Shanghai Auto Museum

October 31, 2016 2016年10月31日

As an enthusiastic car lover and a collector of Hot Wheels, I have longed to visit the Shanghai Auto Museum for a while. Following the hype of the recent 2016 antique car rally, Moving Legends, I made the pilgrimage to the holy land for Chinese car collectors – the Shanghai Auto Museum. Located in Anting, an hour’s drive away from Shanghai’s downtown area, the museum is China’s first dedicated auto museum. It was co-designed by the Architectural Design & the Research Institute of Tongji University and IFB from Germany and officially opened to the public in 2007.


作为一个热爱汽车的男青年,和风火轮小车的收藏者,对上海汽车博物馆向往已久。趁着近期2016年古董车拉力车:移动传奇热度,我拜访了上海汽车博物馆。在距离上海市区大约一个小时车程的安亭,我来这座中国藏车界的圣地。上海汽车博物馆是中国第一个对公众开放,以汽车为主题的博物馆,自2007开馆至今已近10年。博物馆建筑由同济大学建筑设计研究院和德国IFB共同设计完成。

I’ve been to most of the car museums in China and compared to the Changchun International Automotive Museum and Beijing Automobile Museum, the Shanghai Auto Museum was much more diverse and much more interesting. Many museums in China actually have this problem, where they might look spectacular from the outside, but once visitors are inside they will disappointingly discover a lack of noteworthy content. Being government owned, the Shanghai Auto Museum has outdone itself in so many ways. Being able to see the 1886 Benz Patent Motor Wagon, 1935 Rolls-Royce Phantom 2, and the Hongqi CA-72, which was used during the Chinese national day parade in 1959, all on display in one place made for an amazing experience.


我去过国内大部分的汽车博物馆,相比吉林长春汽车博物馆的单调,北京汽车博物馆的主旋律,上海博物馆算是最具多样性的了。国内很多的博物馆普遍的问题是金玉其外,败絮其中,缺乏实质性的内容。上海汽车博物馆算是少有的稍有表里如一的政府性的博物馆了,从1886年的“奔驰一号”到1935年的劳斯莱斯幻影2,甚至是1959年国庆用的加长红旗礼车CA-72,齐聚一堂,为参观者创造了一次惊艳的体验。

The museum is divided into three pavilions: the History Pavilion, Antique Car Pavilion, and Exploration Pavilion, with a majority of the most interesting vehicles exhibited in the first two pavilions. The ticket costs 60 yuan and the museum has both Mandarin and English-speaking guides available. The first area is the History Pavilion, a space that houses a total of 27 cars, all of which represent milestones in automotive development. The guide told me the museum is continuously updating their collection, and by the next time I visit, there might be new additions to their collection. If you don’t know much about automotive history, this area offers a great learning opportunity. Besides the collection of rare vehicles, there are other points of interest in the History Pavilion, such as a wall that displays the changing gas prices over the last few decades and the speed records of some most famous racetracks around the world.


博物馆总共分三个分馆,历史馆,珍藏馆和探索馆,精华在历史馆和珍藏馆。票价60元,还有有中英文讲解员,不想花钱扫一下微信也可以,只是没有英文。咱们先从历史馆看起,历史馆大约有27辆左右的古董车,代表了汽车发展史上的一个个里程碑。馆员告诉我馆藏会定期更新,也许你来的时候就有更多了呢,如果你不太了解汽车的历史,这也是补习一下的好机会。历史馆中还有一些有趣的小细节,像是油价在过去几十年的变化以及一些知名赛道最快速度的记录。

The Antique Car Pavilion houses the most amazing vintage car and model car collection in China. In this area, visitors can browse more than 200 model cars in different scales, with a majority of them made by the famous German model car manufacturer CMC. The main section has 40 cars from 20 different manufacturers dated between 1900 and 1970. Iconic Chinese two-wheelers are also on display in this area, such as the Phoenix 28 bicycles, Xingfu 250, as well as the Yangtze and Donghai 750 motorcycles; all of them are of course kept in pristine condition.


二楼的珍藏馆就牛逼上天了。入口处有两三百辆不同比例的车模,其中不少是超级精美的德国CMC车模。主展区有来自20多个不同品牌,产自1900-1970年的40辆古董车。像是1902年的标志39型,1907年的福特S型车和1921年的劳斯莱斯幽灵。喜欢两轮的,往后走一点有中国人熟悉的凤凰大28,幸福250和长江750等,和十分稀有的东海750,当然了,所有的馆藏车都是车况完美的真车。

If you are a fan of American cars, you can spot the 1970 Pontiac GTO, 1957 Chrysler 300C, 1954 Chevrolet Corvette, and 1964 Ford Mustang. For Japanese car lovers, there is the 1967 Mazda Cosmo, 1970 Datsun (predecessor of Nissan) 240Z, and 1966 Toyota Corolla. German car enthusiasts will be happy to see the 1964 Porsche 356C, 1960 BMW Isetta and 1955 Mercedes-Benz 300SL. For fans of Italian or British cars, the 1967 Jaguar Type-E, 1951 Jaguar XK120, 1967 Alfa Romeo Giulia GTV, 1929 Bentley 4 1/2 Litre, among others are also on display. During the 2016 Moving Legends car rally, you could actually spot many of these vintage cars being driven through Shanghai. There was so much to see at the museum that spending just a single afternoon there didn’t feel like quite enough time.


如果你是美系粉,这里有1970年的庞蒂亚克GTO,1957年的克莱斯勒300C,1954年的雪佛兰科尔维特和1964年的福特野马等。日系粉们,能找到1967年的马自达科莫兹,1970年的达特桑(日产的前身)240Z和1966年的丰田花冠等。对德系粉有1964年的保时捷356C,1960年的宝马依赛塔,1955年的奔驰300SL等。当然了,喜欢意大利和英国车的人,这里也有1967年的捷豹E型,1951年的捷豹XK120,1967年的阿尔法罗密欧茱莉娅GTV,1929年的宾利4 1/2 升等等,定能让你大饱眼福,在2016的古董车拉力车期间,你还能在馆外看到很多古董车型飞驰在路上。

The Exploration Pavilion has an interactive movie theater, engine models, and some concept cars, which admittedly was not as exciting to me as the first two pavilions, but definitely still worth visiting. Also parked there are vintage Ferrari Mondials from different years. Visitors wondering where all the cars come from might be surprised to find out that most of the vintage cars were donated by American philanthropist Kenneth E. Behring. When you leave, there is a gift shop at the exit, which offers many beautiful model cars for interested consumers, including models made by local Chinese brand Almost Real and the famous German brand CMC.


三楼探索馆有些互动性的电影,发动机模型,也有些概念车,但不如一二楼精彩,也是值得一看。目前还停放着三辆不同时期的法拉利蒙迪尔。很多人也许会好奇,这些车都是哪里来的?其实大部分的古董车来自美国慈善家肯尼斯·尤金·贝林的捐赠。离开时门口还有纪念品店,里面有大量精致的车模在售,其中包括知名的德国品牌CMC和中国本土品牌Almost Real。

All in all, any car enthusiast visiting the Shanghai Auto Museum will be impressed. No matter if you’re a model car collector like me or a fan of vintage cars, you can find something of interest at the museum. If you’re interested in seeing one of the most impressive collection of vintage cars in China, the Shanghai Auto Museum is definitely worth visiting.


总的来说,上海汽车博物馆可以说是所以汽车爱好者的梦想成真,不管你是喜欢收集车模的人,还是古董车爱好者,在这里都能看自己的心水。不管怎样,不出国门就能看到如此数量的古董车,上海汽车博物馆绝对是值得到此一游的。

Websiteshautomuseum.com

 

Contributor & Photographer: George Liu Zhen


网址shautomuseum.com

 

供稿人与摄影师: George Liu Zhen

You Might Also Like你可能会喜欢

Day in the Life of a Pastry Chef

October 28, 2016 2016年10月28日

Chef Chang gently raps on the divider between the pass and the prep kitchen – the persistent sound of a rolling pin beating against cold pastry, comes to a sudden stop, followed by a series of nervous giggles. “There are a lot of people out here, please try to keep it down…” It’s mid-afternoon and a team of young pastry chefs are rushing through the prep of the day’s desserts. A warm gleam of sunshine has filled the room at Pâte, lighting the way for curious punters to peep into the newly opened patisserie. Whilst Pâte may be the latest addition to Shanghai’s growing number of patisseries, owner and head pastry chef Ting Ting Chang is certainly no industry greenhorn. After earning her colours at Le Cordon Bleu in Paris, Ting Ting went on to work in France and Taiwan before becoming head pastry chef at Farine, a powerhouse in Shanghai’s local pastry scene. After three years at Farine, she decided to carve her own path by opening Pâte Patisserie in the heart of Shanghai’s Xintiandi.


张主厨轻柔地敲打了一下过道和厨房间的窗口,擀面杖持续敲打着冷面团的声音突然停止,伴随着一系紧张的笑声。“外面的很多人,请你们小声一点啦。。。” 正午时分,一群年轻的甜品师正努力着准备当天的甜点。温暖且微弱的阳光把Pâte充满,让好奇的行人想要偷瞄一下这个新开的法式甜品店。尽管Pâte是众多甜点店最新的一员,店主和甜品师张婷婷却不是初入此行。在巴黎的Le Cordon Bleu大放异彩后,成为当地知名店Farine的主甜品师前,张婷婷一直在法国和台湾工作。在Farine工作三年后,她毅然决然地决定在上海中心的新天地开设Pâte甜品店。

Ting Ting’s attention to detail is present in every corner of the patisserie, from the pops of green in the fresh-cut foliage to the carefully chosen ceramics that hold each of her freshly baked cakes and pastries. The diverse selection available at Pâte ranges from French classics such as canelés, madelines and croissants, to contemporary pastries that boast crowd-pleasing flavours such as matcha and salted caramel. And behind the glorious display cabinets lies the in-house pastry kitchen, where the Pâte team meticulously creates every delicious morsel. Everything is lovingly made on site from scratch, every day. Ting Ting recently opened the door to her kitchen, giving Neocha a glimpse into the life of a pastry chef and taking us through her typical daily routine.


