Bound in Beat 十五岁的口技达人

June 29, 2018 2018年6月29日

 

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Beatboxing and Chinese culture collide in the western city of Chengdu in the award-winning short documentary Bound in Beat. Along the way, producer and beatboxer Dmitrii Anikeev and director Gleb Torubarov tell a powerful story about friendship and belonging and offer audiences a glimpse into China’s growing beatboxing community.

Beatboxing is a form of vocal percussion that involves mimicking the use of drum machines (or ‘beatboxes’), turntables, or other musical instruments. It first became popular in the U.S. in the 1970s and 1980s with the rise of hip-hop culture, though its roots may go back even further. While in China beatboxing isn’t new­—it first arrived in the country in the early 2000s—it continues to struggle to gain popularity and respect.


获奖纪录短片《Bound in Beat》呈现了在成都这座城市,口技(beatbox)与中国在地文化精彩的碰撞。导演格列布·托卢巴洛夫(Gleb Torubarov)与口技达人(beatboxer)身兼制片人的 Dmitrii Anikeev 通过镜头讲述了一个关于友情和归属感的故事,向观众展示这个小众却充满活力的中国 beatbox 社群。

Beatbox 节奏口技是一种模仿电子鼓、打碟机等乐器的人声音乐技巧。在 20 世纪 70、80 年代,随着嘻哈文化的兴起,beatbox 最先在美国流行起来,但其起源可以再往前追溯。而 beatbox 在中国最早出现于 21 世纪初期,虽然至今已经存在了一段时间,但这种音乐文化始终难以获得普及和认可。

Anikeev encountered the art of beatboxing back in his hometown in Russia nearly a decade ago and was immediately hooked. “I first discovered beatboxing in 2009, when someone showed me how it was done,” he recalls. “I was amazed. From that moment on, it has been an important part of my life.”

After relocating to Chengdu to study in 2015, Anikeev connected with members of CNBeatbox (or CNB), a community of Chinese beatboxers with a growing following. Together they’ve staged numerous events, including the annual Sichuan International Beatbox Battle.


十年前,Anikeev 在俄罗斯首次接触到 beatbox,就立即爱上了这门艺术。他回忆道:“我第一次接触 beatbox 是在 2009 年,第一次看到有人表演 Beatbox,我当时非常震惊。从那一刻起 beatbox 就一直是我生命中重要的一部分。”

2015 年,Anikeev 到成都留学,结识了中国当地的 beatboxer 团体 CNBeatbox(CNB)的成员。之后便开始与他们一起登台表演,包括参加一年一度的四川国际 Beatbox 大赛。

Through his work in the community, Anikeev met Li Erkun, a fifteen-year-old boy in search of a beatboxing instructor. Anikeev agreed to take him on as a student in 2017. Shortly after his first lesson with Li, Anikeev contacted Torubarov—a Suzhou-based filmmaker and a close friend from his university days—with the idea of shooting a documentary about his new student.

“It was just one of many conversations Dmitrii and I had,” Torubarov says. “He told me he was teaching beatboxing to a boy in Chengdu in whom he saw something of himself and he wanted to inspire not only the boy, but also other people, by making a documentary.”


Anikeev 活跃在 CNB 社群之中,途中认识了一个十五岁的男孩黎尔焜,当时他正在为自己寻找 beatbox 导师。2017 年 Anikeev 决定收尔焜为学生,在两人上完第一节课后不久,他就联系了自己大学时代的好友,同时也是在苏州的电影制片人 Torubarov,提议一起拍摄这一部关于他的新学生的纪录片。

Torubarov 说:“我和 Dmitrii 常常一起聊新的想法,这只是其中一个。他当时跟我说,他正在教一个成都男孩练习 beatbox,在这个男孩身上他看到了自己一些影子,他希望能通过拍摄纪录片鼓舞到更多人。”

Torubarov loved the idea, but he wanted to avoid resorting to cheap visuals or exploitative techniques to provoke a response from viewers—especially when it came to the film’s treatment of Li Erkun’s use of a wheelchair. “Li Erkun is a boy with a disability, but I didn’t want to have any shots of the wheelchair alone or tilting shots from his legs up—for me, it’s artificial and not important,” emphasizes Torubarov. “I wanted to tell a story about Dmitrii and Erkun—not a story about Dmitrii and Erkun, a boy with disabilities.”


Torubarov 很喜欢这个想法,但他想避免利用庸俗煽情的视觉效果来激起观众的反应,尤其是在影片里针对黎尔焜使用轮椅这些画面的处理。“黎尔焜是一个有身体残疾的男孩,但我不想有任何单独的轮椅特写,或是从他的腿往上拍摄的镜头。对我来说,这样的画面太做作,也没有任何意义。”  Torubarov 强调说,“我想讲述的是一个关于 Dmitrii 和尔焜之间的故事,而不是 Dmitrii 和轮椅男孩尔焜的故事。”

When they began shooting in 2017, Torubarov and Anikeev didn’t have a clear idea of the direction the story would take. At first they just intended to record a series of interviews to inspire other beatboxing fans. “If you’re doing an honest documentary—without trying to make things up or force people to do something for the camera—you won’t know what you’re really getting into,” Torubarov explains. “The only way for us to find out whether we might get somewhere was to start with an interview—so we started by interviewing Li Erkun.”

That interview gave Anikeev and Torubarov insight into Li’s idols—a list which included Chinese beatboxing champion and CNB member Ah Xin. It also gave them an idea. They decided to make a film about bringing Ah Xin to Chengdu for a surprise visit with one of his biggest fans.


2017年他们着手开始拍摄,当时 Torubarov 和 Anikeev 其实对于整个故事的进行方向还没有清楚的认知。起初他们只是打算拍摄一系列的访谈,以此来激励其他 beatbox 爱好者。 “如果你要拍摄一部诚实的纪录片,这意味着你不能虚构情节,也不能强迫别人去做一些事情,这种情况下,你是不会知道影片最后会呈现出什么的。”  Torubarov 解释道,“要知道这个答案,唯一的方法就是从一场采访开始,所以,我们先跟黎尔焜做了一次采访。”

那次采访让 Anikeev 和 Torubarov 了解到尔焜的偶像,其中包括中国的 beatbox 冠军和 CNB 成员阿鑫。这也让他们有了一个想法,他们决定邀请阿鑫到成都来,与他的忠实粉丝进行一次惊喜见面,然后将这个故事拍摄下来。

Since its release, the film has racked up nearly two million views across various platforms and has screened at numerous film festivals both in China and around the world.

Though the film is available online, Anikeev and Torubarov are continuing to plan screenings, in the hopes that more people will have the chance to see it with an audience, and on something bigger than just their computer monitor. Ultimately, they hope the film will be an inspiration to others.


