Metal Soul 锻造之魂

September 28, 2018 2018年9月28日

 

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Sĩ Dang stands in the corner of an immense metal workshop in Dĩ An, a village 20 kilometer north of Ho Chi Minh City. The metal bar he’s holding with his bare hands seems to be an extension of his body as he twists it in sync with each strike of the mechanical power hammer.

Sparks fly around the machine, even bouncing off his exposed skin, and the booming echoes can be heard far outside the workshop. But inside Sĩ’s head, it seems quiet—the young blacksmith is completely absorbed by his work and oblivious to anything other than the red-hot end of the metal bar. Only when the metal becomes too cold to forge does Sĩ snap out of his trance momentarily to reheat the metal in the furnace.


在胡志明市以北 20 公里的 Dĩ An 村庄,Sĩ Dang 站在一间大型金属加工车间的角落,徒手握着一根金属棒。随着动力锤每次击打,他灵活地扭转金属棒,仿佛这根金属棒就是他身体的延伸。

火花在机器周围四溅,弹到他裸露的肌肤上,轰隆隆的回声一直传到车间外的远处。 然而,在 Sĩ 的脑袋里,世界是安静的。这名年轻的铁匠完全沉浸在自己的工作中,对火红金属棒以外的事物浑然不知。唯有当金属变冷不能继续锻造时,他才会从这种投入的状态中暂时抽出,将金属重新放到火上烧热。

Watching his effortless movements, you might assume that he’s the son of a long bloodline of blacksmiths, born with a hammer in hand. But this is far from the truth. “I found this job online two years ago,” he says. “I applied without any previous blacksmithing experience. But I was a welder at the time, so I knew I loved metal and fire.” The Vietnam-based French blacksmith who hired him, Sébastian Sicot, has absolutely no regrets: “Sĩ is definitely very talented, and he has a strong work ethic.”


他的动作轻松自如,仿佛这把锤子是他与生具来的一部分,这也许会让人以为他来自于一个铁匠家族,从小耳濡目染。然而,事实远非如此。“两年前我在网上找到这份工作。” 他说,“申请这份工作之前,我没有任何锻造的经验。不过我做过焊工,所以我知道自己喜欢和金属、火有关的工作。” 雇用他的是定居越南的法国铁匠 Sébastian Sicot,对于这个决定,Sébastian 说自己一点也不后悔,“Sĩ 很有才华,而且非常有职业道德。”

The Soul of the Craftsman

When the work with the power hammer is done, Sĩ takes a forging hammer from a wall filled with other miscellaneous tools and starts bending the metal. Of the twenty hammers regularly used in the shop, nearly all of them look exactly like the ones blacksmiths used centuries ago. Sĩ says, “Some tools haven’t really changed over the years, but nowadays, most of us use slightly different forging techniques.”

To Sĩ, the technique, in fact, the whole process of blacksmithing is even more magical than the final objects he makes. Sure, he wants to create beautiful pieces, but he finds most fulfillment in the craft itself. “Good blacksmiths slowly turn a lifeless piece of metal into something with a soul,” he explains. The 24-year-old craftsman is not trying to be poetic: it’s clear he means it.

He believes that blacksmiths have the ability to imbue vitality into a lifeless piece of metal by putting their own soul into it. “But only when they work with their hands,” Sĩ adds. “Shaping metal with factory molds and machines don’t give it a soul”.

Sĩ often works closely together with his fellow craftsmen in the workshop; they all contribute small pieces to a larger whole. “The end result is a melting pot of all our souls,” Sĩ’s eyes sparkle as he says it.


工匠之魂

完成动力锤部分的工作后,Sĩ 从摆满各种工具的墙壁上取出锻锤,开始弯曲金属。几乎所有店里常用到的二十个锤子,看起来都像是几个世纪前的产物。Sĩ 说: “有些工具经过这么多年其实也没有怎么变化,只是大多数现代人的锻造技术稍微不同。”

事实上,对于 Sĩ 来说,锻造的整个过程比他所打造的最终成果更加令人称奇。当然,他想要打造出漂亮的作品,但他发现自己最大的成就感来自这项工艺本身。“好的铁匠能慢慢将一块没有生命的金属,变成一件有灵魂的物体。” 他解释道。这位 24 岁的铁匠并非刻意将其浪漫化,很显然,这是他内心的真实想法。

他相信,铁匠在锻造的过程中,能够将自己的灵魂融入其中,为无生命的金属注入生命力。 “但前提是他们要用自己的双手工作。用工厂模具和机器来塑造金属并不会给它带来灵魂。” Sĩ 补充道。

Sĩ 经常会与车间的其他铁匠合作,一起打造大型的作品。“最终成果是我们所有人的灵魂的熔炉。” Sĩ 说道,眼里闪耀着光芒。

Heritage

That sense of connection with other blacksmiths is even more profound when doing restoration work. Indeed, every forged piece carries the soul of the maker inside, even when that person is gone. Sĩ says, “When you’re touching an old piece, you have to listen to the existing soul in the material.” This doesn’t necessarily mean using the exact same tools, but “you have to respect the soul of the craftsman who made it.”

Restoration work also requires more skill. “For a new piece, we follow the design instructions. Of course it still requires skill, but there aren’t so many surprises in the process. Nothing like the old pieces. When you restore an object, you have to fix every little detail. And you need to be very careful because older material can be more vulnerable.”


传承

在进行修复工作时,与其他铁匠的联系更为深刻。事实上,每一件锻造而成的作品都会带上制作者的灵魂,即使那个人已经不在。 Sĩ 说:“当你触摸到历史悠久的作品时,你必须去聆听金属中既有的灵魂。” 这并不意味你要用完全相同的工具,而是要 “尊重制作这件作品的工匠的灵魂”。

翻新修复的工作也需要更多的技巧。“对于新的作品,我们只需要遵循设计说明就好了。当然,这个过程也需要技巧,但过程不会有太多的惊喜。旧的作品却不一样。当你要修复一件旧的作品时,你要修复每一个细节,同时需要非常小心,因为它的材料由于时间久远,会变得更脆弱。”

While Sĩ discovered this passion mostly by accident, his dedication has set him on track to becoming one of the top blacksmiths of Vietnam. “I’m willing to do the same thing ten times, twenty times even—because it means I’m improving myself,” he tells us. “I’m very patient. That’s just who I am.”


虽然 Sĩ 对于铁匠的热情是偶然的发现,但他已经决心成为越南的顶级铁匠之一。“即使是同样的作品我也愿意做十次,甚至二十次,因为这意味着我在不断提升自己。” 他告诉我们,“我很有耐心,我就是这样的人。”

Contributors: Annigje Jacobs, Brice Godard
Photographer & Videographer: Brice Godard


供稿人: Annigje Jacobs, Brice Godard
图片及视频摄影师: Brice Godard

Rendered Realities 在我的世界里放一把火

September 27, 2018 2018年9月27日

To enter the worlds of Izzzy is to forget time and place. His digital artwork is a product of the internet, with references that point to some imagined future and call a land of ones and zeros home. In this alternate dimension, the Jakartan artist has spawned forth an array of cyborgs and monsters that hint at a larger narrative happening just outside of each frame.