张婷婷对细节的追求展现在这家法式甜点店的每个角落。从一个个新鲜植物中的葱葱绿叶,到用来装她新鲜烘焙蛋糕点心的瓷器,也是精心挑选的。Pâte可供顾客选择的有经典法式甜点,像是Canelés,Madeline’s 和牛角面包,也有饱受赞赏的现代甜点,像是抹茶和咸味焦糖。在精美的展示柜后面坐落着制作甜品的厨房,在这里Pâte的团队细致地制作着每道美味的甜点。所以的甜品每一天都是从头到尾现场制作。张婷婷打开她的厨门,给Neocha一窥她作为一名甜品师的生活。

7am~8am

My body clock automatically wakes me up at seven. My morning routine is simple: I wash up, eat, and check on my cat. One of the perks of being a pastry chef is that we begin our daily commute a little earlier than the rest of the world. I can avoid squeezing into the metro like a packed sardine during peak hour. The commute gives me time to go over processes and ideas in my head, mentally preparing for the work day ahead.


早上7点至8点

因为生理时钟自动起床,简单洗漱之后吃一顿简便的早餐,把猫猫打理好就准备出门。当然,甜点师的通勤时间比较早,不用在地铁中被挤成沙丁鱼。通勤时整理一下工作的思路和想法。

8am~10am

Mise en place dictates my morning – it’s always a race against the clock. Primary tasks include rolling out croissants and baking off crusts, puffs, and pastries. All of this prep is our foundation. Only when it’s done can we start to decorate, fill and present each of our pastries. After everything is complete, we start loading up the display cabinets, ready to welcome our first customers.


早上8点至10点

准备一系列的出餐工作,一般早上的工作都是在跟时间赛跑的。烤制塔皮,泡芙与各种小茶点,醒发羊角等待烘烤。当所有甜点的基底都准备好时就可以用各种口味的馅料装饰了。所有的工作完成之后就准备展示柜的陈列,将最新鲜的产品呈现给客人了。

10am~noon

As soon as all the pastries are out, the pastry team can take a little breather. This is a momentary lull in our day when we start cleaning down the kitchen, checking the inventory and planning the prep work for the afternoon. It’s also a time where we can relax a little and throw around some new ideas.


早上10点至中午

出餐完成之后员工们能小小放松一下然后开始做一次清洁整理活动。最后检查所有的馅料,原料是否足够,与确认下午的准备工作内容或是彼此交换一些新的想法。

noon~1pm

Lunch break. We’ll usually venture on outside to grab something light and close by to eat. I like to make the most out of this spare hour to enjoy some fresh air and a leisurely walk.


中午至下午1点

这是午餐休息时间,通常大家会选择到附近吃点轻食,散散步悠闲的渡过这一小时时光。

1pm~5pm

The bulk of our prep work happens in the afternoon. Each dessert demands at least five different processes; the steps are usually complex, requiring us to work cleanly and methodically. Between kneading dough and shaping pastry shells, we also juggle the making of fruit preserves, fillings and a variety of decorations. We always keep one eye on the display cabinet, ready to replenish any desserts that have sold out throughout the day.


下午1点至5点

下午多半是做许许多多的准备工作。每一道甜点都需要经过至少5个不同步骤组成,因为甜点准备也是相当复杂的工作。混合各种面团,把塔皮捏制成形,处理各种的水果加工,制作各种馅料与装饰的配件。另外,随时观察补充门店甜品的短缺也是工作内容之一。

5pm onwards

A long day’s work draws to a close and it is finally time to wander home, relax and feed yourself a well-deserved meal. Sometimes, I’ll even head out with a selection of the day’s pastries in hand, ready to share them with a few lucky friends.


下午5点以后

结束一整天的工作回到家好好放松,给自己做一顿晚餐。当然有时候也会外带一些自己制作的甜点与好友分享。

Address:
462 Hefei Road (Soho Fuxing Plaza Room #E107)
Huangpu District, Shanghai
People’s Republic of China

Hours:
Monday~Thursday, 9am~9pm
Friday~Sunday, 10am~10pm

 

Contributor & Photographer: Whitney Ng


地址:
中国
上海市黄浦区
合肥路462号(SOHO复兴广场E07单元)

营业时间:
周一至周四, 早上9点至晚上9点
周五至周日, 早上10点至晚上10点

 

供稿人与摄影师: Whitney Ng

The MAZE

October 27, 2016 2016年10月27日

The Shanghai Museum of Glass Park recently opened The MAZE, a new permanent indoor installation ingeniously and gorgeously constructed of mirrors and lights. Creating the mesmerizing illusion of infinite reflections, the attraction is now open to the public and is ready to be explored. Since its test run earlier this summer, over 12,600 people have visited the installation and have attempted to conquer and get through the life-size maze, which is no easy feat.


上海玻璃博物馆于近日新开了一座全新的落地室内体验空间—“玻璃迷宫”,将灯光与镜子巧妙地搭建组合,构造出镜像反影无限延伸的视觉幻想,迷人双眼。玻璃迷宫目前已经对外开放,等待公众前来体验和挑战。在今年夏天的测试阶段,已有1.26万人来此参观,勇闯这个真人版迷宫,要完成可不容易呢。

The MAZE is made up of numerous pathways of glass for visitors to wander through. With 318 panels constructed with patterned black mirror glass, mirrors, and transparent glass erected inside an area of 575 square meters, the design uses dark and moody lighting to create an illuminated look. Creating a surreal dreamlike world, the mirrors reflect lights and shadows throughout the entire space, making the maze appear infinite. A natural soundscape that changes in different sections of the maze adds even more stimulation for the senses.


迷宫由大量的玻璃通道组成,为穿越其中的参观者创造出迷离般的体验。占地575平方米的迷宫内竖立着318块附着着黑色贴膜的镜面玻璃,镜子以及透明玻璃,再加上昏暗迷离的灯光设计,营造出一种流光四溢的感受。镜子通过光影的反射创造出一个超现实的世界,使迷宫展示出一种无限大的错觉。在迷宫里,不同的区域都搭配着音响播放的不同来自自然界的声音,更是增添加了感官上不同的刺激。

Upon entering the site, all visitors receive a game card featuring eight different shapes. The goal is to find the same identical shapes, which are lit up and placed throughout the maze, and stamp the card with an embossing press at its station. Those who are able to collect all eight receive a special certificate when they exit. As each shape is reflected in light in different cubicles spread out throughout the maze, the task is particularly challenging.


每个进入迷宫的参观者都会得到一张标注有8个区域图形的游戏卡,他们需要找到迷宫中以灯影方式出现的每个图形,然后把手中的游戏卡在对应图形前压印盖章。能够收集齐所有8个图形的人,将在出口处由员工授予一张特别的证书。每个光影反射的图形都隐藏于迷宫里不同空间中,要想收集全部的印章还是很有挑战性的。

From the very inception of the Shanghai Museum of Glass Park, Tilman Thürmer, the head of the award-winning design agency COORDINATION ASIA, has been involved as an art director, designer, and consultant. The Park was founded in 2011 starting with the Shanghai Museum of Glass, and later expanded with the Kids’ Museum of Glass, Rainbow Chapel, and more. What began as simply a love for glass organically grew into an artistic hub and a passion project for Tilman, who later joined the Park’s permanent team as the Vice-President and Design Director. The MAZE is yet another way in which the Park can establish itself as a cultural destination for all those seeking an alternative experience in Shanghai’s design scene. The attraction will be sure to delight any adventurous art lover who is up for a challenge.


从初始的概念到上海玻璃博物馆园区的正式落地,国际一流的设计公司协调亚洲的主管Tilman Thürmer曾作为该项目的艺术总监、设计师和顾问全程参与。最初以“上海玻璃博物馆”定名,于2011年建成,后来扩展出儿童玻璃博物馆,彩虹教堂等空间。这个开始仅以对玻璃材质偏爱的博物馆最终演变成了一个艺术聚集地,备受 Tilman青睐,他在之后加入园区的的固定团队,担任副主席和设计总监职务。玻璃迷宫是园区打造上海设文化中心的另一钟尝试,专为上海喜欢另类设计体验的人群而设。这个有趣的园区定将吸引喜欢冒险和挑战的人群。

Visitors are welcome to visit The MAZE at the Shanghai Museum of Glass Park every Tuesday – Sunday from 9:30am – 5pm. The venue is closed on Mondays. Tickets start at ¥48, and a day pass for every venue of the Park can be purchased for ¥160.


每周二至周日上午9点半到下午五点,欢迎广大游客到玻璃迷宫参观。周一闭关。玻璃迷宫的门票48元,整个园区各个馆的全天价格是160元。

Address:
685 West Changjiang Road
Baoshan District, Shanghai
People’s Republic of China


地址
中国
上海市宝山区
长江西路685号

Phone: (21) 6618 1970

Websites:
coordination.asia
shmog.org

Facebook~/ShanghaiMuseumOfGlass


电话: (21) 6618 1970

网站:
coordination.asia
shmog.org

脸书~/ShanghaiMuseumOfGlass

Contributor: Leon Yan
Images Courtesy of COORDINATION ASIA


供稿人: Leon Yan
图片由协调亚洲提供

In Memory of Fan Ho

October 26, 2016 2016年10月26日

As one of the most accomplished film director and black-and-white photographers of the 20th century, Fan Ho‘s work is well known beyond the confines of Asia, and has garnered praise from all across the globe. From his humble beginnings of developing pictures in the family bathtub to eventually being known as one of the most prolific photographers in the region, Fan Ho’s dedication and masterful eye has cemented his modern day legacy. The photographs of Hong Kong he shot during the 1950s and 1960s chronicle the historical waves of changes in the city, presenting all the transitions that it underwent as it developed into a major metropolitan city.


