Turning Rocks into Art

August 31, 2017 2017年8月31日

Japanese artist Hirotoshi Ito doesn’t carve the type of statues that most people might expect of traditional sculptors. Coming from a masonry background, Ito creates sculptures that preserves most of the stone’s original form and texture. Despite this, it’s often difficult to believe that Ito’s sculptures are made of solid rock, as his adept manipulation of the rigid medium makes many of his works appear as they were actually created with a much more malleable material. From laughing rocks with human teeth to unzipped rock pouches filled with seashells, Ito’s imaginative works seem to push the boundary of possibilities. See more of his surreal sculptures below.


日本艺术家伊藤博敏(Hirotoshi Ito)的雕塑作品颠覆了大多数人对传统雕塑家的想法。伊藤博敏本是一名石匠,他所创作的雕塑作品在很大程度上保留了石头本身原来形状和纹理。但是,看到他的雕塑作品,人们难以相信它们竟然是坚硬的岩石。他对这些坚硬材料的熟练处理,使它们看上去像是更软的材料。从笑着露出牙齿的石头,到拉链打开、装满贝壳的“石袋”,伊藤博敏天马行空的作品,似乎在不断突破可能性的极限。下面一起来欣赏他所创作的超现实主义雕塑作品吧。

Website: jiyuseki.com
DeviantArt: jiyuseki.deviantart.com

 

Contributor: David Yen
Images Courtesy of Hirotoshi Ito


网站jiyuseki.com
DeviantArtjiyuseki.deviantart.com

 

供稿人: David Yen
图片由Hirotoshi Ito提供

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Saigon Emoji

August 30, 2017 2017年8月30日

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.


近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

Instagram@maxknguyen
Behance~/maxknguyen
Facebook: ~/Maxknguyen91

 

Contributor: Ye Zi


Instagram@maxknguyen
Behance~/maxknguyen
脸书~/maxknguyen91

 

供稿人: Ye Zi

Letters to the Future

August 28, 2017 2017年8月28日

Influenced by French philosopher Jean Baudrillard, the new ten-frame series by Chinese artist austin_sandwich explores the concept of hyperreality. The idea is that the human experience is simply a simulation of reality, and we’re unable to discern whether we’re truly living in reality or not. With each stamp-shaped frame, Zhu teases this concept by superimposing unlikely, surreal objects – such as statues of Greek gods, mysterious stairwells, and even the Los Angeles Walt Disney Concert Hall (a nod to Baudrillard referencing Disneyland as a prime example of hyperreality) – onto an identical backdrop, a geologic formation that changes in color from scene to scene. The retrofuturistic aesthetic that Zhu employed for this series is a way for him to express the relationship between our modern society and our future society. His ultimate goal is to “make people consider our lifestyles and living environments today and how it’ll affect the future.” See the series in its entirety below.


中国插画家austin_sandwich 的最新作品来源于法国哲学家让·鲍德里亚(Jean Baudrillard)作品中模拟物带来的一种超现实概念(Hyperreality)。按照这个概念,人类的经历只是对现实的简单模拟,我们无法辨别,自己到底是生活在现实或摸拟中。朱凌志将整个系列以邮票的框架呈现,把一系列看似毫无关联的事物叠加在一起,譬如希腊诸神的雕像,神秘的楼梯,甚至是洛杉矶迪斯尼音乐厅 (因为让·鲍德里曾在书中指迪斯尼乐园是超现实概念的典型例子),放在到同一个背景上。背景中的山地是一样的,但在不同场景中呈现了不同的色彩。在这一系列作品中,朱凌志以复古未来主义的审美,表达现代社会与未来社会关系,讲述他的意图——“让人们思考我们今天的生活方式和环境,以及它对未来的影响。”下面一起来欣赏这个全新系列吧。

Behance~/austinsshoa941
Instagram@austin_sandwich
Weibo~/austin_sandwich

 

Contributor: David Yen
Images Courtesy of austin_sandwich


Behance~/austinsshoa941
Instagram@austin_sandwich
微博~/austin_sandwich

 

供稿人: David Yen
图片由austin_sandwich提供

The 1961

August 25, 2017 2017年8月25日

 

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In the sleepy and laid-back town of Siem Reap, there is a thriving artist community where travelers and local Cambodians alike often cross paths. At the heart of this is a multi-functional artist space called The 1961, which has served as a venue for all kinds of artist events and happenings in Siem Reap. The 1961 founder, Loven Ramos, previously owned a couple of smaller galleries in the middle of town, but after a number of years, he found the costs really prohibitive and wanted a new space that was bigger and could expand with his ideas as well as the needs of the community.