从发布以来,这部纪录片在不同的平台上已经获得近 200 万次的观看量,并在中国和世界各地的众多电影节上放映。

虽然纪录片已经被发布到网上,但 Anikeev 和 Torubarov 还在持续他们的线下放映计划,希望能让更多人看到,可以在电脑以外更大的屏幕上欣赏到这部纪录片。最终,他们希望这部纪录片能够成为他人的启发力量。

Anikeev‘s experience working on Bound in Beat has inspired him to look for new ways in which beatboxing can have a lasting and positive impact. “I have an idea for another project in which I’ll try to discover how beatboxing can help people with stuttering,” he says. “I think it can be used as a therapy, but I’m still working on the concept.”

As for Torubarov, he says “I want this story to inspire people to follow their dreams, be kind to others, and continue self-development no matter what. I hope more people will support others without thinking about profit or benefit.”


Anikeev 拍摄《Bound in Beat》的经历启发了他走上新的方向,希望能让 beatbox 发挥更持久、积极的影响力。 “我已经有做另一个项目的新的想法,主要是关于 beatbox 如何帮助有口吃问题的人。我觉得 beatbox 也可以作为一种治疗,但具体我还在构想中。”

至于导演 Torubarov,他希望这个故事能激励人们去追随自己的梦想,“希望人们可以不断提升自己,同时去善待他人,能够尽力去成为别人的支柱,无论任何利益或好处。”

Director: Gleb Torubarov

Websiteglebtorubarov.com

 

Contributor: Michael Thede


导演: Gleb Torubarov

网站: glebtorubarov.com

 

供稿人: Michael Thede

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Knick-Knack Daydreams 白日梦想家

June 28, 2018 2018年6月28日

Chengdu in the rain has a lazy charm, perfect for gazing dreamily out the window or dozing off on the couch. If you’re Su Kui, it’s also the perfect weather for exploring the humble, everyday items in your room—the paper clips, rolls of tape, or sponges you usually wouldn’t give a second thought.

With these objects, Su creates images that are absurd and quirky, with a touch of tension. Blurring the line between photography and drawing, her work uses both media and adds an extra dreamlike flair. As in any good dream, it’s hard to tell fantasy from reality when looking at her work, especially the surreal photos that make up her Daydreams series.


刚刚被雨洗过的成都,连街道看起来都是格外婉约的。这样的天气实在太舒服,除了恣意的坐在窗边发呆,或窝在床上发懒睡觉,你也可以像苏葵一样,在这样怡人的天气里,去重新观察身边原本习以为常的小细节。那些静置在桌上的回纹针、胶带、海绵,通过她的奇妙幻想,都能被编写出全新的故事。

通过对这些日常物品的重新演绎,苏葵的作品总是有趣、荒诞、充满张力。影像和绘画的边界被刻意模糊,两种形式巧妙的结合在一起,多了几分梦幻的味道。这种感觉过于奇妙,无法明确的区分是在空想还是在做梦。当超现实主义的思维倾泻而下,便有了这组作品《白日梦》。

Daydreams is a photo series focused on the often overlooked objects in our lives.

“Most of them were in my room, hiding in plain sight for a long time. I was so used to ignoring them. One day while tidying up, I suddenly noticed all these things that I’d purchased a long time ago and forgotten about. I decided it was about time I did something for them—so I started snapping their portraits,” she explains.


《白日梦》主要关注的是那些生活中被忽视的小物件。

“它们大多在我的屋子里默默躺了很久,被我习惯性的无视掉了。某天我在整理杂物时突然看到这些以前我买下的物品,觉得时机到了,是时候我应该为它们做点什么。于是我为它们拍了肖像照。” 苏葵这样讲道。

Su frees these mundane items from their normal settings and contexts, devising striking compositions to explore their visual language and expressive capabilities.

In her work, you’ll recognize familiar household items like combs, rubber bands, or plastic bags—all of which become vehicles for her individual vision. Seemingly trivial, when reimagined by Su these ordinary objects become works of art that pose a  challenge to your optical nerves. Though some critics write her work off as unserious, Su sees no need to pay too much attention to the art media. In her view, self-expression is what matters, since that’s what the language of art is for.


她试图将司空见惯的事物从日常生活的特定环境与惯性中解放出来,通过对其进行创意重构,去探索物品的表现能力与新的摄影语言。

仔细观察她的作品,你会发现梳子、皮筋甚至塑料袋,都可能成为她展现个人思想的载体。那些不起眼的小物件,在她的画框里转变成一个个大胆挑战你视觉神经的艺术品。虽然也曾被人提出质疑,称她的作品为不伦不类,但她认为有的时候不必对媒介过于执着。在她的眼里,自我表达更为重要,这也是艺术语言的本质。

What sets Su apart from many of her contemporaries is her passion for still life compositions, as opposed to portraits or street shots. This passion comes from her curiosity about motionless objects. “Life is essentially boring,” she shrugs. “I want to take what’s ordinary and unearth its extraordinary side.” That’s precisely what she does: she puts her most intriguing side forward in her works.


苏葵和众多摄影师不同的是,比起人像摄影或街拍,她更热爱静物拍摄。这源自于她内心对于一些静止事物的探索欲望。“生活的本质从来都不是有趣的,我希望从中发掘出平常中不平常的一面。” 而她也的确做到了,她把她自己最有趣的那一面,都呈现在作品里。

Su believes pushing ahead to produce new photos is more important than dwelling on her past work. This belief is what drives her to create. “If I linger too long on my previous photos, I might miss an opportunity to grow,” she says.

Much of her work is an attempt to be different, even if that means abandoning a concept once she discovers it’s already been done. Laughing, she concedes that this is stubbornness on her part, but you might also call it a devotion to originality. Besides, if she weren’t so stubborn, she wouldn’t produce such refreshingly inventive work.


在她看来,持续拍摄的创新能力比过去曾经拍了什么更重要。这大概也是推向她一直勇往直前的动力所在。 “抱着过往的作品不放手,会因此失去下一次成长的机会。”

很多时候,苏葵都在力求一种 “与众不同”。如果她想出一个拍摄计划但发现已经有人做过了,她就会选择放弃。这是一种固执,但在我看来,这更像是一种对于原创概念的执着。也正是因为拥有这样的执着,她才能持续创造出更多让人眼睛一亮的作品。

Weibo: ~/ThirteenSense

 

Contributor: Li Zi


微博: ~/ThirteenSense

 

供稿人: Li Zi

New Cambodian Artists 向未来翩翩起舞

June 27, 2018 2018年6月27日

 

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On a stage reserved for the elegant ceremony of Cambodian classical dance, also known as Apsara, New Cambodian Artists (NCA) create a maelstrom of movement, reflecting the dreams of a country that’s quickly modernizing and shaking off the ghosts of the past.

Contemporary dance is rare in Cambodia, where artistic lineages were severed and nearly stamped out in the late 1970s in the Khmer Rouge’s bloody persecution of artists and intellectuals. The arts were mangled and left for dead.