作為20世紀最有成就的導演和黑白攝影家之一,何藩聲明海外,他的作品在各國屢獲大獎。他出身清貧,在浴缸裡沖洗照片,後成為亞洲產量最高的攝影家之一,何藩對攝影的奉獻精神和他敏銳的視角讓他成為了當今的傳奇。他在五六十年代拍攝的香港,記錄了同時期這座城市的風雨飄零,展現了香港發展國際大都市,所經歷的各種轉變。

It was at the young age of 13 when Fan Ho first delved into photography with a Rolleiflex twin-lens reflex camera, a present his father gave him right before the family immigrated to Hong Kong in 1949. This gift completely predetermined the course of his life. Upon arriving in Hong Kong, the family lived in the poor Central District of the city, an area filled with bustling markets, slums and alleyways that he would explore with camera in hand, searching for that “decisive moment”. Through his lens, Fan Ho observed and captured a world that was uniquely his.


在何藩13歲的時候第一次接觸攝影,使用了在1949年,全家移民到香港前,他父親送給他的祿來福來反光照相機。這份禮物冥冥之中決定了他的一生。在抵達香港後,一家人蝸居在香港貧困的中心地區,充滿了喧鬧的市場,貧民窟和小巷,他用他手中的相機去尋找那個“完美的瞬間”。通過他的鏡頭,何藩觀察和捕捉著他眼中的獨特世界。

The engrossing play of lighting, shadows and lines have become the hallmark of his images. He saw the streets as a living theatre, where he would wait for his actors to walk into frame. At times, he would wait for hours at the same spot or repeatedly revisit locations in order to capture the perfect photo. Through his skillful use of light, Fan Ho instills a sense of drama and romance into his photographs, and a moodiness that’s further embodied in his”actors”.


引人入勝的光影和線條是他作品的標誌。他把街道看作是生動的劇場,等待著他的“演員”走進他的畫面。有時,為了創作出完美的作品,他會在一個地點等待好幾個小時,或反复地拜訪此地。通過他對光的熟練運用,他的照片被賦予了戲劇性和浪漫的氛圍,這似乎也體在畫面中的“演員”身上。

Throughout the length of his career, Fan Ho has received over 280 photography awards. He’s been named as one of the Top Ten Photographers of the World by the Photographic Society of America eight times. He was elected Fellow of the Photographic Society of America, Fellow of the Royal Photographic Society, and Fellow of the Royal Society of Arts, England. Fan Ho has also been named as an honorary member of the photographic societies of other numerous countries, from Singapore and Argentina to Italy and France. Besides his photography career, he was also an acclaimed film director and actor. He has directed over 27 films with various studios in Hong Kong and Taiwan within his 35-year long film career, with some of the movies chosen for the “Official Selection” of the International Film Festivals of Cannes, Berlin and San Francisco as well as making it into the “Permanent Collection” of the National Film Archives of Taiwan and Hong Kong.


在他的藝術生涯中,何藩榮獲了280多個攝影獎項。他八次被美國攝影協會舉評選為十大攝影師之一。他被選為美國攝影協會,皇家藝術協會和英格蘭皇家藝術協會的會員。他也是多國攝影協會的榮譽會員,像是新加坡,阿根廷,意大利和法國。不僅是攝影家,他還是知名香港導演和演員。在他35年的電影生涯中,在香港和台灣與不同工作室合作,導演超過27部電影。他導演的部分電影參加戛納,柏林和舊金山國際電影節,部分也成為台灣和香港國家電影檔案館的永久收藏。

At the age of 84, Fan Ho passed away in San Jose, California on June 19th earlier this year. However, his legacy will forever live on. You can see some of Fan Ho’s work at his solo exhibition On The Stage of Life, which is currently on a display at M97 Gallery in Shanghai.


今年六月19號,何藩在89歲時在加利福利亞聖何塞過世。儘管如此,他與他攝影作品會被人永久懷念。你現在可以在上海M97畫廊,看到何藩的個人攝影展《On The Stage of Life》。

Websitefanhophotography.com

 

Contributor: Anastasia Masalova
Images Courtesy of Fan Ho and Themes+Projects


網站fanhophotography.com

 

供稿人: Anastasia Masalova
圖片由何藩Themes+Projects提供

The Singaporean Skate Scene

October 24, 2016 2016年10月24日

Singapore, otherwise known as the Lion City, is a warm tropical paradise with an ever-growing skateboarding scene. With more and more kids becoming interested in the sport, and with local professional skateboarders like Farris Rahman making his mark in several global competitions, Singapore’s skate scene is rapidly gaining momentum. From illegal to legal, subculture to mainstream, the scene has come a long way. Recently, Neocha sat down with Muhammad Haikal Bin Abdul Rahman, the founder of Singapore-based skater collective Brain Juice, to hear his thoughts on Singapore’s skate scene and how local skate culture has evolved.


新加坡,也被称为狮城,是温暖的热带天堂,本地的滑板圈也不停的发展,从越来越多的人加入到这项运动中来,到本地的职业滑板选手Farris Rahman在国际比赛上取得更好的成绩,给本地滑板氛围带来更多活力。滑板在新加坡从非法到合法,地下文化变成主流文化,本地滑板圈走了一段艰辛的路。最近,我们和本地滑手Muhammad Haikal Bin Abdul Rahman聊了聊他对于本地滑板圈的看法和新加坡的滑板文化。

Neocha: There are many skateparks in Singapore. Do you feel like locals prefer to skate in the parks or out in the streets? 

Muhammad Haikal Bin Abdul Rahman: I personally prefer the streets, although nowadays, more skateboarders prefer skate parks as their go-to hangout spot. Many locals like to meet up there and enjoy a nice skate session. To me, a skate park is a place to learn and further develop your skills. It’s a place where you can boost your confidence on certain tricks before heading out into the streets and going down a huge set of stairs, gaps, or handrails.


Neocha: 新加坡有不少的滑板公园,你们更喜欢在公园里玩滑板,还是在街头?

Muhammad Haikal Bin Abdul Rahman: 我个人更喜欢街头滑板,但是现在更多玩滑板的人更喜欢去滑板公园,因为他们是从那里开始接触滑板的。本地人喜欢在那里见面,玩会滑板,聊会天。对我来说,滑板公园是一个学习和练习滑板,增加自己对技巧的信心,然后你可以去尝试冲向街头,或者是尝试下楼梯和栏杆。

Neocha: Considering how Singapore has fairly restrictive laws, do you guys ever get into trouble for skateboarding? 

Muhammad Haikal Bin Abdul Rahman: Well, there’s been some minor encounters with the police, with them wanting to check identification or getting kicked out from spots. I’m lucky to have never been arrested or have my board taken away.


Neocha: 新加坡的法律严苛,你们也有没有因为滑板遇上什么麻烦?

Muhammad Haikal Bin Abdul Rahman: 好吧,就是些普通的小麻烦,像是警察查查你的身份证,或者被从滑板公园赶出来。但是我是幸运的,至少没有被抓起来,或者没收把我的滑板。

Neocha: With a background as a filmmaker, do you have any plans of making any films about Singaporean skateboarders?

Muhammad Haikal Bin Abdul Rahman: There has always been this idea, but right now I’m just finally finishing my national service. I’m slowly working towards it, but for the moment, I just want to take the time to enjoy skateboarding.


Neocha: 我知道你也是个电影制作者,有没有想过制作一部关于滑板的电影?

Muhammad Haikal Bin Abdul Rahman: 我一直有这个想法但是我刚刚当完兵,总算完了,我正慢慢的开始计划中。但是现在啊,我只想单纯地享受滑板给我带来的乐趣。

Neocha: How does the general public feel about skateboarding in Singapore? 

Muhammad Haikal Bin Abdul Rahman: Skateboarding is not something that the public generally approves of. To some people, they might see it as a nuisance, as vandalism, or as if we’re doing something illegal. The public does not see what skateboarders see. Take a set of stairs for example. Most people see them as simply something to help you get up or down, but we see them as a challenge. With the increase of popularity in skateboarding, I hope things will change and more adults will encourage their children to skate.


Neocha: 你们认为新加坡的公众对待滑板是什么样的态度?

Muhammad Haikal Bin Abdul Rahman: 公众对滑板还是不太认可的。可能对于某些人,他们讨厌玩滑板的,认为我们破坏公物,做很多非法的事情。公众和玩滑板的看到的是不一样的,就拿楼梯来说,老百姓觉得这就是爬上爬下的,我看看到的就是挑战。现在滑板越来越流行了,我希望能够有所改变,更多的父母能够让他们的孩子去玩滑板。

Neocha: For most of the skateboarders in Singapore, do you feel like they’re looking to go pro or is it simply a hobby?

Muhammad Haikal Bin Abdul Rahman: I can’t really speak for others, but there was never a point in my life where I felt like I had to make it as a pro skater. I just feel like skateboarding is a passion of mine. I’m not focused on trying to be an all-out competitive skateboarder. But there are kids shredding and killing it to make their mark, like Singapore’s number one pro skateboarder, who made his name skating in global competitions. Singaporeans competing on an international level at big events such as the Street League and the Tampa Pro will certainly change people’s views of skating in Singapore. Hopefully, it’ll become motivation for the younger generation. Overall, if you love skateboarding and you work hard, I’m certain good things will come and a path will be carved out for you.


Neocha: 大部分新加坡玩滑板的是想要成为专业滑板选手,还是更多的只是爱好?

Muhammad Haikal Bin Abdul Rahman: 我就光说说我自己吧,我从来没有想过最后一定要成为专业的。对我来说,滑板更像是一种情趣,而非拼了命要和别人比个高低。但是有些人还是拼尽全力,创造了成绩。就像新加坡第一的职业滑板选手,他在世界级的比赛中也滑出了成绩。能够参加像Street League和Tampa Pro这样世界级的比赛。这些都改变了对新加坡滑板圈的看法和激励年轻的一代,他们可以在滑板的路上走的那很远。总的来说如果心事真心爱滑板,努力练习,做个好人,好事自然会来,也定能在开辟一条成为专业滑板选手的路。

Neocha: How would you summarize skateboarding culture in Singapore? How does it compare to other countries in the region?

