Particulate Matter

March 31, 2017 2017年3月31日
Shanghai 2014 - Air Quality Index 430 (Hazardous)

Upon first glance, photographer Benedikt Partenheimer’s Particulate Matter series appears to be a soothing collection of pastel colors and cloud-filled landscapes. However, the German native’s work aims to shed a harsh light on a problematic issue that plagues modern day China – the economic progression moving forward at the expensive of environmental and physical wellbeing. Partenheimer describes the photo series as a “the relationship between the revival and decline… the consequences that come with excessive economic growth and the combustion of carbon-based fuels”.

The majority of the series was photographed from above to emphasize an astounding lack of visibility on days where the air quality index (AQI) skirts dangerously above 301, which is globally classified as “hazardous” by governing bodies. On such days, even China’s most iconic sights such as Beijing’s Forbidden City and Shanghai’s Huangpu River are rendered unrecognizable.


乍看之下,德国摄影师 Benedikt Partenheimer的《Particulate Matter 》似乎只是一组色彩柔和,云雾萦绕的自然风景照片。然而, Partenheimer真正的创作意图是揭示一个困扰现代中国的问题–经济发展带来的环境和健康代价。Partenheimer形容这个摄影系列为“复兴与衰落之间的关系……过快的经济增长与过分使用碳基燃料的后果”。

系列中大部分作品以高空俯视的角度拍摄,以突显出在重污染日子里,城市惊人的低能见度。根据规定,当空气质量指数 (AQI) 达到 301以上时,即为”重度污染“。这些时候,即使是中国最具标志性的景点,如北京的故宫、上海的黄浦江等都会变得相当模糊无法辨认。

Shanghai 2014 - Air Quality Index 400 (Hazardous)
The Sun, Beijing 2014 - Air Quality Index 350 (Hazardous)
Shanghai 2014 - Air Quality Index 390 (Hazardous)
Shanghai 2014 - Air Quality Index 340 (Hazardous)
Huangpu River, Shanghai 2014 - Air Quality Index 440 (Hazardous)
Shanghai 2014 - Air Quality Index 420 (Hazardous)
Shanghai 2014 - Air Quality Index 380 (Hazardous)
Shijiazhuang 2014 - Air Quality Index 360 (Hazardous)
Beijing 2014 - Air Quality Index 330 (Hazardous)

Website: benedikt-partenheimer.com

 

Contributor: Whitney Ng


网站benedikt-partenheimer.com

 

供稿人: Whitney Ng

Being Censitive

March 30, 2017 2017年3月30日

What comes to mind when you think about the temples and religious practices of India? For those familiar with the region, concepts like purity and piety would most likely top the list. However, visual designer Akshita Chandra shows this isn’t always the case in Being Censitive, an interactive illustration project based on the Khajuraho temples of India, or more specifically, the temple’s erotic sculptures. Through this project, Chandra aims to incite discussion around the topic of Indian’s system of censorship and moral policing.


提到印度的宗教和寺庙,也许多数人会将它与虔诚与纯洁等词语挂钩。而艺术家Akshita Chandra却做了件破格的事。她借鉴印度克久拉霍寺庙中的性爱雕塑,大胆创作了一系列“尺度颇大”的插画互动作品,名为《Being Censitive》。借此讨论印度社会对于“性”的审查制度,以及大众心中对性这个话题的审判标准。

Regarded by many to be India’s mecca of sexuality, Khajuraho is a small village located southeast of New Delhi. The nickname comes from the erotic carvings of the Khajuraho Group of Monuments, a cluster of well-known Hindu and Jain temples. These sculptures left behind speak of an open-minded outlook on sexuality, an outlook that’s quite different from the conservative viewpoint of modern-day India. Today, the sculptures seen in the Khajuraho temples would most likely be unacceptable and would be subject to censorship. It’s exactly this juxtaposition between the past and the present that intrigued Chandra.


克久拉霍是位于新德里东南方的一座小镇,这里的寺庙内有大量性爱主题的雕塑,所以也被称为印度的“性都”。从这些古人留下的雕塑可以看出当时的印度社会对于性的开放度还是很高的。然而,以现今社会的审核制度来看,这些艺术品恐怕是不合格的,甚至说是应该被屏蔽或加上马赛克。这个矛盾点引发了艺术家Chandra的兴趣。

The idea to borrow from the aesthetics of the Khajuraho sculptures in her illustrations is to allow viewers a look at the religious temple art through the lens of censorship. “I’m also referencing a few recent examples of censorship to create a subdued dialogue between the past and the present,” Chandra elaborates. The project consists of eight interactive illustrations with movable elements that allow viewers to physically engage with the work and reveal or cover up the characters. As Chandra describes, the goal of the project is for people to think critically themselves about the issue of censorship. “I’m interested in exploring the line between what might be considered obscene and what might be considered acceptable.”


“我想制作一些插画,人物的风格直接借用克久拉霍寺庙雕塑的美学,而每幅插画引用一件社会上有关审核制度的时事,创造一个古今对话的平台。”她制作了8件插画互动装置,这些装置包含了一些小机关,让观众在“解开”与“隐藏”的过程中自发性地思考问题。“我希望通过这个作品来开启讨论,究竟“淫荡”和“正常“的边界在哪里。

One illustration looks at when Indian law enforcement arrested over 40 couples from their private hotel rooms, accusing them of public indecency. One of the arrested individuals said, “I am not a prostitute. I am an adult who was out with my fiancé, who I am supposed to marry next month, to find some privacy. I had entered my name in the hotel register with my identity proof and also handed over the relevant documents when asked by the cops. But, when I tried to tell a female constable all of this, she slapped me.”


印度警方从酒店的私人房间中逮捕了超过40对男女,他们被指控公众地方行为不检,而被带去警局审问。一位被捕男士告诉记者:“我并不是在从事色情活动,我只是和我的未婚妻开了一间房,我们下个月就要结婚了。而当我向一名女警官解释这些的时候,她给了我一巴掌。” Chandra以这则荒谬的新闻内容,制作了上面这幅插画装置。

Another illustration is based on a quote by right-wing educational activist Dinanath Batra where she stated, “Sex education will pollute young minds and hence must not find space in the improved and ‘Indianised’ education system that the government wants to introduce.”


