F is for Feminist 一本没有墨水,也没有纸张的书

November 30, 2018 2018年11月30日

Girls Gone Wild is a zine about radical feminism that has neither ink nor paper. Instead, Indonesian artist Claudia Akhsa has sewn together this text with a needle and thread.


《Girls Gone Wild》是一本关于“激进女性主义”的独立杂志书。可是它既没有墨水,也没有纸张,来自印尼雅加达的艺术家 Claudia Akhsa 选择用一针一线,缝制出这些相关的篇章。

Radical feminism is a school of thought based on the view that women’s oppression is the foundation of all forms of exploitation.

Akhsa’s handmade book has sixteen pages. With a gentle but objective tone, she uses text and image to discuss radical feminism’s history, introduce its representative figures (and some of their well-known lines), and explain key terms such as “patriarchy” and “sisterhood.”

The work was Akhsa’s final project at Lasalle College of the Arts in Singapore, from which she recently graduated. Titled Feisty Girls, the project included the inaugural issue of Girls Gone Wild (“What the ‘F'”), along with a series of illustrations. When she first set about choosing a topic, Akhsa drew on her longstanding interest in politics, and her anger at the unfair treatment women encountered. “After doing some research, I realized many people either don’t understand what radical feminism is or have a negative perception of it. That’s when I first decided to create a zine introducing radical feminism.”


激进女性主义(Radical Feminism)是女性主义的其中一个派别,最基本的观点是:女性所受的压迫,是所有剥削形式中最深刻的。

这一本由 Claudia 手工制作的刺绣书,总共有十六页。内容以和缓而客观的语气,图文并茂地讲述了其历史、代表人物及名言,还有和女性主义相关的词语,比如父权制、姐妹之谊等等。

而这其实是 Claudia 在新加坡就读拉萨尔艺术学院的毕业作品。这个名为“Feisty Girls”(意为“勇敢好胜的姑娘”)的项目里,就包含了首期刺绣书《Girls Gone Wild》(主题为“What the ‘F’”)和一系列的插图创作。当初在选择项目主题时,Claudia 提到自己对政治一直都很感兴趣,从小到大,经常对女性面临到的不公平感到愤怒。“经过一连串的资料搜集后,我发现很多人要么是不理解何为‘激进女性主义’,要么就对它持有负面印象。所以我想通过这本书,告诉大家什么才是真正的‘激进女性主义’。”

“Since the zine is about radical feminism, why not go radical and out of the norm?”

By choosing such a unconventional form, Akhsa had to sacrifice a lot of time. It took her eight months altogether, most of her last year at college. She didn’t sleep well during that time, and her grades suffered. “Instead of making it easy to produce, I made it more delicate and difficult,” she says. “I chose embroidery because stitching has always been related to women and stereotypes of women.”

So far there’s only one “issue” of Girls Gone Wild, and there’s only a single copy in existence. Akhsa says issues two and three are still planned, but since she started work after graduation, she just doesn’t have enough time.


“既然主题是关于激进女性主义,何不把形式也做得激进一点?”

Claudia 选择如此非传统的制作方式,时间是必须牺牲的。她总共花费了八个月,占去她大学最后一年的多数时间,每天不能好好睡觉,还为此失去了一些学分。但在看到成果后,她说一切辛苦都值得了。“我不想让它太容易就被生产出来,所以就选了更为精细和困难的方式——刺绣。”她说,“并且自古以来,针线活就和女性相关,可以说它也象征着加诸在女性身上的刻板印象。”

目前《Girls Gone Wild》只有第一期,全世界也只有一本。(Claudia 向我们说,其实第二、三期已经在规划中,但毕业后踏入工作,时间实在不够啊!)

The other portion of the Feisty Girls project consists of a series of illustrations that are also reflections and questions about feminism. Akhsa first focused on girls who consider themselves feminists, giving them a survey about themselves and putting their responses and the emotions they revealed into bold, bright illustrations.

She always takes an original in approach in her art, and this time she drew illustrations of what she considers feminists for a new age onto old storybooks whose main characters are girls. It’s a graphic juxtaposition of past and present depictions of women.

“All feminists have gone through different experiences in their life that have made them who their are. I wanted to tell people how every feminist is different, and how different feminism is now from the past.”


另外在《Feisty Girls》项目里的插图创作,也是一系列关于女性主义的反思和诘问。Claudia 首先针对了那些自认为女性主义者的女孩们,进行一项关于自己的调查,并将她们的回答和从中表露出的多种情绪,呈现在这些大胆、鲜艳的插画里。

关于创作的手法,她一向独创新意。这一次,她把从自己视角出发,描绘出新一世代女性主义者的插图,画在同样以女孩为主角的老旧故事书上,将古今对于女性的不同刻画,有趣且直观地并列出来。

“每个女权主义者的人生经验都不一样,这使她们成为了今日的自己。我想让大家知道,每个女权主义者都不尽相同,而每个时期的女权主义,也都是不一样的。”

Behance: ~/claudia akhsa

 

Contributor: Yang Yixuan


Behance: ~/claudia akhsa

 

供稿人: Yang Yixuan

Building Connections 忘记一件商品,面对一件作品

November 28, 2018 2018年11月28日
Aqua Aqua (2018) by Tsherin Sherpa
Gouache, acrylic, and ink on cotton
53.3 x 76.2cm

Art is a universal language. It’s able to express emotions and ideas words can’t effectively convey. It distills and synthesizes the human experience into something novel and thrilling. Art, when properly used as a means of communication, serves as a bridge between the cultural and temporal divides that separate us.


艺术是全世界的通用语——可以传达言语所不能及的情感和想法、可以将人们的经历凝炼成新奇的事物,更可以弥合文化与时间的鸿沟。

For Fabio Rossi, the director of Rossi & Rossi gallery, these transcendent powers of art are what’s kept him passionate in his decades-long career as an art dealer. “It’s wonderful to do something you love and enjoy,” he says. “But when you’re able to contribute to its growth and evolution, that’s a blessing.”


对于 Rossi & Rossi 画廊主理人 Fabio Rossi 而言,正是艺术这超凡的力量,使他在数十年的艺术商生涯中始终充满热情。“能够从事自己热爱和享受的事情很棒。但如果你能够为它的发展出一份力,那就变成了一种幸福。”他说。

Fabio & Anna Maria Rossi
Fabio Rossi

Rossi & Rossi was founded in 1985 in London by Fabio’s mother, Anna Maria Rossi, a 40-year veteran in the field of Asian art. Her fascination carried over to her son, who at the age of 11 accompanied her through Afghanistan, Pakistan, and India on a trip that planted the seeds for his lifelong love of art and fascination with Asia. 

After graduating from the School of Oriental and African Studies and apprenticing at the auction house Spink & Son, Fabio officially joined forces with his mother at Rossi & Rossi in 1988. The mother-and-son duo quickly began making a name for themselves in the international art scene with groundbreaking exhibitions that showcased rare classical art from Mongolia, China, India, Nepal, and more. These works ranged from Mongolian bronze-gilt sculptures to Tibetan thangkas, from Chinese handwoven robes to Nepalese stone carvings, all accompanied by scholarly catalogs that provided comprehensive information and historical context. Over time, the gallery’s unparalleled collection of rare art, detailed exhibitions, and ever-expanding coverage cemented their reputation as the leading name in the world of traditional Asian art.


早在 1985 年,Fabio 母亲 Anna Maria Rossi 在伦敦创立 Rossi & Rossi 画廊。她研究亚洲艺术已经有四十年,这股热情也感染了她的儿子。在 Fabio 11 岁时,跟着她穿越了阿富汗、巴基斯坦和印度。这趟旅程之后,Fabio 心中对艺术的热爱、对亚洲地区的钟情开始萌芽了。

在他从东方和非洲研究学院(School of Oriental and African Studies)毕业后,Fabio 在斯宾克拍卖行(Spink & Son)当学徒。1988 年,Fabio 与母亲在 Rossi & Rossi 正式联手,推出了一系列突破性展览,展示自蒙古、中国、印度、尼泊尔等地罕见的古典艺术。很快,母子两人就在国际艺术界名声大噪。这些作品包括蒙古青铜雕塑、藏族唐卡、中国的手工编织长袍、尼泊尔的石雕等等,所有作品都附有学术目录,提供了全面的信息和历史背景介绍。随着时间的推移,画廊无与伦比的珍稀艺术品收藏、详细的展览、不断扩大的艺术覆盖面巩固了他们作为亚洲传统艺术世界领军人物的地位。

While Rossi & Rossi earned accolades for their contributions to classical Asian art, Fabio—always ambitious—decided to take the gallery into a new direction with the addition of contemporary Asian art in 2005. This decision was inspired by a trip to Lhasa, where he met a group of local artists and discovered a thriving contemporary art scene that had been around since the 80s. Even though Fabio had been spending time in Tibet for over a decade, this came as a complete surprise.

