Enigmatic Eyes 你看起来很伤心

March 13, 2019 2019年3月13日

At an exhibition in Columbus, Ohio, a group of wide-eyed elementary students gather around a series of enigmatic sculpted faces argue. “That one looks like it’s sad,” says one of them. “No, it looks like it’s doing this!” another yells back, making a face. They continue to disagree, laughing at each other and defending their perspectives.

Gunyoung Kim, the artist behind the sculptures, is originally from Seoul and moved to the United States to pursue graduate studies in ceramic art. She has held residencies in Kansas and Montana, and currently lives and teaches in Ohio. She says she wants to “make art accessible to everyone”—a goal that, at first glance, seems at odds with her surrealist figures. But for her, making her art accessible doesn’t mean presenting a single, obvious meaning, but leaving it open to multiple interpretations. “I want viewers to have their own responses to my work,” she says.


这些雕塑的创作者 Gunyoung Kim 是一名来自韩国首尔的艺术家。她曾在美国攻读陶瓷艺术的研究生学位,并先后在堪萨斯州和蒙大拿州生活过,目前则在俄亥俄州担任教师工作。她说自己想“让所有人都能理解艺术”——乍听之下,这个目标似乎与她的超现实主义作品自相矛盾。但对于她来说,让人们理解艺术,并不意味着必须呈现单一、意义明显的作品,而是开放地让人们对于作品解读出自己的意见。“我希望观众对我的作品能有他们自己的理解。”她说。

Kim is an astute observer of expressions. “I was always interested in faces,” she says, “I don’t know why, but even when I made functional ceramics, I often drew or cast faces on them.” Part of the reason may lie in just how easy she is to talk to. Her comfort with other people allows her to make intimate observations. For the final exhibition of her undergraduate studies, she was inspired by the special needs children she’d worked with through her church for seven years. “Their faces were always difficult to read,” she recalls.“sometimes they were full of curiosity, or just really cute. It was hard to tell what they were thinking about.”

Gunyoung 是一位敏锐的表情观察者。她说:“我一直对人的面孔特别感兴趣,我也说不上为什么。即使是做功能性的陶器,我也常常会加上面孔的元素。”也许,她平易近人的性格是一部分原因。她总能让和她在一起的人感到特别舒服,这给予了她机会近距离去观察别人。在她就读本科时的最后一个展览中,她以自己在教会工作七年期间,遇到的特殊儿童作为创作灵感。她回忆说:“他们的表情很难看懂。有时候他们看上去充满了好奇,有时候只是单纯很可爱。很难猜测他们到底在想什么。”

Kim’s sculptures are inspired by faces she sees, but they’re not likenesses of anyone specific. It’s never her intention to replicate a particular face, and her medium lends itself to her art: “The really fun part about clay is that it’s super soft, so you can easily manipulate it. I never like making the exact same expression, and because there are many stages to the process I can add details or make changes as I go.” And unlike drawing, sculpting requires making a structure—shaping the head, pushing in the eye sockets, placing the eyes, etc.—which adds both variation and limitation, depending on the material used.

Gunyoung 的雕塑灵感来自于她所看到的面孔,但它们并不会类似于任何特定人物。她从来没有打算复制一张特定的脸,她的艺术完全延伸自媒介:“粘土真正有趣的部分在于它非常柔软,所以你可以很容易地操控它。我从来不喜欢制作相同的表情。在形塑的过程中有许多阶段,我可以随时添加细节或进行修改。与绘图不同,雕刻需要制作一个立体的结构——塑造头部、推入眼窝、放置眼睛等等——这增加了变化性,当然还有限制。

Given Kim’s gregarious nature, it’s hard to imagine her robbed of her voice. But when she first moved across the world to the US, she found herself struggling to overcome the language barrier. “I started thinking about my own emotions, because I couldn’t express myself. I started asking myself fundamental questions like why I was here, what I was doing or even who I was. During that time I really started to focus on my own voice.”

That voice, it turned out, had a lot to say about human relationships and emotions. “Humans are made to interact with each other,” she says. “At the time, I really started to notice how my relationships with other people impacted my emotions.” When asked about what she’s learned about human emotions through her art so far, she says, “Our feelings are always shifting and changing, and this reveals how unstable and vulnerable we are. One of the main ideas for my work is the way the complexity and ambiguity of our emotions comes from our imperfections.”