暹粒是一个平静而悠闲小镇,在这里,有一个蓬勃发展的艺术家社区,吸引着众多游客和柬埔寨人。而位于这一社区中心的是一个被称为The 1961的多功能艺术家空间,这里是暹粒各类艺术活动的举办地。The 1961创始人 Loven Ramos以前曾经营过几家位于市中心的小画廊,但几年后,发现运营成本实在太高,于是想找一个更大的空间,让他可能进一步实现自己的想法,满足艺术社区的发展需求。

The 1961 is a hybrid coworking space, art gallery, and events venue. The main hub can seat forty people at communal work tables or dedicated work stations; it’s a creative environment where freelancers, local artists, and traveling professionals are free to collaborate. The facilities include high-speed internet, a shared printer, a lounge, meeting rooms, a small marketplace for artists’ products, a mini-kitchen, and free coffee. In its previous incarnations, it was even a hotel and a café but has since metamorphosed into its current function as a multi-use space for artists.


The 1961 既是共享办公空间,也是艺术画廊和活动场地。这里的共享工作区和专用的工作站可以容纳40人。在这个充满创意精神的环境下,自由职业者、当地艺术家和旅游专业人士可以自由地协作。空间内的设施包括高速互联网,共享打印机,一间休息室,会议室,一个供艺术家出售作品的小市集,一个小厨房和免费咖啡。空间前身是酒店和咖啡厅,但后来演变成了现在这个为艺术家而设计的多用途空间。

The building itself is a 1960s heritage structure, and the design of everything is very much inspired by the ’60s, hence the name The 1961. Over the years, the design of the space has undergone some changes based on how it was used. “There is always something happening here,” Ramos says, “I think what makes it exciting is it’s never really planned out too much. We have DJs who just basically come in through the door and tell us, ‘I really love this space. We need to create something together.’ So then we put up an event on Facebook, and within 24 hours, we invite whoever we can, or whoever we wanted to come.”


建筑本身是建造于20世纪60年代历史文物,空间内部在很大程度上都是以上世纪60年代为灵感设计的,故而被命名为The 1961。多年来,这个空间的设计根据不同的用途发生了许多的变化。Ramos告诉我们:“这里总是很热闹。我想,这个空间之所以这么有魅力,正是在于它的无计划性。譬如,有些DJ第一次来就说,‘我真的很喜欢这个空间,我们一起来创作些什么吧。’然后,我们就在Facebook上发起了一次活动,在24小时之内,我们任意地邀请一些我们能邀请到的或想要邀请到的人来。”

Event spaces include a multimedia pod and a gallery with curated work by both local Cambodian and international artists. The spaces are multi-purpose and can host community meet-ups, lectures, business conferences, or even brainstorming sessions. Outside, there is a small garden area, while at the back of their artists’ shop, behind an otherwise nondescript golden door, is The 1961’s new restaurant, which also hosts local DJs and artist performances.


活动空间包括一个多媒体室和画廊,用来展出当地柬埔寨和国际艺术家的作品。这个多功能的空间既可举办艺术界聚会,也可以举办讲座、商务会议,甚至是头脑风暴会议。外面还有一个小花园,而在艺术家商店后面,在一扇独特的金色大门之后,就进入到了The 1961的新餐厅,这里还会举办本地DJ和艺术家表演。

For Ramos, he primarily wanted to open the gallery for local Cambodian artists at the beginning but admits that the presence of foreign artists provided “a window for local artists to see what is happening outside of Cambodia.” These days, the gallery exhibits the work of Cambodian artists 60% of the time, while the other 40% features the work of artists who are either expats or are completely foreign to Cambodia. “Our role is really to provide that platform to bridge the East and West,” says Ramos, “to bridge Cambodia into the rest of the world, and also the rest of the world into Cambodia.”


对Ramos来说,一开始他只是想成立一个为柬埔寨本地艺术家而设的画廊,但也承认,外国艺术家的作品可以“让本地艺术家了解在柬埔寨之外的世界”。现在,画廊60%的时候都会用来展示柬埔寨艺术家的作品,而另外40%的时间会用来展示住在柬埔寨或国外的外籍艺术家的作品。Ramos说:“我们的角色基本上就是提供一个平台,连接东方和西方文化,让柬埔寨走出世界,让世界走进柬埔寨。”

Address:
The 1961 Coworking and Art Space
211 Osaphear Street, Upper West River Side
Siem Reap, Cambodia

Phone:
+85587539181
+85587371576

Hours: 7am〜10pm

 