“In the end, it’s all about discovery and sharing,” he explains of his motivations. “I felt there were a lot of underrepresented Asian artists, so I wanted to help bring them in front of a larger audience. Secondly, by having both classical and contemporary art alongside one another in our gallery, people can see the similarities and differences between the two. They can better see how art has evolved and also see how these similarities and differences come together to make art so exciting.”

Today, Rossi & Rossi represents a growing roster of talented contemporary artists from around Asia, including Tsherin Sherpa, a Tibetan artist creating contemporary thangkas; Lee Mingwei, a Taiwanese mixed-media artist known for his interactive installations; Naiza Khan, a leading-edge Pakistani painter; and many more.


虽然 Rossi & Rossi 因其对亚洲古典艺术的贡献而获得赞誉,但雄心勃勃的 Fabio 决定在 2005 年增加当代亚洲艺术,为画廊开创一个新的发展方向。

而这,是他在去了拉萨后作出的决定。在拉萨,他遇到了当地一群艺术家,也正是在那里,他发现自从上世纪八十年代以后,当地的当代艺术开始了蓬勃发展的劲头。尽管 Fabio 曾在西藏生活过十几年,但这依然是让他十分意外的发现。

“说到底,这一切都是为了发现和分享。”他这样解释自己的初衷,“我觉得有很多亚洲艺术家未获得应有的关注,所以我想让他们的作品呈现给更多的观众。其次,在画廊中同时展出古典与现代艺术,人们可以看到两者之间的异同,可以更好地了解艺术的演变,也能看到这些异同是如何相互结合,呈现出令人期待的艺术作品。”

今天,Rossi & Rossi 展示了越来越多来自亚洲各地才华横溢的当代艺术家,其中包括创作当代唐卡作品的西藏艺术家 Tsherin Sherpa、以互动装置著称的台湾混合媒体艺术家李明伟、巴基斯坦先锋画家 Naiza Khan 等等。

Tsherin Sherpa on display at Rossi & Rossi Hong Kong
Tsherin Sherpa on display at Rossi & Rossi Hong Kong
Madmandu Blues 1 (2018) by Tsherin Sherpa
Gouache, acrylic, and ink on cotton
53 .3 x 76.2 cm
Tsherin Sherpa on display at Rossi & Rossi Hong Kong
Tsherin Sherpa on display at Rossi & Rossi Hong Kong

In 2013, Fabio established a new branch of Rossi & Rossi in Hong Kong, a city both he and his mother now call home. In the years following, the gallery has further expanded its focus with the inclusion of Western artists. Partnering with art dealer Giovanni Martino in 2017, Rossi & Rossi debuted a series of exhibitions around Asia that highlighted the works of modern and contemporary European artist—just as it promoted Asian art for Western audiences in its earlier years, the gallery now looks to bring the works of underrepresented Western artists to audiences in Asia and beyond.

Western artists represented by Rossi & Rossi today include Christopher Doyle, an Australian photographer best known as Wong Kar-wai’s cinematographer; Giorgio Vigna, a gifted Italian sculptor best known for his glasswork and jewelry design; and Italian artist duo Bertozzi & Casoni, whose thought-provoking ceramic assemblages were showcased by the gallery in Shanghai at the 2018 West Bund Art & Design fair.


2013 年,Fabio 在香港成立了 Rossi & Rossi 画廊分馆,现在他和母亲就定居在香港。在随后的几年里,画廊又增加西方艺术家作品,进一步扩大了画廊的艺术领域。2017 年,Rossi & Rossi 与艺术经销商乔瓦尼·马蒂诺(Giovanni Martino)合作,首次在亚洲各地举办了一系列展览,重点展示了现代和当代欧洲艺术家的作品——也正如它在前几年为西方观众推广亚洲艺术一样,画廊现在希望能将被忽略的西方艺术家的作品带给亚洲和其它地区的观众。

Rossi & Rossi 所推广的西方艺术家包括杜可风(Christopher Doyle),这名澳大利亚摄影师最为人熟知的是担任王家卫的电影摄影师;Giorgio Vigna,一位充满天赋的意大利雕塑家,以他的玻璃和珠宝设计而闻名;还有意大利艺术家组合 Bertozzi & Casoni,他们所创作的陶瓷雕塑作品在 2018 年上海西岸艺术与设计博览会上展出。

Cuccia Brillo (2003) by Bertozzi & Casoni
Polychrome ceramic
61 x 163 x 95cm
Yes Wat (2015) by Christopher Doyle
Mixed media collage on paper
41 x 27.5 cm
Shimane SHINTO Land.11 (2013) by Christopher Doyle
Mixed media
29.7 x 21 cm
Flamingo (2012) by Bertozzi & Casoni
Polychrome ceramic
68 x 75 x 75 cm

Despite Rossi & Rossi’s success over the years, Fabio remains mindful of how wired life is affecting the art world: many people no longer feel the need to visit galleries to discover new artists and works. Younger generations may even feel intimidated going to a fine art gallery in person. Fabio admits that running a gallery is more challenging than before, but he believes there’s no replacement for viewing art in person. In fact, in his view, art galleries are more important than ever for facilitating such physical encounters. “There’s nothing like the physicality of a work,” he stresses. “Even if it’s a painting or a photograph. When you’re face to face in front of an artist’s work, your reaction will be different.”


尽管画廊已小有成就,但 Fabio 也留心到数字生活对艺术界的影响:许多人觉得没有必要亲自去画廊去挖掘新的艺术家和作品。年轻一代甚至可能会感到不好意思走进艺术画廊。Fabio 坦言画廊的运营比以前更具挑战性了,但他相信,亲眼去欣赏艺术是一种不可替代的方式,所以艺术画廊更比以往任何时候都要重要。他强调道:“没有什么比作品实物更重要的了,即使是一幅画或一张照片。当你与艺术家的作品面对面时,你会有截然不同的感受。”

Rasheed Araeen at Rossi & Rossi
Siah Armajani at Rossi & Rossi

Rossi & Rossi has undergone many changes since it first opened its doors. But throughout it all, the gallery has held fast to one core tenet: art should be approachable and accessible to all.

“Some people look at art and see it only as a commodity,” Fabio says. “I implore people to not do that. Commodities are something else entirely. Art is a journey of discovery. That kind of journey is priceless. It’s way more valuable than the actual price someone might pay for a piece of artwork. In the end, our gallery comes from a desire to share knowledge, and we approach that mission with the utmost integrity and sincerity.”


Rossi & Rossi 自创立以来,经历了许多变化。但是,画廊的核心理念始终未变:艺术应该是平易近人的,对所有人开放。

Fabio 说:“我恳请有些人千万不要把艺术看作是一种商品。艺术与商品完全是两码事。艺术是一次发现的旅程,一趟无价的旅程。它的价值远远超过人们实际支付某件艺术品的价格。毕竟,我们的画廊成立的初衷是一种分享知识的渴望,我们也一直以最大的诚意来实现这一使命。”

Website: www.rossirossi.com
Facebook: ~/rossiandrossi
Instagram: @rossiandrossi

 

Contributor: David Yen
Additional Images Courtesy of Rossi & Rossi


网站: www.rossirossi.com
脸书: ~/rossiandrossi
Instagram: @rossiandrossi

 

供稿人: David Yen
附加图片由 Rossi & Rossi 提供

The New & Improved Neocha Shop Neocha 商店改版升级

November 27, 2018 2018年11月27日

The Neocha Shop presents a curated selection of art and design products from all over Asia. We’re excited to announce a fresh redesign that simplifies navigation and checkout, making it easier to browse our diverse selection of creative goodies.

Click here to check out the revamped shop, and keep your eyes peeled over the next few months as we add even more publications, prints, and other products we love.

If there are products you’d like to see in our shop, reach out let us know at submit@neocha.com.


Neocha 商店 展示了来自亚洲各地的艺术和设计商品。我们很高兴地推出商店的全新改版设计,简化了网页的浏览方式和结账流程,让你能更容易探索 Neocha 精选的各种创意商品。

点击此处查看改头换面后的线上商店。并在接下来的几个月里持续关注,我们将添加更多有趣的出版物、 印刷品、和其他我们喜欢的商品内容。

如果你有兴趣与我们合作,欢迎联系我们:submit@neocha.com

Light Up Bashu 当“非遗”传统撞上当代艺术

November 27, 2018 2018年11月27日
Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军

What happens when “intangible cultural heritage” meets contemporary art, when digital installations enter the urban landscape? The results are nothing short of magical.