进入印尼雅加达艺术家 Izzzy (真名 Yudhistira Israel)的世界,你要先将时空的概念抛诸脑后。他的数字艺术作品以网络为灵感,构筑出一个想象的未来,将虚拟的网络世界当作家园。在这个不同维度中,他创作了一系列的机器人和怪物,就像是在更大的叙事背景中的人物角色。

Like many young creatives in Indonesia, Izzzy originally built his following as a Youtuber, creating parodies and cracking jokes about local topics under his VNGNC alias. This all changed when he was tapped by Mardial, a popular local music producer, to direct a music video, which is ultimately what inspired Izzzy to take a new career direction. While he’s thankful of his Youtube fan base, he’s set that identity aside to focus on motion graphics, music videos, and 3D art. “I can’t deny that I started with my Youtube personality,” he says. “But I stopped working on that channel and my Instagram keeps growing. So I think it’s safe to say that people enjoy my visual work.”


和印度尼西亚的许多年轻创意人一样,Izzzy 最初通过 Youtube 来积累粉丝,他以 VNGNC 的名号发布一些模仿和有关当地话题的搞笑视频。直到被当地有名的音乐制作人 Mardial 邀请,并指导拍摄一部音乐MV后,Izzzy 迎来了事业的转机,最终也激发 Izzzy 寻求新的职业发展方向。他很庆幸自己曾拥有的 Youtube 粉丝群,但他已经决定将 Youtuber 的身份放在一边,专注于动画、音乐 MV 和 3D 艺术的创作。“我不能否认自己就是从 Youtube 开始的。”他说:“但我已经停止更新那个 Youtube 频道,而我的 Instagram 依然在不断发展。所以我想人们应该还是挺喜欢我的视觉作品的。”

His work reveals clearly defined inspirations, largely made up of internet culture: Tumblr aesthetics, vaporwave cues, and cyberpunk motifs heavily shaped his artistic sensibilities. “Tumblr influenced me back in college, I used to browse it a lot. It’s a lazy way to keep your creative brain occupied,” laughs Izzzy, whose real name is Yudhistira Israel. “When I wouldn’t feel like doing anything, I’d go on Tumblr and type some keywords and just scroll.”

Izzzy’s imaginary worlds are overflowing with pop culture references, like the Greco-Roman statues and palm plants that are commonly associated with vaporwave. He even goes so far as to create fan art for the likes of Stranger Things and Devilman Crybaby. A deep appreciation for other people’s achievements is plain to see. His personal style is draped over this wealth of inspiration, conveyed through textures, lighting, colors, and storylines that drip with mood and mystery.  


他的创作灵感在作品中显而易见,主要都是互联网文化,Tumblr 美学、蒸汽波艺术(Vaporwave)和赛博朋克(Cyberpunk)元素,都对他的艺术创作有着重要的影响。“大学的时候,Tumblr 对我影响很大,我常常会刷 Tumblr。这算是一种保持大脑创意的比较懒的方式。” Izzzy 笑着说,“当我什么都不想做的时候,我就会去 Tumblr 上,输入一些关键字,开始刷。”

Izzzy 的想象世界里充满了各种流行文化参考,如希腊和罗马的雕像、蒸汽波艺术常出现的棕榈植物等等。他甚至为美剧《怪奇物语》(Stranger Things)和日本动画《恶魔人》(Devilman Crybaby)创作了同人作品。他在作品中清晰展示出自己所借鉴的灵感参考。而在这些丰富的灵感之上,则是他个人风格的铺展,通过纹理、灯光、色彩和故事情节,呈现出充满氛围感和神秘感的画面。

“3D is just one medium,” Izzzy says. “I can’t go outside and set a construction site on fire and then take a picture of it, so I just create it. My diverse artistic background has given me a different perspective about how to use various mediums together.”


“3D 只是一种创作媒介。” Izzzy 说,“我总不能为了拍一张照片,就到外面去放火烧掉一块建筑工地吧?所以我只能自己来创造这种场景。拥有多元化的艺术背景这点,也让我知道该如何将各种媒介融合在一起。”

 

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Elements of his 3D work make appearances in his music videos. Floating cars partially submerged in turbulent water and exploding digital skulls are some of the more obvious recurring themes. Then there’s also his bold use of color. “The colors in my music video treatment is a lot like my 3D works. Teal and purple. Magenta and violet. They’re really natural elements for me.”


他的 3D 作品元素也会出现在他的音乐视频作品中。在淹没在湍流中的汽车、爆炸般的数字头骨都是他在作品中反复出现的主题。此外,还有他对颜色的大胆运用。 “我对 MV 作品的色彩处理和我的 3D 作品很像。深青色和紫色。洋红色和紫罗兰色。这些对我来说都很自然的色彩。”

 

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He also VJs for Dutch EDM duo Yellow Claw and creates a portion of their video content that he performs live when on tour with them. While they have their own aesthetic of cinematic visuals and crisp lines, Izzzy is able to bring his personal touch to those screens as well. His vision is most clear in the music video he made for their track “Do You Like Bass?”, which is a hectic barrage of pretty much every element he’s ever worked on and more. It starts out with a partially tongue-in-cheek warning: “This video has been identified to definitely trigger seizures for people with (or without) photosensitive epilepsy.”

In the end, all Izzzy’s output circles back around to his still 3D art. It’s the most personal of his work and sets the stage for much of the rest of his various outlets. When asked what keeps him going back to 3D illustrations, his reply was plainspoken yet sincere: “I’m just really passionate about it.”


他还给荷兰电音组合 Yellow Claw 担任 VJ,与他们一同巡演,并参与创作了乐队现场表演时的影像内容。在影像原有的电影视觉效果与清晰线条之上,Izzzy 将个人风格融入其中。在他为乐队的曲目《Do You Like Bass?》制作的音乐 MV 中,他的理念最为清晰,这几乎可以说是他曾经创作过的所有元素的结合。片头更是插入了一段诙谐的警告:“这个视频已被确认肯定会给患有(或没有)光敏性者强烈刺激。”

所有 Izzzy 的作品归根到底都是以 3D 静态艺术为核心的。这是他最具个性化的作品,也是他的其它艺术创作的基础。当被问及是什么让他回到 3D 插图创作时,他的回答直接又真诚:“因为这是我的真爱。”

Instagram: @vngnc

 

Contributor: Mike Steyels


Instagram: @vngnc

 

供稿人: Mike Steyels

Schoolgirl Nightmares 女孩们,这个世界终究是残酷的

September 26, 2018 2018年9月26日

The world can be a cruel place.

But in it, Japanese artist Kazuhiro Hori sees young girls as the quintessential embodiment of innocence and purity. Channeling this outlook, his illustrations depict nightmarish worlds populated by rosy-cheeked schoolgirls in distress. The cake frosting has turned into a strong adhesive, gluing the girls in place like mouse traps; pools of strawberry jam puddle up underneath them, vibrant like freshly spilled blood; and possessed dolls claw at them, eyes gleaming with malicious intent. Hori’s illustrations, while steeped in a sense of horror, beckons viewers to look on in disbelief and ask, “What exactly is happening to these girls?”