这幅插画的题材来自印度右翼教育激进分子Dinanath Batra的言论:“性教育会为未成年人带来不良的影响,因此在我们改革的‘印度化’教育体系中,性教育一定要被撇除。”

The censorship practices of India’s TV Channel Romedy Now also became one of the topics in the eight-part series – the network censors any appearance of clothed cleavage, considering it to be highly obscene.


这幅插画则取材于一则有关印度电视台“Romedy Now”的时事:官方规定要给演员露出的乳沟打上马赛克,因为它们太过淫秽了。

This project was Chandra’s way of bringing attention to the issue of censorship, a topic she’d long been intrigued by. After four months of research and revisions, Being Censitive was debuted to highly positive reception on both a local and global level. “I feel extremely grateful for the kind of exposure I got through this project. I got to interact and converse with so many people from all across the globe. It feels wonderful to know the kind of audiences this project has been able to reach. It’s something I never imagined when I initially started.”


Chandra花了前后4个月去做这个作品,通过了一连串的资料搜集和重新组装,出来的成果终于接近了她最初的理念。“这个作品为我带来了很大的曝光率,来自不同地区的观众都对它感兴趣,在制作的时候,并没有想过这个项目可以带我去到那么远,我很感恩。”

website: akshitachandra.com
Instagram: @akshitachandra
Behance~/akshitachandra

 

Contributor: Ye Zi


网站: akshitachandra.com
Instagram: @akshitachandra
Behance~/akshitachandra

 

供稿人: Ye Zi

Emptiness & Impermanence

March 29, 2017 2017年3月29日

Park Ki Pyung is an artist and sculptor who lives and works in Seoul, South Korea. Born in 1991, he’s currently a full-time student at Hongik University. His sculpture work deals with themes of human existence, impermanence, violence, and emptiness.


Park Ki Pyung是在韩国首尔生活工作的艺术家和雕塑家。他出生于 1991 年,目前是弘益大学的全日制学生。他的雕塑作品涉及的主题包括生存、无常、暴力和空虚。

Park’s work is rooted in the artist’s fear of impermanence and the fact that every moment is limited. His sculptures are attempts at creating something permanent in an ever-changing world. Park says, “Limitedness of every moment is what bothers me the most, and my work starts from this pain. I am trying to deny the limitedness of mortality, but at the same time, I want to be confirmed as a human being. The current moment will end, but my essence could live forever with my sculptures.”


Park的雕塑作品从他对变幻无常的时间及空间的恐惧开始。通过雕塑作品,Park希望在不断变化的世界中创造永恒的事物。Park 说:”时间的有限性令我深感困扰,而我就是以这种痛苦为起点,进行创作的。我试图否认生命的有限性,但同时,我也想确定自己作为人类的存在。现在的每一个时刻都会结束,但我的灵魂可以通过我的雕塑永远活着。“

According to Park, his most recent work is about the self. “These days, I’m using the figure of a person with only a shell, to describe the condition of emptiness,” he comments. “I use the shape of the human body, but exclude the front of their face so that I can delete the unique characteristics of each person.” Beyond emptiness, the scenes of war and violence depicted in many of his works are also meant to express how we commit acts of violence against the self.


Park告诉我们,他近期的主要作品都是有关自我空虚的。“在最近的作品中,我创作了只有外壳的人形雕塑,来展现空虚的状态。我还创造了一些没有正面的人形雕塑,因为这样可以抹掉每个人的个性特点。”同时,他的作品还探讨了战争和暴力的主题,表达出自我对抗的暴力。

Park’s sculptures are meant to express a universal condition. Through meditation on self and others, Park tries to channel and express what it means to be human, from birth through time and death. He says, “I focused on my feeling, my behavior, and my way of viewing the world, and tried to find the universality of the human being inside me. Also, I observed other people and substituted myself for them. The top priority of my work is to gain universality. For this moment and for the moment after death, my work has to form something that can be understood in any era.”


Park的雕塑作品尝试表达出一种普遍性。通过对自我和他人的冥想,他试图在作品中展现出人类从出生到死亡的意义。他说:“我在创作时,会专注于我的感觉,我的行为和我看待世界的方式,试图在自己内心找出人类的普遍性。另外,我还会观察其他人,将自己和他们进行换位思考。普遍性是我的作品中最重要的元素。我想创作出在任何时代都能被理解的作品,不论是现在这一刻,或是在死后的时间。”

Instagram: @park_ki_pyung

 

Contributor: George Zhi Zhao
Images Courtesy of Park Ki Pyung


Instagram: @park_ki_pyung

 

供稿人: George Zhi Zhao
Images Courtesy of Park Ki Pyung

Victo Isn’t a Boy’s Name or a Typo

March 28, 2017 2017年3月28日

Growing up in Hong Kong as an only child, Victo Ngai spent much of her childhood drawing and creating imaginative stories from her artworks while her parents were away working long hours. Upon graduating from the Rhode Island School of Design, Ngai blossomed into a decorated illustrator, creating her visual stories on a much larger scale through her characteristically fluid and surreal drawing style. In 2014, Ngai was listed by Forbes in the 30 under 30 of the Art & Style category for her impressive illustrations. Her thought-provoking works are often featured in the likes of The New Yorker and The New York Times where she brings some of the world’s most pressing stories to life. Most recently, she collaborated with Apple to produce a Chinese New Year billboard in celebration of the Year of the Rooster, which was unveiled at the Apple Store on Canton Road in Hong Kong. “I like things that are not very realistic. That is the charm of illustration – it completely allows you to create your own magical world.”