Known for its rich history, Chengdu, the “city of flowers and brocade” and capital of Sichuan province, is holding an exhibition of public art centered on cultural heritage. Light Up Bashu Lumen Prize featured exhibition puts paper cutting, embroidery, Chinese opera, traditional handicrafts and other aspects of “intangible” culture into contact with digital art. (“Bashu” is another name for Sichuan.) With rare ambition, the show aims to create a unique “artistic dialogue across space and time” and bring the public to the intersection of tradition and contemporary art. The exhibit will also introduce international artists to China’s heritage and bring the essence of “Bashu culture” to the world stage.

We recently interviewed four of the exhibitors, along with the Guan Huijun, co-founder of the curatorial team Here Your Art, Asia exhibition manager of Lumen Art Project, to get a look at the convention-busting works that these international artists with their culturally diverse backgrounds have created.


当“非遗”传统撞上当代艺术,当数码装置搬进城市景观,会造就出怎样的一番奇景?

以“花重锦官城”闻名的四川省首府成都,基于其悠久的文化历史打造的非遗主题公共艺术展览:巴蜀之光”暨英国流明数码艺术大奖中国成都特展,就将剪纸、刺绣、戏剧、传统制造技艺等 非遗” 文化与当代数码艺术结合,以空前之势形成一场独特的 超时空” 艺术对话,既把普罗大众纳入到半传统半当代的语境中去,也让国际艺术家了解中国非遗,并向世界传递 蜀地文化” 的精髓。

最近,我们采访了本次参展的 4 位艺术家及其策展团队 Here Your Art 的联合创始人即英国流明数码艺术奖项亚洲展览总监管蕙珺,来看看这些来自不同的国度、拥有不同的文化背景的他们,在此次为中国“非遗”传统文化为母题展览中,所创作出的超越惯常经验的作品,和其所表达的丰富而灵活的形式及内涵。

Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军
Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017/2017 年英国流明数码艺术奖冠军
Why did you choose to showcase this aspect of China’s intangible culture?


Guan Huijun: China’s cultural heritage, and Sichuan’s in particular, has a distinctive charm and a rich historical significance. In today’s rapidly developing cities, it’s a challenge to get the public, especially young people, interested in understanding, studying, and passing on traditional forms of culture, and that’s why we chose intangible heritage as our theme. Digital art, meanwhile, is emblematic of the internet age—it’s a new force that lets us keep pace with the times. We were thinking: can we use an up-to-date means of expression, something that has a certain uniqueness and memorability, to increase local connections so that everyone can better understand and participate?

Thijs Biersteker: My piece is centered on trees. Nature has always been a very important theme in Chinese art. From Li Cheng to Fan Kuan, trees have been central. As an artist I use technology as my paint to weave together art, data and nature.

Stefan Reiss & Alexander Janke: We chose to focus on kite making. The kite was invented by two of China’s great minds, the philosopher Mozi (470-391 BCE) and the engineer Lu Ban (444-507 BCE). Mozi lived a century later than Confucius and wrote about the use of kites in China during his lifetime. At first kites were mainly, though not only, used for military purposes, e.g., for measuring distances, calculating wind power and direction, and lifting fireworks or observers.

Our main interest in the kite comes from the fact that it’s Chinese in origin and was a philosophical invention put to military uses. Over the centuries it spread out over the globe and was used for different activities, from sports and leisure to religion.

Lien-cheng WangI wanted the elements I chose to relate to people’s lives and to cut across time and space. So I chose four themes that could do that: “Nature,” “Humanity,” “Food,” and “Animals.”


为什么会选择(这一项)非遗文化作为母题?

 

管蕙珺: 中国的非遗文化,特别是四川的非遗文化,是特别有韵味和历史传承厚重感的文化标杆。在急速发展的城市里,如何让大众、年轻人更愿意了解学习和传承,是我们选择这个文化母题的初衷。而数码艺术,则是在互联网时代标志性的产物,是与时俱进快速迭代的新力量。我们一直在思考,是否能用紧跟时代的表达方式,带着一定的独特性和记忆度,增加本地链接,让大家更好地理解和参与进来。

泰斯·比斯克: 我的作品是“自然之声”,以树为主题。大自然一直是中国艺术中一个非常重要的主题。从中国画家李成(晚唐)到范宽(宋朝),树木在他们的作品中都有举足轻重的地位。而我则用数码技术把艺术、数据和大自然交互起来。

斯蒂芬·瑞斯和亚历山大·扬克: 我们选择的是“风筝”这项非遗文化作为创作的母题。风筝是中国哲学家墨子和鲁班的发明。墨子比孔子晚出生一个世纪,他一生都在宣扬风筝的用途。在发明风筝之后,它们不仅用于军事目的,例如测量距离、计算风力和方向以及举起烟火或观察员。这是一种哲学上的发明,几个世纪以来,它遍布全球,用于不同的活动,从体育、休闲到宗教意义。

王连晟: 我希望所选择的元素是更贴近人们的生活,是具有超越时间性的。所以我选择四个”自然”、”人文”、”食物”、”动物” 贴近人们的元素做为发展。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 2016 年英国流明数码艺术奖艺术家
What do you think is most interesting about your piece?


Thijs Biersteker
: Just as a tree creates a tree ring every year, with Voice of Nature we create a tree ring every second. We do this using sensors and data points, showing people the tree’s state of being in real time. This immersive audio-visual installation is also interactive: it responds to the people surrounding and touching it, creating a connection between the art piece, people, and nature.

Stefan Reiss & Alexander Janke: In our eyes, the combination of haptic materials (a sculpture with made of steel, gauze, and strings) and projection and light is very unique. What we try to achieve is a fusion of sculptural installations—with a strong connection to the tradition of Russian, French and German constructivism and minimalism—and contemporary digital interventions with 3D and 2D programming and animations. And we even added LEDs to this advanced art piece.

Lien-cheng WangMy work is a moving light sculpture titled Four Scenes of Shu Dao. (Shu Dao can roughly be translated as the “dao” or “way” of Sichuan.) It has four parts. The first, “Nature,” is an image of a bamboo grove, the sun and the moon; the second sculpture, “Humanity,” showcases Chinese totemic symbols and the art of bian lian, or face-changing, an important part of Sichuan opera; the sections on “Food” and “Animals” are developed around images of hot pot, spicy peppers, and pandas. What these four images echo are the four seasons in Chinese ink painting. The theme also echoes the Daoist idea of the growth of all things.


对你来讲,这次作品最有趣的部分是什么?


泰斯·比斯克
: 树每年都长出一圈年轮。通过“自然之声”这个作品,我们每秒创造出一个树的年轮。我们使用传感器和数据点,向人们展示树的实时存在状态。这种沉浸式的视听装置也是交互式的,它响应周围的人并触摸树。这样,它就在艺术品、人和自然之间建立了一种联系。

斯蒂芬·瑞斯和亚历山大·扬克: 在我们眼里,用钢、纱布和绳子制成的雕塑,其投影和光线都很独特。我们试图实现的是雕塑装置的融合——与俄罗斯、法国和德国的建构主义和极简主义的传统紧密结合——以及 3D 和 2D 编程和动画的当代数字介入。我们甚至也把发光二极管加入到这件作品里了。

王连晟: 我的作品名称叫做 “蜀道四象” 为一动力灯光雕塑,而雕塑中的主题总共分成四个面向。在自然的面向中,是竹林、日月为主题的图像;以人文为主题的雕塑中,可以看到四川变脸与图腾;在食物以及动物为主题的部分,是以四川火锅、辣椒、熊猫等图像做为发展,四象呼应的是中国水墨画中的四时,在画面的主题上也呼应了百物生焉的状态。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
What message are you looking to convey?


Thijs Biersteker
: I hope this public artwork will re-connect people in cities to the voice of nature, putting us more in balance and interweaving us with what surrounds us and is part of us.

Stefan Reiss & Alexander Janke: In the first place, we created a work that can be experienced with the whole body and all the senses. The sculpture invites everybody to step inside and feel the dimensions of the kite. Next, we provide a link from traditional Chinese kite making to our Western interpretation of the kite. We also emphasize the development of the kite from a military invention to a civil use today.