The few dance masters who survived the purges have spent the last three decades trying to revive dance. And while arts funding remains scarce, one could cite NCA’s success as a return to creativity.


在专门为舞姿优雅的仙女舞(Apsara,一种柬埔寨传统舞蹈)表演的舞台上,新柬埔寨艺术舞团(New Cambodian Artists,简称为 NCA)这个舞蹈团体掀起了一场震撼的舞蹈革命,反映出柬埔寨这个国家快速的现代化进程、致力摆脱历史阴影的愿景。

现代舞在柬埔寨并不普遍。 19 世纪 70 年代末,红色高棉政权杀害了许多艺术家和知识分子,当地艺术的传承脉络被狠狠切断,几近是彻底摧毁,导致艺术发展遭受严重破坏,濒临灭亡。

在过去的三年里,少数幸存下来的舞蹈大师们一直试图恢复当地的舞蹈文化,但要筹集足够的艺术基金并不容易。然而,NCA 的出现标志着创意文化的回归。

Founded in 2012 by Dutch artist director Bob Ruijzendaal, NCA is now co-owned by its four female dancers and its director, Srey Neung. It is Cambodia’s first certified contemporary dance company—and such a certification exists only because they spent 2016 lobbying for it at the Ministry of Culture and Fine Art.

Their performances thrive on raw emotionality. Their limbs shake and swerve with the passion of a nation, and their hands unfold like lotus flowers blooming in the mire. It’s a completely new take on contemporary dance: unlike Western styles that grew out of ballet, NCA’s dance is rooted in Apsara.


New Cambodian Artists(NCA)舞团由荷兰艺术总监 Bob Ruijzendaal 创立于2012年,如今由四位女舞蹈家以及总监 Srey Neung 共同经营管理。他们不断向柬埔寨艺术和文化部游说,终于在 2016 年获得认证成为柬埔寨第一家现代舞公司。整个过程最困难的是,柬埔寨当时甚至不存在这种认证。

他们的表演焕发着饱满的原始能量,热烈舞动的四肢宣泄着他们对这个国家的情感,正如同出污泥而不染的莲花灿烂绽放。那是对当代舞蹈的全新演绎,因为与西方那种以芭蕾舞为基础发展的现代舞蹈不同,NCA 的根源深深植于传统的柬埔寨仙女舞。

“Everything is different because of their classical training,” says Ruijzendaal. “In traditional Cambodian dance, the back is hollow. They have grounded toes and their hands are overextended. They do everything they would kill you for in a classical dance class in Europe.”

Khun Sreynoch, one of the dancers, says she’s trained in Cambodian classical dance since childhood. “We still practice the classical movements one or two hours a week to make sure we maintain the correct postures,” she says. “We base all our new movements on the classical style so we don’t forget it.”

“The contemporary style felt new and very crazy at first,” she continued. “We all came from a classical background, so it was uncomfortable at first, but we slowly got used to it. But later on, we ate it all up and we couldn’t stop because it is new and cool.”


“由于她们接受过古典舞蹈的训练,所以一切会非常不同。”  Ruijzendaal 说,“传统柬埔寨舞蹈要求舞者的背要凹起,脚趾紧贴地面,双手尽可能往外伸。这与欧洲的古典舞蹈训练是截然相反的。”

其中一位舞者 Sreynoch 表示,她从小就接受柬埔寨古典舞蹈的训练。她说:“我们每周仍然要花一两个小时练习基本动作以确保姿势正确。毕竟我们所有动作都是以这种传统舞蹈为基础设计的,所以我们不能忘记。”

她补充道:“现代舞的风格一开始会感觉挺新鲜,也有点疯狂。我们跳的一直都是古典舞蹈,所以起初跳现代舞会有点不适应,但慢慢的我们开始习惯了。当我们熟悉之后,我们简直不能停下,因为对我们来说这是一种很酷的全新舞蹈体验。”

Cambodian dance legend Sophiline Cheam Shapiro is credited with giving the first contemporary dance performance in Cambodia in 1999, when she interpreted Shakespeare’s Othello using Apsara dancers. It was meant as a message to the old Khmer Rouge leaders, who were then still alive.

“I lost my dad and two brothers [in the Khmer Rouge years] . . . and my country was devastated,” she says. “Othello had to take responsibility for killing Desdemona . . . I wanted to use that story to say that the head of the house, or the leader of a country in this case, has to be held accountable for their actions and decisions.”

It’s a tragic history, and Sreynoch and NCA are mindful of it. Yet in a country where over half the population is under 30, the current mood is to push forward into new creations. Sreynoch is developing a solo in which she performs classical dance moves in red stilettos, an innovation unlikely to please dance traditionalists.

“The conservatives say we can’t touch traditional moves,” she says. “They will say I am destroying Cambodian culture, but I think I’m developing it and making it fresher and more special.”


相传,柬埔寨舞蹈界的传奇人物 Sophiline Cheam Shapiro 在1999年开创了柬埔寨的现代舞蹈表演。当时,她带领仙女舞者用舞蹈演绎了莎士比亚的四大悲剧之一《奥赛罗》(Othello)。这次的表演其实是要向当时尚在世的红色高棉掌权者传递一个信息。

“(在红色高棉时期)我失去了我的父亲和两个兄弟,我的国家也被彻底摧毁。” 她说,“奥赛罗要对他的妻子迪丝狄蒙娜(Desdemona)的死负责。我想通过这个故事来说明,这个国家的领导人,必须对他们的行动和决定负责任。”

Sreynoch 和 NCA 清楚记得这一段悲惨的历史,但是在一个30岁以下青年占去一半人口的国家,更重要的是创新与前进。目前,她正在创作一个独舞,穿着红色高跟鞋来表演传统舞步,但保守的传统舞者可能不太欢迎这种创新舞蹈。

她说:“保守的人会说我们不应该改变传统的舞步。他们会认为我是在破坏柬埔寨文化。但我认为自己是在发展它,让它变得更有新意、更特别。”

Hab Touch, director-general of intangible heritage at the Ministry of Culture and Fine Art, is tasked with protecting and promoting traditional Cambodian art. He says it’s tough to find common ground between conservative elements and those who want to innovate.

“We want to offer modern styles, so we are trying to work with our partners and ask, ‘what is Cambodian contemporary art?’” he says. “It’s a good process and we hope to increase the presence of contemporary art.”

At NCA’s studio in Siem Reap, rehearsals go on well into the evening. Sreynoch is working on her solo, striking poses in her stilettos. Suddenly she discards the shoes and whirls, barefoot, in a series of gymnastic pirouettes and backbends.

She says the performance is about the development of a person’s character. “I use the Apsara movements to show that I am a Cambodian lady,” she says. “I put on the red shoes to show that I can be strong, but then I start to think, Why do I even need the shoes? I am strong enough. So I throw them away.”