Muhammad Haikal Bin Abdul Rahman: It’s growing a lot. From what skaters wear to their skating styles, the skateboarders are even more diverse now. The only letdown is that Singapore recently had a few skate shops shutdown, and people have realized that skate shops in Singapore does not do well compared to skate shops in other places in the world. But no matter which part of the world we live in, skateboarding is a common language. We can just go out and skate, chill out, and have a good time.


Neocha: 你可以大体总结一下新加坡的滑板文化是什么吗,你们去过的其它地方有什么不同?

Muhammad Haikal Bin Abdul Rahman: 已经进步了不少。玩滑板的人在衣着打扮和技巧上都有了更多不同的风格。唯一让人失望的事情是最近有些滑板店关门了,让人觉察到本地滑板店和其它国家的相比处于窘境。但是我觉得滑板就是滑板,这是一个通用的语言,就是出去滑吧,放轻松的去享受。

Neocha: What’s your take on skateboarding being in the 2020 Summer Games in Tokyo, and being recognized as a sport internationally?

Muhammad Haikal Bin Abdul Rahman: Wow, I don’t know where to start. For me, it’s mixed feelings. Skateboarding to me has always been a lifestyle, a subculture for the misfits. But seeing it become commercialized and more accepted in the media now contradicts the public’s perception here of skating as being an illegal activity. Skateboarding is now a real sport. There was never a time before where I would consider it as a sport. Now, with the Olympics, it will probably attract a lot of business and marketing. You will probably see more people crowding the skate parks. With all this attention recently from the media about skateboarding, it is definitely quickly bringing everything from the underground to the mainstream. Whatever the hype is, skateboarding will always still be skateboarding. Just go out and skate.


Neocha: 滑板成为了2020年东京夏季奥运会的比赛项目,你对这事怎么看?

Muhammad Haikal Bin Abdul Rahman: 我都不知道从哪说起了。是一种很复杂的情绪,滑板一直都是一种生活方式,一个对于少数人的地下文化。看到它变得商业化和媒体化让我开始怀疑这个“非法的运动”(公众对滑板的印象)。但是你猜怎么着,它现在是项运动了,还参加了奥运会,估计会吸引很多商业活动和市场运作,也会有更多的人来滑板公园玩。但是媒体招来这么多注意力,让这个本来是地下的东西变得主流了。但无论怎么炒作,玩滑板就是玩滑板,快出去滑吧。

Contributor & Photographer: George Liu Zhen


供稿人与摄影师: George Liu Zhen

Dachang Muslim Cultural Center

October 22, 2016 2016年10月22日

Cultural buildings have always been a specialty of prominent Chinese architect and professor He Jingtang. The Dachang Muslim Cultural Center will no doubt become another one of his masterpieces. Located in Dachang Hui Autonomous County in Hebei province, the project was planned by the local government to be an iconic design, that would embody the unique culture of Dachang and enhance the city’s soft power. 


文化建筑一直以来都是中国建筑师何镜堂院士的“拿手好戏”。大厂民族宫项目无疑是他的又一力作。项目位于河北省廊坊的大厂回族自治县内,当地政府希望通过民族文化宫的建设,打造大厂面向全国的一张特色文化名片,提升城市的软实力。

The Dachang Hui Autonomous County is a Muslim enclave just outside of Beijing. To invigorate the local Islamic culture and improve the quality of cultural life, the local government planned and developed the Dachang Muslim Cultural Center, a modern cultural complex that integrates the functions of a theatre, an exhibition space, convention hall and community center. It serves not only as a recreational center for the city, but it will also be an important cultural site for learning about the local religion and history. In addition to the many functions of the space, this ambitious project undoubtedly has posed many challenges to the design team, because of the area’s special ethnic composition, history, and religious beliefs.


大厂县是邻近北京的一个穆斯林族群聚居地。当地政府为了复兴穆斯林族群的伊斯兰文化,提升文化生活品质,兴建大厂民族宫。它是一个文化综合体,包括剧场、展览、会议、社区中心等功能。民族宫因此被赋予了多重功能,既是城市文娱中心,更是讲述当地宗教、历史的重要文化场所。项目所在地特殊的民族构成、历史文脉、宗教信仰,复杂的功能需求与文化地标的定位,无疑都给设计者带来很多挑战。

In his approach to design, He Jingtang has his own philosophy about architecture and innovation, which is typically based on the “two views”, or the holistic view and the sustainable development view, and the “three characters”, meaning the local character, cultural character and epochal character. Some of his previous award-winning work include the wrestling and badminton sporting venues built for the 2008 Beijing Olympics and the Chinese Pavilion for the Shanghai Expo in 2010, now renamed the China Art Museum. Taking the same considered design approach, the Dachang Muslim Cultural Center is similarly destined to become another classic structure.


在他的设计语言中,何镜堂有他自己的建筑和创新的哲学,基于”两观”,意为整体观和可持续发展观为出发点,还有“三性”,指地域性、文化性、时代性。他之前的获奖作品有2008年北京奥运会的摔跤和羽毛球场馆,2010年上海世博站的中国馆,现在被重名为中国艺术博物馆。运用同样考究的设计方法,大厂民族宫同样注定成为另一个经典的建筑。

Based on the traditional mosque, the design of the building subtly reinterprets the spatial structures of mosques with new kinds of materials and technologies. The supporting outer arches taper into elegant curves from the bottom up, while the cambering petal-shaped arches reflected in the water look even more graceful and enchanting. The top dome is based on visual abstractions of Islamic symbols and is constructed with hundreds of petaloid shells, creatively transforming the interior space into a semi-outdoor garden, gloriously filled with sunshine, fresh air and vegetation. The Dachang Muslim Cultural Center will certainly become a sanctuary of sorts that will show people the brilliance of Islamic culture and provide its local residents with a worthy spiritual home.


建筑以传统的清真寺为原型,通过新的材料和技术,以微妙的方式来演绎清真寺的空间结构:四周环绕的拱券从下到上逐渐收分形成优雅的弧线。当整栋建筑倒影水中,弧形的花瓣形拱券更显清晰灵动,散发出优雅气质。建筑的穹顶不是简单复制伊斯兰的符号,而是一种抽象和转译。我们以一系列花瓣状的壳体构成穹顶,创造性地将内部空间变为半室外的屋顶花园,融合了阳光、空气和绿色。它将伊斯兰炫丽灿烂的文化以及人们期盼美好生活的愿景以一种诗意的方式呈现。这是一个家园般的文化中心,它为社区居民尤其是穆斯林族群提供了一个心灵栖息的场所。

Contributor: Leon Yan
Photographer: Yao Li


供稿人: Leon Yan
摄影师: Yao Li

You Might Also Like你可能会喜欢

Visual Taipei

October 20, 2016 2016年10月20日

Curated by Taiwanese visual artist Page Tsou, Visual Taipei is an impressive exhibition that brings together 61 visual artists, illustrators, and designers from around the world. Held in Taipei’s Songshan Cultural and Creative Park as part of International Design House, the exhibition has been proudly described by Page as a realization of his dreams. By inviting some of the most talented international communication artists together into one single exhibition in Taipei, he hopes to explore the relationship between the worlds of art and design, and the interaction between digital artworks and hand-painted artworks. Out of the 61 artists, 20 have been selected to present their unique vision of Taipei City through their art.


由台灣視覺藝術家鄒駿昇策展的《Visual Taipei》是一個令人嘆為觀止的展覽,展出了世界各地的61名視覺藝術家,插畫家和設計師的作品。在臺北的松山文化創意園區舉行,作為國際設計大展的一部分,駿昇驕傲的說這是他的夢想成真。通過邀請這些才華橫溢的國際藝術家,在臺北匯聚一堂,他希望能夠探索藝術和設計的關係,以及數碼和手工藝術作品之間的互動。在這61名藝術家中,20人被邀請用他們的作品去展示他們眼中的臺北。

Taipei Life: There's Food on My Fly (2016) by Stefan Glerum / 《Taipei Life: There's Food on My Fly》 (2016) 作者: Stefan Glerum
Taipei Life (2016) by Sophie Casson / 《Taipei Life》 (2016) 作者: Sophie Casson

“I am really excited to show everyone the different works created by these 20 artists about Taipei. It’s interesting to see how these artists show Taipei in their own style,” Page says. “It’s hard to define what Taipei is, and it’s interesting to see how other people see this topic, not just foreigners, but also people from different cities in Taiwan.”


駿昇說“我很激動能夠展示給大家,由這20個藝術家創作的關於臺北的獨特的作品。能夠看到這些藝術家用他們自己的風格去展示臺北。是很難去定義臺北的,看到不同的人是怎麼看臺北是很有趣的,不只是外國人,還有來自臺灣不同城市的人。”

Taipei Life (2016) by Paul Blow / 《Taipei Life》 (2016) 作者: Paul Blow
The City (2016) by Martin Nicolausson / 《The City》 (2016) 作者: Martin Nicolausson
T for Taipei (2016) by Jim Stoten / 《T for Taipei》 (2016) 作者: Jim Stoten

Browsing through the works of these twenty artists, some unsurprising elements make appearances, such as scooter bikes and Taipei 101. However, it’s fascinating to see the ways that these talented artists reinterpret these familiar aspects of Taiwan’s capital through their own means. For example, in graphic designer Martin Nicolausson’s The City, he presents the iconic Taipei 101 as a structure in an abstract landscape that’s seemingly self-contained within a person’s mind. Paul Blow’s Taipei Life is a vivid illustration of a lady racing by on a bright red scooter, with two dogs in tow.