来自香港的倪传婧(Victo Ngai )是家里的独生女。因为父母经常外出工作只留她在家,倪的童年大多数时间在一个人奇思妙想和画画中度过。从罗德岛设计学院毕业后, 倪传婧成为一名插画家,以流畅的线条和超现实主义的绘画风格,描绘出她脑中构想的故事。 2014 年,她凭借出色的插画作品,入选福布斯艺术与风格类“30 Under 30:Art & Style”榜单 (30位最具潜力的30岁以下的杰出新秀)。 她根据世界上发生的重大新闻事件,创作出发人深省的插画作品,并常常被发表于《纽约客》(New Yorker) 和《纽约时报》(The New York Times)等报刊杂志。最近,她与 Apple 公司合作,创作一个庆祝中国鸡年春节的广告牌,于香港广东道的Apple零售店展出。”我喜欢超现实风格的东西。这也是插图的魅力所在。它让你可以构建一个属于你自己的神奇世界。“

Website: victo-ngai.com
Facebook: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

Contributor: Whitney Ng


网站: victo-ngai.com
脸书: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

供稿人: Whitney Ng

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World of One

March 27, 2017 2017年3月27日
Illusions of Progress (2014)

Johnny Tang is a Taiwanese-American fine arts photographer based in Brooklyn, New York. His ongoing series, World of One, is a surrealist examination of identity through self-portraiture. Taking inspiration from surrealist photographers such as Man Ray, Salvador Dali, and Lee Miller, Tang maintains the nostalgic tradition of fine arts photography by shooting only in analog film. After, Tang scans the photograph and digitally manipulates them in Photoshop for the finishing touches.


Johnny Tang是一位生活在纽约布鲁克林的美籍华人摄影师。他的最新作品《World of One》通过一系列的自拍照,以超现实主义的风格进行自我审视。Johnny Tang从Man Ray,Salvador Dali,Lee Miller等超现实主义摄影师的作品中汲取灵感。他只以胶片为媒介来拍摄,以保留传统艺术摄影的怀旧。拍摄后,他会将每张照片扫描到电脑上,再以Photoshop进行后期处理。

A Waking Dream (2014)
Narcissus (2012)
Commodum (2015)

According to Tang, “The first thing you need to know about this work is that these pictures are of me, but they are not really about me. Instead, these images combine philosophical concepts with surrealist aesthetics to build a portrait of how we develop our identities. By juxtaposing contradicting thoughts, actions and/or emotions together in the same frame, these images question which of our actions truly define us.”


“对于这个系列,你首先要明白,这些虽然都是我的照片,但他们不是真正意义上的我。事实上,这些影像是哲学概念与超现实主义美学的结合,通过最后所呈现的影像,诠释出我们是如何塑造自己的身份的,将矛盾的思想、行动或情绪融合在同一张照片中,向每个人提问,到底哪一个行为是真正的自己。”Johnny Tang这样阐述他的作品。

Shinobi No Kame (2016)
Fearful Courage (2016)
Diligentia II (2013)

Originally set on becoming a documentary and street photographer, Tang was later forced to reconsider his path after the passing of a close friend. During a period of self-examination, Tang set out to create the first image in his World of One series. He says, “Satisfied with my first attempt, I didn’t touch that style of work again for another year. I was afraid I’d never be able to make another piece to match it in quality. But encouraged by a new motivation to only create the kinds of images that I love, I kept experimenting with different themes and styles.”


最初,Johnny Tang想要成为一名纪实摄影师或街头摄影师,后来因为一位好友的离世,他开始重新思考自己的创作方法。在经历了一段自我审视的时间后,Johnny Tang拍摄了《World of One》系列的第一张照片。他说:“我对于自己第一次的尝试感到很满意,但之后的一年里,我没有再碰这种风格,因为我担心没办法拍出和它一样好的照片。但是,我内心也会涌现新的动力,驱使我拍摄自己喜欢的题材,尝试不同的主题与风格。”

The Indecisive Battle (2013)
Migrant Shores (2016)
Glory of Shame (2014)

Tang draws from many different sources to create his work, such as Chinese scroll paintings, Japanese manga, as well as postmodern and existentialist philosophies. His work is a way of exploring the contradictions of Asian-American identity, and processing the inherent feelings of “otherness” that come along with it. Tang comments, “My hope is that in developing an Asian-American aesthetic, I will influence our culture in such a way that it also reflects my unique cultural background. This way I can feel more at home here in America. It’s a project that is no doubt important both for myself and for other Asian-Americans.”


Johnny Tang的创作有着很多不同的灵感来源,从中国卷轴画到日本漫画,从后现代主义到存在主义哲学。他的作品探索了亚洲裔美国人的矛盾身份,以及这种身份所引发的”异己感“(Otherness)。Johnny Tang说:”我希望可以创作出一种属于美籍亚裔人们的美学风格,这种风格既可以对我们的文化产生一定的影响,同时又能反映出我个人独特的身份背景。通过这种方式,让自己更有一种融入美国社会的感觉。对我自己和其他美籍亚裔人们来说,这个摄影系列无疑都是非常重要的。”

Paradox of Choice (2013)
Hopeful Despair (2013)
The Stranger (2013)

Each of Tang’s images tells a different story about the universal human condition, belying the surface appeal of his aesthetic. He says, “I don’t just want my work to be interesting to look at; I want it to be thought-provoking and emotionally moving as well. Somewhere between eye candy and mind candy is where I want my work to live, and my working process is constantly struggling to find that balance.”


Johnny Tang的作品有着独特的视觉魅力,而蕴藏在这些视觉影像之下的,是一个个有关人性的故事。他说:“我不想让作品只是看上去很有趣,我想要它们引人思考,或是能在情感上触动他人。我希望我的作品在视觉和情感上达到一定的平衡。因此,我的创作过程,也是我不断去寻找这种平衡的过程。”

NSA (2014)
Angry Calm (2016)
Somnium (2013)

Website: johnnytangphoto.com
Facebook: ~/johnnytangphoto
Instagram: @johnnytangphoto

 

Contributor: George Zhi Zhao


What if Kobe Bryant was a Samurai?