Lien-cheng WangI want the public to see several paper-cutting styles. The lights, which seem to breathe, symbolize Bashu’s energy. And by wandering back and forth through the giant sculpture, the audience can experience anew the beauty of Sichuan’s intangible culture.

Guan Huijun: As curator, not only do we try our best to be good “narrators,” we also help international artists “interpret” Chinese culture, grafting together Chinese and foreign creative languages. This also reflects the founding mission of Here Your Art: to create groundbreaking, innovative digital exhibits and artworks, to try to break through the boundaries of conventional exhibits, works, and audiences, and to tear down the barrier between the audience and the art.


这次展览,你希望通过作品向社会和公众传递什么信息?


泰斯·比斯克
: 我希望这个公共艺术作品能把城市里的人们和来自大自然的声音重新联系起来,使我们更加平衡,并与周围的事物交织在一起,成为我们的一部分。

斯蒂芬·瑞斯和亚历山大·扬克: 首先,我们创作了一部艺术作品,它能够体验整个身体和所有的感官——它邀请每个人走进去,与动画一起,从各个维度感受风筝;第二,我们建立了一个从中国传统风筝制作到西方对风筝的解释的关系;且还强调了风筝从军事发明到民用的发展。

王连晟: 我希望观众可以看到许多镂空剪纸风格的雕塑中,像是呼吸的灯光象征着巴蜀的活力。而透过观众在巨大的雕塑中穿梭、游走的方式,使大众再次注意到四川非物质文化遗产之美。

管蕙珺: 作为一个“策展人”,我们不仅仅力争做一个好的“叙述者”,也在本次展览中协助国际艺术家能够更好地“读懂”中国文化,嫁接中外不同的创作语言。这也体现了 Here Your Art 创立的使命——尽我们所能输出具有突破性和创新性的数码艺术展览及作品,试图打破常规展览、艺术品与观众的边界,破除艺术与大众的隔阂。

Lien-Cheng Wang / Four Scenes of Shu Dao 王连晟/蜀道四象
Lumen Prize Finalist 2017/2017 年英国流明数码艺术奖艺术家
What does this show mean for you?


Thijs Biersteker
: I hope to work more in the Chinese market and together with Chinese artists and companies to create work that bridges the boundaries between people, nature, and innovative technologies.

Stefan Reiss & Alexander Janke: We think that Light Up Bashu has been a great opportunity to explore new fields of art and experiment with new technologies. O.T. 981 is an artistic milestone for us because we fused art history with modern technology in Chengdu. It’s also the first time we created a piece as an artistic duo.

Lien-cheng Wang: Intangible heritage is an important part of history. I think it’s the embodiment of modern culture and the legacy of the past. Tangible cultural heritage focuses more on the masterpieces of the past, and what I’m more interested in here are the early stages of a project. I’ve used several images of intangible culture to develop the art visually, and added modern technology.

Guan Huijun: What does this show mean to us? Our previous answers have made this clear. On a more concrete level, when residents wander over at dusk to see the works, the light in their eyes and the smiles on their faces mean a tremendous amount to us.


对你而言,你认为此次展览具有怎样的意义?


泰斯·比斯克
: 我希望能在中国市场上创作更多作品,与中国的艺术家和公司一起创造出超越人、自然和科技界限的作品。

斯蒂芬·瑞斯和亚历山大·扬克: 我们认为,“巴蜀之光”是一个,要么探索新领域的艺术创作和实验的新技术。而《O.T. 981》这个作品是我们里程碑式的作品,我们把艺术史和现代技术融合起来;这也是我们第一次以二人合作形式创作的一件作品。

王连晟: 非物质文化遗产在历史中是一个重要的元素,我认为它是一种现代文化与过去传承的体现,与有形文化遗产不同,有形文化遗产更注重的是过去的人类辉煌的状态。而这次的作品我更在意的是前期的调研,我取用了许多非遗的形象来做为艺术品的视觉发展,并加入现代的科技去呈现。

管蕙珺: 对于这次展览的意义,我想前面两点应该说明的很清楚。一个更直观的表现就是,当周边居民黄昏时分散步闲逛到作品面前,眼睛中闪过的光亮与嘴角的笑容。

Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军

Four short questions on new topics, new media, new work. Artists and curatorial teams may have different interpretations, but these artworks spanning media and fields all explore, in broad strokes or with minute precision, the interactive relationship between contemporary art and traditional culture.

Light Up Bashu Lumen Prize featured exhibition will run until December 3rd at Chengdu’s International Intangible Culture Heritage Park.


短短 4 个问题,涉及新话题、新媒介、新创作……虽然艺术家们和策展团队对主题和作品有着不同的阐释,但这些跨媒介、跨领域的艺术作品,都在或写意或细腻地表达着当代艺术与传统文化之间互通互激的关系。

本次展览在中国成都国际非物质文化遗产博览园举办,展期将持续至 2018 年 12 月 3 日。

Address:
601 Guanghua Ave. 2nd Section
Qingyang District
Chengdu, Sichuan
China

Websitewww.hereyourart.comwww.lumenprize.com
Instagram: @here_your_art@lumen_prize
Facebook~/hereyourartchina, ~/lumenprize
WeChat: hereyourart


供稿人: Chen Yuan


地址:
中国
成都四川
青羊区
光华大道二段 601号

网页www.hereyourart.comwww.lumenprize.com
Instagram: @here_your_art@lumen_prize
Facebook~/hereyourartchina, ~/lumenprize
微信公众号: hereyourart


供稿人: Chen Yuan

Shaving in the Dark 胡子拉碴,乱七八糟

November 23, 2018 2018年11月23日

A short essay on the first page of Shaving in the Dark’s inaugural issue satirizes the comics quarterly’s own central ethos: “Why did I agree to write for this magazine?!!” it starts, and ends with the answer: “Because I said ‘no way, this is where I draw the line’ and these morons actually gave me some paper to do so!!!!”

SITD started as an indie comics art collective in Shanghai, planning a single thin publication so the founders would have a platform on which to publish their own comics. Their objective was to encourage themselves to create more, with no pressure to create something “good,” at least not by any standard other than that creating anything at all is good.


漫画季刊《胡子拉碴》(Shaving in the Dark,简称SITD)创刊号首页的一篇短文就以杂志的创刊理念为梗进行自嘲,开篇提出“为什么我要答应给这本杂志写稿!?”,在结尾奉上答案:“就因为我说‘不可能,这就是我的底线’,这些白痴竟然真的给我纸,让我画出来!!”

“胡子拉碴”最初是上海一个独立的漫画艺术团体,他们策划了一本薄薄的刊物,用来发表团体的漫画作品,目标只是想鼓励自己去不断创作更多作品,没有任何创作“杰作”的压力,因为“创作”本身就已经很出色,除此之外没有任何标准。

The publication borrows part of its aesthetic from “zines,” informal publications often made on photocopiers for a gritty or amateurish visual aesthetic. Outwardly sleek and colorful, the interior of each issue is an organized mess of black-and-white comics, sometimes one page, sometimes many, by artists of all levels, backgrounds, and interests.

In the words of Jay Mark Caplan, one of the original founders, “It’s about having a beginner’s mindset. To not be afraid of not knowing what you’re doing, to not let that keep you from doing it, and to create.” The very name of the publication comes from another co-founder’s grandfather’s expression: “shaving in the dark” describes a situation where you don’t really know what you’re doing.


这本刊物借用了部分独立杂志 Zine 的美学。作为一种非正式出版物,Zine 通常用复印机制作,以营造一种噪点颗粒感或业余的视觉审美。《胡子拉碴》的封面设计色彩缤纷,内部却是一系列乱中有序的黑白色漫画作品,既有单页也有多页的作品,由不同水平、背景和风格兴趣的艺术家创作。

用创始人之一 Jay Mark Caplan 的话来说:“关键是保持初学者的心态。不要担心不知道自己在做什么,不要让这种想法阻止你去行动、创作。”杂志名字来自其中一位创始人的祖父的话:“胡子拉碴”,乱七八糟,指的是完全不知道自己在做什么的情况。

Though Shaving in the Dark only started in 2017, they quickly grew into a quarterly, and perhaps even more quickly, grew an attached community. “There were a lot of people out there who felt the same as us, who wanted art and comics to play a bigger role in their lives.” Now it operates more like an organization, hosting monthly drink-and-draw events, collaborating with other Shanghai arts organizations such as the Shanghai Literary Review and Unravel, and recently, even working with brands.