瀏覽這20個藝術家的作品,有很多預想中的元素,像是臺北的101大樓和機車。儘管如此,還是令人驚喜的看到這些才華橫溢的藝術家,他們對於臺北熟悉的方面的重新理解。舉例來說,平面設計師Martin Nicolausson的《The City》,他把標誌性的臺北101放在看似裝在人腦中的抽像風景。而Paul Blow的《Taipei Life》生動地描繪了一位載著兩隻狗的女士騎著亮紅色的機車。

Taipei (2016) by Benoit Tardif / 《Taipei》 (2016) 作者: Benoit Tardif

Besides the familiar cityscape where Taipei 101 looms over hordes of scooters, the city is also known for it’s accessibility to nature. In Hannah Warren’s City Lungs: Da’an Forest Park, she focuses on the famous Da’an Forest Park of Taipei and presents it in her lively and colorful illustrative style. Netsko Seki’s Taipei uses the green of Taipei’s mountains, the blue of the city’s skies, and lush reds of a sunset as the backdrop to her illustration, which is populated with famous Taipei landmarks and locals going about their day.


不僅是臺北101和成群的機車這樣熟悉的城市風光,這個城市也是被眾多的自然景點讓人熟知。在Hannah Warren的《City Lungs: Da’an Forest Park》中,她用她生動和多彩繪畫風格展現了的臺北的大安森林公園。 Netsko Seki的《Taipei》用臺北的山的綠色,天的藍色和夕陽的紅色作為她插畫的背景,描繪了城市中生活的人們和著名的臺北地標。

Taipei (2016) by Vita Yang / 《Taipei》 (2016) 作者: 楊謹瑜
City Lungs: Da'an Forest Park (2016) by Hannah Warren / 《City Lungs: Da'an Forest Park》 (2016) 作者: Hannah Warren
Taipei (2016) by Natsko Seki / 《Taipei》 (2016) 作者: Natsko Seki

It’s also unsurprising to see traditional Taiwanese marketplaces and street food make appearances in the collection of artworks. Adrian Johnson’s Night Market presents his vision of a local food stall as geometric blocks of color. In Joohee Yoon’s vision of Taipei, the Korean artist shows a lady frantically preparing a bowl of shaved ice, one of the most beloved local desserts. Illustrator Tatsuro Kiuchi’s One Day in Taipei  instead opts for a calm local street market scene in which a schoolgirl is idly browsing a selection of fresh produce.


也理所應當地在這些作品中看到了傳統的台灣市場和街頭小吃。 Adrian Johnson《Night Market》展現了他眼中用作為幾何色塊構成的本地小吃攤。韓國藝術家Joohee Yoon眼中的臺北,是一個女人瘋狂地製作著本地人喜愛的甜品刨冰。插畫師Tatsuro Kiuchi的《One Day in Taipei》描繪了本地街市,一個女學生正無所事事地看著一堆新鮮蔬菜。

One Day in Taipei (2016) by Tatsuro Kiuchi / 《One Day in Taipei》 (2016) 作者: 木內達郎
Night Market (2016) by Adrian Johnson / 《Night Market》 (2016) 作者: Adrian Johnson
Mochi Jelly (2016) by JooHee Yoon / 《Mochi Jelly》 (2016) 作者: JooHee Yoon

Kaohsiung-based artist Croter Hung’s vision of Taipei also involves food stalls, albeit they only play a minor role in his contributed work; his Toa-ka-lak Taipei  is a dizzying piece of artwork that blends temples, roads, congested traffic, and even Taiwan’s Presidential Office Building into a surreal and chaotic sprawl of fun, nuanced details. Similarly playful is Antti Kalevi’s submission, an abstract piece of work that’s filled with formless shapes, and umbrella-wielding pedestrians, which speaks of the rainy weather that Taipei is infamously known for.


高雄藝術家洪添賢眼中的臺北也有描繪到小吃攤,儘管只是他作品中的一小部分,他的《Toa-ka-lak Taipei》摻雜了寺廟,馬路,擁擠的交通,甚至有台灣的總統府,在他超現實的插畫裡充滿了微妙的細節,匯集成好玩又混亂的浮世繪。 Antti Kalevi的作品簡單有趣,充滿了不規則形狀色塊的抽像作品,撐著傘的行人,訴說著台北那街知巷聞的梅雨季節。

Toa-ka-lak Taipei (2016) by Croter Hung / 《Toa-ka-lak Taipei》 (2016) 作者: 洪添賢
Taipei Life (2016) by Antti Kalevi / 《Taipei Life》 (2016) 作者: Antti Kalevi

Despite the spectrum of artistic styles, the twenty artists have all managed to showcase Taipei for the diverse and multifaceted city that it is through their own unique vision. “I hope that people feel like the content is good enough to want to spend at least an hour there without feeling bored. It will be interesting and easy to understand, and not like some overly abstract or conceptual art. I hope that’s a way for people to learn something from some of these artists that have come from all over the world, including several very talented Taiwanese artists,” Page says. “Changing people’s attitudes takes some time, but the dialogue has started now in Taipei, which is important. I think the World Design Capital is making the city more lively and energetic, and also helping us to build our connections with other parts of the world.”


除了變化多端的藝術風格和每個人獨特的視角,這20個藝術家成功地展現了臺北的多樣性和多面性。 駿昇說“我希望人們能覺得內容夠好,可以至少在裡面花一個小時而不覺得無聊。因為是有趣且容易理解的,不像是很多過於抽像或概念的藝術。我希望這樣能讓人,從這些來自世界不同國家的藝術家身上,包括幾個來自台灣的優秀藝術家,學到一些東西。改變人們的態度是需要花時間的,但是這個對話已經在臺北開始,這是很重要的。我認為世界設計之都正在讓這座城市更有生機和活力,也幫助我們和不同國家建立聯繫。”

Untitle (2016) by Hsiao-Ron Cheng / 《Untitle》 (2016) 作者: 鄭曉嶸

This story is part of a content partnership and media exchange between Neocha and World Design Capital Taipei 2016.


本篇文章來自內容合作夥伴Neocha和2016臺北設計之都的媒體交換。

Website: wdc2016.taipei
Facebook: ~/visual-taipei

 

Contributors: David Yen, Saskia Kerkvliet


網站: wdc2016.taipei
臉書: ~/visual-taipei

 

供稿人: David Yen, Saskia Kerkvliet

Tokyo Compression

October 19, 2016 2016年10月19日
Tokyo Compression 12 (2010)

German-born artist and photographer Michael Wolf started his career as a photojournalist in 1994. After spending nearly a decade working in Hong Kong for the German magazine Stern, a lack of interest in many of his assignments and a lack of time for his personal projects led him to pursue fine art photography full-time in 2003. In 2004, he won first prize in the World Press Photo competition’s Contemporary Issues category for his compelling photo series China: Factory of the World where he captured workers in different types of factories. The award would be the first of many as his body of work continued to evolve and grow.


ドイツ出身アーチスト兼写真家のMichael Wolf は、1994年にフォトジャーナリストとしてそのキャリアを歩み始めました。香港に在住中の10年近くをドイツ系雑誌・Sternのジャーナリストとして過ごす間は、大半の職務に興味を見出せないまま、自分のやりたいプロジェクトが行えない日々を過ごす時期が続きました。そのような状況の中、2003年にプロの美術写真家に転向し、翌2004年には世界報道写真展の現代社会部門にて、様々な工場で働く労働者達の姿を捉えた作品集のChina: Factory of the World で初の賞を獲得しました。この賞はその後の作品の進化と成長や、多くの受賞作を生むきっかけになったのです。

Tokyo Compression 54 (2010)
Tokyo Compression 57 (2010)
Tokyo Compression 35 (2010)
Tokyo Compression 31 (2010)

In the years since, he’s become a significant name in the contemporary art scene, developing an exceptional body of work around life in the cities of China, Hong Kong, Tokyo, Chicago and Paris. His photographs are a profound embodiment of urban life, from Bastard Chairs and 100×100 to Transparent City and Real Fake Art among other numerous projects. Most of Wolf’s images display a unique internal look into peoples’ lives within both the suburbs and bustling centers of megacities. Through his photography, Wolf’s intent is to capture and present his vision of the dynamics of city life as well as his perspective on the turbulent nature of the urban environments. Tokyo Compression is one of those stark manifestations.


それ以来、当人は現代のアートシーンで重要な役割を担う存在となり、中国の他、香港、東京、シカゴ、パリなどの都市生活を描く素晴らしい作品を制作してきました。数多くの作品の中でも特にBastard Chairs100×100Transparent CityReal Fake Art は、都市生活の鋭い洞察が具体的に表されています。本人が想像するイメージの大半では、大都市の目まぐるしく動く中心部や、近郊の人々の生活を捉えた独特な眼差しが映し出されています。カメラのレンズを通して都市生活の原動力となるビジョン、そして都市という渦巻く環境を彼なりの視点で捉えて描こうとしたのです。その視点は、Tokyo Compressionプロジェクトに最もよく表されています。

Tokyo Compression 125 (2010)
Tokyo Compression 126 (2010)

First presented in 2010 as a book, Tokyo Compression is a photo series that consists of candid portraits of Japanese people inside the jam-packed Tokyo subway trains, a stream of nameless faces pressed up against a window wet with condensation. Creating a sense of hardship, the images depict an urban hell, a mental compression of sadness and despair, madness and anxiety.


2010年にまず単行本として発表されたTokyo Compressionは、東京の地下鉄の満員電車内でお互いが押し合いながらも汗まみれとなり、窓に押し付けられて何とも言えない表情が映し出された、日本人のありのままの姿を集めた作品集です。人々の苦労を映し出すイメージは、都市の苦しみ、悲しみに溢れた精神的な圧迫感、そして絶望、狂気、不安な様子が表されています。

Tokyo Compression 18 (2010)
Tokyo Compression 75 (2010)

Wolf’s photography has shown the adaptability of human spirit against adversity in one of the most ultimate urban environments: the city’s underground. Capturing the everyday commuter life in Tokyo’s subway, Wolf has managed to present the physical and mental reduction of privacy and space in the daily routine, imbued with a feeling of dismal, overwhelming and total vulnerability to the city.


写真からは、大都市の地下という最も過酷な環境において、逆境に耐えて順応しようとする人々の精神が伺えます。普段の東京の地下鉄の様子から私生活が奪われ、行き場が減ることで心身共に衰えゆく人々の様子と、大都市に対する優越感や圧倒感、そして心の弱さが表現されています。

Tokyo Compression 55 (2010)
Tokyo Compression 77 (2010)
Tokyo Compression 80 (2010)
Tokyo Compression 52 (2010)

In 2009, Wolf’s Tokyo Compression series won first prize in the World Press Photo Award’s Daily Life category. Now interchangeably living and working in Hong Kong and Paris, Michael Wolf continues to pursue his personal projects where he explores and reveals an inward world of big cities through his lens.