March 24, 2017 2017年3月24日

From a samurai-fied Kobe Bryant to a skeleton warrior rocking Jordans, Vanz Chiang’s illustrations seamlessly combines elements of Japanese culture with modern-day NBA superstars. The Taiwanese artist’s fearlessness to mash together unlikely elements from different cultures has led to collaborations with local Taiwanese streetwear goliath Remix Taipei, renowned streetwear brand Mishka NYC, and American sportswear brand Champion.


从穿着武士装的科比,到穿着乔丹球鞋的骷髅头战士,台湾艺术家江振嘉(Vanz Chiang)将日本传统文化和NBA球星做结合,创作出一系列出色的插图作品。正是这种大胆文化碰撞的风格,促成了他与台湾本地著名街头时尚品牌Remix Taipei、著名服饰品牌Mishka NYC和美国运动服装品牌Champion的合作。

Being someone who’s never bought into the rigorous structure of traditional academic curriculums, Chiang would often absent-mindedly doodle away during class and daydream about being a manga artist. “I’ve never had a concrete plan for the future,” he says with a nonchalant shrug. “My line of thinking was simple: I just wanted to do the things I loved. I’ve been lucky enough to have been able to find a career in something I’m interested in even before I even finished college.”


因为不喜欢学校严格的课堂气氛,江振嘉上课时总是心不在焉地涂鸦,或是发白日梦,幻想着成为一名漫画艺术家。”我对未来从来没有具体计划。”他耸了耸肩说,”我的想法很简单,只想做自己喜欢的事情。我很幸运,在大学毕业前就找到了自己的事业,还是自己感兴趣的事情。“

Chiang’s collection of books offers a revealing glimpse into his varied interests and creative inspirations. Inside his Banqiao studio space, his bookshelf is filled to the brim, from literature about skate culture like Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine and the Supreme monograph to art books like James Jean’s Xenograph and The Skateboard Art of Jim Phillips. But by far, the art books that dominate his shelves are those by Japanese artists. Chiang credits the famous Japanese manga artist Takehiko Inoue as being one of his biggest influences. Inoue is best known for the wildly popular Slam Dunk, a sports-themed manga series about a high school basketball team, and Vagabond, a manga series about a wandering swordsman. The influence from these two series is immediately obvious in many of Chiang’s works. Aside from the illustrative styles, the narratives presented in the manga are equally important to Chiang’s creative processs. “The manga series I enjoy reading are usually ones that explore human nature and the meaning of life,” he comments. “I suppose that might be because I’m quite introverted and often like to overthink.”


一踏进江振嘉位于板桥的工作室,就能看到他的书架上摆满了各式书籍。从有关于滑板文化的《Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine》和《Supreme》到Jame Jean的 《Xenograph》和 《The Skateboard Art of Jim Phillips》。但是,占满他书架的主力军还是日本漫画书。江振嘉说,著名日本漫画家井上雄彦(Takehiko Inoue)是对他影响最大的人之一。井上的作品包括广受欢迎的《灌篮高手》,一部关于高中篮球校队的体育主题漫画;以及关于流浪剑客的漫画系列《浪客行》。在江振嘉的许多插图作品中,都能清晰看到这两部漫画的影响,除了对他画风的影响之外,对他作品在叙事上的影响也同样重要。”我喜欢的漫画作品通常是以探索人性和生命意义为主题的,但我想这可能是因为我比较内向,常常会想太多。“

A closer look around studio reveals the full scope of his love of Japanese culture: various Japanese paraphernalia – such as oni masks, samurai helmets, and even a katana – decorate the workspace. “I like things that are intricate and mysterious,” Chiang explains, motioning towards the sheathed katana on his desk. “Many aspects of Japanese culture fit these two criteria. But I like Western armaments as well. Their heavy armor and bulky weapons still possess an inherent beauty. Japanese weapons are still my favorite. Katanas are elegant and simple, yet so powerful. Japanese armor is also beautiful and well-designed.


环顾他的工作室,你能充分感受到他对日本文化的迷恋:各种日本摆设品,包括恶鬼面具、武士头盔,甚至还有武士刀。”我喜欢复杂和神秘的东西。”江振嘉一边摆弄着他收藏的武士刀,一边说。“日本文化的许多方面都符合这两点。其实,我也是西方武器的粉丝。那些重甲和大型武器有一种内在的美。但我更喜欢武士刀,优雅简单,但威力强大,还有日本的盔甲,设计十分精美。“

Though perhaps not as readily apparent as the influence from Japanese culture, Taiwanese culture also plays a role in his creation process. “The temples of Taiwan, which can be found almost everywhere, definitely influence me,” he says. “I’m inspired by the architecture and the artistic details of the deities. I also love dragons, which are present in almost every temple. If I pass by one, I’ll often stop and take in all of the work that went into the details.”


虽然,在他的作品中,台湾文化的影响可能不如日本文化明显,但也影响着他的创作。“在台湾,随处可见的寺庙是我的创作灵感。寺庙的建筑结构,神像的艺术细节,都让我备受启发。我也很喜欢龙,几乎在每个寺庙都能看到龙的身影。我常常会停下来,认真欣赏所有的细节,思考它们的创作过程。“

In recent years, Chiang has invested much time and energy into collaborative brand projects. In 2017, he plans to readjust his focus and produce more art for himself. He’s currently in the preliminary stages of planning an exhibition and is in discussions with a few galleries. As Chiang pencils in additional details onto a new Monkey King illustration he’s been working on, he eagerly says, “I’m really looking forward to opportunities for showing off more of my personal artworks this year.”