文化与艺术部部长 Hab Touch 的职责在于保护和促进柬埔寨传统艺术。他说,要在保守人士和那些想要创新的人之间寻求共同点,并非易事。

“我们想要呈现现代的舞蹈风格,所以正努力与合作伙伴一起探讨这个问题: 什么是柬埔寨当代艺术?这是一个很好的过程,我们当然希望能进一步推广(这里的)当代艺术场景。”

在 NCA 位于暹粒的工作室里,彩排持续到了晚上。Sreynoch 还在排练着她的独舞表演,踩着高跟鞋翩翩起舞。突然,她脱掉了鞋子,赤着脚,就像一名专业的体操运动员旋转趾尖、后仰弯腰。

他们说,这个舞蹈讲述的是一个人性格发展的过程。她说: “我用仙女舞的舞步来说明我来自柬埔寨。我穿上红色的高跟鞋,来展示内心的坚强。但后来我想,既然我已经足够坚强,为什么还需要这双鞋来证明?所以最后我把它们脱掉了。”

Facebook: ~/NewCambodianArtists

 

Contributor: Nathan Thompson
Photographer & Videographer: Enric Catala Contreras


脸书: ~/NewCambodianArtists

 

供稿人: Nathan Thompson
图片与视频摄影师: Enric Catala Contreras

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Animal Regulation 暂时脱离日常的琐碎

June 26, 2018 2018年6月26日

Put on the soundtrack to Annihilation, whose eerie tracks can jolt you out of your habitual frame of mind. Immersed in that otherworldly soundscape, you can understand the images Liu Di presents.

A graduate of Beijing’s prestigious Central Academy of Art, Chinese visual artist Liu Di creates works that reveal a meditation on the tediousness of life, from the second you lay eyes on them they capture your attention. From a massive animal sitting amidst a sprawl of slum housing to a giant man with a hyperrealistic face that nevertheless seems to be more plastic than flesh, jarring contrasts are often used to great effect in establishing the sense of surrealism in his work.


这段文字起始前我打开了《Annihilation》的电影原声带,听着这样超脱现实的音乐隔离了我的仪式感,更可以去思考柳迪作品里所传达的东西。

毕业于中央美术学院的视觉艺术家柳迪,虽然作品中透露出对于冗长生命的深刻思考,仍然能在第一秒钟就刺激到你的视觉。不论是在随处可见的破败房屋群落里坐着的巨大动物,还是具有塑胶质感却依然彷真到几近真实的老人面孔,都在演示这种矛盾带来的超现实感。

As a child, Liu dreamed of becoming a doctor one day, but when he would page through medical books, it was the illustrations that piqued his interest. He eventually realized that his true interests lay in art. In 2010, he won the coveted Lacoste Elysée Prize for photography, and today, he’s become an established name in the Chinese art scene.

Despite his success, Liu continually defies the label of “photographer” with works that are a departure from traditional documentary-style photography. More often than not, an elaborate post-production process is required to realize his vision.


小时候的柳迪曾经想成为一个医生,当他尝试打开阅读医科书籍,吸引到他目光的却是那些书里的插图,此后他渐渐明白了艺术是他的真正兴趣所在。至今他已是一位小有建树的艺术家,曾经在2010年荣获 Lacoste 爱丽舍摄影奖一等奖。虽然平常被称为一位摄影师,但比起传统意义上的纪录拍摄,柳迪更倾向于用后期制作的手法,来实现他脑海里的视觉想象。

In Animal Regulation, Liu reevaluates the relationship between civilization and nature by placing gargantuan animals in unexpected urban settings. “To tell the truth, I’m not looking to change much with my work,” he shrugs. “I believe art’s social meaning is limited because the message is indirect. But this is not to say that the meaning of art itself is limited. On the contrary, art’s meaning goes beyond its social meaning. Art can soothe and give a voice to human emotion. My work is just a proclamation – it’s trying to convey something akin to ‘How can we lead lives like these?’” Unlike the combative radicalism seen everywhere in contemporary art, Liu’s work feels much more reserved and rational.


在《动物法则》系列中,柳迪将庞大的动物放置在一些意想不到的城市场景里,灵感出发自他对于人类社会进步与自然之间关系的思考,而这样的思考更多是倾向于自我表达,不是要刻意去打破些什么,“我其实不想通过作品改变什么,我认为艺术的社会意义是很有限的,因为它并不直接。但这不是说艺术本身的意义有限,相反的,艺术的意义是超越社会意义的,对人来说,艺术是具有抒发和治愈人心效果的。我想透过作品表达的像是一种对于生命的感叹,类似于 “我们怎么是这样的一种存在?” 之类的疑问。” 这种由理性思考散发出的含蓄气质,使得他的作品并不具备当下当代艺术普遍存在那种激进的攻击性。

Liu’s latest project is planned as a three-part video series, with each video being a visual interpretation of a particular idea. Currently, two videos are complete: The Weight of Oneself and A Stubbornly Persistent Illusion. He calls this series “three sentences with the same grammatical structure.”

The Weight of Oneself is inspired by a philosophical insight from Witold Gombrowicz: the weight of each of our selves, Gombrowicz mused, depends on the size of the population on the planet. If humanity’s weight is constant, then each individual’s weight is equal to one divided by the number of people living at that time. A Stubbornly Persistent Illusion, on the other hand, is his personal interpretation of Albert Einstein’s quote: “The distinction between past, present, and future is only a stubbornly persistent illusion.”


他的最新作品计画由三段视觉影像组成,其中两个是《自我的重量》与《顽固而持久的幻觉》。他称这个系列为 “同一个语法结构的三次造句”。

《自我的重量》的灵感来源于贡布罗维奇(Witold Gombrowicz)的一个哲学思考:“我们每个人自我的重量取决于地球上人口的数量——人类的自我重量的总和是一个不变的恒量,而每个人自我的重量约等于那个时代人口数量分之一。” 而《顽固而持久的幻觉》的题目则来源于爱因斯坦(Albert Einstein)写下的一句话:“过去、现在和未来之间的分别不过是顽固而持久的幻觉。”

 

无法观看?前往优酷


 

无法观看?前往优酷

Ultimately, Liu Di hopes for his work to serve as an oasis from the monotony of our daily lives. One noteworthy detail in The Weight of Oneself is the number of frames dedicated to the dense jungle setting. As the camera pans upward, a gigantic figure comes into view, towering above the canopy; the camera pans back down, and then repeats its climb, again showing the giant. Yet after a few cycles—not visible in the shortened preview above—as the viewer expects to see the giant, he is nowhere to be found, gone between camera movements. Liu Di seems to be playing with our expectations and habits in everyday life. 