このTokyo Compressionシリーズは、2009年世界報道写真展の日常生活部門で最優秀賞を獲得しました。現在当人は、香港とパリを仕事と生活の拠点として活動し、レンズを通して大都市の奥深くを追いかけて表現する、独自のプロジェクトを手掛け続けています。

Tokyo Compression 17 (2010)
Tokyo Compression 66 (2010)
Tokyo Compression 123 (2010)

Micheal Wolf’s solo exhibition Hong Kong – Informal Solutions is now on display at the M97 Gallery in Shanghai. The new exhibit features photographs, video loops, and artifacts collected from the back alleys of Hong Kong.


上海のM97画廊では個展のHong Kong – Informal Solutionsが開催されています。新作が披露されているこの展覧会では、写真、動画ループ、香港の裏通りで見つかった工芸品が展示されています。

Websitephotomichaelwolf.com
Facebook: ~/michael-wolf

 

Contributor: Anastasia Masalova
Images Courtesy of Michael Wolf & M97 Shanghai


ウェブサイトphotomichaelwolf.com
Facebook: ~/michael-wolf

 

寄稿人: Anastasia Masalova
Images Courtesy of Michael Wolf & M97 Shanghai

Chifumi Tattowiermeister

October 18, 2016 2016年10月18日

Upon his arrival in Cambodia, Chifumi Tättowiermeister discovered a developing contemporary street art scene in the capital of Phnom Penh. In the last four years, he has become a willing pied piper for young budding Cambodian street artists. Whilst there are no specific laws specifying that street art is illegal in Cambodia, murals are often whitewashed and painted over, even if artists had previously attained permission from the local city hall.


បន្ទាប់ពីគាត់បានមកដល់ប្រទេសកម្ពុជា លោក Chifumi Tättowiermeister បានរកឃើញទីតាំងសិល្បៈតាមដងវិថីបែបសហសម័យដែលកំពុងមានការអភិវឌ្ឍនៅក្នុងរាជធានីភ្នំពេញ។ កាលពីបួនឆ្នាំមុន គាត់បានក្លាយជាអ្នកដឹកនាំដែលប្រកបដោយឆន្ទៈសម្រាប់វិចិត្រករគំនូរតាមដងវិថីវ័យក្មេងដែលពោរពេញដោយទេពកោសល្យនៅក្នុងប្រទេសកម្ពុជា។ ទោះបីជាពុំមានច្បាប់ច្បាស់លាស់ណាមួយដែលបញ្ជាក់ថាសិល្បៈតាមដងវិថី គឺជាអំពើខុសច្បាប់នៅក្នុងប្រទេសកម្ពុជាក៏ដោយ ក៏គំនូរនៅលើជញ្ជាំងតែងតែត្រូវបានគេលុបដោយទឹកថ្នាំពណ៌ ស និងលាបថ្នាំជញ្ជាំង ទោះបីជាវិចិត្រករធ្លាប់ទទួលបានការអនុញ្ញាតិពីសាលាក្រុងក្នុងមូលដ្ឋានពីមុនមកក៏ដោយ។

In recent years, local government bodies have become more receptive to street art, especially if they’re promoting traditional Khmer culture or positive social messages. With this in mind, Chifumi draws inspiration from the local Cambodian society for his eye-catching murals that boldly celebrate the colours and culture of his new found home. Neocha caught up with Chifumi recently to learn more about his current projects and his involvement in this year’s Cambodia Urban Art Festival.


អង្គភាពរបស់រដ្ឋាភិបាលក្នុងមូលដ្ឋានកាន់តែអាចទទួលយកបាននូវសិល្បៈតាមដងវិថីនេះ ហើយ ប្រសិនបើពួកគេធ្វើការលើកតម្កើងវប្បធម៌ប្រពៃណីខ្មែរ ឬសារវិជ្ជមាននៅក្នុងសង្គម។ ដោយប្រកាន់ខ្ជាប់នូវទស្សនៈបែបនេះនៅក្នុងចិត្ត Chifumi បានទាញយកការបំផុសគំនិតពីសង្គមកម្ពុជានៅក្នុងមូលដ្ឋានសម្រាប់ការគួររូបលើជញ្ជាំងដែលគួរឲ្យទាក់ទាញភ្នែករបស់គាត់ ដែលកត់សម្គាល់យ៉ាងច្បាស់លាស់នូវពណ៌ និងវប្បធម៌នៃផ្ទះថ្មីដែលគាត់បានទៅដល់។ Neocha បានទៅជួបជាមួយ Chifumi នាពេលថ្មីៗនេះដើម្បីធ្វើការរៀនសូត្របន្ថែមអំពីគម្រោងបច្ចុប្បន្នរបស់គាត់ និងការចូលរួមរបស់គាត់នៅក្នុងទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជានៅក្នុងឆ្នាំនេះ។

Neocha: What is the creative process behind your amazing murals?

Chifumi: Whenever I’m out looking for a wall to do my next mural, I pay attention to every detail. For me, the social and cultural background of the city in which I’m painting in is just as important as the architectural space itself. I always create a sketch before I actually start painting; it is always as if the local context of each city feeds into my work. Living in Southeast Asia allows me to incorporate local mythology and culture as graphic elements in my work. I’m always on the road, so I usually have water-based acrylic paint with my own brushes and rolls handy – it’s not always possible to find good quality graffiti spray cans where I am.


Neocha: តើអ្វីគឺជាដំណើរការប្រកបដោយភាពច្នៃប្រឌិតដែលនៅពីក្រោយរូបគំនូរលើជញ្ជាំងដ៏អស្ចារ្យរបស់លោក?

Chifumi: នៅគ្រប់ពេលដែលខ្ញុំចេញទៅខាងក្រៅដើម្បីស្វែងរកជញ្ជាំងណាមួយដើម្បីគូររូបគំនូរលើជញ្ជាំងបន្ទាប់ទៀតរបស់ខ្ញុំ ខ្ញុំតែងតែយកចិត្តទុកដាក់លើគ្រប់ចំណុចលម្អិតទាំងអស់។ សម្រាប់ខ្ញុំ សាវតារផ្នែកសង្គម និងវប្បធម៌របស់ទីក្រុងដែលខ្ញុំកំពុងតែធ្វើការគូររូបគឺមានសារៈសំខាន់ដូចគ្នាទៅនឹងផ្ទៃលំហផ្នែកស្ថាបត្យកម្មរបស់ទីក្រុងនោះផងដែរ។ ខ្ញុំតែងតែធ្វើការព្រាងរូបគំនូរមួយមុនពេលដែលខ្ញុំចាប់ផ្តើមធ្វើការគូររូបគំនូរពិតប្រាកដ គឺហាក់បីដូចជាបរិបទក្នុងមូលដ្ឋានរបស់ទីក្រុងនីមួយៗត្រូវបានរួមបញ្ចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ការរស់នៅអាស៊ីអាគ្នេយ៍បានធ្វើឲ្យខ្ញុំអាចរួមបញ្ចូលទេវកថា-វិទ្យា និងវប្បធម៌ក្នុងមូលដ្ឋានជាក្រាហ្វិកចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ខ្ញុំតែងតែនៅតាមដងវិថី ដូច្នេះជាធម្មតាខ្ញុំមានទឹកថ្នាំពណ៌ដែលមានសារធាតុអាគ្រីលីកដែលផ្អែកលើកម្រិតទឹករួមជាមួយច្រាសផ្ទាល់ខ្លួនរបស់ខ្ញុំ និងលាបថ្នាំដោយការរុញដោយដៃ – ខ្ញុំមិនមែនតែងតែអាចរកបានកំប៉ុងបាញ់ទឹកថ្នាំរូបគំនូរលើជញ្ជាំងដែលមានគុណភាពល្អនៅកន្លែងដែលខ្ញុំរស់នៅនោះទេ។

Neocha: What brought you to Cambodia? What drew you to the art scene here?

Chifumi: Four years ago, I started a project for a French media platform that documented my journey from India to Australia and I continuously made art along the way. Unfortunately, before its completion, the project came to an abrupt end whilst I was traveling through Southeast Asia. I have been living in Cambodia ever since – it was a difficult time, but I still have so many great memories about my arrival in Phnom Penh. There was no real prominent street art scene and only a few street artists around when I arrived. So, I worked hard. I tried really hard to bring something cool and artistic to this city. Looking back now, it was a really great feeling.


Neocha: តើអ្វីដែលជម្រុញរូបលោកឲ្យមកកាន់ប្រទេសកម្ពុជា? តើអ្វីទាក់ទាញលោកឲ្យមានចំណាប់អារម្មណ៍មកលើឆាកសិល្បៈនៅទីនេះ?

