪的纳维亚设计风格的中古商店——ViSH实验上海。在这里,那些典雅、自然、简洁的物件儿一定会让你迷失在过去的光阴里,流连忘返。本次Neocha与ViSH实验上海主理人Annie的对话,将为大家呈现ViSH的运营理念。

Neocha: How did the name ViSH come about and when did the store open?

Annie: ViSH opened in 2012. The name ViSH is basically composed with two single words. The “Vi” comes from the word “vintage,” and “SH” comes from the word Shanghai. Initially, the store only had a Chinese name called Shiyan Shanghai (Experiment Shanghai). But because of more and more media coverage, we were repeatedly asked for our English name. So we decided to combine the words “vintage” and “Shanghai”.


Neocha: ViSH的名字是源自哪里?你们的店是什么时候开张的?

Annie: ViSH实验上海是我们2012年开的,我们选取英文“vintage”的前面两个字母,然后与上海的英文缩写“SH”结合组成了“ViSH”。起初我们仅有中文名“实验上海”,后来是因为国内外杂志媒体报道得多了,所以大家都希望有个英文名,之后我们才将“vintage”与“Shanghai”结合成“ViSH”。

Neocha: What is the concept behind ViSH? What inspired you to open a vintage store in the first place?

Annie: The vintage scene started becoming popular in Shanghai in 2012, so that’s why we opened the shop. Our store is actually one of the first places in Shanghai to sell products with a focus on Scandinavian aesthetics. Even prior to opening the shop, our home was furnished with a lot of vintage things. Truth be told, I loved the aesthetics of contemporary designs when I was younger. But due to financial reasons, I would often find myself in thrift shops, and that led me to the world of vintage items. Unexpectedly, I became more and more fascinated by them. I actually used to be working in a design company. When we opened this shop I guess it just felt like the right time. There weren’t many places to get what we’re selling at the time, so it felt like that there was a great demand and a void in the market. When friends would visit my house and see how the space was furnished, they always seemed to like it. So I felt like there was an opportunity for me to share these beautiful things with others.


Neocha: ViSH的背后有着什么样的一种概念呢?最初又是什么促使你开这样一个复古风格的店?

Annie: 之所以开这家店,是因为在2012年时vintage风潮在上海逐渐开始流行。我们算比较早做北欧风格这一类的店。以前家里面最早开始用的都是老的东西,说实话,年轻的时候也是喜欢新的设计,可是会受到经济上的制约,便开始去淘一些老的物品,后来慢慢地便越来越喜欢老的设计产品。我自己其实以前是在一家设计公司工作的,后来觉得也是个恰当时候吧,便开了这家中古商店。12年的时候上海没有那么多资源,我们觉得这个市场将会有很大需求。当身边的朋友看到我们家里用的东西也很是喜欢,所以后来我们就想将这些东西和大家一起分享。

Neocha: How do you curate your selection of vintage wares? Which areas around the world are you mainly obtaining your products?

Annie: As you can see, most of our merchandise are Scandinavia designed. It’s because I’m quite fond of designs from Denmark, Finland and Sweden. From the 1950s to 1960s, Scandinavian designs were considered to be some of the best. With their material and color usage, Scandinavian designs were considered to best represent the ‘modern aesthetics’ of the era. Besides their coloring choices, Scandinavian designs were also known for their simplicity. This is why we painted the walls of our shop so vibrantly. Honestly, there are so many vintage stores in Shanghai and everyone has their own style. We just want to create a modern and colorful space.


Neocha: 通常你们都依据什么标准去选择这些老物件儿的?哪些区域是你们获取这些东西的主要来源?

Annie: 其实你可以看出,我们现在大部分产品都是北欧风格。这主要因为我个人比较偏向丹麦、芬兰、瑞典的设计。在上世纪50-60年代的时候,北欧的设计是比较厉害的,不管是用料还是颜色,都比较modern,比较简洁。这也是为什么我们将店的主色调设定比较明快的原因。说实话,上海的中古商店有很多,每家都有自己的风格,我们想营造的便是很多彩很摩登的那种。

Neocha: What is it about these areas of the world makes you gravitate towards them to stock your shop?

Annie: Even though Scandinavian designs are simple, you can find many details in the simplicity. In the 1950s and 1960s, there was shift in mentality, and people had emphasis on lifestyle. On top of that, the region has is rather nature in terms of geography and climate. The winters are extremely long and people will spend most of their time at home. This in turn led to a demand to meet higher lifestyle expectations.

So that’s why the majority of our products are from the Scandinavian region. Of course, a small portion of our products are also from Germany and America. We only pick products that we feel like would be a good fit for our store. For example, we might like Rococo-style designs, but a piece like that wouldn’t easily work in someone’s house. As you can see, our selection of products lean towards a more contemporary Scandinavian style that can be easily integrated into people’s homes. People can easily purchase one or two items, and not necessarily buy an entire collection of matching items. We place a lot of importance on quality. So consumers can easily buy something, bring it home, and immediately use it.


Neocha: 那又是什么一直驱使着你们去这些地方淘换这些东西呢?

Annie: 北欧的设计虽然很简洁,但是你可以发现细节设计上有许多巧思蕴含其中。因为上世纪50-60年代的时候,人们对生活品质的追求越来越高,此外,斯堪的纳维亚独特的地理气候条件也是原因之一。那里的冬季漫长,人们大部分时间在家里面渡过,这使得他们对生活方式有更高的期许。

店里面大部分物品是北欧那片的,当然也有小部分可能是德国和美国的,我们只选适合我们店风格的东西。不像其他老的东西,可能你喜欢洛可可风格的,买一件回去却很难融入到家里去。我们所选择的这种比较现代的北欧风格,可以非常容易融入你现在的家。人们可以很简单地买1-2件单品,不需要购入一大堆同样风格的东西,便很容易融入到自己家庭。并且,在收这些商品的时候,我们十分注重品质的把控,从而方便消费者们买回去直接投入日常使用。

Neocha: ‘Vintage is the new modern.’ Can you tell us more about this concept?

Annie: In my opinion, the phrase ‘vintage is new modern’ is about incorporating vintage aesthetics in our modern life. You can find links between modern designs and classic designs from so many contemporary designers. I also consider Scandinavian designs from the 1950s and 1960s to still be fantastic to this day.


Neocha: 可以深入谈谈“vintage is the new modern”这一概念吗?

Annie: 我认为“vintage is new modern”就是把复古带到现在的生活中。当下很多设计,包括大品牌的设计,都可以看到以前经典设计的影子。所以,50-60年代的斯堪的纳维亚设计,就当下你看到的很多设计,尤其是家具和家居设计来说,它的家具设计依旧是非常棒的。

Neocha: What do you do to set yourself apart from the other stores that are similar to yours in Shanghai?

Annie: There are actually so many different vintage stores in Shanghai, and they are all quite different from one another. Our store stubbornly follows our own rules. We don’t want to just follow trends. We just want to collect vintage things we like. As a result, what we sell in our store are things we adore rather than keep up with trends. Therefore, I consider a distinct characteristic of our store to be our insistence to keep only selling what we like. So when people see these items in different places – no matter private homes or public spaces, they can easily spot they originated from ViSH. We hope we can be trendsetters, rather than simply blindly chasing trends.


Neocha: 在上海众多相仿的中古商店中,你们是如何让自己的店脱颖而出的呢?

Annie: 其实在上海,大大小小不同的中古商店非常多。当然大家有自己不同的风格。我们的店一直坚持只做自己,不追风,不跟潮流走,永远只淘自己喜欢的东西。我们出售的东西,都是因为我们自己喜欢才淘回来的,而不是积极去迎合市场,大家流行什么就去买什么卖什么东西。因此我们的店便有了自己的一些特色在里面,便是我们坚持只做自己喜欢的东西。所以当大家在很多地方——无论是朋友家抑或是公共场合,看到我们的东西都能一眼认出来,“哦,这是来自ViSH实验上海的东西 ”。我们希望能够做到拥有这种标志性,而不是去盲目地跟风他人。

Neocha: Tell us a couple of your favorite products of all time. Which are some of your favorites you’re currently carrying in store? Why are these your favorites?