柳迪希望他的作品能让人暂时脱离日常的琐碎。在《自我的重量》里,你会发现一个有意思的细节(需至完整版观看,以上仅为预告):影像中大部分呈现的是一片树林,镜头缓慢上移,你会看见身处于树林深处的巨人,几次往复的循环,当你开始预设巨人的出现时,他突然消失在某一次镜头移动中。这看起来就像,柳迪跟我们的经验式日常生活开了一个小小的玩笑。

Weibo:~/柳迪
Instagram: @liudi_a

 

Contributor: Shou Xing


微博~/柳迪
Instagram: @liudi_a

 

供稿人: Shou Xing

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Mist Encounter 供雾所

June 25, 2018 2018年6月25日

 

无法观看?前往优酷

In the outdoor plaza in front of Taipei Fine Arts Museum, a structure of scaffolding and mesh beckons passersby within the folds of its flowing fabric and swirling mist. Mist Encounter is an installation project designed by Serendipity Studio and Kuan-Wei Chen Architects, created with the goal of showing people how invisible air currents constantly interact with our bodies and movements.

Using a water mist system, the installation gives unseen airflow visible shape. As the mist drifts through and around the draped textiles, unrestricted by the boundaries of the square aluminum frame, it’s difficult to discern where the installation ends and begins. The free-flowing mist continuously takes on new forms – transforming based on the sun’s position and the wind’s intensity – to create different experiences for visitors throughout the day.

Mist Encounter is one of the many inspiring participants that blur the line between art and design in the 2018 Golden Pin Design Award. This year’s call for entries will end on June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


在台北市立美术馆门前的广场上,一个由鹰架和白色织网搭建的临时建筑装置吸引着路人踏入其飘逸的织网与薄雾旋流中。《供雾所》(Mist Encounter)是由偶然设计(Serendipity Studio)与陈冠玮建筑师事务所共同打造的一个装置项目,希望令观众意识到平时隐形的空气是如何与我们的身体和动作互动的。

通过使用水雾系统,将人们周围原本看不见的空气流动变得可见。薄雾在悬垂的织网周围浮动,不受方形铝框架边界的限制,令人难于辨别起点与终点。设计师将台北的天气情况纳入考虑,让自由流动的薄雾与太阳的位置和风的强度相互作用,让观众在一天中不同的时间能有不同的体验。

《供雾所》是 2018金点设计奖参赛作品之一,和许多精彩的参赛作品一样,它模糊了艺术与设计的界线。今年大奖报名时间将于 6 月 28 日(GMT+8)下午 5 点截止。浏览金点设计奖官网,了解更多详情。

Websites:
serendipitystudio.design
kwchenatelier.com

Facebook: ~/MistEncounter

 

Contributor: David Yen
Images Courtesy of Serendipity Studio & Ethan Lee


网站:
serendipitystudio.design
kwchenatelier.com

脸书: ~/MistEncounter

 

供稿人: David Yen
图片由偶然设计
 Ethan Lee 提供

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Balancing Act 水与墨的有机交融

June 22, 2018 2018年6月22日
Holes

Shanghai-based artist and designer Tan Chengyan paints only a handful of subjects: women’s bodies, mushrooms, circles, and holes. Simple shapes fit her abstract style. She views her art as a balancing act between emotion and logic, and a desire for balance likewise runs through her life, both as she alternates between art and design and as she selects the tools to produce her work.


上海艺术家和设计师谭成彦笔下的主题——女性身体、蘑菇、圆圈和洞——寥寥可数,与她的抽象派风格相得益彰。艺术对她来说,是感性与理性之间的平衡,也是贯穿了她的生活的渴求:无论是艺术和设计之间的思维转换,或是具体到绘画创作时的工具选择。

Mushroom Mushroom Mushroom 1
Women on the Blue Tree

Water and ink represent her emotional side. The first thing she does when creating a new painting is to dampen the paper with water and draw the main shapes in ink. Then she watches as the ink bleeds onto the wet surface. “The procedure of brushing paper with water is particularly important—it leads me to a state beyond consciousness,” says Tan. Seeing ink merging with water, her mind enters a zen space, and that’s when the shapes start to materialize.

Then her logical side, represented by acrylic, gouache, and colored pencils, takes over. She draws the shapes with acrylic or gouache on top of the initial layer and waits until their edges blur. Only at that point does she have a clear idea about the painting’s subject. She then adds details and clarifies subjects with colored pencils.

Underneath these soft and feminine shapes lies a slow process of creation that she describes as “primitive and organic,” and which gives her works their vital simplicity. These themes are also part of an organic process.


水和墨如同她感性的一面。作画时,她会先把画布和纸全部涂湿,用墨在上面做出基本图形,看着水和墨互相交融,形成自己的模样,“上水这一步对我来说特别重要,因为它是让我进入到 ‘意识外’ 状态最关键的一步。”当墨与水相互交融,她慢慢沉浸其中,画面便开始在脑中成形。

而丙烯、水粉和彩色铅笔则代表了她理性的一面。用丙烯或水粉在第一层上画出形状后,随着图形边缘慢慢晕开,她脑中才会出现对主题的定义。最后则会用彩色铅笔铅勾线,去以凸显图形并让主题更加清晰。

她的画作常由柔软、婀娜的形状组成。其中循序渐进的创作过程——用她自己的话说是 “原始、有机的”——带来了简洁、充满生命力的效果。而这个主题的成形也是一个有机的过程。

A Big Woman and an Orange Girl
A Big Woman and an Orange Girl (process)
A Big Woman and an Orange Girl (process)

Tan first began drawing circular, hole-like shapes in high school, though at the time she didn’t know what prompted them. In middle school, she had struggled under the intense pressures of academic competition, and when she was admitted to an arts high school, the relaxed, free environment made her feel as though “she had suddenly opened up.”


从高中开始,她就在纸上记录这些图形,虽然当时并不知道特别原因。在那之前,她就读的是普通初中,常常被排名和学业的压力闷得透不过气,而在高中考上了艺术院校后,自由和放松的环境让她感觉 “自己一下子就释放了”。

States 7, No. 2
State 5, No. 8
States 5, No. 9
States 8, No. 2

Looking back, Tan thinks her adolescent years set the stage for her later work. A budding sexuality left her at times feeling lost and at times full of hot-blooded passion: “I just felt an energy I needed to release. What was it? I don’t know, but on the paper before me, I saw those forms.”

College was another dark period, and Tan took refuge in the library, where she discovered, in art books and journals, the work of pioneering artists like Yayoi Kusama and Georgia O’Keeffe, who profoundly influenced her approach to artistic expression.


回望过去,她觉得对性懵懵懂懂,时而失落、时而满血复活的青春期,奠定了她后来创作主题的雏形——“觉得心中有种能量想要释放出来,那是什么样的东西呢?我不知道,但就这样自然而然地出现在了我面前的纸上。”

大学对于她来说,是另一个黑暗时期。于是,图书馆变成了成彦最爱去的地方,她也在当时大量接触了草间弥生(Yayoi Kusama)、乔治亚·欧姬芙(Georgia O’Keeffe)等以女性主题闻名的先锋艺术家家的作品。这对她自身的艺术表达方式造成了深远的影响。

Three Women and the Sunset

A turning point came in 2009, when, after graduating from college, Tan decided to move to the Netherlands to pursue a master’s in fine arts. Not only was this her “most prolific” period, it also, more importantly, helped her give expression to the forms she had been seeing in her mind all those years.