Chifumi: កាលពីបួនឆ្នាំមុន ខ្ញុំបានចាប់ផ្តើមគម្រោងមួយសម្រាប់វេទិកាប្រព័ន្ធផ្សព្វផ្សាយរបស់ប្រទេសបារាំងដែលបានចងក្រងឯកសារអំពីការធ្វើដំណើររបស់ខ្ញុំពីប្រទេសឥណ្ឌាទៅកាន់ប្រទេសអូស្រ្តាលី ខ្ញុំបានបង្កើតសិល្បៈជាបន្តបន្ទាប់នៅក្នុងអំឡុងពេលនៃការធ្វើដំណើររបស់ខ្ញុំ។ ជាអកុសល មុនពេលដែលគម្រោងត្រូវបានបញ្ចប់យ៉ាងពេញលេញ គម្រោងនេះត្រូវបានបញ្ចប់ភ្លាមៗខណៈពេលដែលខ្ញុំកំពុងធ្វើដំណើរឆ្លងកាត់អាស៊ីអាគ្នេយ៍។ ខ្ញុំបានរស់នៅក្នុងប្រទេសកម្ពុជាចាប់តាំងពីពេលនោះមក – វាគឺជាពេលវេលាដ៏លំបាកមួយ ប៉ុន្តែខ្ញុំនៅតែមានការចងចាំដ៏អស្ចារ្យជាច្រើនអំពីការមកដល់ទីក្រុងភ្នំពេញ។វាពុំមានទីតាំងសិល្បៈតាមដងវិថីដែលគួរឲ្យចាប់អារម្មណ៍យ៉ាងពិតប្រាកដនោះទេ និងមានវិចិត្រកររូបគំនូរតាមដងវិថីតែពីរឬបីនាក់ប៉ុណ្ណោះនៅពេលដែលខ្ញុំបានមកដល់នោះ។ ដូច្នេះ ខ្ញុំបានធ្វើការខិតខំប្រឹងប្រែងយ៉ាងខ្លាំង ខ្ញុំបានព្យាយាមយ៉ាងខ្លាំងក្នុងការនាំយកអ្វីដែលមានភាពស៊ីវិល័យ និងមានលក្ខណៈសិល្បៈមកកាន់ទីក្រុងនេះ។ រំឮកឡើងវិញនៅពេលនេះ វាពិតជាអារម្មណ៍ដ៏អស្ចារ្យមួយ។

Neocha: You are the artistic director for the Cambodia Urban Art Festival 2016. What was it like to bring 14 artists together to showcase their work across Phnom Penh?

Chifumi: After residing in Phnom Penh for the last few years, I was determined to unify the graffiti and street art scene here, and I thought that the best way to do it would be to create a fun event that gave Cambodian youths a rich insight into this artistic culture. So, I decided to bring local artists and international painters together; the festival included artists of ten different nationalities and we hoped they would bring some fresh colours into Phnom Penh. It was so important for us to reference the local culture and context in these projects; once all of the murals were done, we organised a tour across the city with 50 free tuk-tuks. We even had a few local hip-hop artists performing at some of the venues; I’m elated that this project happened and I truly think that the Cambodian youth were really able to gain something from it.


Neocha: លោកគឺជាប្រធានផ្នែកសិល្បៈសម្រាប់ទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជា ឆ្នាំ 2016 –តើវាមានលក្ខណៈយ៉ាងដូចម្តេចដែរក្នុងការប្រមូលផ្តុំវិចិត្រករចំនួន 14 រូបឲ្យមកជួបជុំគ្នាដើម្បីធ្វើបទបង្ហាញអំពីការងាររបស់ពួកគេនៅទូទាំងទីក្រុងភ្នំពេញ?

Chifumi: បន្ទាប់ពីបានស្នាក់នៅក្នុងទីក្រុងភ្នំពេញបានពីរបីឆ្នាំ ខ្ញុំបានសម្រេចចិត្តធ្វើការបង្រួបបង្រួមការគូររូបគំនូរនៅលើជញ្ជាំង និងឆាកសិល្បៈតាមដងវិថីនៅទីនេះ ហើយខ្ញុំគិតថា វិធីសាស្រ្តដែលល្អបំផុតសម្រាប់ការធ្វើការបង្រួបបង្រួមនេះ អាចជាការបង្កើតព្រឹត្តិការណ៍កំសាន្តដែលផ្តល់ជូនយុវជនកម្ពុជានូវការយល់ដឹងយ៉ាងច្បាស់អំពីវប្បធម៌សិល្បៈនេះ។ ដូច្នេះ ខ្ញុំបានសម្រេចចិត្តនាំយកវិចិត្រករនៅក្នុងមូលដ្ឋាន និងអ្នកគូររូបអន្តរជាតិឲ្យមកធ្វើការជាមួយគ្នា។ ទិវានេះបានរួមបញ្ចូលវិចិត្រករដែលមានសញ្ជាតិខុសៗគ្នាជាង 10 ដើម្បីពាំនាំមកនូវពណ៌ស្រស់ស្រាយមួយចំនួនមកកាន់ទីក្រុងភ្នំពេញ។ ការយោងដល់វប្បធម៌ក្នុងមូលដ្ឋាន និងបរិបទក្នុងគម្រោងទាំងនេះក៏មានសារៈសំខាន់ចំពោះយើងផងដែរ។ បន្ទាប់ពីយើងគូររូបគំនូរលើជញ្ជាំងទាំងអស់រួចរាល់ហើយ យើងបានរៀបចំការធ្វើដំណើរជុំវិញទីក្រុងដោយការធ្វើដំណើរតាមរ៉ឺម៉កកង់បីចំនួន 50 ដោយឥតគិតថ្លៃ។ យើងក៏មានសិល្បករហ៊ីបហប់(hip-hop) មួយចំនួនតូចដែលធ្វើការសម្តែងនៅទីកន្លែងមួយចំនួនផងដែរ។ ខ្ញុំមានក្តីរំភើបរីករាយដែលគម្រោងនេះបានកើតឡើង ហើយខ្ញុំពិតជាគិតថា យុវជនកម្ពុជាពិតជាអាចទទួលបានចំណេះដឹងមួយចំនួនពីគម្រោងនេះ។

Neocha: What are some of the other upcoming projects that you have around Asia?

Chifumi: Recently, I attended the PRASAD Festival in Nepal. I actually painted a giant mural in Kathmandu before the 2015 earthquake, so I felt compelled to return and share some colours with the local people. I feel like the street art scene in Nepal is much like Cambodia, as in it’s very young. But I see a lot of opportunities and hope in these artists who are working hard to develop their own style and energy. My next few projects will be situated in Pakistan, India, Indonesia and Malaysia, but I’ll also continuously working from Phnom Penh – Asia keeps artists very busy sometimes! 


Neocha: តើមានគម្រោងអ្វីផ្សេងទៀតដែលលោកនឹងធ្វើឡើងនៅជុំវិញទ្វីបអាស៊ីនាពេលខាងមុខ?

Chifumi; នាពេលថ្មីៗនេះ ខ្ញុំបានចូលរួមទិវា PRASAD នៅប្រទេសនេប៉ាល់ – ជាក់ស្តែង ខ្ញុំបានគូររូបគំនូរលើជញ្ជាំងដ៏ធំមួយនៅ Kathmandu មុនពេលមានការរញ្ជូយដីនៅក្នុងឆ្នាំ 2015 ដូច្នេះខ្ញុំមានអារម្មណ៍ថា ខ្ញុំត្រូវបានគេបង្ខំឲ្យត្រឡប់ទៅទីនោះវិញដើម្បីចែករំលែកពណ៌មួយចំនួនជាមួយប្រជាជនក្នុងមូលដ្ឋាន។ ខ្ញុំមានអារម្មណ៍ថា ឆាកសិល្បៈតាមដងវិថីនៅប្រទេសនេប៉ាល់ គឺដូចគ្នានឹងឆាកសិល្បៈតាមដងវិថីនៅប្រទេសកម្ពុជាខ្លាំងណាស់ គឺនៅក្មេងខ្ចីខ្លាំងណាស់ – ប៉ុន្តែខ្ញុំមើលឃើញឱកាសជាច្រើន និងមានក្តីសង្ឃឹមយ៉ាងខ្លាំងចំពោះវិចិត្រករទាំងនេះដែលកំពុងខិតខំប្រឹងប្រែងអភិវឌ្ឍរចនាបថផ្ទាល់ខ្លួន និងថាមពលរបស់ពួកគេ។ គម្រោងមួយចំនួនតូចបន្ទាប់ទៀតរបស់ខ្ញុំនឹងធ្វើឡើងនៅប្រទេសប៉ាគីស្ថាន ប្រទេសឥណ្ឌា ប្រទេសឥណ្ឌូនេស៊ី និងប្រទេសម៉ាឡេស៊ី ព្រមទាំងការធ្វើការងារជាបន្តបន្ទាប់នៅទីក្រុងភ្នំពេញ។ នៅពេលខ្លះ ទ្វីបអាស៊ីធ្វើឲ្យវិចិត្រករទាំងឡាយមានភាពមមាញឹកខ្លាំងណាស់!

Neocha: Where do you hope that your art can take you in the future?

Chifumi: I feel that every painting I do is more for myself than for the sake of being remembered. Each mural is a personal challenge that I have to surpass. For contemporary street artists now, the lifestyle is intense. You are always invited to travel and put your mark onto many new places. All of my travels change and influence my artworks, allowing me to put different shapes and colours into play. With every new culture that I immerse myself into, it always gives me the energy to create more. I hope that my art will continue to take me on the road again and again in the future, and I also hope that my art will stay free in public spaces and won’t be locked into the cage of a gallery or museum space.


Neocha: តើអ្នកសង្ឃឹមថា សិល្បៈរបស់អ្នកនឹងនាំអ្នកទៅកាន់ទីណានៅពេលអនាគត?