Website: the1961.com
Facebook: ~The1961
Instagram: @the1961

 

Contributor, Videographer & Photographer: Leon Yan


地址:
暹粒市柬埔寨
211 Osaphear Street, Upper West River Side
The 1961 Coworking and Art Space

联系电话:
+85587539181
+85587371576

营业时间: 7am〜10pm

 

网站the1961.com
脸书~The1961
Instagram@the1961

 

供稿人、视频与图片摄影师: Leon Yan

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Black Dragon

August 24, 2017 2017年8月24日

 

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Released by Beijing-based underground label Do Hits, Black Dragon is the latest EP from Chinese producer Alex Wang . Merging sci-fi and glitch sound fragments with the structure of bass music, the EP is an exploration of the invasive nature of artificial intelligence in relation to humanity. The MV for the EP’s lead single “Thorn,” directed by visual artist Brandon Tay of Singapore’s audiovisual collective and record label Syndicate, takes viewers into a void of darkness through mutations of geometrical space.


《Black Dragon》是制作人Alex Wang的个人最新EP,由北京地下唱片厂牌 Do Hits 发行。这张EP在bass音乐的骨架上填入Glitch/Sci-Fi的声音碎片,隐喻对AI人工智能逐渐渗透人类生活每个角落的思考。主打歌《Thorn》的MV由来自新加坡独立音乐厂牌与视听团体Syndicate的视觉艺术家Brandon Tay导演,以几何空间的千变万化,带领观众坠入虚无的黑暗世界。

According to Wang, “Black Dragon is a self-learning AI, which has gone out of the programmer’s control, so it starts surveilling every action of human beings. It keeps watch on you through your Samsung TV, locates you with CCTV everywhere in the street, spies on your social network, knows whether you like Coca-Cola better or Pepsi, your favorite color, and your bank balance.”


Alex 解释:“Black Dragon是一个可以自我学习的人工智能 ,在一次意外中脱离了程序员的控制后,它开始监控人们的所有行为。他通过三星电视监视你,通过路边的监控定位你的行踪,监控你的社交媒体,了解你喜欢喝可口可乐还是百事、偏好的颜色、你的存款数额、你的所有事情…… ”

Listen below for a few or our favorite tracks from Black Dragon. The full EP is available for streaming and purchase on Bandcamp.

Alex Wang – Ritual

Alex Wang – Play Test

Alex Wang – Black Dragon

Alex Wang – Binary System


我们从《Black Dragon》中精选了几首最喜欢的曲目。完整的EP可于Bandcamp上在线收听和购买。

Alex Wang – Ritual

Alex Wang – Play Test

Alex Wang – Black Dragon

Alex Wang – Binary System

Born in Northeast China and currently based in New York, Wang studied recording art at China’s Central Conservatory of Music, and went on to study computer music composition at the Peabody Institute in the United States. His interest in electronica, hip-hop, trap, and jazz, combined with his formal academic background, adds a strong experimental influence to his music. Wang will be performing in cities across China with Yllis, Meuko Meuko, and Jyun Jyun on the Do Hits Records Exodus Tour from August 25th to September 8th, 2017. See the flyer below for full details.


Alex Wang出生在中国东北黑龙江,现居纽约。在中央音乐学院学习录音后,他又前往美国皮博迪音乐学院攻读了计算机音乐的硕士学位。一直浸淫于Electronica、Hip Hop、Trap、Jazz等曲风,加上他的学术背景,使得他的音乐极具实验性风格。在2017年8月25日至9月8日期间,Alex 将加入Do Hits于的Exodus Tour巡演,携手Yllis、Meuko Meuko 和 Jyun Jyun 在中国多个城市表演。有关详细信息,请参阅下面的传单。

Bandcamp~/dohits
Soundcloud
: ~/alexwangt

 

Contributor: George Zhi Zhao
Images and Video Courtesy of Do Hits Records


Bandcamp~/dohits
Soundcloud
~/alexwangt

 

供稿人: George Zhi Zhao
图片与视频由Do Hits Records提供

Reconstructing Loneliness

August 22, 2017 2017年8月22日

Chinese photographer River Zhang says he likes being alone. Having studied in four universities between China and the UK, Zhang’s daily routine consists of getting up on time, making breakfast, eating it, and either attending class or creating art. He says that “this state of loneliness” is something he values, as it introduced him to thoughts about loneliness and thereafter his photographic works on the subject of loneliness.