这个世界,终究是残酷的吧。

在日本画家堀一浩(Kazuhiro Hori)的眼里,女孩是一如既往地天真烂漫,她们有着稍泛红晕的稚嫩脸庞,身穿象征纯洁的高校制服,但迎接她们的却不是一个单纯美好的世界。奶油蛋糕变成邪恶兹生的温床,草莓果酱流淌成鲜血,一个一个被赋予了生命的绒毛玩偶,伺机而动,贪婪地向女孩伸出魔爪。他的画作让人感到不寒而栗,甚至不忍去直视。这些女孩,到底发生了什么事?

“I work in an art school filled with 18- to 20-year-old girls,” Hori explains. “So from my perspective as a male, it looks like these girls live in a colorful, carefree world of cuteness and fun. They’re surrounded by their favorite food, music, manga, and friends. But the truth is, they experience a lot of worry and anxiety. A vague sense of unease towards the future awaits them. And unfortunately, their dream world is going to be replaced by the cruelness of real-life society.”


“我在一所学校工作,这里的学生大多是十八到二十岁、正在学习艺术的女孩。就我一个男性的眼光,这些女学生活在一个可爱、充满欢乐、色彩斑斓的世界里,被喜欢的食物、音乐、漫画书和朋友围绕着。但事实上,她们也有很多烦恼和忧虑,一股关于未来的隐约不安感也如影随形地相伴。很不幸的,将要取代她们所想的美好世界的,是一个残酷的现实社会。” 堀一浩这样解释道他的创作动机。

“I don’t think the real world is only filled with bad things,” he clarifies. “I’m just tapping into my personal feelings of different situations and observations, and then turning them into drawings.”

Growing up, many young girls will eventually step into a world inconsistent with how they might’ve imagined it in their youth, a place that’s perhaps not as bright or kind as they originally envisioned. Hori’s work—while cynical and distrustful—is simply his way of bidding farewell to the innocence of youth, a sendoff for the girls who sooner or later will be confronted with the unsympathetic realities of life.


“我不认为外面的世界是全然的坏。我只是提炼出我的感受,把它们画出来而已。” 日月星移,女孩总有一天要进入一个与她们想像不同的世界,也许是一个光明渐失、不再充满善意的地方。而堀一浩的画作带着一点悲观和警世的意味,不过是一场目送,眼看这些女孩向真实人生起程罢了。

Facebook~/chardinchardin
Instagram: @chardinchardin

 

Contributor: Yang Yixuan


脸书:  ~/chardinchardin
Instagram: @chardinchardin

 

供稿人: Yang Yixuan

Worlds Within 脑内剧场,邀你来看

September 25, 2018 2018年9月25日

Heads wrapped in yarn with only one eye peeking out, faces replaced with clocks, or necks transformed into springs and mouths made into beaks: with all these strangely deformed faces, what do these images represent? And why are they like this?

Zou Liangping, who hails from Hubei province, is currently doing an MFA in watercolor at the Sichuan Fine Arts Institute. These illustrations are part of her “dream series.” “Dreams are a bridge connecting the real world to a virtual world,” she says. “Painting, as a way of portraying the self’s position between dreams and reality, has a very direct relationship to the awakening and establishment of a person’s self-consciousness. These works are a subjective representation of the self in dreams and reality, from a physical state to a mental state.”


缠满绒线的大脑,只有一只眼睛、幻化成钟的脸庞,甚至脖子变成弹簧,嘴巴成了鸟喙……种种怪异的畸形脸,这些画作代表了什么?又缘何如此?

来自湖北的艺术家邹良平,目前还在四川美院水彩画系读硕士。这些作品,是她的“梦系列”水彩插画。“梦境是现实世界通往虚拟世界的桥梁,用绘画来描绘自己在梦境和现实中的生活状态,是与人的自我意识的苏醒与确立有很直接的关系。从某种意义上来说,(这些作品)是对梦境和现实中的自我从生理状态到心理状态的一种主观再现。

At first glance, each of the figures in the scenes has a large head, and the scenes playing out inside each one, or their metaphoric significance, are all different.

“Every story is the visual manifestation of individual and social experience, mental and emotional experience, creative experience, and meditates on a specific theme. It represents a moment’s mood and gives insight into my life,” says Zou.

Each figure in these images has an indifferent outer appearance and a rich inner world, and that may be the truest depiction of the current generation. Not yet thirty, Zou is an only child, like most people her age in China. Having no siblings and growing up amid the increasing alienation of a rapidly urbanizing society, Chinese artists of this generation often make silence and reflection a dominant theme of their work.


初初看画,画里的人个个支棱着大头,而每个脑袋中装载的景象、作为喻体的物件各不相同。

“每个故事的原型都是由个人社会体验、内心情感体验、创作体验以及围绕着某种主题线索的一种思考而呈现出的画面效果,它代表一个时间段里我的情绪和对生活的感悟。” 邹良平说。

其实,画面中每一个人都具有淡漠的外表和丰富的内心世界,也是这一代人最真实的写照。身为 90 后的邹良平,也是独生子女中的一员。在从小没有兄弟姐妹陪伴的情况下,这一代年轻人常常形单影只,并且随着城市化到来人与人之间的感情变得更加疏离,旋即而来的是沉默和思考,成为盘踞大脑的主旋律。

And so, to present these themes, Zou has placed all sorts of objects within the heads and faces of her characters. All of these elements carry symbolic meaning and are used to reveal each character’s emotions, personality, contemplations, and behavior. Zou says this approach is her way of conveying the idea that how a person perceives the external world is directly related to their own thoughts.


于是,画的背景不再是白布一张,而成了人的头脑和脸庞。邹良平说,因为 这样可以更好的诠释‘相由心生’这一道理。因此在我作品中通过每一个人的不同的面部符号语言,来揭示不同的心情、个性、心思与作为。”

Her paintings appear to use an irrational artistic form to reflect the fantastical. A closer look, however, shows that the irrational actually has its reason. “All I’m doing is recreating reality with my meandering artistic method,” she explains. Zou’s “fantastical” approach to painting lets her make free use of imagination to present her vision of reality as surreal, dream-like portraits.


再细细一瞧,她的画看似采用非理性的艺术形式反映了荒诞的内容,实则非理性之中隐含着理性。这种 荒诞” 的绘画方式,可以让邹良平自由自在地发挥想象,“以曲折的艺术手法再度创造现实”,以梦,为马。

Website: ~/邹良平

 

Contributor: Chen Yuan


网站: ~/邹良平

 

供稿人: Chen Yuan

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Cloakwork’s Street Art 我的风格就是我

September 24, 2018 2018年9月24日
Australia

“I want to paint something that represents youth, freedom and of course, rebelliousness.”

Based in Kuala Lumpur, Malaysia, Cloakwork is an illustrator and street artist who’s traveled the world in search of blank walls. His colorful murals have found homes in the streets and alleyways of Mongolia, Japan, South Korea, Taiwan, Hong Kong, England, Australia, and beyond.