虽然“胡子拉碴”成立于 2017 年,但已经迅速发展成一本季刊,甚至很早就已经是一个关系紧密的社区。“其实有很多和我们一样的人,他们都希望让艺术和漫画在他们的生活中能占据更多的份量。”现在,他们更像是一个组织,每月举办喝酒画画的活动,还与《上海文艺评论》和故事分享组织 Unravel 等其它上海艺术组织合作,最近甚至开始与品牌合作。

They’re also starting to see themselves more as publishers. Besides the quarterly, SITD has also released Peach Fuzz—”the teenage zine for zine-age teens”—which features only art by local high school students. They also produce “shaving kits,” which are smaller cartoon booklets featuring art by individual underground artists, which they hope will make it easier for more Chinese artists to collaborate with them.

This last in particular is a way to engage more with a local Chinese audience. To this end, besides the shaving kits, issues have included a smattering of bilingual comics, recently shifting in the direction of leaving Chinese works untranslated so as not to privilege an English-speaking audience.

Also part of this drive is the most recent issue, Mute. Each issue has had a different theme on which contributing artists base their work; past themes have been (in order of release) Shave, Pets, Apocalypse, Metamorphosis, and Trip. Zovi Weng, another co-founder, notes, “The themes are there to be interpreted, misinterpreted, overinterpreted, whatever. It’s very loose.” The sixth issue, Mute, was slightly stricter—as another effort at inclusion, it experiments solely with textless comics.


他们也开始更多地把自己看作出版商。除了季刊外,“胡子拉碴”还出版了《小桃子》(Peach Fuzz),一本青少年独立漫画杂志,专门展示当地高中生的艺术作品。他们还推出“胡子别册”(shaving kits)——由个别地下艺术家创作的卡通小册子,希望这能让更多的中国艺术家与他们合作。

与中国艺术家的合作也是为了可以吸引更多中国读者。为此,除了“胡子别册”外,最近每期杂志会保留一小部分双语漫画,并开始不再翻译中文漫画作品,以免显得在偏袒英语读者。

此外,最新一期的杂志“静音”(Mute)也是以此为理念。每期的杂志都会有不同的主题,投稿艺术家根据主题来创作。之前的主题(按发布顺序)分别为“刮胡”(Shave)、“宠物”(Pets)、“启示录”(Apocalypse)、“变形”(Metamorphosis)和“旅行”(Trip)。另一位创始人 Zovi Weng 指出:“主题可以用来解释、曲解、过分解释等等,反正就非常随意。”《胡子拉碴》的第六期,“静音”的要求可能稍微严格一点,因为它要求全部为无文本漫画,旨在提倡包容的精神。

“I think the themes that we pick usually come from an inspiration we had at that moment,” says Zovi. “I want it to be something that resonates with what you were thinking at the moment, or seeing around.” She attributes this to the French satirical political magazines she grew up with, which reacted very specifically to events on the average person’s mind. Notably, both Jay and Zovi mentioned comics publishers that encouraged artists to move away from larger publishers. Jay brought up Image Comics, a company formed in 1992 by disgruntled artists leaving Marvel and DC in order to retain ownership of their ideas; Zovi referenced L’Association, founded by seven cartoonists struggling to find a mainstream outlet for their work. But both admitted being drawn specifically to publishers that aged with their audience; both agreed that a lot of comics they grew up with “didn’t go through puberty, thematically.”


Zovi 说: “我们选择的主题通常来自于自己当时的灵感。我希望主题能与自己当下的想法或周围的情况产生共鸣。”她说这种理念主要受到了她从小看的法国讽刺政治杂志的影响,即各人对个体事件的观点和看法,会鲜明地在作品里反映出来。

值得注意的是,Jay 和 Zovi 都提到了鼓励艺术家远离大型出版商的漫画出版商。Jay 提及了 Image Comics 公司,这家公司最初由一些不满漫威(Marvel)和 DC 的艺术家于 1992 年成立,他们为了坚持自己的想法而离开这两家公司;Zovi 提到了法国的 L’association,这家出版商由七位努力为自己的作品寻找主流出路的漫画家创立。但两人都承认,他们对与观众一起成长的出版商尤其感兴趣。他们都觉得,自己小时候看的很多漫画“在主题上像是从未有过青春期”。

This certainly can’t be said of the content of Shaving in the Dark. There is a wide range of themes, plenty of mature language, occasional nudity, and references to drugs and alcohol. “We don’t want to censor our artists,” Jay shrugged. In fact, Shaving in the Dark has only turned away a couple of pieces in their whole history; one for being 22 pages long and a couple for containing racist elements. Besides that, their harshest editorial work (starting with Issue 5) has been asking artists to redraw sections or cutting pages out of a submission.

“On one level, it has this amateur quality because we want to encourage people to contribute,” says Jay. But along with the growing community comes higher-quality art. “Even very professional artists have the same desire as us for an outlet without pressure, to do whatever they want.”


当然,《胡子拉碴》的内容也并非仅限于此。里面有各种各样的主题,有成人用语,偶尔会有裸露的画面,也会提到毒品和酒精。Jay 耸耸肩说:“我们不想去审查我们的艺术家。”事实上,《胡子拉碴》成立至今只拒绝过几份作品,一次是因为作品有22页太长,有几次是因为内容有种族歧视的内容。除此之外, 他们最严厉的编辑要求(从第 5 期开始)也不过是让艺术家重绘作品的部分片段,或是从提交的作品中减少一些画面。

Jay说:“一方面来说,我们保留了一种业余的品质,因为我们想鼓励大家投稿。”但随着社群发展,作品的水平也越来越高。“即使是非常专业的艺术家也会像我们一样,想找一个没有压力的平台作为出口,让自己可以自由地创作。”

Moving forward, they admit they’ll have to start being a little pickier as more submissions come in. I asked if they saw any conflict between this possibility and the magazine’s drive for inclusivity and encouraging amateurs. Zovi immediately replied in the negative. “’Do it anyways’ is a thing you can do all the time–I think the drink-and-draw events really reflect that—but then at some point, critique will make you better. So for me, those things aren’t in conflict . . . I think it’s essential to that spirit of ‘go out and do it,’ but be ready to get it back in your face.”


但是,展望未来,他们也承认,选稿的标准会变得“挑剔”一点点,毕竟投稿越来越多。我问他们,这种做法会不会与杂志包容和鼓励业余爱好者的初衷产生矛盾。Zovi 马上否定,说道:“没有限制的创作是随时都可以做的,我们的喝酒画画活动就是很好的例子,但到了一定时候,一些批评的声音会让你变得更好。所以对我来说,这些事情并不矛盾……我认为这种‘放胆去做’的精神是至关重要的,但也要准备好接受批评。”

Shaving in the Dark still seems to be looking for its place in the world. The team is expanding the business side of things, selling more products like mugs, postcards, bags, and t-shirts, and recently locking down a more permanent space for everything at Subland Quarter (51 Runan Jie, near Jumen Lu). With furious energy, they paint murals, host comics workshops, coordinate classes for everything from screen printing to live drawing and much more. They’re still in their early days yet, and the organization’s expansive nature belies its actual youth. If this is what they’re doing in the dark, we can surely look forward to the things they’ll accomplish once they turn on the lights.

Shaving in the Dark‘s sixth issue, Mute, and a limited-edition risograph print are now available in the Neocha Shop.


《胡子拉碴》似乎还在摸索自己的定位,团队也正在扩大业务方面,推出更多商品,譬如杯子、明信片、手袋和 T 恤,并且最近在 Subland Quarter(汝南街 51 号,近局门路)落定了一个更永久的空间。这是一支充满蓬勃能量的团队,除了办杂志,他们还创作涂鸦墙绘、主持漫画研讨会、提供丝网印刷到现场绘画等课程。

但他们还处于早期成长阶段,在它不断伸展与扩张的羽翼之下,隐藏着一颗年轻的心。如果说现在还算是他们在黑暗中的摸索期,那么,等点亮灯盏之后的一切,一定更值得我们期待。

目前《胡子拉碴》第六期“静音”(Mute)及限量复印版海报,已经在 Neocha Shop 上线。

Website: www.shavinginthedark.com
Instagram: @shavinginthedark
Facebook: ~/shavinginthedark
WeChat: shavinginthedark

 

Contributor: Kiril Bolotnikov


网站: www.shavinginthedark.com
Instagram: @shavinginthedark
脸书: ~/shavinginthedark
微信: shavinginthedark

 

供稿人: Kiril Bolotnikov

Jimei x Arles 2018 第四届集美·阿尔勒国际摄影季

November 22, 2018 2018年11月22日

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.


11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。

点击箭头,欣赏他们的更多作品。


 

沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.