“Women’s bodies, mushroom shapes, holes, and circles: all these connect me to energy of the universe. When I paint these shapes, I always feel I’m elevated to a higher spiritual plane beyond material things,” she says, “I start to think that a lot of problems in my life aren’t really problems, because when I enter that level I’m more tolerant of everything that occurs in life.”


2009年可以她艺术创作的折点,当大学毕业后,成彦选择了去荷读艺术硕士。时间最“多”的候,也让长中的一一呈现。

的身体、蘑菇形状、洞和圆圈接通我和宇宙能量我就感觉自己被带到了超越物质层面的更深层的精神空间成彦,“我会现实中的很多问题问题了,因到了那个层次之后对生活中的一切都变得更加包容。

Do the female forms she creates represent herself, then?  Tan doesn’t think so. “It would be too restrictive to say this is me.  Through the female shapes I paint, I want to explore a path to the universe.”

In terms of life, if art is her emotional side, her logical self comes forward through design. In 2017, Tan and her partner, Carmelo Ferreri, founded the design studio Melo & Yan, which specializes in branding and illustration. In her opinion, and in her practice, art and design are not opposed to one another, but rather nourish each other. “Design reflects the times, and can also inspire my art. It’s a balance,” she says. That’s also her attitude toward art: “It’s only good when all elements reach a balance.”


那么,画中的女性代表了她自己吗?她并不这么觉得:“如果说这是自己,有点太限制了,因为我想通过创作的女性图像探索通往宇宙的通道。”

在生活层面,如果说她在艺术创作时是感性的,那么她理性的自己则会在做设计时出现。谭成彦在 2017 年和另一半 Carmelo Ferreri 成立 Melo & Yan 设计工作室,专注品牌设计与插画。在她眼里,艺术与创作并不矛盾,而是有着相互滋养的关系:“设计更加能体现时代的信息,也可以给创作带来灵感。就是个平衡,” 这也是她对画的态度,“一张画,能达到平衡才是比较优秀的作品”。

Website: chengyantan.com
Instagram: @chengyan_tan

 

Contributor & Photographer: Jiang Yaling
Additional Images Courtesy of Tan Chengyan


网站: chengyantan.com
Instagram: @chengyan_tan

 

供稿人: Jiang Yaling
附加图片由 Tan Chengyan 提供

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Under 1.0 活在C里的八百种动物

June 21, 2018 2018年6月21日

One of the most important purposes of design is to solve problems, to make people’s lives – and our world as a whole – a better, more beautiful place. This belief is at the core of what inspired Taiwanese designer, illustrator, and animal lover Wan Xiangxin to create Under 1.0.

Cleverly designed as a series of eye exam charts, Under 1.0 is comprised of a dozen infographic posters that call attention to the global issue of species endangerment. Rather than the solid black Cs of standard Landolt ring charts, Wan has meticulously hand drawn each ring to represent specific animals. Much like traditional eye exam charts, the rings shrink as they go down the poster – the diminishing size of each C-shaped animal indicates the severity of each species’ dwindling population.


设计的最重要目的之一是解决问题,让人们的生活,或者说整个世界,变得更好、更美。正是这一理念激发了台湾设计师、插画家和动物爱好者万向欣创作了一系列的资讯图表海报《Under 1.0

万向欣将《Under 1.0》巧妙设计成一系列的视力表,呼吁人们关注物种濒危的全球性问题。她将朗多环形视力表上的黑色实体“C”字精心手绘成而不同的动物。和像传统的视力表一样,越往下,“C”字越小,大小的递减对应着所画的动物物种数量不断减少的严重程度。

With each of the 12 posters representing a different country, Under 1.0 spotlights the endangered species endemic to each region. From afar, every poster looks similar, but a closer look will reveal that each poster actually features a completely unique art style; from American comic art to Australian aboriginal painting, Wan ingeniously pays homage to traditional art forms each country is known for. So far, over 800 animals have been drawn for the project and she’s teased at plans of building on the series in the future.


《Under 1.0》的 12 幅作品各代表不同国家,展示了每个地区的濒危物种问题。从远处看,每一张海报大同小异,但仔细观察就会发现,每张海报里居然拥着各不相同的艺术风格。从美国漫画艺术到澳大利亚原住民绘画,她巧妙致敬着每个国家的传统艺术形式。迄今为止,万向欣在这个项目里已经画了超过 800 种动物,并有计划在未来继续扩大这个项目。

“I believe designers have a social responsibility,” Wan tells us. “We’re all a part of society, and our job as designers is to communicate ideas in an accessible way to the masses through good design . . . Every field of design can improve the world in their own ways. Minute changes can inspire solutions to big problems. As long as there are still designers, and as long as designers work together, I truly believe the world will become a better place.”


“我认为设计师需要有社会责任感,因为设计师也是社会的一份子,而设计师的工作就是要把需要传达的事情、透过设计、透过视觉呈现来传达讯息给社会大众,让大众能透过最直接的视觉来了解我们所要传递的讯息及内容……各种领域的设计都是为了能让世界更美好,所以从最小的细节去发现,一直到最大的问题去改善,只要这世界上还有各个领域的设计师存在,并一起努力不放弃,我相信世界会变得更美好。”

Under 1.0 is one of many inspiring design concepts entered in this year’s Golden Pin Concept Design Award. Shortlisted candidates for concept designs will be announced in July and the winners will be announced on September. For completed designs, registration for the Golden Pin Design Award will run until June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


《Under 1.0》是今年金点设计奖(Golden Pin Design Award) 的精彩入围作品之一。本次大奖的概念设计入围名单将于 7 月公布,最终获奖者将于 9 月公布。想要提交设计项目,记得在 6 月 28 日下午 5 时(GMT + 8)前完成注册。欲了解更多详情,请登陆浏览金点设计奖官网

Facebook: ~/Under1.0C

 

Contributor: David Yen


脸书: ~/Under1.0C

 

供稿人: David Yen

Fantasizing in Shades of Blue 蓝色的奇思妙想

June 20, 2018 2018年6月20日

Seoul-based artist Jungho Lee creates surreal illustrations that bring the observations of his mind’s eye to life. Chock-full of symbolism, the imaginary settings he’s conjured are populated with an array of peculiarities. From strange books of varying shapes and sizes to cloudy dreamscapes and glowing cabins, his drawings exude a tranquility that’s tinged with a sense of loneliness.

Lee says, “Everyone experiences loneliness deep in their hearts. To be composed and face it head on is something that can make you more mature . . . Ultimately, I hope people can use their personal experiences to interpret my works in their own way and be more attuned to their own inner voice.”