摄影师张沛之说自己是不喜欢从众的人。在中国大陆和英国四所大学接受过摄影教育的他,每天生活规律,早上定时起床,做早餐、吃早餐,然后上课或创作。他说自己很享受“孤独的状态”,也是这种仪式般的孤独带给他对“孤独”的思考,而创作了一系列关于孤独的作品。

Zhang, who graduated from the University of Creative Art in the UK earlier this year, created the photography series Dialogue with Memory as his graduation project. The series explores his loneliness of being an only child. To complete the project, Zhang’s father helped him scan over 400 photos from their family albums. Zhang says, “Among those photos, some I can remember vividly, others I have no memory of at all. I believe all these memories are from my confusion as an only child. So I ended up working with the photos that I remember the most.”


今年刚从英国创意艺术大学毕业的张沛之创作了名为《与记忆的对话》的毕业作品。该作品在年度毕业生大展伦敦“无围栏”毕业作品展展出,讨论了自己作为独生子的孤独感。张沛之的父亲帮他扫描了400多张家庭相簿里面的照片。张沛之说:“这些照片中,有的会让我有非常强烈的记忆,有些则完全记不起来,我相信那些记忆都是来自于‘独生子女孤独的困惑’,于是我筛选了有强烈记忆的作品进行二次创作。”

To create the series, Zhang selected the photos that he liked the most, pixelated them, and printed them out. From afar, viewers can make out the content of the image. However, viewing at a closer distance, the colored photos turn into abstract collages of colorful blocks. In order to give context to the contents of each photo, Zhang filled certain squares with Chinese text, each standing alone in the middle of certain blocks. Zhang intentionally used photos that might outwardly show harmony and happiness, but to him, they represent painful memories – this contrast is invisible to the viewer, and that is why he used mosaics to conceal the superficial harmony and happiness. The blocks also represent another aspect of his childhood, which is that they’re similar to the paper he worked with for writing practice around the time when these photos were taken. Zhang’s carefully composed text not only serves as a form of self-expression but as a form of catharsis. These works were created in the context of China’s family planning policy and ideas of Confucianism, topics that, to him, have direct connections to the notion of loneliness.


张沛之从童年的照片里选出最合心意的照片,将他们像素化并印制出来。在远处,观者可以恍然辨认相片的内容,而凑近之后,色彩斑斓的战片变成印着汉字的方框,却辨别不出照片的内容。为了解释图片内容,张沛之以书法练习方格的模样在马赛克上写上了汉字,这些字比起方格来要小许多。对张沛之来说,这些文字才是照片的真正意义。张沛之选择了表面看起来欢乐和谐,但是背后却隐含痛苦回忆的照片,而这种强烈的反差使得外人完全看不到。所以,他选择用马赛克来掩盖表面的欢乐和谐,而马赛克又正好和他小时候练字的田字格有着非常多的相似点,照片上他的年纪也正是学写字的年纪。张沛之写下这些表达内心的文字,并把自己的作品作为“一种自我救赎的方式”。张沛之在创作初期就把这组作品放在“计划生育”以及“儒家思想”的大背景下去考虑,这两个背景有着非常充分的关联:孤独。

Zhang says: “In Confucianism, which has existed in Chinese society for 2500 years, loneliness isn’t something to be openly discussed. The five cardinal relationships in Confucianism tell us that everyone has close relations to those around them, so those who feel lonely are thought of as being incomplete humans. However, under the family planning policy in the past, it feels impossible – every family only has one child, which is a lonely thing, but we cannot talk about it.”


张沛之说:“在束缚了中国2500多年的儒家文化中,是不允许讨论孤独的存在的。儒家文化中的五伦,都是在讨论每个生命与周边生命的关系,感受到孤独的人,在五伦的关系中,是不完整的,不能被称作完整的人。但是在之前有计划生育的大背景下,这就显得格格不入,明明一家就一个孩子,明明就是一个个孤独的个体的存在,却无法被讨论。”

Website: zhangriver.com

 

Contributor: Shanshan Chen


网站: zhangriver.com

 

供稿人: Shanshan Chen

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The Bed & Art Project

August 21, 2017 2017年8月21日

 

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The Bed and Art Project (BnA) is a hotel and art initiative founded in 2015 by entrepreneurs Yu “Taz” Tazawa and Yuto Maeda, architect Keigo Fukugaki, and later joined by community liaison and art director Kenji Daikoku. Collaborating with up-and-coming Japanese artists, BnA creates one-of-a-kind livable art spaces that are available for booking by the public.