Annie: To be honest, I love everything in the store. I’m motivated to want bring these things to Shanghai and share them with others because I’m truly passionate about it. So I hope my customers can be people who really know and appreciate vintage designs. They can provide these items a new home. Rather than seeing our products as a mere consumer good, we want our customers to be people that can cherish these items and pass them down to their offsprings for generations to come. We’ve became friends with a lot of like-minded people since the store opened. In our shop, a small portion of items aren’t actually for sale. There are things you simply can’t buy with money. Some vintage items are quite rare and you might not have a chance to come across them again. Great things are harder and harder to come by – so that’s why some of our things aren’t for sale to the public. For example, I’m not willing to sell some of the things that I got from New York’s MoMA – I’d rather keep them for myself. But we’ll still display some of these things we consider to be priceless to visitors.


Neocha: 告诉我们你一直最喜欢的商品是什么类别?目前在店面里面有哪件商品最得你芳心?为什么?

Annie: 其实店里的东西都是我最喜欢的。因为喜欢,我才会淘回来,然后再分享给大家。我希望有懂的人把这些东西领回去,成为它们新的主人,好好爱惜它们,再流传下去,而不是花钱把它们当消费品购买回去。所以开这个店以来,我们也交了很多志同道合的朋友。店里有一小部分非卖品,因为有些东西不是有钱就可以买到,许多古老的东西有的可能本身就一件两件,可能是你以后再也遇不到的东西,好的东西是越来越少的。比如说,我们店里有像纽约MOMA设计博物馆收藏的一些东西,这些我自己是真的不舍得出售的,会自己保留下来的,当然有一些会作为镇店之宝,提供给客人欣赏的。

Neocha: Are there other projects on the horizon? What are your long-term plans for ViSH? Are there any particular products coming soon you’re particularly excited about?

Annie: Actually, new products are constantly added into our store. Every year, we travel out the country in search of future products. We even have a supplier in Denmark that provides us a steady supply. They help us find items that will be a good fit for our shop. As for the long term, I hope ViSH can become larger and have even more different products available. We want people to envision these items being a great fit for their homes when they browse our selection. Our shop is pretty small right now, so it’s hard to execute our concept. In the future, I hope to have a larger space. I want to put together a display kitchen, living room, and bedroom that consists of all vintage furnishings. There would also be a café in this same space with the same vintage theme. The chairs customers can sit on, the glassware, and so on would all be vintage. I hope I can spread this love of vintage things to more and more people.


Neocha: 之后还会上架哪些产品? ViSH有什么长期计划?有没有一些你比较钟意并且特殊的产品即将上线?

Annie: 我们一只都有新的产品在上架,每年我自己会出去几次。甚至在丹麦也有我们的供应商,长期对我们供货,并根据我们的要求,去找我们喜欢的东西。至于ViSH的未来,我们当然想有一个很大的展示空间,设置不同的场景,客厅、厨房、房间等。在这样的一个vintage展示厅,用场景展示给大家参考,这个东西我买来可以放在家里什么位置。现在店铺比较小,比较局促,没办法实现这种方式的展示,将来的话我想做得更全面一点。我的梦想是,在这个大空间种有个小的区域,做一个vintage咖啡。客人坐的凳子,用的杯子,都是vintage的东西, 我想把这种文化带给更多的人。

Address:
No. 37, Lane 820, Julu Road,
Jing’an District, Shanghai
People’s Republic of China

Hours:
13:00pm ~ 18:00pm
Closed on Mondays

Weibo~/Experish

 

Contributor & Photographer: Tom Zhang

 


地址:
中国
上海市 静安区
巨鹿路820弄37号

营业时间:
13:00 ~ 18:00
周一定休

微博: ~/Experish

 

供稿人与摄影师: Tom Zhang

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A Matter of TASTE

May 23, 2016 2016年5月23日

TASTE is hidden deep in Shanghai’s Tianzifang area, a dense compound of small alleyways and shops on the edge of the French Concession. At once a shop space, gallery, café and restaurant, TASTE is the treasure trove and creative playground of owners Viko and Yutaka, a husband and wife duo whose combined backgrounds in photography and fashion design make their mark on every inch of the space. On the ground level of the shop, the deceptively small space holds a carefully curated collection of goods sourced from the owners’ travels around the world. Upstairs, a minimal display room leads visitors into a spacious café, a dramatic alcove, and an expansive lounge area set to become a restaurant in the near future.


TASTE深藏于上海法租界边上的田子坊,在这片密集的弄堂小巷和商铺间,大隐隐于市。既算购物空间、画廊,又作咖啡馆,餐厅,这里是藏宝地,也是VikoYutaka夫妻二人的乐园。作为这里的店主,他们拥有摄影和服装设计的背景,这个空间的一尺一寸都打着他们的个人印记。楼下的门面,出乎意料的小,但摆着店主们世界各地旅行中精心挑选出来的货品。楼上,穿过一个极简展示的空间,便是开阔的咖啡厅,引人注目的壁龛,宽阔的沙发区,这些将在不久的将来汇合成一个餐厅。

The concept of TASTE is playfully modeled on the idea of brainwaves, says Viko. Entering TASTE is meant to be like walking into a person’s brain. The space can be defined infinitely – it’s unlimited in its possibilities. The space itself is constantly growing and learning as humans do.


TASTE的概念玩味性地建立在脑波的主意上,Viko说。走进TASTE就像走进一个人的大脑。这个空间可以有无限种定义,无限种可能。它本身在不停地成长变化,犹如人类一样渐学渐进。

Coming from a family who loves antiques, Viko started collecting as a young child. Small objects and perfumes were especially attractive to her. After becoming a documentary photographer in 2009, she traveled around the world, bringing small objects from far-flung places. As her collection grew, she decided to open a shop so that these carefully selected treasures could be shared with more friends and outsiders. TASTE is the result: an ever-changing space filled with many curiosities, stories, and experiences.


来自一个古董钟爱者家庭的Viko,自小便开始收藏。小物件和香水对她来说总有特别的吸引力。在2009年成了一名纪实摄影师之后,她行走世界各地,把远方的小物件搬运了回来。随着藏品越来越多,她决定开一个店铺。这样,她就可以把这些经过细心挑选的宝贝分享给更多朋友了。TASTE就是这么来的,一个总在变化的空间,一个充满了奇珍异品、经历故事的空间。

Walking through the TASTE space, there are markedly distinct personality shifts in each room. Viko says, “For the new TASTE Space, we had this idea that it would be like a musical score. The first floor is weird and decorative, while the second floor is warm and light-filled. There’s a friendly and sunny coffee area. Finally there’s a quiet and solemn exhibition zone. The space gives surprises, which I love, and it’s a surprise for everyone.”


在TASTE,每个房间都有着各自独特的个性。Viko说: “关于这个新的TASTE Space,我们当时有这样一个想法,就是让它看起来像个乐章。现在,一楼古古怪怪,富有装饰性的;二楼是温暖的,灯光盈盈;还有一个阳光直射得到的、轻松友好的咖啡区。最后,我们还有一个安静、单独的展览区。这个空间常给人带来惊喜,这点我很喜欢,这种惊喜是为每一个人准备的。”

In the megacity of Shanghai there are few things which can’t be found; however, the collection at TASTE includes perfumes, cutlery, leather goods, and beautiful objects that have no functional use. One-of-a-kind things or product sourced from small international labels are clustered together, ranging from jewelry, coffee devices, stationary, money clips and wallets, to tailor-made scissors, rare scents and aromas, and unique ceramic pieces.


在上海这样的大城市,很少有你找不到的东西。尽管如此,TASTE充满了香水、餐具、皮具,还有一堆并没有实际用途的漂亮东西。来自全球各种小品牌的孤品,在这里汇集在一起,从珠宝、咖啡具、文具、钱夹钱包,到裁缝剪刀、稀有香氛,再到独特的陶瓷器品,应有尽有。

“I’m looking for creations which grab my eye, no matter where it’s from, who made it, if it is new or antique. I want to share these wonderful things with more people. That is the essence of TASTE,” says Viko Wu.


“我正在寻找的是能够抓住我眼球的东西,不管它来自哪里,由谁创作,也不管它是新的,还是旧的。我想把这些美好的东西和更多的人分享。这也是TASTE的本质。”Viko Wu说道。

Address:
Room: 105, Bld: 3rd, Lane: 210 Taikang Rd
200025 Shanghai, China

Website: taste-shop.com
Facebook: ~/thetasteshop
Weibo: TASTESHOP

 

Contributor & Photographer: Jia Li


地址
中国,上海市
泰康路210弄3号楼105室

网站: taste-shop.com
脸书
: ~/thetasteshop
微博TASTESHOP

 

供稿人与摄影师: Jia Li

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Starcrossed Tattoo

May 20, 2016 2016年5月20日

 

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The tattoo industry in Hong Kong kickstarted during the colonial era, when navy ships would dock by the masses in Victoria Harbour. Thousands of sailors would get inked on these foreign shores and then set sail again with their custom pieces. Tattoo legends like Jimmy Ho, whose father was one of the first tattoo artists in Hong Kong, are still tattooing today. Even though there is a relatively long history of tattooing in Hong Kong, it is only in the recent years that this city has seen vast expansion and diversification in the industry.