最近几年,江振嘉将不少时间精力花在和各品牌的合作上面。但在2017年,他计划将工作的重心转移到个人作品的创作上面。最近,他正在和几个画廊联络,安排将在今年举办的一些个人展览。访问结束后江振嘉继续着他工作台上画到一半的作品,一幅孙悟空形象的插画。“我很期待今年的展览,让更多人看到我的个人作品。”

Website: vanzchiang.com
Facebook: ~/VanzChiang
Instagram: @vanzchiang

 

Contributor & Photographer: David Yen


网站: vanzchiang.com
脸书: ~/VanzChiang
Instagram: @vanzchiang

 

供稿人与摄影师: David Yen

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20 Years of Convenience

March 23, 2017 2017年3月23日

For the last 20 years, South Korean artist Me Kyeoung Lee has traveled around her home country, armed with acrylic inks and a penchant for painting quaint little convenience stores. Throughout her childhood, Lee recalls frequenting these charming corner stores that are now becoming few and far between in modern-day South Korea. In each painting, she captures every little detail, highlighting each store’s idyllic features, its traditional signage, and miscellaneous bric-à-brac.


过去20年,韩国艺术家Me Kyeoung Lee带着她的丙烯颜料上路,走遍了韩国许多地方,寻找那些旧式街边小店。在时髦的韩国城市街头,这样传统的杂物小店越来越少,甚至只能在她的童年回忆中才能找到 ,Lee决定用画画的方式将它们保存下来。在这些作品中,Lee仔细描绘每间小店的一砖一瓦,画出小店丰富的杂物细节,也保留了它的传统特征和质朴的风味,

Artsy~/me-kyeuong-lee

 

Contributor: Whitney Ng


Artsy~/me-kyeuong-lee

 

供稿人: Whitney Ng

The 2017 Kathmandu Triennale

March 22, 2017 2017年3月22日

The first-ever Kathmandu Triennale will be kicking off this Friday. Organized by the Siddhartha Arts Foundation, the inaugural event aims to celebrate Nepal’s rich cultural history and its growing art scene. As an extension of the past two Kathmandu International Art Festivals, the Triennale shares a similar goal of showcasing the educational potential of art and opening up a dialogue around the various social issues of modern-day Nepal.


本周五,首届加德满都三年展(Kathmandu Triennale,KT 2017 )即将开幕,主办方为悉达多艺术基金会(Siddhartha Arts Foundation),旨在展现尼泊尔丰富的文化历史,及其日益繁荣的艺术文化。作为过去两届加德满都国际艺术节(KIAF)的延伸,三年展的目标也在于传达艺术的教育影响力,也针对现今尼泊尔的各种社会问题,为大家创造对话的平台。

The Triennale this year is built upon the successful 2009 and 2012 editions of KIAF. The metric that defines their success goes beyond the large turnout, positive reception, and notable artists who attended. It’s measured by the lasting impact these two festivals have left on Nepal as a whole. During KIAF 2012, Cambodian artist Leang Sackon’s 70-meter-long installation, The Naga, needed to be transported into Nepal from Cambodia. To allow passage through India, amendments were made to an outdated transit treaty between India and Nepal, which has led to many economic benefits for Nepal. The past festivals also invited various schools to attend guided tours of the festival with the goal of teaching the youth about the value of art. This initiative, along with other like-minded art education platforms, has begun to shift the conservative viewpoint of the Nepalese school system that previously only saw art as an extracurricular activity.


2009年和2012年举办的两届KIAF十分成功,为今年三年展的举办奠定基础。前两届KIAF吸引了众多观众,获得了公众的热情参与,更有多位著名艺术家参展,更重要的是,它们的举办为尼泊尔留下了深远的影响。在KIAF 2012期间,柬埔寨艺术家Leang Sackon 为了将70 米长的艺术装置《The Naga》从柬埔寨运到尼泊尔,促使印度和尼泊尔重新修订了两国间过时的过境条约,为尼泊尔带来了长久的经济利益。在前两届KIAF中,主办方还邀请了当地学校组织有解说的参观活动,目标是让青少年更多地了解艺术的价值。这样的活动,正逐渐改变尼泊尔学校以往只把艺术看作课外活动的传统观念。

The Naga by Leang Seckon
The Naga by Leang Seckon

The central theme of this year’s Triennale revolves around the concept of “The City.” The primary exhibition, The City, My Studio / The City, My Life, will explore the idea of cities being nodes of creativity. Through presenting a mix of new and existing works of participating artists, the exhibition will examine the complex role and multiple functions of cities, showing how they’re interconnected into the heritage, lives, and creative processes of these individuals. The exhibition is also dedicated to all those who lost their lives in Nepal’s 2015 earthquakes.


此次三年展的中心主题是“城市”。主要展览《The City, My Studio / The City, My Life》(城市——我的工作室,城市——我的生活)探索了以城市为创意节点的理念。通过展示各国艺术家的作品,探讨城市的各种复杂角色和功能,展现出城市与艺术家个人在传统、生活和创作过程中的相互联系。此外,今年的三年展的举办也是为了致献在2015年尼泊尔地震中丧生的人们。

Born in Kathmandu, Ang Tsherin Sherpa is known for his contemporary reinterpretations of traditional thangka art.
Street artist Kiran Maharjan is one of the organizers of the Prasad Project, which aims to make a positive impact on Nepalese youth.
Cai Guoqiang is an award-winning Chinese artist who's known for his literally explosive works of art.

KT 2017 will be inviting over 50 artists from 25 different countries to participate in this year’s exhibitions, such as influential local artists Ang Tsherin Sherpa, Kiran Maharjan, Hit Man Gurung and many more. Prolific international artists like Cai Guoqiang, Francis Alÿs, Surasi Kusolwong will also be showcasing their work in the city. KT 2017 will take place between March 24th and April 9th at multiple venues across the city of Kathmandu. Check out the official Kathmandu Triennale website for more information.