The Bed and Art Project (BnA)是由企业家Yu “Taz” Tazawa、Yuto Maeda和建筑师Keigo Fukugaki于2015年共同创立的一个酒店和艺术项目,后来社区联络官和艺术策划人Kenji Daikoku也加入了这个项目。BnA携手日本当地崭露头角的艺术家,共同打造一个宜居的艺术空间,并面向公众开放预订。

Samurai by MIZPAM
Deer God by SIMO
Samurai by MIZPAM
Raijin and Fujin by DOPPEL

The project was first implemented via Airbnb, with art apartments in Tokyo’s Ikebukuro neighborhood and Kyoto. The initiative was wildly successful and allowed the team to establish their flagship art hotel, BnA Hotel Koenji, in 2016. The hotel currently features two art rooms designed by local artists, a rooftop, the FRONTDESK cafe bar, and the BACKROOM basement gallery.


项目最初是以Airbnb为平台开始运行的,分别在东京池袋和京都推出艺术公寓。一经推出,便大获成功,团队也因此得以在2016年推出属于他们自己的旗舰艺术酒店——位于高圆寺的BnA酒店。该酒店目前有两间由当地艺术家绘画设计的房间,一个天台,一间FRONTDESK咖啡吧,以及一间BACKROOM 地下画廊。

BnA was founded to address common problems faced by artists and creatives – the lack of resources and financial stability, limited space to showcase and sell artwork, lack of networking opportunities, and a disconnect between creative-minded travelers and local art communities. In response to these issues, BnA developed its business model to empower artists financially, creatively, and professionally.


BnA的成立是为了解决艺术家和创意人才所面临的共同问题——缺乏资源、收入不稳定,没有足够空间来展示和出售自己创作的艺术品,缺乏社交机会以及与创意型游客和当地艺术团体之间的脱节。对此,BnA开发了现在的创新商业模式,从收入、创意和专业方面为艺术家提供帮助。

 

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By implementing a revenue sharing business model, BnA allows artists to receive a percentage of the fee every time their room is booked. In addition, artists are given full creative control to design the rooms according to their visions, with support from architects, textile designers, carpenters, and lighting professionals. BnA Hotel Koenji also provides artists with space to exhibit their personal works, which are made available to the public for purchase.


BnA酒店制订了一个收入分成的商业模式,当有客人入住房间时,艺术家可以享受到房费的分成。此外,艺术家获得了房间设计的全部控制权,让他们可以在建筑师、纺织品设计师、木匠和照明专家的支持下,根据自己的想法设计房间。高圆寺BnA酒店还为艺术家提供展示个人作品的空间,吸引公众前来购买。

Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi

The BnA team plans to expand the hotel with two new projects opening in Tokyo and Kyoto in the next year, and thirty to forty more rooms built around the Koenji neighborhood in the next three years. They also plan to take their business model to other cities and countries as a way to connect creative communities and empower artists.


BnA团队计划明年在东京和京都推出两间新酒店,并在未来三年左右,将高圆寺附近的房间数量增加30至40间。他们还计划把业务模式推广到其它城市和国家,以充满创意的方式来连接社区,帮助艺术家。

Artwork by OT29
Artwork by Hideyuki Katsumata
Artwork by Jonjon Green

Address:
2-4-7 Koenjikita
Suginami, Tokyo
Japan

Website: bna-hotel.com
Instagram: @bnahotel

 

Contributor: George Zhi Zhao
Images Courtesy of BnA Hotel
Videos Courtesy of poweredby.tokyo


地址:
日本东京
都杉并区
高圆寺 2-4-7

网站bna-hotel.com
Instagram@bnahotel

 

供稿人: George Zhi Zhao
图片由BnA Hotel提供
视频由poweredby.tokyo提供

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People of the Music

August 18, 2017 2017年8月18日

 

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The shrine has a mosque-like roof, white as a meringue. People, some in robes, walk among evergreen trees laden with jackfruit. It’s the rainy season in Bangladesh and everything is hot and wet. Muhammed Ali fixes us with a calm gaze beneath authoritarian eyebrows. Behind him, a woman sweeps around the grave of saint Lalon Shah and that of his mother. The two six-foot-long prisms are covered with patterned material and spicy smoke threads through latticed burners. More of Lalon’s disciples are buried outside the small mausoleum. Ali points out one of the graves. “My father lies there. I inherited the role of caretaker from him,” he says. He takes us to the main hall. We slip off our shoes and step onto cool, white stone. Inside, devotees recline in the midday heat. Women and children sit around bags of spicy peas and rotis, their saris the color of oak and red squirrels and emerald. Lalon Shah lived and taught here, in Kushtia, Bangladesh, throughout the 19th century. He died in 1890 aged over 100 years old.