香港的文身行業可追溯到殖民時代,那時候大量的軍艦停靠在維多利亞港,成千上萬的水手都會在這異國的海岸上嘗試文身,然後帶著屬於自己特有的印記再次揚帆起航。像何惠民這樣的文身界傳奇們,一直到今天仍從事這個行業,其實他的父親就是香港第一批文身師。雖然文身行業的發展在香港有著相對長久的歷史,但也僅僅是在近些年,文身才在這裡有了快速和多樣化的發展。

Over the last three years, Hong Kong has held a Tattoo Convention annually in September. The convention has been one of the main driving forces behind the recent boom in Hong Kong tattoo culture. The convention gathers visiting artists and exposes the general public to the art form in new and innovative ways. The media has also played an integral role in this development. Shows like LA Ink have created a ripple effect throughout the world, even reaching the distant shores of Hong Kong. It is things like this that are taking tattooing from being something that was previously a bit lowbrow or taboo, and transforming it into a mainstream and sellable art form.


在過去三年裡的每年九月,香港都會舉辦國際文身大會。這個盛會成為了近年來不斷促進香港文身文化繁榮發展的一大動力。大會吸引了眾多文身藝術家的到訪,並以一種全新的方式向公眾展示這一種藝術形式。媒體的參與,也在這個發展過程中發揮了必不可少的作用。像《LA Ink》這樣的電視節目,在世界範圍內如漣漪擴散一般傳播來,甚至得以激盪到香港這般遙遠的海岸。正是由於這些多方的努力,文身才從曾經帶著低俗或禁忌的標籤逐步轉變為主流和走俏的藝術形式。

Hong Kong will always be a dynamic community as it continues to be one of the world’s most transient international cities. Tourists, short-term contracts, cruise ships and mini stopovers all promote a random flux of diversity into the tattoo market. Rich Phipson, co-owner of Starcrossed Tattoo, said that it is due to this that their shop doesn’t have a particular client base. They indulge a very wide variety of customers from all over the world. It goes without saying though that Starcossed Tattoo has a large group of regular clients who have a particular preference regarding the artist they use.


作為一個移民性的世界都市,香港社會永遠充滿了流動性。旅客、短期工、遊輪和小型中轉遊船……所有這些都為這裡的文身市場增添了一種隨機的多樣性。文身店Starcrossed Tattoo的老闆之一Rich Phipson表示,他們的文身店沒有特定的顧客群,取而代之的是來自世界各地各種各樣的人群。自不必多說,Starcossed擁有龐大的常規客戶群,這些顧客對文身師都有自己的偏好。

Starcrossed currently has four artists: Ross Turpin and Rich Phipson from South Africa, who own the shop; Jack from Hong Kong; and Michael, who has been an apprentice for a couple years and is now tattooing clients. Each of the tattoo artists has his own unique visual style but a unifying quality in their work is their bold use of colour.


Starcrossed目前有四個文身師:來自南非的兩位店主——Ross Turpin和Rich Phipson;香港的Jack,以及經過幾年學徒生涯,如今已成正式文身師的Michael。他們每個人都有自己的文身風格,不過這幾人有個相同點就是他們在用色上都非常大膽出色。

In current society – and especially in a place as diverse and vibrant as Hong Kong, people have the freedom to construct their own sense of self. Identity is less likely to be wrapped up in things like one’s profession, social status, or race. Freedom of expression and tattoos contribute to the creative composition of the modern day individuals’ identity.


在當今社會,尤其是像香港這樣多元和充滿活力的地方,人們都可以自由地進行自我意識構建。每個人的身份構建不再完全由職業、社會地位或者種族等因素所決定。個人表達和文身的自由,都有助於當代人群創造屬於自己的個體身份特徵。

Websitestarcrossedtattoo.com
Instagram: @starcrossedtattoo

 

Contributor, Videographer & Photographer: Mireille Paul


網站starcrossedtattoo.com
Instagram: @starcrossedtattoo

 

供稿人、視頻與圖片攝影師: Mireille Paul

The Creations of Minifanfan

May 19, 2016 2016年5月19日

Eng Gee Fan creates under the fitting, self-given pseudonym of Minifanfan. This 152cm tall Malaysian Chinese artist is a self-professed lover of “minimalism,” “bob cuts,” and “tomatoes” – her unorthodox list of interests is quite revealing of her quirky personality. But besides being well known for her cute illustrations, she also handcrafts cards, pins, and pillows that feature the recurring characters from her fantasy world. Minifanfan likes to describe her illustrations as “happy drawings for happy people,” and her ultimate goal is a rather simple one: she wants to spread joy and happiness to people through her art.


Eng Gee Fan berkarya dengan nama Minifanfan, yang dicipta sendiri dan sesuai dengan nama asal beliau. Dengan ketinggian 152cm, artis Malaysia berketurunan Tiong Hua ini mengaku sebagai pendukung minimalisme, gaya rambut “bob cut” (potongan serkup) dan tomato – senarai minat beliau yang tidak ortodoks memperlihatkan personaliti beliau yang agak berlainan. Tetapi, selain terkenal kerana ilustrasi beliau yang kelihatan comel, beliau juga menghasilkan kraftangan berbentuk kad, pin dan bantal yang memaparkan watak-watak yang sering muncul dalam dunia fantasi beliau. Minifanfan memerihalkan ilustrasi beliau sebagai “lukisan menggembirakan untuk orang yang gembira,” dan matlamat utama beliau agak mudah – beliau ingin menyebarkan kegembiraan dan kebahagian kepada orang lain melalui karya seni beliau.

Minifanfan traces her great love for illustration all the way back to her childhood days when she would watch the Sailor Moon anime series. She would later go on to major in visual communication in art school. During her studies, one of her professors continuously encouraged her to step out of her comfort zone; his encouragement helped Minifanfan come into her own as an artist. Heeding his advice, she began attending art markets and it was there that she discovered her interest with handcrafted items. In her early days as an artist, Minifanfan was content with just knowing people enjoyed her work; but in recent years, she decided to focus on seriously pursuing art as a full-time job. Slowly but surely, Minifanfan began building a cute imaginary world populated with her diverse illustrated characters.


Minifanfan belajar komunikasi visual semasa di kolej, tetapi menjejak kembali minat beliau terhadap ilustrasi semenjak zaman kanak-kanak lagi sambil menonton anime Jepun, Sailor Moon. Ketika di universiti, salah seorang profesor beliau secara berterusan telah menggalakkan beliau keluar daripada zon selesa beliau, dan Minifanfan percaya ini telah meninggalkan kesan ke atas dirinya, yang berkekalan hingga ke hari ini; Pada sekitar waktu inilah beliau mula berjinak-jinak dengan pasar seni, di mana di situlah beliau menanam minat dalam ilustrasi dan barangan kraftangan. Pada mulanya Minifanfan berpuas hati setakat ada beberapa orang yang meminati hasil karya beliau. Tetapi selepas menamatkan pengajian, beliau memutuskan untuk menumpukan sepenuh perhatian untuk menjadikan seni sebagai kerjaya sepenuh masa. Secara perlahan-lahan namun pasti, Minifanfan mula membangunkan dunia khayalan comel yang dihuni oleh pelbagai watak ciptaan beliau.

Minifanfan now spends her days with her boyfriend living a calm and quiet life in Perlis, the smallest state in Malaysia. Their house is home to two dogs and seven cats – she admits that most of her animal-centric illustrations were inspired by her pets. Even though her illustrations are still an important part of her life, she has started placing more focus on her handcrafted products. “Besides only drawing, every artist should also be able to create real tangible work with their own two hands. The advanced state of technology today allows us to easily create and design, but products that are handcrafted can’t be replaced by technology,” she says. Despite initially creating her handmade products with restrictions due to budget, her cute DIY creations are now widely praised and has garnered attention from an international audience.