沈玮的照片富含一种假象性的寂静,就像静止的肌肉一般。其中一张作品,显示他正在进入一个水池,整个画面透露出一股诡异的张力。

在另一幅作品中,刚盛开的樱花花蕾似乎随时要跃出画面。而在两幅特写的自拍像里,一幅睁开眼睛,一幅闭着眼睛,让黑暗掩盖一半的面容。沈玮对光线和色彩的精心操控,令静态的画面充满了饱满的力量。


 

邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.


邵睿璐的照片是一道视觉谜语,解答让人猜不透。也许在半空中悬挂的各国硬币是在表达国际金融和经济环境的不确定性;也许两张构图如同苏巴朗(Zurbarán)作品的静物照是对死亡的悲观思考—上一张照片中新鲜的桃子,在下一张照片中已经腐烂,积满灰尖,报纸也已经被替换。邵睿璐以这些不寻常的题材,提出了那个在你脑海里挥之不去的问题。


 

苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.


乍一看,苏杰浩的作品像是单纯由色彩和形状的集合,很容易让人误认为是抽象画。仔细观察,你会发现这些其实都是生活中的普通场景:一把尺、一道彩虹、一个被雪覆盖的屋顶。最后三张照片来自他的影像作品《早晨的风暴》,虽然看上去不那么抽象,但依然神秘。凭借着他出色的构图,苏杰浩创作出一系列充满美感、引人入胜的画面。


 

廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.


在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


 

戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.


戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


 

杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.


当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


 

刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.


香港艺术家刘卫在她的《明日记忆》系列中,利用了香港旧照片和电影剧照,加上赛博朋克(cyberpunk)风格的元素。最终的效果很逗趣,同时也隐含了严肃的寓意:她是否在暗示这座城市的历史与她经过后期处理的照片一样虚假?抑或她是在暗示香港的未来与过去并非那么不同?刘卫的作品,让人对虚幻和时间产生了暧昧不清的思索。


 

胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.

 


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


 

雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.


和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


 

黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


反思和重复,是黄永生作品的基础。宝丽来头像、树叶标本、窗口反射的日落:在每一张作品中,黄永生让我们在几乎相同的图像中,观察那些微小的差异。与之相反,在此次展出的最后一张照片里,他又用家猫、游船和纯黑色方块三张图片并排拼成一张图像,似乎在挑战我们,能不能在看似无关的图像之间找到共同点。

Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

Contributor: Allen Young


网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

供稿人: Allen Young

Toby & Cucumber 瓜,你在干嘛鸭?

November 21, 2018 2018年11月21日

With pudgy cheeks and a family-friendly charm, enacting little scenes and emotions, Toby and Cucumber are the cutest cartoon stickers for any conversation in WeChat, China’s go-to messaging app. And now that lovable duo are just about to turn two.

Their creator is the mysterious web cartoonist Chipmunk, a self-described homebody who lives in Shanghai. Neocha tracked her down for a game of twenty questions (or thirty-one, but who’s counting).


肉乎乎的脸蛋,一本正经地卖萌,再加上取材于日常的小场景和小情绪,怎么能不让人收藏嘛!秃比和小青瓜就是让人情不自禁想关注的表情系列之一,目前已经快满 2 岁啦。

而作为它们的作者网络漫画家花栗鼠 本人,确实一个神秘的阿宅,现居上海。在几番沟通之后,花栗鼠和我们玩了一个接力题游戏。

Basics

Name: Chipmunk
Gender: Same as Fafa (another character of hers who’s a girl)
Sign: Aquarius
Birthday: January 25th
Motto: We’ll cross that bridge when we come to it (lie down and take a nap).


个人资料

姓名: 花栗鼠
性别: 和发发一样
星座: 水瓶
生日:1.25
人生信条: 船到桥头自然直(趴下睡一会~)

What’s your favorite…?

Color: All of them.
Season: All of them too.
Age: Adulthood, you get more freedom as an adult!
Time to draw: Whenever I’m inspired.
Character, Toby or Cucumber: They’re both my kids, and I love them both.


更喜欢…?

哪种颜色:都喜欢
春夏秋冬: 也都喜欢
做小孩还是大人: 大人啦,做大人比较自由!
白天还是夜晚画画:任何有灵感的时候
秃比还是小青瓜:都是自己的崽都喜欢

Q and A

Q: Who are you most grateful to?
A: My parents, for raising me.

Q: What’s had the biggest influence on you?
A:
My head’s such a mess, I don’t remember anymore.

Q: What did you dream of being when you were little?
A: I wanted to live without a care in the world.

Q: When did you start drawing?
A: In 2016.

Q: When you put out a new drawing or product, who do you most want to share it with?
A: 
My fans and my family.


问答篇

最感谢的一个人: 感谢爹妈把我生出来
对你影响最大的人或事: 稀里糊涂的好像不记得了
小时候的梦想是: 长大能够无忧无虑自由自在的生活
第一次拿起画笔是: 2016年
出书出产品后最想分享给: 粉丝和家人

Q: How long do you draw each day?
A: If I’m in a good mood, I’ll draw for a few hours, and when I’m lazy, maybe I won’t draw at all.

Q: What time do you go to bed at night?
A: 12:00 a.m.

Q: What drives you crazy when you’re working?
A: Having no inspiration and being interrupted.

Q: What art sites do you most like to keep up with?
A: Behance, Pinterest, Twitter, Instagram.

Q: Who’s your favorite artist?
A: Kanahei.

Q: What was the last film you saw that you’d recommend?
A: Ken’en (a Japanese film from 2018)

Q: Is your personality more like Toby or Cucumber?
A: It’s probably a mix of both.

Q: Which WeChat stickers do you usually use?
A: A few funny homemade stickers.


通常一天画画多久: 心情好就多画几个小时,懒的时候可以一天不画
几点上床睡觉: 12点多
创作时无法忍受的是: 没有灵感and被打扰
最喜欢逛的几个创意网站: Behance、Pinterest、推特、Instagram 等
最喜欢的画家或艺术家: Kanahei
最近看过值得推荐的电影: 犬猿
性格上你更像秃比还是小青瓜: 综合吧
平时会用哪些表情包(除了自己的): 一些自制沙雕表情包

Q: What are you most looking forward to in the coming year?
A: Showing my cute drawings to more people.

Q: What’s your favorite thing about yourself?
A: My imagination.

Q: What’s your least favorite thing about yourself?
A: My lack of confidence.

Q: What would you do after winning the lottery?
A: Eat a lot, drink a lot, buy a lot of purses.

Q: Where do you see yourself in ten years?
A: Probably in the same place as now.

Q: If you could cast any magic spell, what would you cast?
A: A spell to have anything I worry about not happen. I’m pretty happy with my life at the moment, so I can’t think of anything else off the top of my head.

Q: What do you want most at this moment?
A: 
For my teeth to stop aching. I want some fried chicken!


未来一年里最期待的事: 让更多人认识我画的小可爱
对自己最满意的地方: 脑洞大
对自己最不满意的地方
: 没自信
中了大彩票会打算: 吃吃喝喝买买包吧- -|||
觉得自己十年后会在哪里: 应该还在现在待的地方吧
如果会一种魔法你希望是: “任何担心的事都不会发生”魔法,因为一时也想不到目前想要什么东西,挺满意目前的生活了
此时此刻的愿望是: 牙不要再疼了,我想吃炸鸡!

Weibo: ~/花栗鼠Toby
Douban~/花栗鼠Toby
WeChat: 一箱花栗鼠

 

Contributor: Chen Yuan


微博: ~/花栗鼠Toby
豆瓣~/花栗鼠Toby
公众号: 一箱花栗鼠

 

供稿人: Chen Yuan

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Thinking inside the Square 跻身在巷弄内的广场画廊

November 16, 2018 2018年11月16日

Walk a bit too briskly down Anfu Road and you might miss Square Gallery, one of Shanghai’s newest art spaces, and easily its least spacious. Tucked away inside a residential alleyway, it doesn’t advertise itself, even if its fresh coat of white paint makes it stand out amid the old bicycles and hanging laundry. It’s a small structure, the size of a cramped living room, that juts out from an 100-year-old apartment building—the sort of jerry-rigged addition you find throughout the city, probably built when some enterprising homeowner decided they wanted a bit more room. Now that room houses an impressive international collection of contemporary paintings and drawings. Some hang on the walls, while others are stacked two or three deep on the shelves. When you’ve got such a tiny space, you’ve got to be creative about how you use it.