“我想要画出能反映青春、自由、当然还有反叛精神的东西。”

常居在马来西亚吉隆坡的涂鸦艺术家、插画家 Cloakwork,同时也是一位旅行家,他走遍世界各地许多地方,一路上寻找空白的墙。现在在蒙古、日本、韩国、台湾、香港、英国、澳大利亚等地方的大街小巷里,都可以发现 Cloakwork 的創作。

Malaysia
Malaysia
Australia

Cloakwork has been making street art for the last eight years, citing as motivation his “rebellious personality and trying-to-do-something-extraordinary mentality as a student.” Using vibrant colors and bold line work, he creates narrative-driven pieces with astounding details. A look at his work makes clear that each wall he paints is a work of love.


Cloakwork 从事涂鸦已经有八年的时间,“一开始,我想是我的叛逆性格,以及从学生时代就开始发迹,那种总是想要做点大事的憧憬,让我成为一位涂鸦艺术家。” 于是他将热情淋漓尽致地挥洒在墙面上,他尽兴地画, 大胆的笔触和鲜明的用色,充满故事性的篇幅设计,让每一幅涂鸦都具有丰富、又不失细节的饱满视觉感。

Taiwan
Malaysia
Malaysia
Malaysia

“My style is myself,” Cloakwork says. “But I am still soul-searching and exploring the world.”

The different people, places, histories, and cultures he’s encountered influence the aesthetic and creative direction of each piece. Including local culture into his graffiti has become a hallmark of his work.

“I always keep myself inspired, and I’m also endlessly interested in different cultures and countries. Every place is different and unique,” he notes. “When I paint at a spot, I usually create something that fits the surroundings to make the mundane wall into something that’s both alive and humorous.”


“我的风格就是我。我也还在寻找自我和探索世界的路上。” 在 Cloakwork 的涂鸦旅程中,每一个地方不同的人民、街景、历史和文化都成为启发创作的来源,让他的作品始终充满地方性的文化色彩。“我接收灵感的开关始终保持在开启的状态上。我也对于各个国家的文化很感兴趣,每一个地方都是独一无二的。我希望能创作出符合当地情景和环境的涂鸦,让一面平凡无奇的墙能获得新生,获得被观赏的乐趣和幽默感。”

U.K.
U.K.
U.K.
Mongolia
Mongolia
Mongolia

As in much of Asia, in Malaysia street art still hasn’t quite reached mainstream status. A lot of people remain skeptical about the artistic merits of graffiti art. Often street artists are seen as just vandals. “In Malaysia, to be honest, graffiti is still in a grey area of public opinion,” he says. “There are those who appreciate street art, but there are also some who are just following trends. But I do believe that public perception is slowly changing for the better as people become more educated and are appreciative of art. Street art is for everyone, and whether they approve of it or not, it will always be around.”


然而,在亚洲许多地方,街头艺术的文化还在发展的进程中。部分民众对涂鸦抱持质疑的眼光,甚至把它视为一种破坏公物的行为,不是一种艺术的表现形式。“在我的家乡马来西亚,涂鸦艺术依然处在大众和政府认可的灰色地带。有些人是真心欣赏,有些人只是为了跟随潮流而已。但我相信未来会更好,人们会慢慢被教育去欣赏街头艺术。毕竟,街头艺术是画给每一个人的,无论你同意或不同意,它还是会在那里。”

 

South Korea
Hong Kong
Hong Kong
Australia
Australia

Cloakwork says that graffiti for him is a way to have fun and delight anyone who stumbles across his work. “The future is hard to predict, but I feel I’ll keep doing graffiti until my body tells me to stop,” he says. “So why is street art so irreplaceable to me? Perhaps that’s the answer.”

If you’re lucky, perhaps one day on your travels you too might just stumble across one of his colorful pieces.


对现在的 Cloakwork 来说,涂鸦单纯是为了享受这个过程,并在同时娱乐观众。“未来的事还很难说,我只知道我会一直涂鸦下去,直到我的身体告诉我该停止了为止。” 所以为什么涂鸦对他来说如此重要?也许这句话本身就已解释了所有。

关注更多 Cloakwork 的消息,有机会的话,也许你能在旅行路上的墙与墙之间,幸运找到他到访过的踪迹。

Websiteiamcloakwork.com
Instagram@cloakwork

 

Contributor: Yang Yixuan


网站: iamcloakwork.com
Instagram: @cloakwork

 

供稿人: Yang Yixuan

What a Load of Rubbish 垃圾袋里的秘密

September 21, 2018 2018年9月21日

Open up the garbage bag and rummage through the discarded memories. Piece these crumpled scraps together and you just might discover that it forms the life of a family, with a husband, wife, son, and daughter. A tasty early-morning breakfast, a plate of sliced fruit, discolored family photo albums, the sounds of laughter and quarrels throughout the house – memories of all these sights, sounds, smells, and experiences come together in Rubbish Famzine, a zine made by the Lim family in Singapore.

Starting with its inaugural issue in 2011, Rubbish has been made by the same four-person editorial team: husband-and-wife duo Pann and Claire, along with their son and daughter, Renn and Aira. A seemingly ordinary family, the Lims are crafting family diaries in an extraordinary fashion.


拆开这袋垃圾,摊开那些揉皱的、蜷缩的、被丢弃的回忆,便能拼凑成一个鲜活的家庭印象:四口人,一对夫妻,一对子女,早起饭菜的香味,一盘被瓜分的水果,退了色的家庭相簿,聚集在客厅的争执和欢笑。看到的、听到的、嗅到的、触碰到的,都是它独特的“最”生命力。这就是《Rubbish Famzine》,一本来自新加坡四口之家所打造的家庭志。

从 2011 年第一期开始,《Rubbish Famzine》的团队就由这样四个人组成: Pann 和 Clairie 夫妻俩以及他们的孩子 Renn 和 Aira,这个看似再普通不过的四口之家,却实在地体现着家庭志的定义。

To Pann and Claire, their children aren’t just mischievous little rugrats who occasionally contribute to a discussion. The family’s creative philosophy is that everyone has to contribute their own ideas. Renn and Aira may be young, but their input is respected, and sometimes their imagination can yield surprising results.

Every issue is created in a casual atmosphere, with the entire family brainstorming over snacks, a pot of tea, and pen and paper. Then, through a series of candid conversations about their personal likes and dislikes, a new issue of this independent magazine born.


对于 Pann 和 Claire 而言,Renn 和 Aira 的存在并非只是偶尔参与讨论小捣蛋鬼们。因为这个团队的创意理念就是,每一个成员都必须有自己在想法上的贡献。虽然 Renn 和 Aira 年纪小,但是他们的每一个想法和意见都会被尊重,而且有时候孩子的想象力会惊讶这个世界。

《Rubbish Famzine》的每一期就是在这样的一种气氛下诞生的:一家四口,围坐在一起,一壶茶、一些小零食、笔和纸,彼此间毫无保留的畅谈,喜欢的讨厌的,简单直白的被交流被记录,最终一家人的只言片语变成了一本独立杂志。

The Ziney-est of Zines

Yet maybe “independent magazine” is the wrong word. As its name indicates, it’s really a zine, and this concept is the core of its creation.

There’s no set distinction between the two, and both zines and independent magazines are outside mainstream media, non-commercial, not for profit, and not bound by social convention. But while independent magazines are still magazines, with numbered issues, a regular publication, and retail distribution, zines tend to be small-scale publications that emphasize their handmade, artisanal quality and their creator’s lively spirit.