Minifanfan kini menghabiskan hari-hari beliau bersama teman lelakinya di negeri Perlis, negeri terkecil di Malaysia. Mereka juga membela dua ekor anjing dan tujuh ekor kucing. Kebanyakan ilustrasi berasas haiwan beliau diinspirasikan daripada haiwan peliharaan beliau ini. “Selain sekadar melukis, seorang artis hendaklah juga mencipta hasil kerja yang nyata dengan tangan mereka sendiri Teknologi maju pada hari ini membolehkan kita mencipta dan mereka bentuk dengan mudah, tetapi produk yang dihasilkan dengan tangan tidak dapat digantikan oleh teknologi,” ujar beliau. Dengan permulaan yang sederhana dalam menghasilkan produk buatan tangan beliau dengan modal yang terhad, hasil karya beliau kini mendapat pujian meluas dan telah mendapat perhatian daripada peminat di persada antarabangsa.

“I think that I succeeded in becoming an artist because of my optimistic outlook,” Minifanfan says. Sadly, she speaks of not having a particularly happy childhood. But instead of letting that dampen her spirits, she actually considers it to be the reason for her fascination with the notion of happiness and a source of motivation. “I told myself I can’t make everyone happy, but I have the ability to make myself happier,” she says. Although Minifanfan understands that there is no formula to becoming a successful artist, she believes her optimism and gratitude greatly contributed to her own creative growth. With enough persistence and motivation to create, you can overcome any hardships as an artist, she says.


“Saya rasa saya berjaya menjadi seorang artis kerana pandangan luaran saya yang positif,” ujar Minifanfan. Malangnya, kehidupan zaman kanak-kanak beliau tidak begitu bahagia – tetapi daripada ia melemahkan semangatnya, beliau menganggapnya sebagai sebab mengapa beliau teruja dengan gambaran sebuah kebahagiaan dan juga menjadi sebab beliau ingin menyebarkan kebahagiaan. “Saya berkata kepada diri saya sendiri, saya tidak dapat membahagiakan semua orang, tetapi saya mampu menjadikan diri saya sendiri lebih bahagia,” ujar beliau. Walaupun Minifanfan memahami bahawa tiada formula untuk muncul sebagai artis berjaya, beliau percaya sikap optimis dan rasa syukur beliau adalah unsur utama yang menyumbang kepada perkembangan beliau sebagai seorang artis. Dengan ketabahan dan motivasi yang mencukupi untuk berkarya, anda mampu mengatasi apa-apa sahaja kesukaran hidup sebagai seorang artis, kata beliau.

Many artists, especially independent ones, face the challenge of negotiating a fair price for their work and struggle to make sustainable income off of their art alone. There are very few artists that are fortunate enough to live a comfortable life off royalties and commissioned works. Minifanfan is no exception to these hardships. Her advice for younger artists that plan to pursue their art full-time is for them to have another source of income on the side. “I put my work in creative markets, sell and ship out my own products, license my art, and do commissioned work. I will sometimes even work outside of my signature illustrative style for commercial jobs just to make some extra money. With the internet nowadays, it’s possible to discover different methods of earning money. Staying resilient and being able to adapt quickly are important traits for artists in this era.”


Ramai artis, terutama artis bebas, menghadapi cabaran dalam merunding harga yang wajar dengan usaha dan susah payah mereka, untuk menjana pendapatan lestari daripada karya seni mereka semata-mata. Terdapat sebilangan kecil sahaja artis yang cukup bernasib baik dapat hidup dengan selesa hasil daripada royalti dan tempahan. Minifanfan tidak terkecuali daripada menghadapi jerih payah ini. Nasihat beliau kepada artis-artis lebih muda yang memburu kegiatan seni sebagai kerjaya sepenuh masa ialah agar mereka mencari pendapatan lain sebagai tambahan. “Saya meletakkan hasil karya saya dalam pasaran, menjual dan menghantar produk saya sendiri, melesenkan karya saya dan menerima tempahan. Kadang-kadang saya akan menghasilkan karya berbeza daripada gaya ilustrasi tersendiri saya demi kerja-kerja komersial semata-mata untuk memperoleh wang tambahan. Dengan Internet pada zaman ini, ia telah memungkinkan kita untuk meneroka kaedah lain untuk memperoleh pendapatan. Mengekalkan ketabahan dan mampu menyesuaikan diri dengan pantas adalah sifat penting untuk para artis pada zaman ini.”

Minifanfan feels like the creative community in Malaysia isn’t that active when compared with other countries. Malaysian companies don’t respect creatives as much as they should and that results in creative work being severely undervalued. Despite these harsh realities, she expresses optimism for the future of Malaysia’s creative scene. In her view, Malaysia is a very ethnically diverse country, and this represents an untapped well of diverse creators. She urges artists to decline unfair compensations for their creative work and help foster healthy competition that will ultimately benefit the developing creative scene in the region.


Minifanfan merasakan bahawa komuniti seni kreatif di Malaysia tidaklah begitu aktif jika dibandingkan dengan bandar raya antarabangsa yang lain. Syarikat-syarikat di Malaysia tidak menghargai seni kreatif seperti sepatutnya dan ia menjadikan nlai karya-karya seni berada di bawah daripada yang sepatutnya. Walaupun menghadapi kenyataan yang menduga ini, beliau melahirkan rasa optimis terhadap masa depan dunia seni kreatif di Malaysia. Pada pandangan beliau, Malaysia merupakan negara berbilang bangsa, dan ini mewakili sekelompok pekarya yang berkepelbagaian, yang masih belum diserlahkan bakat mereka. Amaran beliau ialah agar para artis tidak menerima imbuhan yang tidak wajar untuk hasil karya kreatif mereka demi memupuk persaingan sihat yang akhirnya akan dapat membantu perkembangan dunia seni kreatif.

In the future, Minifanfan plans to recreate some of her favorite films and songs in her signature illustrative style. On top of that, she will also start working on even more diverse handcrafted products. For The Handmade Fair, which takes place in England in September, she will be working alongside three other independent brands under the name Twinkle Fingers. The small group will be representing the Malaysian handcraft scene in all of its glory. With whatever free time she has left in this busy year, she hopes to continue improving on her craft and see where her creativity takes her.


Untuk masa depan beliau, Minifanfan merancang untuk menghasilkan semula filem dan lagu kegemaran beliau dalam gaya ilustrasi beliau yang tersendiri. Selain itu juga, beliau akan mula menghasilkan lebih banyak kepelbagaian barisan produk kraftangan beliau. Untuk Pameran Kraftangan England, beliau akan bekerjasama dengan tiga jenama bebas lain di bawah nama Twinkle Fingers sebagai mewakili dunia kraftangan Malaysia yang serba gemilang. Dengan masa lapang yang dapat beliau asingkan pada tahun yang sibuk ini, beliau berharap untuk terus memperbaiki karya kraf beliau dan melihat sejauh mana daya kreativitinya dapat melangkah.

Website: minifanfan.com
Facebook~/minifanfan
Instagram@minifanfan
Etsy~/minifanfan

 

Contributor: Banny Wang
I
mages Courtesy of Minifanfan


Laman web: minifanfan.com
Facebook~/minifanfan
Instagram@minifanfan
Etsy~/minifanfan

 

Penyumbang: Banny Wang
Imej adalah dengan ihsan Minifanfan

Viberoom Hangzhou

May 18, 2016 2016年5月18日

 

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Viberoom is a music and nightlife event label founded by Hangzhou native DJ D’Rocc, a veteran who’s been involved the local hip-hop scene for the last 15 years, beginning with breakdancing before transitioning into DJing and organizing parties. Against the cultural backdrop of the historic city of Hangzhou, D’Rocc now brings a unique perspective by combining his understanding of traditional Chinese culture and philosophy with his respect for the origins and legacy of hip-hop. Viberoom frequently organizes nightlife events in and around the city of Hangzhou. Neocha spoke to D’Rocc about his thoughts on music, culture, and society.


Viberoom是个音乐和夜生活品牌,由杭州本土DJ D’Rocc创办。他是位拥有15年玩龄的hip-hop文化老玩家,在做DJ和组织活动派对之前, D’Rocc最初以跳街舞开始。有悖于杭州这座历史名城的文化背景,通过融合他对中国传统文化的理解,以及对hip-hop起源和传统的尊重,D’Rocc带来了一个独特的视角。Viberoom时常在杭州内外组织夜生活活动。NeochaD’Rocc就后者在音乐、文化和社会上的一些想法进行了一番对话。

Neocha: How did you get started as a DJ?