KT 2017 将邀请50多名来自25个不同国家的艺术家参加今年的展览,包括当地艺术家 Ang Tsherin Sherpa和 Kiran Maharjan,几位著名的国际艺术家,如蔡国强、Francis Alÿs和Surasi Kusolwong等也会在这里展出他们的作品。KT 2017 定于3 月 24 日至 4 月 9 日在加德满都多个场地举行。登陆浏览加德满都三年展官方网站,就能了解更多相关信息。

Silencio by Francisco Alÿs

Websitekt.artmandu.org

 

Contributor: David Yen
Images Courtesy of the Siddhartha Arts Foundation


网站kt.artmandu.org

 

供稿人: David Yen
图片由Siddhartha Arts Foundation提供

A Light to Resolve All Darkness

March 21, 2017 2017年3月21日

Low Leaf is a Filipino-American singer, songwriter, producer, multi-instrumentalist, and artist based in Los Angeles, California. Recently she released her new album, the self-produced Palm Psalms: A Light to Resolve All Darkness. Fusing together acoustic instrumentals, ethereal vocals, and electronic ambiance, the album takes us on a journey through transcendent soundscapes. Check out our conversation with Low Leaf below about her thoughts on art, culture, music, and creativity.


Low Leaf是一名菲律宾裔美国歌手、作曲家、制作人和艺术家,擅长多种乐器,目前定居洛杉矶。最近,她推出了自己制作的全新专辑《Palm Psalms: A Light to Resolve All Darkness》。这张专辑结合了原声乐器、空灵的歌声和电子音乐多种元素,带领听众穿越到一个超然的音乐世界。最近我们与 Low Leaf对话,了解她在艺术、文化、音乐和创意方面的一些想法。

Listen to select tracks from the album below, or purchase the full album on Bandcamp.

Low Leaf – Dreaming Awake

Low Leaf– Cleansing Incantation

Low Leaf– Inlight

Low Leaf – It Is Within


点击下方链接试听专辑的精选曲目,或于Bandcamp购买整张专辑。

Low Leaf – Dreaming Awake

Low Leaf – Cleansing Incantation

Low Leaf – Inlight

Low Leaf – It Is Within

Neocha: What is creativity to you? How do you channel your creativity across different mediums?

Low Leaf: For me, creativity happens when I am flowing in complete harmony with myself and life in the present moment. No matter what outside circumstances are happening, I am constantly processing, releasing, renewing or creating… life is creation. Every day is different, so I have to be open to how creativity is revealing itself to me in the moment, and not my idea of what creativity should look like or be. All I know is that creativity begins with a feeling, and my heart knows it when it feels it. So I just follow that feeling whether it means music, visual arts, dancing, cooking, or just listening to nature.


Neocha: 对你而言,创意是什么?你如何通过不同媒介来表达自己的创意?

Low Leaf: 对我来说,当我和我的生活处于一种和谐平衡时,创意就会出现。无论外界发生了什么事,我都在不断地消化、释放、净化自己和创造新的东西,生活本身就是一种创作。每一天都是全新的,所以我必须以开放的态度,来面对当下涌现的创意,无论它是以什么形式出现的,而不是以我的想法来定义创意是什么。我只知道创意起源于感觉,当创意出现时,我的内心会有所感觉。所以,我只是跟着自己的感觉走,不论它是有关音乐、视觉艺术、舞蹈、烹饪,或者只是聆听自然的声音。

Neocha: How do native and indigenous cultures influence your art and philosophy?

Low Leaf: The biggest common thread that I’ve found that always inspires me from all indigenous cultures is their interconnectedness with nature, and living life with the cycles of Mother Earth. I’ve always felt that connection close to my heart, so naturally I’m drawn to how indigenous people preserve the sacred, create sustainably, and generally have a deeply woven sense of respect for the mysterious unknowns of life. Being Filipino-American has given me something else to identify with that, to this day, is continuously unfolding before me. The biggest influence has been trying to understand my identity through the hearts of all Filipinos around me in my life growing up in LA. We are almost a different breed than those that grew up in the islands, in that we share this longing to return, to understand who we are, and why we are here. So I feel like this longing has inspired me the most to seek truth, seek wisdom, and seek to understand!


Neocha: 原住民文化对你的艺术和理念有何影响?

Low Leaf: 我发现所有原住民民族文化的最大共同点,是它们与自然之间的相互关联,以及他们遵循地球运转规律的生活方式,这也一直是我创作的灵感。这种相互联系一直存在于我的内心深处。自然而然,我会好奇想了解原住民如何维护他们的神明、他们怎样以遵循可持续方式进行创造,以及他们对生命的神秘未知所怀有的深深的敬意。作为一名菲律宾裔美国人,我有了更多不同的文化认同。在洛杉矶成长的过程中,我一直试图通过观察我周围的菲律宾人来了解自己。和在菲律宾群岛长大的人相比较,我们似乎来自不同的种族。也因为如此,我们都有一种回归的渴望,想去了解我们是谁,为什么会出现在这里。所以我觉得这种渴望一直鼓舞着我追求真理,寻求智慧,了解真相!

Neocha: How do you define your purpose in creating art and music?

Low Leaf: I believe the gift of creation given to an artist, is to use art to process and express life. Art and music are one in the same to me. When I’m creating music, I’m seeing visuals in my mind’s eye, and when I’m creating visual arts, I’m listening to how shapes and colors sound. I believe the purpose of these things are to bring us closer to what feels like home, within. To me, that place has been the state of being in complete unity with the Creator inside my heart. So I try my best to create from that space whenever I’m channeling, and in order to do that, I must tune up my body, soul, and spirit like an instrument every day.


Neocha: 你如何定义自己对音乐创作的追求?

Low Leaf: 我相信上天赐予艺术家的礼物,是让他们用艺术来处理和表达生活。当我创作音乐时,我的脑海会浮现一些视觉效果,当我创作视觉艺术时,我会透过画面里的颜色和图案而听到背后的声音。我相信音乐和艺术的存在,是为了让人们在内心上有一种回归“精神家园”的感受。对我来说,精神家园代表着我与内心的“造物主”合二为一的时候。所以,在我创作的时候,我总是努力回到“精神家园”的状态,每一天,我必须像帮乐器调音一样,调整我的身体、灵魂和精神。

Neocha: How do you reconcile the past with the present, the archaic with the modern?