这座陵墓的白色屋顶充满清真寺风格,看上去像是一块巨型蛋糖霜。常绿乔木菠萝蜜树林中,人来人往,其中还穿插着穿着长袍的僧人。正值孟加拉雨季,一切炎热又潮湿。Muhammed Ali凝视着我们,目光平静而肃穆。在他身后,一个女人正在清扫圣人Lalon Shah和他母亲的陵墓。两个六英尺长的棱柱,被布满花纹图案的材料覆盖着,一缕缕刺激的烟雾从镂空的焚烧器里飘出来。Lalon的其他弟子被埋在了小陵墓的外面。Ali指着其中一处墓地,说:“我的父亲就埋在那儿。我继承了他管理者的职位。”我们跟着他来到主殿,脱掉鞋子,踏上冰冷的石头地板。在炎热的正午,信徒们正在殿内斜躺着。女人和儿童围着一袋袋辣豌豆和罗蒂斯坐着,头上戴着橡木色、红棕色和翡翠绿色的纱丽布。19世纪的时候,Lalon Shah就在孟加拉的库什蒂亚这里生活和教课。1890年逝世时,他的年龄已经超过100岁。

“Lalon was one of the most influential mystic saints of the Indian subcontinent. He inspired millions with his songs,” says Lalim Haque, a researcher and Lalon expert. “His lyrics are so profound. He has been able to touch the lives of not only people who have a taste for music but all people.” Haque said Lalon’s songs, especially when heard in their original Bangla, have the power to propel people to spiritual heights. Estimated to have composed thousands of songs, Lalon and his followers went on to influence 20th-century greats like Bengali poet Rabindranath Tagor, American poet Allan Ginsberg, and even Bob Dylan. To contemporary Bangladeshis, he’s like Shakespeare, Martin Luther King Jr., and Eckhart Tolle rolled into one.


Lalim Haque是一名研究学者和Lalon专家,他说:“Lalon 是印度最有影响力的神秘圣人之一。他用音乐激励着无数的人。他的歌词如此深刻,他所触动的不仅仅是爱好音乐的人,而是所有人的生活。”Haque觉得,Lalon的音乐,特别是当它们以原始孟加拉语唱出时,拥有提升人们精神境界的力量。据估计,Lalon和他的追随者谱写了上千首歌曲,许多20世纪的文学和音乐才子都受到过他们音乐的影响,譬如印度诗人泰戈尔(Rabindranath Tagor),战后“垮掉的一代”代表诗人艾伦·金斯堡(Allan Ginsberg)和民谣歌手鲍勃·迪伦(Bob Dylan)。对于现代孟加拉人来说,他就像是集莎士比亚(Shakespeare)、马丁·路德(Martin Luther King)和心灵作家艾克哈特·托勒(Eckhart Tolle)于一身的伟人。

Outside the shrine, there is a park overlooked by a ten-foot portrait of Lalon. The air wafts of weed and tobacco. Rumana, a former lawyer, has been a full-time Baul for 22 years. She plants a clay pipe between her fingers, cups her hands and inhales. She is charismatic, intelligent, and, unlike many of her companions, reveals clean white teeth whenever she smiles, which is often. She can speak English but refuses to be interviewed until we come back with a translator, saying that Bengla is the only language she can use to describe these sacred things.


在陵墓之外的一个公园里,放置着一个高达10英尺的Lalon雕像。雕像上布满了杂草和烟草。前律师 Rumana 已经是一名有 22 年经验的全职巴乌尔。她的手指间夹着一根陶土烟斗,她双手掬起,吸了一口烟。她是一位漂亮而聪明的女性,还很喜欢笑,和她的许多同伴不同,她在笑的时候,会露出一口洁白的牙齿。她会说英语,但拒绝用英语接受采访,直到我们带回了一位会说孟加拉语的翻译,她才肯接受采访。她说,神圣之物只能用孟加拉语来讲述。

After returning with a translator, she tells us that she smokes weed every day to help focus and access a meditative state. “We believe that Lalon’s songs are as important as the verses in the Quran. In Islamic law people are obliged to recite verses from the Quran every day; similarly, we Bauls sing Lalon’s songs every day,” Rumana says. She exhales a plume of smoke and passes the pipe to a friend with a matted beard and bloodshot eyes. She picks up her ektara and starts to pluck, making up for her rudimentary singing talents with her sincerity. Her bearded companion calls for tea, prompting a sari-swathed woman in a nearby stall to bawl at her daughter, who jumps up and soon arrives with tiny cups of tea that would be unpalatably strong were it not for the large scoops of sugar.