D’Rocc: When I was breakdancing, I would enter a lot of competitions, but I was never satisfied with the music there. I felt that there weren’t any good DJs in China – the music they played didn’t have emotion. It didn’t let the dancers fully express themselves, and it didn’t create a party vibe. So I would watch a lot of old hip-hop videos, and that led to me understanding the most important part of a party was the vibe. If you knew how to control the vibe, then people would have more fun, and you can host better parties and events. Personally, I’ve had the experience of listening to a song, and just by listening I’ll feel more conscious and inspired, then I’ll want to share this listening experience with others.


Neocha: 你最早是怎么开始做DJ?

D’Rocc: 以前跳的时候,我已经开始参加很多街舞比赛,在那些地方已经开始对音乐不满意,感觉那时候国内没什么好的DJ。他们放的音乐,没有很多情绪去推动,去让舞者发挥得更好,让整个气氛更像一个party。我一直看很多很多老的视频,能感觉到里面内容主要是在于整个气氛。然后如果你能调节整个气氛的话,可能这个活动,可能大家会玩得更开心,更好。我之前听到过很多好听的音乐,听了之后感觉,哇,有所启发,感觉自己变聪敏一点了。我希望让这个音乐都能被大家听到。

Neocha: Where did the inspiration for Viberoom come from?

D’Rocc: Viberoom was definitely inspired by a lot of foreign music brands and collectives. I felt that Hangzhou also really needed a space that was just for music. Before, we had an actual Viberoom space here, but now we primarily do events in different places. “Vibe” represents a kind of mood or atmosphere – a state of mind that people can sync into together. The roots of Viberoom are hip-hop, turntables, records, and sharing music. Viberoom isn’t loud, or so in your face. It is a very chill place that’s suitable for a city like Hangzhou. We need a space that’s suited to the slow and relaxed atmosphere of Hangzhou – one that allows us to uplift ourselves through a more positive lifestyle.


Neocha: Viberoom的概念是从哪儿来的?

D’Rocc: Viberoom的概念肯定是受国外的一些音乐厂牌的影响,是有这样的一个启发。但是,我觉得杭州这个城市很需要一个房间,一个音乐的房间。之前我们有一家实体店,现在主要是在不同的地方做活动。Vibe的意思就是一种气氛、一种心情,大家达到了一种感觉。这种房间的roots就是hip-hop的一些roots,有唱片,有turntable,然后有人分享音乐。不管怎么样,不是一个很吵杂,很闹的环境,而是一个很安静、很chill的环境,也很适合杭州这样的一个环境。我们在杭州本身轻松舒缓的节奏中追求一个更好的生活方式。

Neocha: What is your definition of hip-hop?

D’Rocc: Hip-hop is now mainly just pop culture. Many young people across the globe are having fun with it, but I feel like most people are just blindly following a trend or fashion. Since there are so many flashy elements to it, a lot of people will be attracted to its surface appeal. In modern society, people might think that hip-hop is getting better because more and more people are aware of it. From my perspective, it’s lost a lot of its creativity, originality, and artistry. But, when I was younger, I also didn’t understand it completely. After being involved with hip-hop for many years, I realized that it was more about a kind of lifestyle. To me, this kind of lifestyle is uplifting, optimistic, and full of positive energy. It has a spiritual side. It’s like in skateboarding, when you fall off the board, you want to get back on again because you want to improve and transcend yourself.


Neocha: 你对hip-hop的定义是什么?

D’Rocc: Hip-hop给我的感觉就是流行文化吧。全世界的年轻人都在玩,但我觉得大部分是在盲目地追求这个潮流、这个现象吧。因为这里面有太多先锋的事物、想法,所以很多年轻人想去感受这种东西吧。整个社会都认为hip-hop文化越来越好,因为大家都接受了,但是它其实失去了一些很艺术性、很原创性的东西。

我年轻时候可能也不太懂吧,但是如果你能坚持到后面可能就会体会到,这个不过就是一种生活方式而已。这样的生活方式会给人一种积极向上的乐观,它有一种潜移默化的能量在推动自己变得更好。这就是它背后的精神。就像玩滑板,你掉下来,摔了,你还会去尝试第二次,因为要突破自己。

Neocha: What are your thoughts on the future development of Chinese society?

D’Rocc: I feel like a civilized Chinese society will be like this: the architecture and culture will always preserve the best things from Chinese civilization and history, but these traditional elements will be incorporated into a modern technological lifestyle. This kind of culture will be very uplifting for Chinese society. Before, I’ve heard Jack Ma say this as well, that what a Chinese education lacks the most in is music, art, and athletics. When I was growing up, I felt the same way, and that most of the things I learned in school were useless. The Chinese education system is designed to create robots and obedient people. Of course, this society needs regulations, but from a far-sighted perspective, I don’t think that it’s the best way.


Neocha: 你对于中国社会未来的发展是怎么看待的?

D’Rocc: 我觉得如果是一个有文化的国家会变成这样子:所有的建筑、所有的文化都一直保留着中国最好的东西的感觉,可是这些都是融入到现代生活当中,全部都是跟世界平行的。这样的生活方式会提高中国人。因为之前看到马云也在说的,中国教育最缺少的就是音乐、美术和运动。我自己一路过来也是这种感觉。基本上,学校教的东西都是没用的,它只是把你培养成一个机器人,或者一个服从者。当然,这个社会需要有一些规则吧。但是我个人认为,从长远来看,这并不是一个非常好的现象。

Website: soulkingz.lofter.com

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of D’Rocc
Archive Video Footage from Born Invincible (1978), Game of Death (1978), Style Wars (1983), k-os – The Love Song (2006), Detours: An Experimental Dance Collaboration


网站: soulkingz.lofter.com

 

供稿人与视频摄影师: George Zhi Zhao
图片由D’Rocc提供
档案素材来自 Born Invincible (1978), Game of Death (1978), Style Wars (1983), k-os – The Love Song (2006), Detours: An Experimental Dance Collaboration

The Art of Sun Yunfan

May 17, 2016 2016年5月17日

Sun Yunfan is a multifaceted artist who has the ability to transform mundane subjects into whimsical and unpredictable pieces of art. Yunfan’s creativity isn’t confined to a single medium – her work includes art books, paintings, collages, drawings, installation art, and even films. “For today’s artists, cross-disciplinary practice is becoming the norm,” she says. “I’m not interested in the modernistic endeavor of revealing the ‘limit’ or ‘essence’ of different mediums. I’m interested in finding what can be done with them. I see myself as a cook, and depending on what produce and inspiration I have, I might cook a soup in the morning and then bake a dessert at night. They are different projects.”


孙云帆是位艺术家多面手,她可以做到将平凡无奇的对象转化为难以预料的古怪艺术作品。其作品包括手工艺术书、油画、拼贴、绘画、装置,甚至短片,她的创意从未受限于单一媒介。“今天艺术家们跨界创作已经司空见惯,”她声明道,“我无意像个现代主义者那样殚力于‘揭示’各种媒介的‘本质’和‘极限’。我对这些媒介到底能被用来做什么更感兴趣。就像个一厨子,取决于今天有什么原材料和灵感,我也许早上炖一锅汤,晚上烘培一道甜点。它们都只是不同的项目。

Growing up between Shenzhen and Shaanxi, the now Brooklyn-based artist sees her art as having been “fermented” from the physical distance and isolation from China. “I suspect that I probably wouldn’t have become an artist at all had I not come to the States.” Still China clearly has an influence on her – the mountains, rocks, and rivers that appear in her work are credited as being influenced by the landscapes of Shaanxi. But at the same time, she feels like her artwork doesn’t directly reflect Chinese or American culture.


成长于深圳和陕西两地,这位现居纽约布鲁克林的艺术家,将她的艺术视作中国的物理距离和疏离的发酵产物。“我怀疑,如果没有到美国我大概不会成为艺术家。”中国对她作品的影响是显而易见的,她作品里出现的那些山水、石头便是来自陕西的自然地貌。但是与此同时,她认为自己的作品并未直接映射中国或者美国的文化。

Yunfan believes that artists only create about half of their work, and that the other half of the work happens when the audience comes into contact with the artwork. Her approach to creating is self-described as “playing with a puzzle”, and that the easiest part of the puzzle is the initial inspiration. The challenging part is finding the remaining puzzle pieces and joining it all together to form a cohesive piece of work. “I don’t normally work with any sketches, scripts, or storyboards, but rather prefer the process be open and organic – even chaotic.”