As a family-centric publication, the happenings of the family—however mundane or normal—are of course covered from issue to issue. But what makes each story so captivating is linked to the Lim family’s playful packaging and layout designs. 


最 Zine 的独立杂志

与其把它定义为独立杂志(Independent Magazine),我更愿意称它为 Zine,可能正如它自己的名称 “Famzine” 一般,Zine 的概念成为了它的创作理念。

关于独立杂志和 Zine 的区别,其实也从来没有一个特定官方的说法。对于圈内的创作者们而已,两者共有的就是区别于主流传媒的文化产物,拥有非商业化的立足点、非盈利主导的运营模式以及摆脱世俗禁锢的创意性。独立杂志本身还是具备杂志的属性,期刊号、固定发行周期、分销概念等等。而 Zine 则更偏重于小规模印刷的独立出版物,强调手工感和一种鲜活的出版人精神(常常是独立制作)。

作为一个以家庭为中心的出版物,《Rubbish FAMzine》把家庭的琐事——无论多么平凡而日常——在一期又一期的杂志里被细细诠释。但当然了,每期的故事如此迷人的原因,也与 Pann 和 Clairie 一家俏皮包装和布局设计有关。


 

Issue #1: “Google Translating Tokyoto”

Staying true to the magazine’s title, product images for the debut issue were photographed with the magazine inside a generic black trash bag and surrounded by crumpled up paper scraps.


黑色垃圾袋包裹了杂志,里面塞满了揉皱的废纸,就仿佛一个任何家庭都会出现的装满垃圾的垃圾袋。


 

Issue #2: “Till Death Do Us Part”

Adopting the aesthetic of old pamphlets and print material, this issue is comprised of five sub-issues of different sizes, all of which is thread bound. It’s all housed within a scaled-down replica of an old Chinese National Language School folder that inspired the issue.


做旧的小册子,按照不同的尺寸叠放,最后用红绳子扎起来,仿佛一个十字架,也正好照应了本期主题。


 

Issue No. 3: “Forever and a Day”

One of the most playful issues to date. Loose and seemingly random objects—which includes a paper airplane, a twig, cassette tapes, folded sheets of paper, and mini brochures—all packaged inside a tin cookie can make up the issue.


可玩性极高的,纸飞机、树枝、卡带、对折页、小册子,看似不相关的零部件却毫不冲突地放进了一个旧铁盒里。


 

Issue #4: “The Incomplete Herbarium And Other Garden City Exploits”

Two thin sheets of plywood make up the front and back cover of this issue, sandwiching the contents within. The use of wood is an allusion to the issue’s theme of urban gardens.


前后的薄木板设计,把小册子好像三明治一般夹在当中,木头的概念也接近了该期的主题:城市花园。


 

Issue #5: “In the Name of the Father”

An issue of TV Weekly with Taiwanese singer Teresa Tang gracing the cover, a black-and-white family portrait, old publications filled with scribbles and notes, miscellaneous clippings held together with paper clips – this issue celebrates the life of Pann’s father, Lim Tiap Guan.


邓丽君封面的《电视周刊》、黑白的家庭照、做了标签的旧刊物、回形针整理的资料,每张纸都承载着父亲的生活气息。


 

Issue No. 6: “An Emojious Odyssey of the Gluttonous Omnivores”

Designed like restaurant take-out, this issue makes gratuitous use of emojis as a means of expressing the family’s collective love for food. The layered binding makes for a fun journey into a world of all things delicious.


外卖盒的包装,塞满了 Emoji 表情,以此表达出这个家庭对食物的收集热。层层叠叠的装帧为读者展现了一个充满乐趣的美好世界。


 

Issue No. 7: “Flash and Blood”

Featuring repurposed boxes of Kodak Ultramax 400, cyanotype paper, and an assortment of old family Polaroids, this issue is a loving ode to analog photography from the Lims.


主角是改装自柯达 Ultramax 400 的底片盒,配上蓝晒纸和旧的家庭拍立得,组成一集怀旧的书刊——这是他们一家人谱出的诗篇,用以歌颂自己对摄影的热爱。


Authentic, Intimate Content

Pann is often asked a pointed question: is the magazine an invasion of his family’s privacy? His answer is that Rubbish seeks to make appealing content, but it can’t help exposing some rather intimate stories.

He explains that before every issue hits the printers, the family reaches a consensus on the content. So no matter if it’s stories of Pann’s father’s illness or the private love letters of his parents, everyone’s already given their approval. Ultimately, Rubbish is a physical manifestation of the Lim family’s love: their love for each other, their love of travel, and their love of country. More importantly, they hope the zine can encourage, support, and help everyone who reads it.


最真实的无距离内容

曾经问过 Pann 一个很尖锐的问题:这会侵犯家庭隐私吗?他的回答是,《Rubbish Famzine》的确主张做亲和力很高的内容,但同时却或多或少都在向大众去揭露一家人比较隐私的情节或故事。首先,在独立杂志的内容被刊登之前,都会得到家庭成员的支持和认可。因此无论是父亲生病的故事还是他父母间的情书,其实大家都是表示支持的。《Rubbish Famzine》每一期的内容都在诉说这四口之家浓郁而真切的爱,对旅行的热爱,对自己国家的挚爱,对父母的珍爱。最重要的是,他们希望通过杂志的内容,能够激励、鼓舞并帮助到选择《Rubbish Famzine》的各位读者。

When asked about the name Rubbish Famzine, Pann laughs and says that “rubbish” is just something they often say at home instead of “stuff.” This playful means of communication perfectly encapsulates their quirky family dynamics.

“If you choose to pick up a copy of Rubbish and really read it, then for us there’s no greater honor or joy,” Pann says. “We hope every reader can be touched by our stories, laughing in delight or feeling moved to tears.”

As the Lim family’s saga continues, fans eagerly await every new issue. And no wonder—each story is authentic and meaningful, and perhaps by reading them, readers can discover meaning among the clutter of life.


至于杂志名“Rubbish”(垃圾),则来自于他们的口头禅,在 Pann 家,这个词常用以取代 “Stuff”(东西),这种独特的沟通方式,却很能展现了他们家其乐融融的气氛。

“如果你选择了我们的《Rubbish Famzine》并且认真阅读了它,就是我们最大的荣幸和快乐。希望每一个读者都能被我们的故事触动,无论是开心地大笑还是感到动容或悲伤。” Pann 一家的故事还在继续,总让我们禁不住去期待下一期的内容。因为故事里的每一个字都真实而有意义,可以透过它看到杂乱生活中的本质。

Additional Recommendations from Pann Lim:

I like fun, unique magazines with a fresh perspective. What comes to mind are LOST, Staple, Underscore, and Werk. If more print media in Asia can take similar creative approaches, I expect more people will be willing to read them.