倘若你快步走在安福路上,那你有可能就会没看见这家小小的 Square Gallery(广场画廊),它是上海最新的艺术空间之一,跻身在一条住宅里弄内,外观毫不张扬,但新涂的白色油漆外墙,还是让它在一堆旧自行车和晾出窗外的衣物中脱颖而出。这家画廊很小,仅如一个狭小的客厅,从一幢有一百年历史的公寓楼里突出来。像这样的 “建筑” 在上海随处可见,过去时候的房主如果想拓展更多空间,就会搭建这种简陋的小房间。

而现在,画廊展出了一系列令人印象深刻的国际当代艺术作品,这些作品一部分悬挂在墙上,一部分则堆在货架里层。既然空间有限,在空间利用方面自然要充分发挥创意。

Square Gallery is the work of Shi Jianfang, an independent curator and artist who moved to Shanghai in 2018. He sits inside nearly every day from 11 to 10, welcoming the passersby who approach shyly, as though they’re not sure they’re even allowed down the private lane. “My space really is very small, and if several visitors arrive at the same time, some have to wait a bit outside. But for art, waiting builds anticipation,” he says. Those bold enough (or patient enough) to venture inside are rewarded with an expertly curated collection leaning heavily toward street art.


2018 年,艺术家兼独立策展人施谏昉搬到上海后,成立了 Square Gallery。每天早上 11 点到晚上 10 点,他都会呆在画廊里,欢迎到访的参观者。这些参观者有时会面露怯意,好像不确定能不能踏入这个住宅小巷。“实际上我的空间很小,如果碰到同时有几组客人来,他们也许需要在门口等待一会,但为了艺术,等待也许也会是种‘期待’吧。” 施谏昉说道。而那些勇于(或有足够耐心)走进画廊的人,将最终能一饱眼福,看到多为街头艺术作品的画作群展。

Shi grew up in Jiangsu Province and moved to Kiev for college and graduate school. When he returned to China with degrees in painting, he moved to Suzhou, where a local initiative offered artists free studio and living space in return for a few of their works. One year later he opened his first gallery there, Square Art Space—a precursor to Square Gallery—and eventually set up a sort of artist-in-residence program, inviting artists he’d met on his travels to stay and work in Suzhou for a month. “In Suzhou we set up a platform where international artists living in China or working here for a short time could interact and make art,” he explains. “Through exhibitions and other events, global artists share their creative experiences and their impressions of China with a Chinese public.”


施谏昉在浙江嘉兴长大,后来去了基辅修读大学和硕士学位。获得绘画学位后,他回到中国,搬到苏州生活,当地企业为艺术家提供了一种驻地政策,即以作品换取免费工作室和生活空间。一年后施谏昉开设了自己的第一家画廊 Square Art Space,即 Square Gallery 的前生,后来还创立了一个艺术家驻场项目,邀请他在旅行中遇到的艺术家在苏州生活和创作一个月。“我们在苏州建立一个在中国生活和来中国短期创作的国际艺术家创作交流的平台,通过展览、分享会等活动形式给中国观众带来一个多国家文化背景下艺术家的创作经验和在中国的体验。” 

The artists he picks come from China, Europe, Africa, Latin America, and beyond. A trip to Barcelona let him acquire work by two well-known street artists, Konair and El Xupet Negre. “I wandered into a gallery in the Ciutat Vella and instantly fell in love with a piece by Konair. I decided to buy it, and just as I was leaving, Konair came in and the gallery owner introduced us,” he recalls. They hit it off over coffee, and six months later Shi invited him to attend Suzhou’s first graffiti art show. Konair suggested he also invite El Xupet Negre, whose iconic black pacifiers cover walls throughout Barcelona.


施谏昉邀请的艺术家来自中国、欧洲、非洲、拉丁美洲等地。一次去巴塞罗那的旅行更是让他收获了两位著名街头艺术家 Konair 和 El Xupet Negre 的作品。“我在巴塞罗那期间闲逛一家位于老城中心的画廊时,对 Konair 的其中一件作品 ‘一见钟情’ 后决定买下,正要离开时他来了,画廊主介绍他与我相识。” 他们一起去喝咖啡,交谈得很愉快。半年后,施谏昉邀请 Konair 作为艺术家身份来参加由他策划的在苏州的第一场涂鸦当代艺术展。 Konair 向他推荐了 El Xupet Negre,他所创作的黑色奶嘴涂鸦在巴塞罗那随处可见。

In 2018, Shi decided to move his project to Shanghai, drawn to the city’s unparalleled cultural scene. “Shanghai is a multicultural city where people from around the world are constantly moving to live and work,” he explains. “It’s a very cosmopolitan, inclusive place filled with possibilities of every kind. There’s no better place to exhibit works by outstanding international artists.”


2018 年,施谏昉决定将他的项目搬到上海,因为这座城市无与伦比的文化氛围深深地吸引了他。“上海是一个多元文化的城市,世界各地的人都来到上海工作生活。这是一个国际化的、包容的、充满各种可能性的地方,在这里展示来自全世界各地优秀艺术家的作品再合适不过。” 他解释道。

Shi welcomes visitors, and he enjoys the intimacy of the space, because it lets him talk with them face to face. “I like the people who visit to interact with me. All I ask is that they have an interest in art and treat each of the works with respect. What I don’t like is people who just breeze through and glance around.”


施谏昉欢迎人们进画廊参观,他喜欢这个空间的亲密性,因为他能与参观者面对面交流。“事实上我更希望进来参观的大多数人是可以与我产生交流的,前提是对艺术感兴趣,尊重艺术家和画廊的每一件作品。‘走马观花’ 式的参观是我不接受的。”

The space may be small, but Shi’s ambitions are big. He’s clear about what he aims to achieve: “To get more people to embrace, appreciate, and collect contemporary art. To get more outstanding artists from around the world to ‘dwell’ in Square Gallery, and to become a long-lasting, healthy, active, and creative collection gallery and exhibition space for contemporary artists from around the world.”


施谏昉的画廊空间虽然小,但他的野心却很大。他清楚自己的目标是什么:“让更多的人能够接受当代艺术、并且欣赏与收藏。让更多的来自世界各地的优秀艺术家作品‘入驻’到 Square Gallery,并成为一个长期的、健康的、充满创意和活力的国际当代艺术家作品集合画廊和展示平台。”

Address:
Anfu Road, Lane 229, No. 17
Xuhui District, Shanghai

Hours: Tuesday through Saturday 11am to 10pm

WeChat: SquareArt
Weibo~/SquareGallery_
Instagram: @squaregallery_shanghai

 

Contributor: Allen Young


地址:
上海市徐汇区
安福路 229 弄 17 号

营业时间: 周二至周日、上午11点至晚上10点

微信: SquareArt
微博~/SquareGallery_
Instagram@squaregallery_shanghai

 

供稿人: Allen Young

China in Black & White 删去色彩后,一片寂静的中国

November 14, 2018 2018年11月14日

Camera slung across her back, self-taught photographer Qiang Jing has criss-crossed Gansu, Chongqing, Beijing, and Sichuan, eventually ending up in Yunnan, a province of captivating beauty in southern China. In her photos, she drains the color from China’s street scenes, leaving only a desolate black and white. Even the country’s panoramic landscapes look less magnificent through her lens.


她带着相机,走过甘肃、重庆、北京、成都等地方,最终落脚在云南这片恍若仙境的土地。从大学开始自学摄影的强婧,在她的照片里,中国日常街景的颜色都被删去,留下一片略显萧瑟的黑与白。此时,再辽阔的山河,看上去也不那么壮丽了。

Qiang Jing was born in Gansu province and now lives in Kunming, a city she didn’t choose at random: “I like the dazzling sun here, it takes me back to my childhood. Kunming has a brilliant blue sky and soft, billowy clouds. The city moves at an unhurried pace, and locals are the salt of the earth—simple, honest people.”

But the year-round warmth hasn’t brightened her shots. Instead, she captures scenes of ruins and debris that seem caught amid the constant changes of the world, steeped in both life’s bitterness and its joy. Their immense silence draws you in, speaking more eloquently than any words.


强婧生于中国甘肃省,现定居于云南昆明,会选择留在这里并不是偶然, “我喜欢这里灿烂的阳光,让我有种恍然回到小时候的气息。这里有蔚蓝的天空,云卷云舒,还有城市里慵懒的步调和没什么心眼、老实憨厚的当地人。”

可是,这里常年的温暖却未照亮她的景框,取而代之,是烟消云散后的残破景象。之中透露出一丝穿梭于人间冷暖、品尝到悲欢离合的细末余味,叫人深深沉浸在这画面制造的巨大静默里,无声胜有声。

“I take my camera and wander aimlessly through the streets, snapping photos of things that resonate with my current mood.” Her specialty, street photography, relies on individual emotions, because she doesn’t just document outdoor scenes from an objective angle. It’s more personal.