云帆相信,创作者只能完成作品的50%,剩下的发生在作品与观众之间。她将自己的创作手法形容为“玩拼图游戏”,这个所谓的拼图游戏中最容易的部分则为最初的灵感;其困难在于找到所有其他的碎片,和它们各自合适的位置。“打草稿、写剧本、画分镜头故事板之类的工作方式和我八字不合,我宁愿创作过程是开放、有机的,混乱也没关系。”

Despite being well-versed with a variety of mediums, Yunfan tells us she is most experienced with painting and compares it to playing an instrument. “The medium yields to the artist’s maximum autonomy. And just the simple act of mixing paint allows the artist to mold her material on the molecular level. All experimentation is very direct and has immediate impact,” she explains to us. “Whatever object or subject is being constructed on canvas, the painter is simply dealing with paint. The color and texture of the paint have their own physicality on canvas, which is not directly traceable to the thing being depicted. The surface of any object on canvas can be considered a universe in itself.”


尽管在各种媒介中游刃有余,云帆告诉我们,她最熟悉的媒介还是油画,并将它比作演奏乐器。“它给予创作者最大程度的自主权。调色这样一个再简单不过的动作,却让画家能够在分子水平上塑造她的材料。在画布上所有的实验都很直接,每一笔的结果是即时的,”她解释道,“无论画布上构建的是什么物体或主体,画家只是在处理颜料。而颜料被运用在画布上所产生的色彩和肌理可以独立于其所描绘的东西, 产生其自身的物理存在。在画布上,任何物体的表面都可以自成一个宇宙。”

Recently, Sun Yunfan has been gravitating towards digital mediums such as video, animation, and music, describing the digital sharing process as “democratic and economical”. She is now even traversing into more unfamiliar territories for a new collaborative project with Dave Liang from The Shanghai Restoration Project and jazz singer Zhang Le. Yunfan wrote lyrics, some melodies, and even dabbled with music production as part of this collaboration. Their new album Life Elsewhere  is slated for release later this year.


近来,云帆将创作中心渐渐移向数字媒体,例如录像、动画和音乐,并将其分享过程描述成“既民主又经济”。在与来自上海复兴方案Dave Liang以及爵士乐歌手张乐合作的一个新项目中,她甚至逐步进击更多不为熟知的领域。云帆为这次合作写作歌词,创作部分旋律,甚至浅尝音乐制作。这张叫做英文名为Life Elsewhere,中文为“她乡” 的新专辑,将于今年晚些时候正式发布。

Websitesunyunfan.com
Instagram: @eighthday


网站sunyunfan.com
Instagram: @eighthday

Contributors: Leon Yan, David Yen
Images Courtesy of Sun Yunfan


供稿人: Leon Yan, David Yen
图片由孙云帆提供

LIARBEN’s Street Art

May 13, 2016 2016年5月13日

As an eight year old, Phan Minh Tuan was mesmerized by something he had never seen before while watching the 1998 adaptation of Godzilla. It wasn’t the gigantic monstrosity from the sea, the state of the art CGI, nor the complete destruction of Manhattan. Instead, his most vivid memory of the movie was a work of graffiti that briefly appeared on screen. Later in 2004, as hip-hop culture began to spread and gain popularity in Vietnam, the graffiti scene came along with it. Tuan fell deeper and deeper in love with street art from there onwards. Now creating under the monikers LIARBEN and LIBE, his graffiti can be found all around the world. Tuan’s “burners” use his signature style of combining the letters to form a caricature: the letter L contorts into a single arm; the letter I becomes the character’s head; the letter B turns into the character’s buttocks; and the letter E twists into a set of legs.


Lúc tám tuổi, Phan Minh Tuấn đã bị mê hoặc bởi một điều gì đó mà trước đây anh chưa từng thấy khi xem bộ phim chuyển thể năm 1998 Godzilla. Điều đó không phải con quái vật khổng lồ từ biển khơi, công nghệ đồ họa CGI tiên tiến, cũng không phải cảnh Manhattan bị hủy diệt hoàn toàn. Thay vào đó, ký ức sống động nhất của anh về bộ phim là một tác phẩm graffiti xuất hiện ngắn ngủi trên màn hình. Sau đó vào năm 2004, khi trào lưu văn hóa hip-hop bắt đầu lan rộng và được phổ biến tại Việt Nam, graffiti cũng xuất hiện. Từ đó, Tuấn ngày càng say đắm nghệ thuật đường phố. Giờ đây sáng tác dưới biệt danh LIARBEN và LIBE, những tác phẩm graffiti của anh có thể được tìm thấy khắp nơi trên thế giới. Những tác phẩm “nóng bỏng” của Tuấn sử dụng phong cách chữ ký kết hợp các chữ cái để tạo nên một bức tranh biếm họa: chữ L vặn vẹo vào một cánh tay duy nhất; ký tự I trở thành đầu của nhân vật; chữ B biến thành mông và chữ E xoắn lại thành đôi chân.

Currently based in Ho Chi Minh City, LIARBEN works as a professional illustrator nowadays. But besides creating commercial work, he still regularly makes street art and works on community-driven projects. His recent #friendshipintheair project combines his illustrative and graffiti know-how with various inspirations from everyday life; his past relationships, the people he’s met, and situations he’s encountered have all been brought to life through this project. “Graffiti is a means of expression, to connect me with the rest of the world. I found freedom and I view life more directly through this practice,” he explains. ”To me, practicing street art is like breathing.” Neocha recently talked to LIARBEN about the current state of the creative community in Vietnam and society’s preconceptions about graffiti.


Hiện làm việc tại Thành phố Hồ Chí Minh, ngày nay LIARBEN hoạt động như một họa sĩ minh họa chuyên nghiệp. Nhưng bên cạnh việc sáng tác các tác phẩm thương mại, anh vẫn thường xuyên sáng tác nghệ thuật đường phố và tham gia vào các dự án hướng đến cộng đồng. Dự án #friendshipintheair gần đây của anh kết hợp bí quyết minh họa và graffiti với những nguồn cảm hứng khác nhau từ cuộc sống hàng ngày; mối quan hệ của anh trong quá khứ, những người anh đã gặp và những tình huống mà anh gặp phải đều đã được đem lại sức sống qua dự án này. “Graffiti là một phương tiện diễn đạt, kết nối tôi với phần còn lại của thế giới. Qua đó tôi tìm thấy tự do và tôi nhìn nhận cuộc sống thẳng thắn hơn,” anh giải thích. “Đối với tôi, thực hành nghệ thuật đường phố giống như hơi thở.” Gần đây Neocha đã trò chuyện với LIARBEN về tình trạng hiện tại của cộng đồng sáng tạo tại Việt Nam và định kiến của xã hội về graffiti.

 

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Neocha: What kind of topics or themes do you typically explore in your graffiti?

LIARBEN: I draw farting characters, which describe the relationships of individuals with the outside world. I think that none of us are alone in this world, just that we often don’t show any compassion, not even small acts of kindness. The farting depicted is a statement about what you’re receiving from society and what you’re giving back in return. I’m not a Buddhist, but to a certain extent, I believe in the reincarnation of everything.


Neocha: Những loại chủ đề hoặc đề tài nào mà thường khám phá trong các tác phẩm graffiti của mình?

LIARBEN: Tổng thể bức tranh vẽ là một nhân vật đang đánh rắm để diển tả về các mối quan hệ của thực thể và thế giới bên ngoài. Tôi nghĩ là không ai trong chúng  ta cô đơn trong thế giới này, chỉ là ta không biểu lộ một sự chia sẽ nào dù chỉ là một hành vi nhỏ. Hành vi đánh rắm thú vị cho tôi suy ngẫm về việc phải chăng bạn đang tiêu thụ một món quà xã hội một cách đơn lẻ và tặng lại kết quả món quà cho thế giới xung quanh. Tôi không hẳn là một người đạo Phật, nhưng ở góc độ nào đó tôi tin và Luân Hồi của vạn vật.

 

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Neocha: What’s the creative scene like in Vietnam? In your eyes, how has the creative scene developed in the country during the last few years?