Chifumi: ខ្ញុំមានអារម្មណ៍ថា គ្រប់រូបគំនូរដែលខ្ញុំគូរ គឺខ្ញុំគូរវាឡើងសម្រាប់ខ្លួនខ្ញុំច្រើនជាងសម្រាប់ការចងចាំរបស់អ្នកទាំងអស់គ្នា – រូបគំនូរលើជញ្ជាំងនីមួយៗ គឺជាការប្រកួតប្រជែងផ្ទាល់ខ្លួនដែលខ្ញុំត្រូវតែធ្វើឲ្យកាន់តែល្អឡើង។ សម្រាប់វិចិត្រកររូបគំនូរតាមដងវិថីបែបសហសម័យនាពេលបច្ចុប្បន្ន ពួកគេមានការផ្តោតយ៉ាងខ្លាំងទៅលើរចនាបថនៃជីវិត – អ្នកតែងតែត្រូវបានគេអញ្ជើញឲ្យធ្វើដំណើរ និងធ្វើការកត់សម្គាល់ទីកន្លែងថ្មីៗជាច្រើន។ រាល់ការធ្វើដំណើររបស់ខ្ញុំបានផ្លាស់ប្តូរ និងបានជះឥទ្ធិពលដល់កិច្ចការសិល្បៈរបស់ខ្ញុំ ដែលធ្វើឲ្យខ្ញុំអាចបង្កើតទ្រង់ទ្រាយខុសៗគ្នា និងដាក់ពណ៌ខុសៗគ្នានៅក្នុងសកម្មភាពនានា។ ជាមួយនឹងវប្បធម៌ថ្មីៗដែលខ្ញុំបានចុះទៅសិក្សាដោយផ្ទាល់ វាតែងតែធ្វើឲ្យខ្ញុំមានថាមពលក្នុងការបង្កើតអ្វីៗថ្មីៗបន្ថែមទៀត។ ខ្ញុំសង្ឃឹមថា សិល្បៈរបស់ខ្ញុំនឹងបន្តធ្វើឲ្យខ្ញុំអាចស្ថិតនៅតាមដងវិថីម្តងហើយម្តងទៀតនៅពេលអនាគត ហើយខ្ញុំក៏សង្ឃឹមផងដែរថា សិល្បៈរបស់ខ្ញុំនឹងស្ថិតនៅយ៉ាងមានសេរីភាពនៅទីតាំងសាធារណៈ និងមិនត្រូវបានចាក់សោរទុកនៅក្នុងទ្រុងនៃវិចិត្រសាល ឬទីតាំងណាមួយនៃសារមន្ទីរឡើយ។

Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

Contributor: Whitney Ng
Images Courtesy of Chifumi Tättowiermeister


Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

អ្នកជំនួយ: Whitney Ng
មានការអនុញ្ញាតពី រូបថត: Chifumi Tättowiermeister

Art Island Naoshima

October 17, 2016 2016年10月17日

Setouchi Triennale takes place in spring, summer and autumn once every three years and lasts for 108 days. It is held on the 12 islands of the Seto Inland Sea, including Teshima, Megijima, Naoshima, and so on. With the largest number of installations and public works on display in Naoshima, this remote island is one of the most popular destinations during the Triennale.


瀬戸内国際芸術祭は、トリエンナーレ形式で3年毎に春から秋にかけて108日間開催されます。豊島、女木島、直島など瀬戸内海に浮かぶ12の島を舞台にアート作品が展示されます。インスタレーションやパブリックアート作品が最も多く展示される離島、直島は、芸術祭開催中最も人気が高い目的地の一つです。

Designed by the world-famous architect Tadao Ando, the Chichu Art Museum lives up to its name (chichu means “underground” in Japanese); a very large part of the museum’s compound is indeed concealed underground. Surprisingly, it manages still to use natural daylight as its main source of light. Through Ando’s masterful design, he has engaged in a conversation between architecture and nature. The museum is also exhibiting Time/Timeless/No Time from the iconic American minimalist artist Walter de Maria, Claude Monet’s large-scale oil painting Water Lily, as well as the American contemporary artist James Terrell’s Open Sky – an installation work using light as the medium. It is very rare to witness the work of impressionist, modern and contemporary art in one single museum. This alone would be reason enough to pay a visit.


世界的な建築家、安藤忠雄氏の設計による地中美術館は、その名の通り、館内の大部分が地下に隠れています。それでも意外なことに、ここでは自然光が主な光源として採り入れられています。その卓越した設計で、安藤氏は建築と自然の対話を実現しました。この美術館では、アメリカのアイコン的ミニマルアート作家、ウォルター・デ・マリアの作品「タイム/タイムレス/ノー・タイム」、クロード・モネの大規模な油絵「睡蓮」、さらに、アメリカの現代アート作家、ジェームズ・タレルによる光を媒体としたインスタレーション作品「オープン・スカイ」を展示しています。印象派、近代・現代アートの作品を一か所で目の当たりにできるのは非常に稀なことです。この点だけでも、一見の価値がある美術館といえるでしょう。

Another must-see museum is the Lee Ufan Museum. Widely considered as the most well-established Korean contemporary artist, Lee Ufan was also one of the leading artists of the Japanese minimalism movement, which has had a significant influence in the world of contemporary art. The museum opened in 2010, and is now considered an architectural masterpiece and one of Tadao Ando’s most iconic creations. In this semi-underground building, the main visual design elements are the dots, lines, and surfaces; these elements, which are central in the works of both Tadao Ando and Lee Ufan, perfectly compliment each other in the space. Some of Lee Ufan’s large-scale installations and his early paintings are also on display in the museum.


もう一つ是非訪れたい美術館は李禹煥美術館です。最も評価の高い韓国人アーティストとして広く認められた李禹煥氏は、現代アートの世界に大きな影響を与えた日本のミニマリズム運動において優れたアーティストの一人でもありました。2010年に開館したこの美術館は、安藤忠雄氏の最も象徴的な作品の一つと考えられ、まさに建築の傑作です。この半地下の建物の内部で焦点を当てられたビジュアルデザインの要素は、点と線、そして面です。安藤氏と李氏、双方の作品の中枢をなすこれら3つの要素が、見事にこの空間で互いに調和しているようです。館内には、李禹煥氏の大型インスタレーション作品と初期の絵画作品のいくつかも展示されています。

After seeing the museum, visitors can also take a walk to the peaceful harbour of Naoshima where one can get an award-winning ice cream for only 550 yen and enjoy a beautiful sunset. Even though walking is a fairly feasible option for getting around, there are also busses running to most parts of the island. One bus is even decorated in Yayoi Kusama’s signature pumpkin patterns.


李禹煥美術館を訪れた後は、直島の静かな港まで散歩し、賞の受賞経験もある550円のアイスクリームを買って美しい夕陽を楽しむのも良いでしょう。周辺は徒歩でも移動可能ですが、島のほとんどの場所にはバスも運行しています。草間彌生氏独特のかぼちゃ模様で装飾を施されたバスも1台走っているほどです。

Also located on the island is the Art House Project, where artists have turned empty houses on the island into works of art. Visitors can easily access all of the revamped buildings by foot after getting off at one of many convenient bus stops. For the purpose of protecting the artworks, photography is forbidden in most of the houses. A local volunteer told me all the works showcased for the Art House Project will be kept permanently. Most of the residential housing on the island are built with wood, standing one next to the other in close proximity. All the windows and doors are smaller than normal, bringing a different yet interesting experience for city dwellers who visit. Even the houses themselves come in rather small sizes. The gardens and plants around the houses are beautifully and neatly arranged in a traditional Japanese style. Wandering around, you might also spot interesting details that reveal the tasteful eye of the house owners, such as a cute Tanuki sculpture or artwork made of recycling cans.


また、直島では、アーティストらが島に点在する古い空き家をアート作品に変えるプロジェクトも見られます。数多くの便利なバス停の一つで下車すると、改装された古民家には徒歩で簡単にアクセスできます。なお、ほとんどの家屋では、作品を保護する目的で写真撮影が禁じられています。地元のボランティアによると、家プロジェクトで公開された作品はすべて永久保存されるとのことです。直島の住宅の大半は木造で、家々が隣接して並んでいます。窓や戸はどれも通常より小さく、都会から訪れる者に一種独特の印象を与えます。家屋そのものも比較的小さいものです。人家の周囲の庭や植物は、伝統的な様式で美しくきちんと手入れされています。この辺りを歩き回ると、狸の彫刻や空き缶を再利用したアート作品などの細部に、各家の持ち主の趣味の良さを垣間見られるかもしれません。

Besides all the interesting museums, the island itself also has a certain charm that it offers. The wooden walls and rusty metal factories add a natural texture to the island, giving it a sense of mysterious beauty that can only come with old age. Walking around, you’ll spot even more artwork, such as interesting silhouettes of people made with lines of wool, which are attached to walls throughout the area. They’re often quietly hidden away behind corners, waiting to surprise you when you turn around. It almost felt like these whimsical artworks were playing hide-and-seek with the tourists.


これら興味深い美術館の他にも、直島には当地ならではの魅力があふれています。木の壁や錆びた金属工場が、時を経たものだけが持つ神秘の美を醸し出し、この島の自然な質感を漂わせるのです。散策を続けると、この地域のあちこちの壁に、毛糸の線で人の形に描かれ、貼り付けられたアート作品なども見られます。これらの作品は、密かに角の向こう側に隠れているものが多いため、ふと振り返ると驚かされます。まるで、気まぐれなアート作品が観光客とかくれんぼをしているかのようです。

Not far from Miyanoura Port lies the famous polka-dot pumpkin by Yayoi Kusama. It sits quietly by the sea and the water’s blue hues seemed to make the pumpkin’s yellow brighter than ever. Yayoi Kusama’s merchandise can be purchased at the Benesse House Museum, which also showcases other very interesting artworks. From there, you can head to a café located on the mountaintop to relax with a nice cup of coffee. It is the perfect place to bask in the sunlight, while embracing the gentle wind coming in from the beach. The tranquil vibes of the island, the cutting-edge architecture of the art museums, and the traditional Japanese houses all co-exist harmoniously, perfectly demonstrating the unique nature of Naoshima.


宮之浦港から程近い場所に、草間彌生氏の有名な水玉模様のかぼちゃがあります。海辺に静かに佇み、海の青い色調がかぼちゃの黄色をさらに色鮮やかに演出するかのように見えます。草間彌生グッズを販売するベネッセハウスミュージアムでは、他にも注目に値する作品の数々が展示されています。そこから山頂にあるカフェに向かい、のんびりコーヒーを楽しむこともできます。浜辺から吹くそよ風を受けながら日光浴するには最適な場所です。この島の穏やかな空気感、斬新な美術館建築、伝統の日本家屋、それらすべてが絶妙な調和で共存し、直島独特の自然を見事に示しているのです。

Websites:
setouchi-artfest.jp
benesse-artsite.jp

 

Contributor & Photographer: George Liu Zhen
Additional Image Courtesy of Chi Chu Art Museum


ウェブサイト:
setouchi-artfest.jp
benesse-artsite.jp

 

寄稿者&カメラマン: George Liu Zhen
Additional Image Courtesy of 地中美術館