主创人之一 Pann Lim 推荐的亚洲独立杂志:

我喜欢新鲜有趣独特的独立杂志,比如《LOST》, 《Staple》, 《Underscore》, 《WERK》. 如果亚洲纸媒能够继续秉持这样的创意态度,相信我们能看到更多的人愿意去阅读。

Facebook: ~/holycrap.sg
Instagram: @holycrap.sg

 

Contributor: Handowin Ho
Images Courtesy of Rubbish Famzine


脸书: ~/holycrap.sg
Instagram: @holycrap.sg

 

供稿人: Handowin Ho
图片由 Rubbish Famzine 提供

Young Romance 哎,要不要做我的女朋友

September 20, 2018 2018年9月20日

 

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“He asked me to be his girlfriend. I thought it was too soon. Like, we had been talking for just a week. Then he cried, tears fell down his face. I didn’t know what to do. I’d never had a boyfriend. So I was like, well, okay then.”

 

Naive confessions, ambiguous interactions, foolish first loves: as we’re reliving our youth through the people on screen, a pair of hands suddenly enters the frame with a yell of “Cut!” abruptly interrupting the story.

#BKKY is a creatively shot narrative documentary by Nontawat NumbenchapolThe four letters of the title stand for Bangkok Youth, and in making the film, the director interviewed a hundred 17- to 20-year-olds living in Bangkok from across the gender spectrum. In front of the camera, they open up about how they see their youth, their dreams, and their struggles. Drawing on these interviews, the film introduces a character named Jojo, blending fiction and reality and breaking with traditional modes of storytelling.


“他问我要不要当他的女朋友,我觉得进展太快了。我们开始说话后不过只过了一个星期。接着他哭了,眼泪从脸上滑落下来。我不知道该怎么办,我从没交过男朋友。所以,我想说,那好吧。”

 

青涩的告白、暧昧的互动、懵懂的初恋…… 在我们通过电影缅怀青春之余,一双手突然插进画面,“卡!”,打断了故事的进行。《#BKKY》(《曼谷青春纪事》),四个英文字取自 Bangkok Youth(曼谷青年),是一部以创新手法拍摄的剧情纪录片。导演 Nontawat Numbenchapol 总共访问了一百位十七到二十岁、生活在曼谷的青少年,他们广布在性别光谱的不同位置上,在镜头前,向我们倾诉他们眼中的青春、梦想、与自我的挣扎。电影以这些访问素材为基底,再编织出一个角色 Jojo,虚构的剧情与真实的访谈段落交错进行,打破传统的叙事模式。

Numbenchapol’s first documentary, Boundary, focuses on the border between Thailand and Cambodia, while his second, By the River, takes a look at the mining industry. “The feature documentaries I made were very political and very serious, so no young people in Thailand went to see them,” he says. “That’s how I got the idea to make #BKKY, a documentary for teenagers. I really wanted to be up to date on what’s going on nowadays. It’s kind of my area of research.”

To find people to interview, he crisscrossed Bangkok, going to schools, malls, anywhere young people hang out. Out of everyone he interviewed, the one who made the biggest impression on him was Jojo, whose story inspired the course of the entire film. “She’s very open, clever, and lively, and her gender is very fluid as well,” notes Numbenchapo. “When she told me she’d been keeping a diary for several years, I asked her if I could read it, and she said yes! I was so inspired that I started writing a script, mixing it with the other interviews.”


在导演 Nontawat Numbenchapol 先前的两部纪录片作品《Boundary》(《边界》)、《By the River》(《河畔》)中,分别探讨了泰国柬埔寨边境、矿产工业的问题,“这两部纪录片都非常政治性和严肃,没有年轻人愿意看。所以我才有了拍摄《#BKKY》的想法,我想要知道现在年轻人的生活,一部份也算是我的研究。”

于是他穿梭在曼谷各处,任何年轻人聚集的地方如学校、购物中心,找到了访谈的对象,其中让他印象最深刻的 Jojo,也是后来影响了全片走向的人,“她很开放、聪明、活泼,性别认同是流动的。当 Jojo 跟我说她一直保有写日记的习惯时,我问她能不能让我看,而她答应了!我从中获得很大的灵感,所以就开始进行这部片的剧本,之中再加入先前的访谈段落。”

Through the film, we can see the most open-minded side of today’s Thai youth. Their fluid sexual orientation and gender identities reveal the diversity of romantic and sexual relationships in contemporary Thailand. But this open-mindedness is not welcome everywhere. To conform to traditional values, many people still choose to live hidden lives. As a boy in the film who dreams of changing his sex asks, “If other boys found out I was trans, what would they think?”


通过电影,我们看到了这个时代的泰国青少年最坦率的一面。他们流动的性向与性别认同,揭示了泰国时下多元的爱情与情欲关系。但这股开明的风气并不是处处受到欢迎,为了迎合社会的传统价值观,许多人依然选择隐瞒。就如同电影中一位梦想着变性的男孩所说 “如果被其他男生发现我变性,他们会做何感想?”

In Numbenchapol’s view, Thai society today is very open. “Maybe that’s because of the internet and social media,” he speculates. “Every young person is unique, and they all have many choices. That’s very different from my generation. We had no choices, and we were always told what to do and what not to be by parents or teachers. And everyone looked the same. But now young people are very different, even though parents, schools, and the media are still the same, conservative and not very open. Sometimes I feel they have too many choices, and that makes them confused, in gender issue too.”


而在导演眼中,如今泰国是一个开放的社会,“也许是因为社交媒体和网络的关系,每个年轻人都很独特,知道自己拥有更多选择。不同于我这一代,以前我们总是被父母和学校告知要做什么或不做什么,每个人看起来都一样。但现在不一样了,虽然父母、学校、媒体的态度倒是没有改变太多,依然相当保守。有些时候,我认为太多的选择也容易造成混淆或困惑,当然在性别的议题上也是如此。”

Young people still don’t understand the direction of the future, but compared to those of us who have already grown up, they seem fearless. So what does growing up mean? In the film, the interviewees all offer different explanations.

“I don’t know. I’m not sure if people actually discover themselves before they die.”

“I really don’t know what my passion is. Some adults also haven’t figured that out.”

“I didn’t set my dreams too high. I just live my life. Growing up is just having a family, having kids, just working or hanging out sometimes,” he muses.

They express some concern, but they still face themselves honestly, and they accept without guilt those deepening desires that come with growing up. Standing before the unknown, they nevertheless opt to be calm, and perhaps this nonchalance is a sort of rebellion unique to youth, a way for them to fight against the system.


这个年纪的他们还不明白未来的去向,但与我们长大的人相比,却显得无所畏惧。所以, “长大是什么呢?”

“我不知道。我不确定是否有人能在死前,真正找到自己。”

“说真的,我不知道我的热情所在。有些大人同样也不知道。”

“我不知道,我没有把理想设定太高。我只是过过日子,长大不过是成家、生小孩、工作、偶尔出去玩而已。”

他们语露一丝担忧,却还是诚实地面对自己,对于那些伴随成长越趋深刻的热切欲望,也坦然回应。即使眼前是一片未知,他们依然选择一派轻松,也许这股淡然,正是青春独有的一种反叛,是他们对抗体制的另一种方式。

Website: www.mobilelabproject.com

 

Contributor: Yang Yixuan


网站: www.mobilelabproject.com

 

供稿人: Yang Yixuan

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Gentle Giants 没有爱丽丝的仙境

September 19, 2018 2018年9月19日

Like a modern reimagining of Alice in Wonderland, Tran Nguyen‘s works show gigantic young women and wild beasts towering above tiny houses, set against seas of fog and distant mountains. Born in Vietnam and raised in the U.S., Nguyen creates works that seem less like paintings than scenes from a fantasy film.