有了翻译之后,她告诉我们,她每天都会抽食大麻,这样可以帮助她集中精神,达到冥想的状态。“我们相信,Lalon的音乐和在《古兰经》的经文一样重要。伊斯兰教法要求人们每天诵读《古兰经》;同样的,我们巴乌尔人也会每天唱颂 Lalon的音乐。”Rumana 说。她呼出一口烟,将烟斗传给旁边的友人。她的朋友长着一脸乱蓬蓬的胡子,双眼布满了血丝。她拿起Ektara(孟加拉单弦琴),开始弹奏。虔诚的心弥补了她质朴的歌声。她留着胡须的友人向邻近一个摊档点了一杯茶,裹着纱丽的女摊主把蹦蹦跳跳的女儿叫来,让她把几杯茶端来。如果不是加了好几大勺的糖,这些茶会浓得难以下咽。

Muhammed Ali places his teacup down on the shrine floor and strokes his beard. Behind him, a Baul group start to sing “A Strange Bird,” one of Lalon’s favorite songs. Below is the song translated by Azfar Hussain.

“Look, how a strange bird flits in and out of the cage!

O mind, you are a bird encaged! And of green sticks
Is your cage made, but it will be broken one day.
Lalon says: Open the cage, look how the bird wings away!”

Even though I don’t understand Bengla, the song touches my heart with its longing; it makes me want to rush over to someone and fling open my arms. There is no applause when it’s over, instead, the Bauls bless a finished song by praising the lord, saying “shai shai, shai shai.”


Muhammed Ali将茶杯放在陵墓地板上,捋着他的胡子。在他身后,一群巴乌尔音乐人开始哼唱Lalon最喜欢的歌《一只怪鸟》(A Strange Bird),Azfar Hussain翻译了其中的歌词。

“你看,一只奇怪的鸟是如何掠进掠出笼子!
……

内心啊,你就是一只囚禁中的鸟!
你的笼子,用绿枝打造,但它总有破碎的一天。
Lalon说:打开笼子,看看鸟如何展翅而飞!”

尽管我不懂孟加拉语,但这首歌所诠释的渴望之情触动了我的心;它使我想要跑向某人的怀中,张开我的双臂。歌声结束时,没有掌声。因为一般歌唱完毕后,巴乌尔音乐人喜欢说一个词来代替掌声,他们会说:“shai shai(我的主), shai shai(我的主)”。

Contributors: Nathan ThompsonJeremy Meek
Photographer & Videographer: Jeremy MeekNathan Thompson


供稿人: Nathan Thompson, Jeremy Meek
图片与视频摄影师: Jeremy MeekNathan Thompson

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Scars & Death

August 17, 2017 2017年8月17日

Following the success of NANG‘s inaugural issue, “Screenwriting,” the Asian cinema-focused magazine takes a more abstract leap behind the scenes of filmmaking in their second publication “Scars and Death.” Korean film critic, publisher, and lecturer Yoo Un-Seong partnered with Filipino filmmaker, writer, and musician John Torres as this issue’s guest editors. Together with the NANG team, they explored the theme of “the death of cinema,” or rather, the changes in cinema, and the real life suffering involved with making a movie.


继第一期“编剧”《NANG》Issue 1 大获成功后,在第二期“伤痕与死亡”中,以更为抽象的方式,带领读者一探幕后电影制作的主题。韩国电影评论家、出版商和讲师Yoo Un-Seong携手菲律宾电影制片人、作家和音乐家John Torres,担任本期杂志的客座编辑。《NANG》杂志团队通过对“电影的死亡”的探索——或者更确切地说是电影的变化以及电影拍摄中各种现实困难的变化,来诠释本期主题。

The contributors for this issue include writers, filmmakers, scholars, bloggers, and artists who hail from the likes of Japan, South Korea, the Philippines, the USA, Indonesia, Singapore, Vietnam, India, and Kazakhstan. The poignant brief is as follows: “Write about scars and death. Die for the piece and swear by it. For the scarred workers, the dedicated, the desperate enough, for those dying to be offered another chance. For the films we have lost, the scenes that are scarred by time, those missing frames, abrupt endings and low resolutions. For the ones who died on- and off-screen, for deaths we haven’t seen. For those who risk life savings for a fictional piece. For all others who toil away, INT/EXT, their bodies taking it, DAY/NIGHT.”