插画艺术家 Jungho Lee 长居韩国首尔,在那里,他画下许多超现实的插画作品。他的作品展现着许多奇谲的视觉隐喻,画作和脑海中现实重叠:微启的书册、迷雾的夜晚、透着光亮的房子……透着安宁的意味,却也让人感到沉寂的孤独。

“每个人都有自己内心深处的孤独,坦然面对它会让自己的内心更加成熟。我希望我的画能根据大家各自的经历自由解读,可以倾听自己内心的声音。”Jungho 说。

Website: leejungho.com
Instagram: @jungho.el


Contributor: Chen Yuan


网站: leejungho.com
Instagram: @jungho.el


供稿人: Chen Yuan

An Architecture of the Mind 见山不是山?

June 19, 2018 2018年6月19日
Timeless Migration

Kenny Low is an artist from Singapore who creates saturated, sprawling, psychedelic compositions. Reaching up to three meters across, his works rely on fractal-like repetition: some call to mind the sea creatures of Ernst Hæckel’s Art Forms in Nature, others look like a screenshot from a video game, while still others suggest a contemporary take on Chinese or Japanese inkwash painting.

As a young child, Low discovered a knack for drawing, and he spent his free time doodling cartoon characters he’d seen on television, like Snoopy or Mickey Mouse. He continued making art throughout secondary school and went on to do a degree at the Glasgow School of Art. His work is on display at the Art Seasons Gallery in Singapore through June 22.


来自新加坡的艺术家 Kenny Low 喜欢采用高饱和度的色彩,放射状的构图,打造出风格迷幻的画作。他的作品可达 3 米长,并由重复叠加的类分形组成。所以,有些作品看上去会令人想起生物学家兼插画家的恩斯特·海克尔 (Ernst Hæckel) 在《自然界的艺术形态》 里绘画的那些海洋生物;有些看起来又像是视频游戏的截图,还有一些则似乎是对当代中国或日本水墨绘画的演绎。

Kenny 从小就展现出画画的天赋,闲时,他会去画那些在电视上看到的 卡通角色,譬如史努比和米老鼠。中学时,他依然没有停止艺术创作。毕业后进入格拉斯哥艺 术学院(Glasgow School of Art)继续学习深造。他的作品现在在新加坡 Art Seasons 画廊 展出,展览持续至 6 月 22 日。

 

Pactolus Egg
Prisma Egg
Raijin and Fujin
Under the Influence of the Little Boy and Fat Man

Perhaps surprisingly, all his works are made up of photographs taken in and around his home city, multiplied and repeated to the point of abstraction. Upon closer inspection, the jellyfish-like shapes swimming through Equinox Dream, for example, consist of superimposed images of spiral staircases arranged under what appears to be a sort of awning.  “Each image is taken by me with my digital camera while exploring Singapore,” he says. He shoots all kinds of buildings, “from construction sites to old Chinatown shophouses to historical temples to modern sites, like the Marina Bay Sands complex and the Gardens by the Bay.” After carefully cropping his photographs, he begins the painstaking process of arranging them in a work, making a sort of digital collage loosely based on a prior sketch. “Each image can take up to two to four months to complete, depending on the scale of the work,” he says.


令人惊奇的是,他的所有作品都是运用他在家乡拍摄的照片,通过不断的叠加和重复,最终形成抽象的作品。譬如在《Equinox Dream》中,如果你仔细看, 画面中那些游动着的水母形状的图案其实是用多幅螺旋楼梯的照片叠 加而成,水母头部则是一个类似遮阳篷的照片。“每一张照片都是在我探索新加坡时用数码相机拍摄下来的。”他解释道。“建筑地盘、唐人街的老旧商店、历史悠久的寺庙,也有现代建筑, 譬如滨海湾金沙社区(Marina Bay Sands) 和滨海湾花园(Gardens By The Bay) 。”这些建筑都曾出现在他的照片里,并被他精心的剪裁出不同的区域,接下来是最费时间的一个步骤:将这些照片组合成一幅作品,大致按照事先设计好的草图,创作成数字拼贴画。“这取决于作品的规模,每幅作品最多可能需要两到四个月才能完成。”他说。

Equinox Dream
Twin Amaterasu

If there seems to be something vaguely Japanese about some of Low’s pictures, that’s not an accident. “My art was born out of my curiosity and love of Japan,” he says. As a child he developed a deep fascination with anime, manga, J-pop, and J-drama. “I remember the first anime I watched. I remember the first Japanese song I heard. The visuals were out of this world—it was an indescribable experience,” he remembers. “Since then, I’ve been very drawn to everything Japanese, from their design to their culture to their cities. I love every bit of it. And naturally, my art is heavily influenced by them.”


如果你在他的作品中看到一些日本的元素,那也不是偶然的。他说:“我的艺术创作源于我对日本的好奇和热爱。”从小,他就对日本的动画、漫画、流行音乐和日剧十分迷恋。他回忆说:“我还记得看的第一部日本动漫、听的第一首日文歌。那些视觉效果真是太赞了。那是一种无法用语言形容的体验。从那时起,我就对日本的一切十分感兴趣,不论是日本设计、文化或是日本的城市。我喜欢日本的一切。所以,我的艺术在很大程度上也是深受日本的影响。”

Orb of Light
Peaceful Fuchsia

Midnight Sun seems to recreate a traditional Japanese or Chinese landscape painting. An enormous red sun stamped with Chinese characters hangs in the background, while cranes, a symbol of longevity and good fortune, dot the skies. At two meters tall, the work defies our expectations of scale and prevents us from taking in the entire image at once: only from afar can we appreciate the composition of the landscape, only up close can discern the intricate photographs of skyscrapers that make up each mountain.


而他的《Midnight Sun》似乎是对一幅传统日本画或中国山水画的重新演绎。印着中文的巨型红色太阳悬挂在画面背景,而象征着长寿和吉祥的仙鹤则点缀着天空。这幅作品高近两米,在规模上比普通的艺术作品大出很多,也正因如此,在欣赏这幅画时,观众无法马上看完整幅画,他们需要站远一点,才能欣赏到整幅画的构图;然后再走近一点,才能观察每座山中建筑。

Midnight Sun

Since Low began creating his large digital works, his thinking about art has become more sophisticated. He’s moved beyond just following his instincts for what looks good. “My thoughts about what I want to portray in my images are more precise now,” he says. “I’ve grown to understand that an image needs to be more than beautiful—it has to have a story for people to relate to. It needs something to give it life.”

The stories in Low’s works seem to be dispatches from a strange, dizzying, futuristic world—and they’re all the more compelling for being slightly beyond our grasp.


自从 Kenny 开始创作大型数字作品以来,他对艺术创作的看法也渐趋成熟。在创作时,他不再单纯地听从自己的本能去追求仅仅好看的作品。他说: “我现在对于自己在画面中要呈现的内容有了更清晰明确的想法。我渐渐明白,一幅画不仅要好看,它还必须有故事,让人们产生共鸣。它需要被赋予生命。”

Kenny 在作品中讲述的故事都像是来自一个奇怪的、令人眼花缭乱的未来世界,有点难以掌握,也因此变得更加引人入胜。

Galaxsea
Phos, Guardian of Life
Prisma, Guardian of Hope

Kenny Low’s exhibition is currently showing at Art Seasons Gallery in Singapore and will end on June 22nd.