LIARBEN: I’m not too sure how to answer, but I feel more comfortable and energized as more and more artists appear in Vietnam with new material and means of expression. I started studying art five years ago when I was an art student at the Fine Arts University of Ho Chi Minh City. Nowadays, there aren’t many events or exhibits I’m particularly interested in, but I can appreciate the hard work people put in. I can see that focusing on the development of art is necessary, but in Vietnam, the amount and variety of art is still very limited. But many more art centers are being established to help develop the art scene out here, and I feel they’re actually quite effective in connecting artists and audiences.


Neocha: Môi trường sáng tạo tại Việt Nam ra sao? Theo anh, môi trường sáng tạo trong nước đã phát triển như thế nào trong những năm qua?

LIARBEN: Tôi không chắc chắn về điều này để đưa ra được một câu trả lời. Nhưng tôi cảm thấy thoải mái với môi trường ở Việt Nam, Có thêm năng lượng khi càng nhiều nghệ sỹ xuất hiện ở Việt Nam với nhiều nguyên liệu cũng như phương tiện để họ thể hiện. Tôi bắt đầu học nghệ thuật và quan sát nghệ thuật từ 5 năm trước khi còn là một sinh viên nghệ thuật của trường Đại Học Mỹ Thuật TpHCM , không có nhiều sự kiện tôi cảm thấy thật sự thu hút nhưng mọi người vẫn đang làm việc rất siêng năng và tôi thấy việc tập trung vào phát triển nghệ thuật là cần thiết, mà việc này tại Việt Nam còn rất hạng chế. Nhiều trung tâm nghệ thuật cũng được lập ra nhằm phát triển nghệ thuật và  điều đó cũng mang lại những hiệu ứng tốt trong việc kết nối nghệ sỹ và người xem.

Neocha: What has the general feedback about your work been like? How does Vietnamese culture as a whole affect your work?

LIARBEN: I receive many different comments about my work, but no matter what they are, I perceive them as something that creates good energy for me to continue pushing on. The media in Vietnam tends to report on all the negative aspects of graffiti, so sometimes I do get a lot of criticism from people around me. On the other hand, there are times when I’ve asked for permission to draw on some walls and was protected by the homeowners from the police bothering me. The support of these people makes me really happy and also helps me have more confidence in my work. The history and culture of Vietnam always inspires me to create. I think that many Vietnamese people believe in the concept of “beauty, goodness, and truth”, so most of them are very open-minded, which has a positive impact on my creative work.


Neocha: Phản hồi chung về tác phẩm của anh ra sao? Văn hóa Việt Nam nói chung ảnh hưởng như thế nào đến tác phẩm của anh?

LIARBEN: Tôi nhận được những bình luận nhiều hướng khác nhau về công việc của mình, nhưng cho dù là chiều nào thì tôi đều thấy nó tạo ra năng lượng tốt để tôi tiếp tục công việc này. Truyền thông ở Việt Nam vẫn còn hạn chế và đa phần phản ánh sự tiêu cực của graffiti, nên việc tôi làm đôi lúc những nhận nhiều bình phẩm không hay từ nhiều người xung quanh. Song Song đó, một vài lần khi tôi xin phép được vẽ ở một số mảng tường trong thành phố và được gia chủ bảo vệ tôi khi cảnh sát làm phiền, điều này khiến tôi rất cảm động và tin tưởng hơn vào công việc của mình. Văn Hoá Việt Nam hiện tại ( ý tôi là luôn cả lịch sử) luôn tạo ra cảm hứng cho tôi vẽ tranh và làm nghệ thuật. Tôi cũng tin người Việt Nam yêu sự “Chân Thiện Mỹ” và đa số mọi người cũng rất cởi mở, điều này cũng có nhiều tác động tích cực đến công việc sáng tạo của mình.

Neocha: In your opinion, how do you feel graffiti affects society?

LIARBEN: People may or may not like graffiti, but most of us do not deny its increasingly popular presence in most cities. I think in our modern time graffiti has become a feature of urban culture and is integrated into the city. On one side, you can see an advertising panel with letters and eye-catching effects designed to attract attention and promote brands. On the other hand, there are also texts or images, like graffiti that don’t promote anything but still attract your attention. I do not want to express a positive or negative opinion about graffiti, but I feel like it creates a balance for the consumption of society in modern day.


Neocha: Theo anh, anh cảm thấy graffiti ảnh hưởng ra sao đến xã hội?

LIARBEN: Chúng ta có thể thích hoặc không thích graffiti, nhưng hầu hết đều không phủ nhận sự xuất hiện của nó ngày càng phổ  biến ở hầu hết mọi thành phố mà bạn đặt chân đến. Tôi nghĩ graffiti ngày nay trở thành một sự đặt trưng của văn hoá đô thị và nó cũng đánh dấu sự hội nhập của thành phố đó. Ở một mặt bạn có thể thấy một Paner quảng cáo với các chữ và hiệu ứng bắt mắt nhằm thu hút sự chú ý để quảng bá nhãn hàng, ở một mặt khác đồng thời cũng có những con chữ hay hình ảnh không để quảng bá điều gì nhưng vẫn thu hút sự chú ý từ bạn, tôi nghĩ thế. Tôi thấy những điều đó mang tính xã hội, khi mọi người hằng ngày tiếp xúc với một cá tính đơn lẻ và vô nghĩa ở nơi công cộng. Tôi không muốn đề cập về sự tiêu cực hoặc tính cực của Graffiti, nhưng tôi thấy nó tạo được một sự cân bằng cho xã hội tiêu dùng và đồng bộ như  ngày nay.

Neocha: Have you collaborated with artists from different countries?

LIARBEN: I have collaborated with many foreign artists. I think this is also an indispensable part of today’s graffiti culture. Graffiti began from New York, but at this moment, it has become a globally recognized culture. We collaborate through our illustrations as if we are chatting in a common language. I feel it’s interesting because the background of whom you are working with doesn’t make a difference, only the exchanges with your collaborator during the creation process matter.


Neocha: Anh đã từng hợp tác với các nghệ sĩ đến từ các quốc gia khác?

LIARBEN: Tôi đã từng cộng tác làm việc với nhiều nghệ sỹ nước ngoài , Tôi nghĩ đây cũng là một phần không thể thiếu của văn hoá graffiti ngày nay. Graffiti bắt đầu từ NewYork, nhưng vào lúc này , văn hoá này mang tính toàn cầu nên việc chúng tôi cộng tác vẽ cũng giống như chúng tôi đang trò chuyện bằng một ngôn ngữ chung. Tôi Cảm thấy thú vị về việc này, bởi vì ở đây không có sự khác biệt  lớn về xuất thân của người mà bạn đang làm việc , chỉ có việc trao đổi trong quá trình bạn cộng tác với bạn vẽ.

Neocha: What’s on the horizon for you? Can you tell us about some of your future projects?

LIARBEN: I do not know for sure about what’s on the horizon. I do know that I need to learn more and practice more. Currently, I’m working on personal projects like Cô Mía. In the future, I would like to run workshops that are related to street art and graffiti. In my opinion, people just need to learn how to have fun and live well, and that’s the mentality that I want to share with the world.


Neocha: Với anh sắp tới sẽ có những sự kiện gì? Anh có thể cho chúng tôi biết về một số dự án tương lai?

LIARBEN: Tôi không biết chắc chắn về Horizon , tôi cần phải trao dồi thêm và thực hành nhiều hơn nữa. Hiện tôi vẫn đang chạy một số dự án cá nhân  như Cô Mía. Trong tương lai tôi cũng muốn chạy những chương trình liên quan đến nghệ thuật đường phố và graffiti. Theo tôi Môi trường nào cũng khắc nghiệt, chỉ là chúng ta học cách chơi vui cùng với việc sống hay, và đó là điều tôi muốn chia sẻ.

Instagram: @LIARBEN
YouTube
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Blogspot: ~/LiarBen

 

Contributor: Banny Wang
Images & Videos Courtesy of LIARBEN


Instagram: @LIARBEN
YouTube
~/LiarBenful
Blogspot: ~/LiarBen

 

Người đóng góp: Banny Wang
Hình ảnh và Video Được sự Cho phép của LIARBEN

Moonassi, a Man with No Identity

May 12, 2016 2016年5月12日

Moonassi is the pseudonym of award-winning graphic artist Daehyun Kim, and is also the name of an ongoing illustration series that he first conceptualized in 2008. In Korean, moonaa is phonetically similar to a phrase that means “there is no such thing as me” or “emptiness”, while “-ssi” is a common suffix used when people address one another in Korea. He explains, “When people call me Moonassi, it’s like they are calling out to someone who has no identity.”