Low Leaf: We have forgotten so much of ourselves as a collective species, and you can see this when you look out into the world and see how much disharmony there is on every level. Generally speaking, those who do “wrong,” know not what they do, because they know not who they are. When people are in complete alignment with their deep-rooted purpose for being on this earth, it’s always somehow in an ultimate act of service to others. After all, we are truly here for each other. To leave behind more beauty than what was here before we came; to create that world we ought to live in, we can only do these things when we do that thing that we came here to do. Technology amplifies the process of channeling forgotten knowledge because it makes all information that I wish was available growing up so accessible. In the world of knowns, anything can be revealed to you, so long as you have the will to seek truth.


Neocha: 你如何平衡过去和现在,传统与现代?

Low Leaf: 人类相对于自然来说,是以一个集体的形式出现的,这也是经常被我们遗忘的一个事实。你看看外面如此纷乱不和谐的环境,就会发现这点。那些做“错”的人并不知道自己在做什么,因为他们还没有认清自己是谁。人们回归至自己内心深处的生存目的时,总是会以某种方式在为他人服务,毕竟,我们真的是为彼此而存在的。我希望我们走后留给世界的东西,能比我们来之前更美好。要做到这些事情,我们就必须要先实现我们降临世界的目的。科技有助于传播那些被人们遗忘了的知识,它使得许多我希望在自己成长过程中可以得到的信息变得如此容易获取。在已知的世界,你可以找到所有的答案,只要你愿意去寻求真理。

Website: creatordiy.com
Facebook: ~/eatlowleaf

 

Contributor: George Zhi Zhao
Images Courtesy of Low Leaf


网站: creatordiy.com
脸书: ~/eatlowleaf

 

供稿人: George Zhi Zhao
图片由Low Leaf提供

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Laziness & Random Thoughts

March 20, 2017 2017年3月20日

Pencil lines, blocks of colors, lazy yogis, and happy animals. Hong Kong-born and UK-raised artist Charlene Man refuses to settle with one style or stick to the rules, but her works all invariably add a touch of humor as the finishing stroke. After a series of successful exhibitions titled Down Time in Japan and Hong Kong that explored the subjects of stillness and relaxation as a defense of laziness, Man is now busy preparing her upcoming Taipei exhibition Small Thoughts in May, which will tackle the topic of “random thoughts.”


铅笔线条、大色块、慵懒做着瑜伽的人和没烦恼的动物们,这些都是万蒨衡作品中的常见元素。在香港出生、英国长大的她拒绝单一的创作风格,也不愿意循规蹈矩,更喜欢为自己的作品增添一点幽默风格。万蒨衡在香港和日本成功举办了一系列名为《Down Time》(停机时间)的展览,以停机为主题诠释宁静和放松的状态,为“懒惰”正名。万蒨衡现在忙着筹备她即将于五月份在台北举行的展览《小想法》,这一次的展览主题是“胡思乱想”。

For Man, she considers being able to turn illustration into a full-time job as her biggest accomplishment. Many of her contemporaries have changed their careers or resorted to working for agencies. Being a free agent means more personal time and more room for creative growth, but self-discipline still played a big role in her success. Recently, we sat down with Man and had a chat with her about transitioning to a full-time illustrator, inventing words, and finding ways to be less boring.


对于万蒨衡来说,她至今为止最大的成就可以说是将画插画变成自己的全职工作。她的许多同辈现在已经换了职业,或是被代理公司签约工作。作为真正的一名自由插画家,意味着她可以给自己的创作留出更多的时间和空间,但同时自律性也非常重要。最近,我们和她碰面,坐下来聊了聊一个全职插画家的生活,和对抗无聊的方法。

Neocha: How did you start your career in illustration?

Man: It all started quite early on when I was at school. I was interested in doing art, but I always thought of it as a hobby. My parents were very against it as they wanted me to do math and science – like most Asian parents. I was quite rebellious and went with what I wanted to do. But back then, I didn’t even know illustration existed. At first, I wanted to do fashion illustration because I couldn’t decide what I wanted to do. I went to London College of Fashion for a year but I didn’t like it, so I dropped out and I ended up going to Camberwell College of Arts to start over.


Neocha: 你如何开始成为一名插画家的?

CM: 在上学的时候,我就开始画插画。我对艺术创作一直很感兴趣,但那时候我只是把它当作一种业余爱好。和大多数亚洲父母一样,我父母对此很反对,他们想让我学理科。我那时候很叛逆,所以我就一意孤行,选了插画这门学科。那时候我甚至不知道有插画这个专业。我对时尚和插画都感兴趣,所以我想要画时尚插画,想将二者结合在一起。因此我去伦敦时装学院读了一年,但我并不太喜欢。所以我退学了,然后转去坎伯韦尔艺术学院读书。

Neocha: How did you integrate your cultures and surroundings – that of Cantonese and British – into your art?

Man: I created a project on Cantonese colloquialisms at Camberwell. Even though you might not have the cultural context, people could still understand it. I grew up in the UK, but I didn’t come here until I was 13. I obviously didn’t speak English very well and always thought that people considered me as being quite weird since I couldn’t say what I wanted to say to the full extent. I would put words together but the grammar was all wrong. They laughed about it, but then I thought, “Why do I need to speak perfectly? People can understand me anyways, so why can’t I just be myself?”  There are no rights and wrongs in language anymore. We invent new words on the internet every day, so why can’t I just have fun with it? That’s when I started to make a lot more work about my culture and that’s when humor made it into my art.


Neocha: 你如何在创作中融入香港和英国的文化和环境体验?

CM: 我在坎伯韦尔艺术学院的时候,创作了一个以粤语俚语为主题的项目。这些作品是即使你没有这种文化的背景也能够理解的。我13岁才去到英国,所以最初我的英语并不好。我把单词拼凑在一起,但是语法都是错的,别人听了会笑。我常担心别人会觉得我奇怪,因为我没法完整表达出自己的想法。但我转念一想,“为什么我一定要说非常流利的英语以让自己看起来彬彬有礼?反正人们也能理解我的意思,为什么我不能只做自己?”自此,我开始不去计较语言上的对与错。反正互联网上每天都有人在发明新的词汇,不如就用它来做一些好玩的事情。于是,我开始利用这种特殊的身份来创作大量的作品,也正是这时,我的作品开始渐渐呈现出幽默的风格。

Neocha: How do you decide that “this is my style”?