无限放大的少女和野生动物,在迷雾之中秉烛夜游;同比缩小的城堡与远山,让人疑惑这是否如当代版的梦游仙境——这些画面,出自生于越南、长于美国的艺术家 Tran Nguyen 之手。与其说是绘画,不如说这样的作品更肖似童话电影的布景。

Growing up between contrasting Vietnamese and American cultures, Nguyen has long been fascinated with dichotomies. How can two concepts be both parallel and perpendicular at the same time? It’s all dependent on perspective — ideas that initially seem incompatible with one another may actually be complementary once you examine the relationship between them. This understanding carries over into her art, which are masterful balancing acts that makes use of a multitude of contrasts. “Though I’m naturally drawn to melancholic narratives, I added the animal companions to make the painting feel less solemn,” she notes as an example. “The scale of the characters is also meant to contrast against the ordinary environments that each scene is set in, adding a sense of majesty and surrealism.”


越南与美国两个国度不同的文化冲突,让 Tran 一直以来对分化对立很感兴趣。两个不同的概念如何平行又垂直相交呈现?这完全取决于观点——一旦你审视他们之间的关系,最初似乎彼此不相容的想法,实际上可能是相互补充的。她的艺术作品也正利用这种矛盾创造了巧妙的平衡。“我很自然地被忧郁的故事所吸引,但我加入了动物伙伴,让这幅画不那么严肃。” Tran 说,“而人物放大缩小的比例,给了画面中角色以一种威严和超现实主义的感觉。”

“Ultimately, I want my viewers to reflect and feel a sense of well-being from my art,” she says. “However they perceive my work, I hope it somehow puts them at ease, especially if they feel down on their luck.”


“我希望观众能够从其中反映出一种幸福感。希望能这些画让他们感到轻松,尤其当他们感到时运不济的时候。” Tran 如是说。

Website: www.mynameistran.com
Instagram
: @mynameistran
Behance: ~/trannguyen


Contributor: Chen Yuan


网站: www.mynameistran.com
Instagram
: @mynameistran
Behance: ~/trannguyen


供稿人: Chen Yuan

Generation Q 一代酷儿一代人

September 18, 2018 2018年9月18日

As the fight for equality and mainstream acceptance continues for LGBTQ groups, cinema has become an important medium in sharing authentic vignettes of the queer experience. Filmmakers from all over the world are using cinema to invite discourse on the injustices being faced by these sexual minorities. With the second annual Shanghai Queer Film Festival kicking off on September 21st, we take a look at a few of our favorite short films that’ll be shown this year.


随着 LGBTQ 群体(同性恋、双性恋、跨性别者和酷儿)争取平等和主流认同等运动的持续推进,电影,也成为了分享同性恋经历真实片段的重要媒介。来自世界各地的导演及电影人,正试图以电影来引起人们对这些性少数群体所面临的、不平等也不公正的境遇进行讨论。在第二届上海酷儿影展开幕之际,我们选取了几部将会于现场展映的短片电影,以一窥在亚洲地区 LGBTQ 群体的生活。


 

Slingshot Prince / 《拿弹弓的王子》

 

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The story takes place in 1995 in a small southern China village.

At the center of the film is a 12-year-old tomboy who’s been ostracized by her community for being unfeminine. Loathed by neighbors and family’s alike, the misunderstood protagonist feels cornered by the village’s archaic views on gender. Boys her age pick on her and shame her for being different. Her family, embarrassed by her “eccentric behavior,” is equally unsupportive, shunning her while they coddle her younger brother.


那是在 1995 年中国南方的一座小村。

12 岁的女主人翁是个中性打扮的假小子,言行举止与传统温良贤淑的小姑娘差别迥异。但在传统思想的禁锢中,这个特立独行的姑娘并没有得到来自家人和邻里的理解和尊重,大家眼里的她并非个性,而是怪异——家人感觉脸上无光,对她的弟弟更宠爱有加;而同龄的男孩子,却因她的不同而百般不爽,借机羞辱了她一番。

Slingshot Prince by Lin Sixin
Slingshot Prince by Lin Sixin

Slingshot Prince isn’t completely fictional. Director Lin Sixing based the film on real-life experiences—a blend of childhood memories and fictional plot elements. Arriving at the filming location, a village seemingly stuck in the 90s, Lin says all of his memories from his youth came flooding back to him: “The location, colors, lighting, and even sounds really brought me back to my childhood and reminded me of how I viewed the world back then.”

At the turn of the century, China’s economy and society underwent massive changes, and the village where Lin was born wasn’t exempt from the effects of modernization. “In a radically shifting society, self-doubt not only comes from within. It stems from a misbalance of societal validation with self-affirmation,” Lin states. “And those indoctrinated by the Confucian Ideal of Great Harmony repress their desires to express their individualism.”

By the end of the film, the tides turn for the protagonist—she stands up for herself, getting her revenge by picking off each of the boys who humiliated her with her slingshot.


这《拿弹弓的王子》(Slingshot Prince)的故事绝非“纯属虚构”。对导演林思新来说,这部电影来源于他的少年经历,真实的过往和虚构的电影情节交杂。而影片背景设置在 90 年代的村镇,则“真正还原”了导演对那个年代的记忆——“不论是拍摄场地,色彩,光线,或者是声音,全部都如实地还原了我少年时对这个世界最初的认知。

在这个世纪之交时,中国的经济和社会面貌发生了遽变,而导演所生所长的村庄也面临着城镇与外来文化的冲击。“在这样的一个社会巨变的环境下,人心的矛盾不仅仅来自于自我认同上,也来自自身被社会的认同和自我认同的不平衡上,而大多数这种被儒家大同思想深深影响的普遍社会价值观,造成了对个人自我表达欲望的压抑。”

所幸的是在影片最后,她站起身来,用自己弹弓狠狠反击那些欺凌她的男孩子,让他们付出了应有的代价。

Slingshot Prince by Lin Sixin

 

Sorry for the Inconvenience /《抱歉打扰了》

 

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In rural towns and villages where queer culture hasn’t quite been accepted, it’s not uncommon to see discrimination or even acts of violence against LGBTQ individuals. This is especially common in Asia-Pacific and Africa, where, statistically, sexual minorities have been the most marginalized groups in society.

These experiences are brought to light in Filipino director Carl Chavez’s Sorry for the InconvenienceThe short film is centered around Joshua, a timid teenager who’s bullied by classmates for not being masculine enough. In a fit of rage, he exacts revenge on them but things don’t go as planned. Desperate, he turns to his father, a local policeman, for help.


身处同志文化未能波及的小村镇,而因此囿于性别认同且饱受压抑的性少数人群,偏见、歧视、凌辱,对他们而言都太过寻常——据统计,在亚太(包含中国)和非洲地区,性少数人群往往是社会中最为边缘、最为弱势的群体之一。而在多样性接纳度较小的村镇地区,则显然更为严重。

无独有偶,来自菲律宾的导演 Carl Chavez 也在影片《抱歉打扰了》(Sorry For The Inconvenience)中叙述了类似的经历。在他的影片里,害羞胆怯的少年 Joshua 被同学霸凌,尽管复仇的火焰一经萌生就再难浇灭,但实际操作起来却有重重阻碍。无奈之下,他只能寻求自己当警察的父亲的帮助……

Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez

 

Pink Pill /《粉色药丸》

 

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No matter if its gender identity or sexual orientation, anyone who deviates from the norm can easily find themselves shamed and vilified.