本期杂志的投稿作者包括作家、电影制片人、学者、博主和艺术家,他们分别来自日本、韩国、菲律宾、美国、印度尼西亚、新加坡、越南、印度和哈萨克斯坦。本期的主题简介直击人心:撰写关于伤痕和死亡的故事。献给那些为电影而献身的人,那些对电影怀以绝对信仰的人。献给那些伤痕累累的工作人员,那些全身心投入电影界,不顾一切的,渴望获得再一次机会的人。献给我们失去的电影,那些被时间褪色的画面,那些缺失的帧,突然的结局和低分辨率的影像。献给那些在银幕上和银幕背后逝去的人,献给那些我们未曾目睹的死亡。献给那些为拍摄虚构作品甘冒生命危险的人。献给所有辛劳工作的人,不论是在内景或外景拍摄;他们的身体一直在工作,无论白天或黑夜。

Like issue one, “Scars and Death” is also 120 pages. The new issue features stories from Gulnara Abikeyeva, Paul Agusta, Chris Fujiwara, Pujita Guha, Daniel Hui, Kim Jungkoo, Adrian D. Mendizabal, Miko Revereza, Shireen Seno and Kidlat Tahimik, as well as photography by Nguyen Trinh Thi, Sean Lee, Dennese Victoria and Jippy Pascua.


“伤痕与死亡”和《NANG》Issue 1一样,共有120页,本期文章作者包括:Gulnara Abikeyeva,Paul Agusta,Chris Fujiwara,Pujita Guha,Daniel Hui,Kim Jungkoo,Adrian D. Mendizabal,Miko Revereza,Shireen Seno 和Kidlat Tahimik,图片由Nguyen Trinh Thi,Sean Lee,Dennese Victoria 和Jippy Pascua 提供。

Issue 2 of NANG is now available in the Neocha Shop in limited supply.


《NANG》Issue 2 限量发行,现已于Neocha商店发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


“伤痕与死亡”《NANG》Issue 2

¥180

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Details:

  • Year of Publication: 2017
  • Edition Size: 1500
  • Number of Pages: 122 (including front and back cover)
  • Size: 17 x 24 cm
  • Binding: Swiss binding
  • Printing: Offset (Hybrid Print Technology)
  • Paper: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • Price: $25

详情

  • 出版年份: 2017年
  • 发行量:1500
  • 页数:122 页 (包括封面和封底)
  • 尺寸:17 x 24 厘米
  • 装订:Swiss binding
  • 印刷:平版印刷(混合打印技术)
  • 纸张: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • 价格: ¥180

Websitenangmagazine.com
Facebook~/NangMagazineAsia
Instagram@nangmagazine

 

Contributor: Whitney Ng


网站nangmagazine.com
脸书~/NangMagazineAsia
Instagram@nangmagazine

 

供稿人: Whitney Ng

Roller Coaster India

August 15, 2017 2017年8月15日

 

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“During my trip to Kolkata, India, I could only think of one thing: roller coaster,” says Cuban filmmaker Yuribert Capetillo Hardy. As the name suggests, Hardy’s short film Roller Coaster India is nothing short of a vibrant, and at times, dizzying spectacle. The film’s point of view twists from scene to scene with almost zero delay, delivering a sensory overload that Hardy describes as a visualization of his feelings, fears, and emotions while traveling through India.


古巴电影制片人Yuribert Capetillo Hardy说:“在印度加尔各答旅游时, 我只能想到一个词——过山车。”顾名思义,他所拍摄的短片《Roller Coaster India》是一部充满活力,甚至可以说令人眩目的视觉影像。影片的各个场景快速地切换着,带来目不暇接的视觉体验,Hardy解释道,这正是对他在印度旅行时的感觉、恐惧和情感的“视觉化表达”。

The film is a choppy glimpse into everyday life on the streets of India, forcing viewers to cling to each scene. Hardy, who is now based in Holland, remarks that these moments are a stark contrast to his daily life but also make him reminiscent of his own childhood in Havana, Cuba. “Compared to my week in India, I realized that my life in the streets of Havana wasn’t that bad after all. The energy of this country, the spirituality of the people, and the spark in their eyes made this the trip of a lifetime.”


这部影片展示了印度街头日常生活的各种片段,迫使观众专注地观察每一个场景。Hardy现在在荷兰生活,他表示,影像中的生活和他平常的生活截然不同, 但使他想起了自己在古巴哈瓦那的童年。“我在印度度过的这一周, 让我意识到,曾经在哈瓦那街头的生活也没有很糟糕。这个国家的活力、人们的精神和他们眼中的火花, 使这场旅行成为了一次终生难忘的经历。”

Website: yosoyvideo.nl
Facebook: ~/Yosoyvideo
Instagram: @yosoyvideo

 

Contributor: Whitney Ng


地址: yosoyvideo.nl
脸书: ~/Yosoyvideo
Instagram: @yosoyvideo

 

供稿人: Whitney Ng

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