Man: If all your drawings look similar, you’ll get recognized a lot quicker and easier. It’s the rules of Instagram. If you follow the rules you’ll get there. I try to go against it a bit. I don’t want people to ask me to do the same thing all the time because I find it boring. I want to keep doing new things, to keep myself motivated, and stay interested in art-related things. I actually enjoy the process of physically making something, like baking bread. I suppose that’s why my work always is more tactile and more hands-on. I want to do comics, but I don’t like to explain a lot. I still like things to be in a very abstract way. I feel doing a comics is telling a bit too much. If it’s just a single image, it leaves more to the imagination.


Neocha: 你是如何确认 “对,这就是我想要的风格”的?

CM: 如果你的作品看起来统一,你会更快和更容易被大众所认可。这就和Instagram上不成文的规则一样,你必须确立一个非常明确或者说单一的风格,如果你遵循这一规则,那你就能获得成功。但我试图去反抗这一潜规则,我不想因为别人的要求,而将我所有的时间用来做重复的事情,这样太无聊了。我想持续创作新的作品,让自己的动力源源不断,也时刻保持对艺术的兴趣和敏感度。事实上,除了画画以外,我还很喜欢“制作”。譬如制作面包,这也是为什么我的作品会更有触感,有很多动手实践的元素。我有尝试过画漫画,但我不想作太多的解释,所以我还是更喜欢抽象的创作。我觉得漫画中要讲的话太多了。如果是单独的一幅画,你可以让观众去揣测,去思考更多。

Neocha: What are some of the obstacles you’ve faced, and how did you conquer them?

CM: We have this collective called “Day Job” – there are ten of us. The idea was that we wanted to make illustration our day job. When we first started, we all had part-time jobs. I was working in a clothing store and someone else worked in a biscuit factory. Most of us are illustrators now. But at one point, I didn’t have a job. I was just sitting at home and my mom came in, saying “You’re looking for a job? Why don’t you do something?” But I was actually doing something – I was drawing and thinking about my next move. That’s when the idea for the exhibition came to me and I started contacting galleries. After the show, I received more commissions that I really enjoy doing, more relevant to what I’m interested. I think working on personal projects really helps. You never get what you don’t ask for. I learned that from my failures. I used to have low confidence, but it’s common when you first graduate. I thought things like, “I’m still not a full-time illustrator. My friends are doing much better.” But I realized that people don’t approach you not because you’re not good enough. It’s because they haven’t seen you yet.


Neocha: 你遇到过什么困难,你是如何克服它们的?

CM: 我和另外9名艺术家有一个合作项目叫《Day Job》(正职工作),想法是创作有关我们正职工作的插画。毕业后刚开始画画的时候,大家都有在做其他工作来维持生活。我在一家服装店工作,还有人在饼干厂工作。直到2014年,我才辞去最后一份正职工作。现在,我们大多数人都成为插画家了。有一段时间,我没有工作。有一次我宅在家里,我妈妈走了进来,说:“你有在找工作吗?为什么你不去找些事情来做?”而那时候我的确有在做事情——我每天都在画画,心里也知道自己接下来想做什么。就在那时我想到了举办展览然后开始联系一些。展览结束后,越来越多人找我画画,那些是我喜欢画的插画,更符合我的兴趣。我觉得做个人项目很有用,你不去问就永远得不到自己想要的东西。我正是从自己的挫败中学会这一点的。我那时候不是很自信,大部分刚毕业的人应该都会这样。那时我会觉得“我还算不上是一个全职的插画家,我的朋友要优秀得多了。”人们没有来找你并不是因为你不够好,而是因为他们还没看到你。

Neocha: So you’ve now moved back to Hong Kong. How are you inspired by this change in location?

CM: I moved back to Hong Kong on purpose. For years, I’ve only visited and didn’t live here. I never got to do the things that I want to do. I want to see Hong Kong and visit all the streets. I see it very differently now, in an artistic way. I now appreciate things that I didn’t use to when I was younger. Places like Sham Shui Po are developing. But I find that Hong Kong is losing its culture bit by bit. That’s why I made Villain Hitting). It’s something that might disappear in the next few years. For me, it doesn’t matter you’re in England or in China. Where you are is not a limitation. The internet allows you to make things that you like and easily share it with the world.


Neocha: 你现在已经回到了香港生活。这种变化有带给你什么启发吗?

CM: 我是特意搬回香港生活的。我长大后一直没有在这里生活过,除了偶尔来旅游,我从来没有机会在这里做我想做的事情。我想要真正地看看香港,去走遍所有的街道。搬回来,我才能不断探索这里的艺术场景。现在我眼中的香港很不一样,我会以艺术的角度来看它。当你年轻的时候,你不太会欣赏某些事物。香港有些地方你一般不会自己去的,譬如深水埗,现在这些地方也发展了起来。我发现香港的一些本地文化在消失。这也是为什么我创作了《打小人》(Villain Hitting这本小册子,这种文化可能会在未来的几年消失。我会尽我所能来保护这些文化。互联网真的可以给你很多机会。如果你做的东西是你喜欢的,人们就会有机会看到它,无论你是身处英国还是在中国,地理位置并不是限制。

Exhibition: Small Thoughts
Exhibition Dates: May 7th, 2017 ~ May 22nd, 2017

 

Address:
B1, No. 6, Lane 72, Section 2, Zhongshan North Road
Zhongshan District, Taipei
Taiwan

 

Websitecharleneman.com
Facebook~/charlenesinman
Instagram: ~/charlenesinman

 

Contributor & Photographer: Shanshan Chen


活动名称: 《Small Thoughts》
展览日期: 2017年5月7日——2017年5月22日

 

地址:
台湾
台北市中山區
中山北路二段72巷62号B1

 

网站charleneman.com
脸书~/charlenesinman
Instagram: ~/charlenesinman

 

供稿人与摄影师: Shanshan Chen