The film Pink Pill takes place in a small riverside town in Sichuan. Zhang Ke, the main character of the film, is a high school sophomore whose secret relationship with Chen Xue, a female classmate, is outed after her diary is read out loud in front of the class. As a result, Zhang is maliciously bullied day after day.


在固化的性别观念里,非但多元的性别身份成为了受攻击的靶子,那同性二人之间萌发的暧昧情愫,也会成为众人诽谤和侮辱的对象。

《粉色药丸》(Pink Pill)发生在四川一个江边小城,高二女孩张鹤的日记被人发现,旋即被堂而皇之地念了出来。她与另一个陈雪之间的暧昧关系,从此昭告天下。随之而来的,是无尽的恶意。

Pink Pill by Xie Xiaoshan
Pink Pill by Xie Xiaoshan

Li Bo is one of Zhang Ke’s classmates with a long-time crush on her. He’s heartbroken seeing her bullied daily. Even though he’s normally timid and passive, he steps up, getting into fights to protect her. As the two grow closer, Li starts imagining that maybe his love can change her. What if sexual orientation was like a typo, something that can be easily corrected?

As the film progresses, Li’s frustration reaches a boiling point. His originally good-willed intentions transform into a selfish desire to change her. He yells at Zhang, denouncing her sexual orientation and calling it an illness. The story leaves viewers pondering just how much intolerance and bigotry exists in this world, hiding in plain sight.


而一直暗恋张鹤的男同桌李波,既觉得心疼,又想要改变——为了张鹤,懦弱的李波甚至跟人打架。随着二人的关系慢慢亲近,李波亦开始想象,或许自己的爱可以改变她呢?或许性向是就像错别字一样,可以被修正呢?

影片中,李波还是没忍住对心仪的姑娘叫喊“有病的是你”。但凭一己私心,妄图改正他人的性向或身份认同,这又是正确的吗?而像上述那些反对、歧视、欺凌性少数人群的“大多数”,又有多少呢?

Pink Pill by Xie Xiaoshan

For this year’s Shanghai Queer Film Festival short film competition, the featured films explore different LGBTQ perspectives from all over the world. Together, these vignettes paint a larger narrative around the state of modern society and how LGBTQ culture has been molded by the countless hurdles and obstacles faced by individuals along the way.


在本次“上海酷儿影展 SHQFF”中的亚洲短片竞赛单元里,我们会看到更多发生在亚洲的性少数人群的故事,以及他们所代表的 LGBTQ 文化,究竟是如何在一次次反抗和碰撞中显形的。

Photographer / 摄影师: Cao Feng

As gender identity and sexual orientation becomes increasingly blurry in modern times, the meaning of queerness equally demands greater diversity. Through cinema, SHQFF hopes to not only portray the reality of the LGBTQ experience, but it aspires to bring about much-needed change in the world.

This year, the second annual SHQFF will take place between September 21st and September 26th. Themed around the concept of “Generation Q,” the featured films looks to offer a well-rounded perspective of queer culture in modern times. Apart from the screenings, panels and various discussions will also be held during the event.


在这个时代,当性别身份与性取向已愈加模糊,有关“酷儿”(Queer)身份的定义也愈加丰富多元。我们希望这些电影不但能够呈现现实,也能具有改变现实的力量。

今年,第二届上海酷儿影展将于今年 月 21 日至26日隆重回归。本届影展决定将眼光放至更多元的维度,以“Generation·Q·世代为主题,和观众一起通过来自不同文化的精彩酷儿影片,见证光影中的酷儿迭代。而在影片放映之外,第二届上海酷儿影展还将为大家带来精彩纷呈的映后讨论及论坛。

Website: www.shqff.org
WeChat: SHQueerFilmFestival

 

Contributor: Chen Yuan
Images & Videos Courtesy of SHQFF 


网站: www.shqff.org
微信: SHQueerFilmFestival

 

供稿人: Chen Yuan
图片与视频由 上海酷儿影展 提供

Just a Trim 露天理发师的迁徙

September 17, 2018 2018年9月17日

It’s early morning in Hanoi, and streetside vendors are already busy setting up their stalls. But among the peddlers hawking fresh produce, flowers, and snacks, one group in particular stands out: the barbers with makeshift salon seats set up right alongside the street.

Over the past few decades, these barbers, equipped with only the bare essentials, have become a common sight among the hodgepodge of street vendors in Vietnam’s capital.


清晨时分,河内的街边摊贩正匆匆忙忙摆好摊位。在一大片贩卖新鲜农产品、鲜花和小吃的摊位中,有一群人尤其突出,那是在街边摆着临时理发椅的理发师们。

在过去的几十年里,这些只拿着最基本工具的理发师已成为越南首都街头小贩的一员。

The early 1900s was the peak of popularity for outdoor barbers. At the time, Vietnam experienced a period of economic uncertainty that forced many living in underdeveloped areas of the country to move to Hanoi in search of work. This was the case for many barbers from Kim Liem, a place dubbed as the “barber’s village,” who moved en masse into the city. This migration of barbers saw entire boulevards in downtown Hanoi become massive, open-air salons.


20 世纪初是露天理发师的流行盛期。当时,越南经历着经济困难时期,许多生活在贫穷地区的人们只好前往首都河内寻找工作。大批来自越南“理发村”Kim Liem 的理发师也在这个时期涌入这座城市。大规模的“理发师的迁徙”将河内市中心的整条林荫大道变成了大型的露天理发沙龙。

However, as Hanoi continues to grow, efforts to declutter the streets and clear out unlicensed businesses have been ramped up, and street barbers are among those targeted. Waves of crackdowns have taken place over the years, but many persistent entrepreneurs return over and over, albeit in fewer numbers each time. Authorities still regularly patrol the streets today, chasing off vendors and handing out fines.


然而,随着河内的不断发展,政府开始推进街道整顿和清理未经许可的商贩,街头理发师也成为被清理的对象。尽管多年来一直遭受打击,但许多不愿放弃的理发师仍然一次又一次地卷土重来,尽管每次的数量已经越来越少。当局如今仍然会定期在街上巡逻,追赶小贩和开罚单。

As a result of these clean-up campaigns, barbers with financial means have opened legitimate salons. The less fortunate ones have been forced to switch careers entirely. Today, the barbers that remain active are engaged in a constant game of cat-and-mouse with the authorities, rolling the dice everytime they set up shop. But as long as there’s demand for low-cost haircuts, there will be barbers willing to take the risk.


由于这些清理活动,一部分有经济能力的理发师开设了合法的理发店,而不那么幸运的理发师则被迫转行。而那些至今还在的露天理发师则要每天跟当局玩猫捉老鼠的游戏,每一次的开店都像是一场冒险。但是,只要有廉价理发的需求,就会有理发师愿意赴险。

Contributor & Photographer: Claudio Seber


供稿人与摄影师: Claudio Seber