 

Event: Genesis I
Exhibition Dates: April 28th, 2018 ~ June 22nd, 2018

 

Address:
50 Genting Lane, #03-02
Cideco Industrial Complex
Singapore 349558

 

Contributor: Allen Young


Kenny Low 的个人展目前在新加坡的 Art Seasons 画廊 展出,展览至 6月 22 日结束。

 

活动名称: “Genesis I”
展览日期: 2018年4月28日——2018年6月22日

 

地址:
50 Genting Lane, #03-02
Cideco Industrial Complex
Singapore 349558

 

投稿人: Allen Young

AMPM & DAMAGE 设计本该百无禁忌

June 18, 2018 2018年6月18日

Located a stone’s throw away from 1914 Huashan Creative Park, the newly reopened AMPM is shaping up to be one of the most peculiar retail space in Taipei. The new location houses a cafe, with a comprehensive selection of coffee and cocktails; a clothing boutique, which doubles as the flagship store of AMPM’s in-house streetwear brand, DAMAGE; and perhaps most unexpected of all, a huge indoor skate ramp for locals to drop in and shred the gnar.


新开张的 AMPM 距离华山 1914 文化创意产业园区仅有一步之遥,现在正要成为台北最独具品味的商店之一。不只是商店,这个空间内设有咖啡厅,供应着品类丰富的咖啡和鸡尾酒;还有一家服装精品店,同时也是 AMPM 旗下服饰品牌 DAMAGE 的旗舰店。也许最让人意想不到的是,这里面还建了一个巨型室内滑板场,提供当地滑板爱好者一个相聚的所在。

AMPM and DAMAGE is the magnum opus of husband-and-wife duo Andy and Joe. The two ventures combine their personal passions and skill sets: street culture and design. Andy opened the first iteration AMPM back in 2005, a time when street culture hadn’t quite assimilated into Taiwanese mainstream culture. The original store, operating as an art gallery and graffiti supply shop, served Andy’s vision of making street art more accessible for Taiwanese locals. At the time, AMPM operated modestly from the second floor of Petshopsgirl, a successful clothing boutique and independent label founded by his wife Joe. While Petshopsgirl is no longer around, the experimental aesthetics the label was known for would serve as the springboard for DAMAGE.


AMPM 和 DAMAGE 是夫妻搭档 Andy 和 Joe 的心血作品。这两个品牌凝聚了他们对街头文化和设计的热情与才华。2005年,Andy 刚刚创立 AMPM,在当时街头文化还没有完全融入台湾的主流文化。最初的商店只是一间艺术画廊和涂鸦用品店,Andy 的初衷是希望能让大众更接触到街头艺术。而第一间 AMPM 就座落在服装店 Petshopsgirl 的二楼,这个成功的独立服装品牌正是由他的妻子 Joe 所创办的。当 Petshopsgirl 计划终止时,品牌标志性的实验美学风格则继续延续到 DAMAGE 上。

It’d be a decade later, in 2015, before the pair teamed up to release the debut collection for their collaborative streetwear brand DAMAGE. “It was originally going to be a one-time collaboration between me and Joe,” Andy recalls. “We weren’t even sure if it would take off, but we just wanted to have fun with it. To our surprise, it became quite successful.”


十年后, 2015年两人联手推出服饰品牌DAMAGE。“本来这只是我和Joe之间一个一次性的合作。”Andy回忆道,“我们不确定会不会成功,只是想好好享受这个过程。最后它的成功真的出乎我们意料。”

Image Courtesy of Billa Baldwin
Image Courtesy of Billa Baldwin
Image Courtesy of Billa Baldwin

Chock-full of memes and pop culture references, each collection satirizes the world through wildly unorthodox designs (which, at times, can be borderline shocking) – from superimposing the Nike ACG logo onto a photo from the Abu Ghraib prison torture scandal to using Kim Jong-un’s portraits as a duffel bag and bucket hat designs, the duo’s no-holds-barred approach often saw them taking controversial topics and refashioning them into bold statement pieces.


品牌的每一个系列都充满各种网络流行文化和迷因的引用,以颠覆传统的设计讽刺世界时事——譬如将耐克 ACG 标志贴在爆发虐囚丑闻的阿布格莱布监狱(Abu Ghraib Prison)照片上,或是用金正恩的照片做成行李袋和帽子。两人秉持百无禁忌的风格,大胆的将一些争议话题融入设计之中。

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Despite their role in the advancement of street culture and street fashion in Taipei, Andy and Joe don’t regard themselves as trailblazers. Contrary to the loud, in-your-face aesthetics of DAMAGE, the two are incredibly humble individuals. They explain that their goals for DAMAGE and AMPM have remained unchanged over the years and revolve around two key concepts. The first is to foster a sense of community for street culture enthusiasts in Taipei, whether that be aspiring graffiti artists, young skaters, or streetwear lovers. The second is their long-standing motto of wanting to “bring something different into the world.” Even after all this time, their vision remains uncompromised. Despite facing hurdles like periods economic uncertainty or changing fashion trends, the duo’s passion and conviction have kept them going.

Beaming with pride, Andy says, “Sure, it hasn’t always been easy, but we’re still around and we have no plans of stopping any time soon.”


尽管他们持续努力推动台北街头文化和时尚的发展,但 Andy 和 Joe 并不认为自己称得上行业先驱。与 DAMAGE 品牌所呈现的那种大胆、挑衅性的风格相反,这两位创始人私底下却是出奇的谦逊。他们解释说这么多年来,他们为 DAMAGE 和 AMPM 订下的目标一直没变,始终围绕着两个核心概念:第一点是要在台北街头文化爱好者——无论是涂鸦艺术家、年轻的滑板者或是街头时尚爱好者——之间建立凝聚力;第二点是他们一直提出的口号:“给世界带来一点不一样。” 时至今日,Andy 和 Joe 在这两点上依然从未妥协。经济衰退或日新月异的时尚潮流变化往往会令很多创业者灰心,但对于 Andy 和 Joe 来说, 他们的热情和信念让他们坚持至今。

Andy 自豪地笑着说:“当然,不是一直都那么顺利的。但我们会继续下去,短时间内没有要结束的计划。”

Website: ampmxx.com
Facebook: ~/ampmstudio
Instagram: @ampm_space  |  @damagegroup

 

Photographer & Contributor: David Yen
Additional Images Courtesy of Billa Baldwin


网站: ampmxx.com
脸书: ~/ampmstudio
Instagram: @ampm_space  |  @damagegroup

 

供稿人与摄影师: David Yen
附加图片由 Billa Baldwin 提供