Moonassi 는 수상 경력의 그래픽 아티스트 김대현의 필명이며, 대학 졸업 후 처음으로 개념화했으며 현재 계속 진행하고 있는 일러스트레이션 시리즈의 제목이기도 합니다. 한국에서 무나는 “나 같은 건 없다” 혹은 “비어 있음”을 의미하는 단어와 비슷한 발음이며, “씨”는 한국에서 다른 사람을 칭할 때 일반적으로 사용하는 접미사입니다. “사람들이 나를 Moonassi 라고 부르면 아이덴티티가 없는 누군가를 큰 소리로 부르는 것과 같아요.”

Daehyun studied oriental painting and graduated from Hongik University in Seoul. It was there where he first learned about Eastern philosophies. The development of Eastern aesthetics and philosophies have close ties to Buddhism and one of the most well-known Buddhist teachings is kong or “emptiness,” which has become the core of Moonassi’s entire body of work.


김대현은 동양화를 전공하였으며 서울에 있는 홍익대학교를 졸업하였습니다. 그는 이곳에서 처음으로 동양 철학에 대해 배웠습니다. 동양 미술과 동양 철학의 발달은 불교와 밀접한 관련이 있습니다. 가장 잘 알려진 불교의 가르침 중에는 공 혹은 “비움”이라는 것이 있는데 Moonassi 의 모든 작품 세계는 이 개념을 중심으로 삼고 있는 것 같습니다.

Fitting to his name, the characters that populate Moonassi’s work are all without identity. These characters are all drawn with similarly curved outlines, the same expressionless faces, and the same nondescript clothing. The inexpressive facial features of his characters are influenced by his fascination with ancient Buddhist art where the divine entity is often shown in a state of deep meditation with an impassive mask-like face. Moonassi believes hiding the emotions of his characters makes it impossible for viewers to ascertain whether the depicted scene in his surreal illustration is “good or bad,” and by dressing these figures in minimalistic black clothing, he shifts the viewer’s attention towards the movements and actions of each character. Time, location, and gender are also amongst the information that Moonassi purposefully omits from his work.


그 이름에 아주 걸맞게도 Moonassi 의 모든 작품에서 표현되는 캐릭터에는 아이덴티티가 없습니다. 이 캐릭터들은 모두 유사하게 윤곽은 곡선으로, 표정 없는 얼굴, 특징 없는 의상으로 그려져 있습니다. 곡선 윤곽으로 그려져 있습니다. 캐릭터의 표정 없는 얼굴의 이목구비는 고대 불교 미술의 매력으로부터 영향을 받았는데, 신성한 존재는 감정 없는 가면 같은 얼굴을 하고 명상에 깊이 빠져 있는 상태로 불교 미술에 나타나곤 합니다. 캐릭터의 감정을 숨기면 그림을 보는 사람들이 비현실적인 일러스트레이션에서 묘사한 장면이 “좋은지 혹은 나쁜지” 알아낼 수 없을 것이라고 Moonassi 는 믿고 있으며, 단순한 검은색 의상을 입혀서 각 캐릭터의 움직임과 동작에 초점을 맞춥니다. 시간, 위치, 성별 같은 정보도 Moonassi 가 자신의 작품에서 의도적으로 배제하였습니다.

Moonassi’s black-and-white images are simple yet powerful, created as an homage of sorts to the negative space commonly seen in oriental art. At the same time, his images also channel the Buddhist philosophy of “emptiness”. Unlike Western culture, the Buddhist idea of “emptiness” doesn’t hold any negative connotations, but instead represents infinite possibilities and an “awakened mind.” Moonassi’s minimal style allows his art to be easily accessible to a wide audience. Yet, the alluring sense of mystery that his surreal world gives off beckons them to look beyond the surface of his art.


Moonassi 의 흑백 이미지는 심플하지만 강력하며, 동양화에서 흔히 볼 수 있는 여백에 대한 일종의 경의를 표시한 것입니다. 동시에 그의 이미지는 “비움”이라는 불교 철학을 전파하고 있습니다. 서양 문화와는 달리 “비움”이라는 불교적 개념에는 어떤 부정적인 의미도 담고 있지 않으며 대신에 무한한 가능성과 “깨어있는 마음”을 나타냅니다. Moonassi 가 작품에서 사용하는 미니멀한 스타일 덕분에 문화 장벽을 깨고 더욱 다양한 사람들에게 어필할 수 있었습니다. 신비롭고 매혹적인 감각을 통해 창조적으로 동양 철학의 이미지를 변화시켜서 Moonassi 는 사람들을 비현실적인 단색의 세계로 끌어들입니다.

“The worm, the deer eye, Tao, Emmanuel Levinas, Eric Rohmer, and Hong Sang-soo. You and me, the stones and the wind, the earth and the moon,” Moonassi cites a wide spectrum of influences, ranging from the tangible to the abstract. “I collect ideas and feelings, day after day” Only after piecing together these cluttered concepts and carefully deliberating how best to present the idea will Moonassi finally begin working. At times, his artwork is intended to be a visual representation of a message he wants to get across, but other times, his creations are much more spontaneously, simply based on fleeting images and scenes in his mind.


“벌레, 사슴의 눈, 도(道), 에마뉘엘 레비나스, 에릭 로메르, 홍상수. 당신과 나, 돌과 바람, 지구와 달”. Moonassi 는 실제로 있는 것부터 추상적인 것까지 자신에게 영향을 미친 것들을 광범위하게 제시합니다. “저는 날마다 아이디어와 감정들을 수집해요”라고 Moonassi 가 말합니다. 이런 복잡한 개념들을 짜 맞추고, 아이디어를 어떻게 가장 잘 나타낼지 신중히 생각한 이후에만 Moonassi 는 작업을 시작합니다. 가끔씩은 자신이 전달하고자 하는 이미지를 시각적으로 나타내도록 의도적으로 작품을 만들기도 하지만 그 외에는 더 단순하게 순식간에 머릿속에 떠오른 이미지와 장면에 따라 작품을 만들어냅니다.

In the beginning, Moonassi didn’t think his drawings were anything special or unique. He humbly says that all he had accomplished was stay persistent and maintained a clear vision on the type of work he wanted to create. Much like his curious fans, he himself also wonders when the Moonassi series will be fully completed. “I’d also like to know how the Moonassi series ends. It will only end when I stop having new ideas and stories. I’d like to try something else for sure, but let see where this brings us.”


처음에 Moonassi 는 자신의 그림이 특별하거나 독특한 작품이 될 거라고 생각하지 않았습니다. 자신이 해낸 것이라고는 끊임없이 작업하는 집요함과 그리는 방식 및 만들어내고자 하는 그림에 대한 분명한 비전을 갖게 되었다는 것이라고 Moonassi 는 솔직하고 겸손하게 말했습니다. 궁금증이 많은 팬들처럼 Moonassi 자신도 Moonassi 시리즈가 언제 완결될지 궁금해했습니다. “Moonassi 시리즈가 어떻게 끝날지 저도 알고 싶어요. 새로운 아이디어와 이야기가 떠오르지 않게 되면 그때 끝나게 될 거예요. 분명 다른 것도 해보고 싶지만 이것이 우리를 어디로 데려다줄지 한 번 기다려보죠.”

Aside from his personal illustrations, Moonassi has created commissioned work for the New York Times and even album art for various musicians. He has a devoted fanbase intrigued and inspired by his work – there has even an entire dance routine choreographed around his art. Moonassi’s work has been exhibited in Seoul, New York, London, amongst other international cities.


Moonassi 는 개인적인 일러스트레이션 외에도 뉴욕타임스의 의뢰를 받은 작업과 여러 뮤지션들의 커버 아트 작업도 하고 있습니다. 그에게는 아주 관심이 많고 그의 작품에서 영감을 받는 헌신적인 팬들이 있습니다. 그의 작품에 맞춰 연출된 안무도 있을 정도입니다. Moonassi 의 작품은 서울, 뉴욕, 런던, 기타 다른 도시에서 전시되었습니다.

Website: moonassi.com
Facebook~/daehyun.moonassi
Tumblrmoonassi.tumblr.com
Instagram@moonothing

 

Contributor: Banny Wang
Images Courtesy of Daehyun Kim


웹사이트: moonassi.com
Facebook~/daehyun.moonassi
Tumblrmoonassi.tumblr.com
Instagram@moonothing

 

기부자: Banny Wang
이미지 제공 Daehyun Kim

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