“Photography, for me, is an expression of inner feelings, an emotional outlet, as well as a form of therapy. What I shoot is just my inner state, and that’s why I enjoy taking pictures. On streets full of uncertainty and conflict, I find a peace, a unity with myself.”


“我拿着相机在街上漫无目的地游荡,拍下那些和当下内在的我引起共振的事物。” 她擅长的街头摄影,是要带着浓郁的个人情感去拍的,因为她记录的不仅仅是从客观视角出发的外在景象,更多的,还有自己的内心。

“摄影对于我是一种抒发内心感受的行为,一种情绪的宣泄,也是一种自我疗愈的方式。我拍下的即是我内心的样子,这也正是我享受摄影的原因,在充满不确定性和各种冲突的街头,找到一丝平静、和与自我的统一。”

Ever since she first began taking pictures, Qiang has made a habit of going out shooting on a semi-regular basis. She uses black and white so no colors will interfere with her vision—it’s the format that best expresses her feelings of solitude.

Set against the vastness of the world, people are insignificant specks, and her photos convey this sharp sense of loneliness and isolation. “I hold my breath and press the button to open the shutter: for me, photography is a sort of ritual. It’s like I’m mourning the passing of an instant, of everything that’s vanished around me, a reality that actually existed and will never exist again.”


从开始拍照到现在,强婧一直保持着一段时间就会固定上街拍摄的习惯。之所以选择黑白摄影,是因为没有颜色去扰动视觉,是最能表达她内心的孤独感的形式。

对比这个偌大的世界,人不过是渺小的客体。从她的照片里,的确感受得到这一股强烈的孤寂与脱离感。“吸气屏息,按下快门——对我来说,拍摄像是一种祭祀仪式,仿佛在追悼过去每一刻时间的逝去,那些从我身上消逝的一切,真实存在过、现又不复存在的事实。”

“Behind my photos, there’s a story about the loneliness of growing up, about love and hate, and ultimately about letting go,” she says. She puts all her pent-up feelings into her photography and creates a series of images that brim with emotion.

The darkness in Qiang’s pictures coexists with the light: neither is possible without the other. “Kunming is gradually having an effect on me,” she says. “Just as plants grow toward the sun, maybe I can eventually break free from my former melancholy and give voice to a tougher, stronger version of myself.” Now that she’s mastered darkness and light, her journey as a photographer goes on.


最后,强婧向我们娓娓道来,“在我摄影的背后,是一个关于成长过程中所感受到的孤独,以及爱与恨,最后放手的故事。” 她将长久以来累积的情绪通通投注在摄影里,成就了这一张张承载饱满情感的影像。

但事实上,强婧照片里的黑暗,与光亮永远都是并存的,两者是缺少了彼此即不成立的存在。她说 “昆明这座城市,正慢慢影响着我。仿佛植物会向阳生长一样,渐渐地,也许我能从最初的忧郁中挣脱出来,表达一个更有韧性、更坚强的自己。” 掌握了光和暗,她的摄影之旅将继续下去。

WeChat: jingjingzai2010

 

Contributor: Yang Yixuan


WeChat: jingjingzai2010

 

供稿人: Yang Yixuan

Feel the Mojoko 当香港文化成为拼贴画

November 13, 2018 2018年11月13日

As a teenager in the early ‘90s, Mojoko would wander the streets of Hong Kong, reveling in the constant barrage of flashing lights and neon signs. “Hong Kong was sensory overload,” he recalls. “The video game arcades were the coolest.” Although he went to Europe for college and didn’t return to Asia for nearly a decade, that part of his life left an indelible mark. As his identity as an artist developed, that chaotic array of pop culture images came to define his style.


90 年代初期,还是青少年的 Mojoko 常常游荡香港的街道上,陶醉于闪光灯和霓虹灯招牌熠熠闪耀的光芒。他回忆道:“香港是一个让人感官‘超载’的城市,最酷的就是电子游戏机房。” 虽然他远赴欧洲求学,快十年才重回亚洲,但那些少年时的回忆却在他生命中留下了不可磨灭的印记。成为艺术家后,他把那些曾风靡一时的文化图像混乱组合,塑造出他的个人风格。

Mojoko is a collage artist and illustrator. His works are crowded with movie posters, old logos, brand icons, and comic book images inspired by the futuristic sheen of his hometown, with the hypnotic glow of underground arcades and the glitzy advertisements of a hyper-capitalist society. At first he sought out those images stamped on his childhood brain, but the quest for vintage from his day quickly evolved into a passion for even older images going back as far as the middle of the twentieth century.


Mojoko 是一位拼贴艺术家和插画家。他的作品充满了各种电影海报、旧标识、品牌图标和漫画图像,灵感正是来自于香港——这座充满未来感的城市,以及那些地下游戏厅的迷幻光芒、超资本主义社会的炫目广告。起初,他只是想寻找童年回忆中的那些图像,慢慢地,他开始热衷搜集上世纪中期那些更老的图片。

“There were thousands of game halls in Hong Kong, and some were really dodgy. You could smoke and hang out there all day,” he says. “Revisiting or discovering treasures from those days really gets me buzzing. I recently discovered an old TV Times from Hong Kong with ads for things I had totally forgotten about, like Rolex in Chinese and Rambo with Chinese subtitles. It was a weird mix of pop culture from the West.

“But I find the real chemistry happens in collage when you mix the old with the new. There’s some funny ’50s Chinese pop culture material which I didn’t even know existed before I started digging. Also Malaysia and Indonesia have some really progressive magazines and music from the ’50s and ’60s to draw upon.”


“香港有成千上万间游戏厅,有些真的不是很正规。你可以在里面抽烟,呆一整天。” 他说,“重温那些日子的珍贵回忆,让我心情很激动。我最近找到一份旧的香港报纸,上面广告推销的产品有很多我都已经完全忘记掉了,比如中文标识的劳力士(Rolex)和配了中文字幕的电影《第一滴血》(Rambo),看上去像是与西方流行文化的奇怪混合。”

“但是我发现,当你把旧的和新的混合在一起,组成拼贴画时,才能真正看到两者之时的化学反应。在我开始挖掘之前,我都不知道原来 50 年代的中国流行文化中有一些那么有趣的材料。包括五六十年代的马来西亚和印度尼西亚,也有一些非常前卫的杂志和音乐,它们也都是我创作的素材。”

Although his collages are pieced together digitally, all the material comes from physical sources stored in stacks of boxes all over Singapore, where he’s lived for 15 years. He also paints, creating the same collage effect, but using a comic-style with monotone linework. When he creates mural-sized pieces, he usually scales them up with wheat paste paper.


虽然他是通过电脑创作拼贴画的,但所有素材都来自现实生活,被他存放在新加坡家中的一堆箱子里。他已经在新加坡生活了 15 年。除了拼贴画创作,他还绘画,通过绘画创造漫画风格与单色线条的拼贴画。当他要制作壁画大小的作品时,他通常会先用小麦糊纸将素材放大。

While his work can be a little risqué, full of suggestively clad female stars and violent supervillains, Mojoko has begun trying to make more child-friendly art. He decided that the gallery he founded, Kult Gallery, wasn’t the right place to present his new trajectory, so he handed it off to the next generation and started the magazine EYEYAH!, which aims to educate kids with progressive artwork. “Becoming a dad changed my career, but not my art. I still can’t make kids’ artwork,” he laughs. “But that’s where the magazine comes in, where we use the tricks of advertising for good instead of selling shit we don’t need.”


Mojoko 的作品风格比较大胆,总是出现衣穿性感的女明星和暴力的超级恶魔,但他已经开始尝试创作更适合儿童的作品。他觉得自己创立的画廊 Kult Gallery 不是展示这些新作品的合适场所,于是他把画廊交给了别人打理,自己又创办了《EYEYAH!》杂志,旨在向小孩推广前卫艺术作品。“成为一名父亲后,我的职业生涯也发生了转变,但我的艺术创作没有变。我仍然无法创作儿童艺术。” 他笑着说,“但这就是杂志的用武之地,我们可以利用广告来推广好的东西,而不是去卖一些我们不需要的垃圾。”

Website: mojoko.net

 

Contributor: Mike Steyels


网站: mojoko.net

 

供稿人: Mike Steyels