有着如此容易相处的性格,很难想象 Gunyoung 曾经失去自己的声音。当她最初移居到美国时,她曾有过语言障碍的经历。“我开始思考自己的一些情绪,因为我无法向外表达自己。我开始问自己为什么要到这里?我到底在做什么?甚至是我到底是谁?这些本质性的问题。那段时间我真的特别注意我自己的声音。”


Though Kim is now fluent in English and teaches workshops, she continues to study the faces around her by taking photographs. Her work is inspired by people from her personal life, and she snaps candid photos of them when they aren’t looking—not to copy these faces, but to observe details. Before sketching a sculpture, she sometimes starts by looking through her photographs. “I think I’m interacting with the photo, collecting my memories and experiences with other people. It’s part of the process.” One strange part of this, she observes, is that she finds it much more difficult to use photos of strangers. Why this is so, she isn’t sure: “It’s just a little different . . .  maybe I need a connection with the person to get more information about their expressions.”

即使 Gunyoung 现在能说流利的英语,并且在工作坊担任讲师,但她仍然继续通过拍照来观察她周围的面孔。她的作品都是以她身边的人作为启发的创作,她会趁他们不注意时偷拍下照片,不是为了复制这些面孔,而是要更仔细观察他们的面部细节。在给雕塑画草图之前,她有时会先翻看这些照片。“我觉得我像是在跟自己拍的照片互动,收集那些有关人们的回忆和经历。这是创作过程的一部分。”她还发现了一个奇怪的问题:如果使用陌生人的照片,创作会变得困难得多。为什么会这样呢,她也不确定:“反正就是不太一样……也许是因为本身就认识的人,我就握有更多信息去解读他们的表情。”

Kim’s balance of the realistic and the surreal owes a lot to her artistic influences. She says she’s inspired by painters like René Magritte and Hieronymus Bosch, whose works are visionary but not abstract. “You can still see the figure and the object,” she says. This is one of the reasons she focuses on human faces: “It’s the easiest thing to understand and the most familiar form.”

In fact, she’s tried her hand at purely abstract pieces. “I appreciate abstract art and tried to make it once, but I found I couldn’t.” She recalls that as she tried to smooth and refine her work, it became more and more figurative. She naturally makes work that’s more recognizable to others. “It’s just something and enjoy, and that might just be who I am,” she says with a smile.

Gunyoung 作品中现实与超现实元素的平衡,很大程度上要归功于她的艺术影响。比利时画家马格利特(René Magritte)和耶罗尼米斯·博斯(Hieronymus Bosch)那些前卫而非抽象式的作品启发了她。“你仍然可以看到物体的轮廓和外形。”她说道,这也是她专注于创作人脸的原因之一。“(人脸)是最容易理解、也是人们最熟悉的一种形式。”


More recently, Kim has expanded her art to include animals and address issues of gender and religion. She says she started making animals when she worked in a studio set in Montana’s stunning natural scenery. “I saw bunnies and deer everyday, and I found the animals really funny because they behaved like humans sometimes.” She chooses animals that are frequently prey because she sees them as more similar to humans, allowing them to easily personify human emotions.

Kim’s newfound interest in animals developed into her newest project, “My Burden.” This complex series, featuring rabbits, sheep, and humans, encapsulates her growth as an artist. What began with the ambiguity of facial expressions has matured into an intersection of larger ideas, such as femininity and spirituality. The highlight of the series is a piece showing intricate flowers strewn across a sheep’s back, at once beautiful and fragile. Asked about their significance, Kim says she was inspired by her Christian faith, which emphasizes beauty in pain. For her, this duality is part of a more universal human experience. “Hardship and pain never go away, but remain a part of us—they somehow harden and become beautiful.”

最近,Gunyoung 扩大了自己的创作范畴,开始创作有关动物、性别和宗教主题的作品。她说,自从在蒙大拿州一个风景迷人的工作室里工作后,她就开始创作动物题材。“每天我都可以看到兔子和小鹿,我发现这些动物真的很有趣,因为他们有时候表现得简直跟人类一样。”她选择一般都是猎物角色的动物当作题材,因为在她看来这些动物更类似于人类,也更容易传达人类的情感。

对动物的新兴趣启发她创作新的项目《我的负担》(My Burden)。这个复杂的系列作品包括兔子、羊和人类,也体现出她作为艺术家的成长,从最初描绘带有不确定性的面部表情,发展成更宏大想法的展现,如女性特质和精神性。在这个系列作品中,最引人注意的是一幅羊背上散落花朵的作品,看上去既美丽又脆弱。当被问及作品的含义时,Gunyoung 说,这个作品是以她的基督教信仰为灵感创作的,这种信仰强调了痛苦之美。对她来说,这种双重性是一个更普遍的人类经验。“忧患与痛苦永远不会消失,永远是我们的一部分——它们会随着年岁逐渐坚固,变得迷人。”

Flowers bring to light another dimension of Kim’s work. She’s amused by the way people frequently associate the delicacy of flowers with femininity, because in working with them, she’s realized flowers are also “heavy, rough, sharp and brittle.”

Gender is of little concern in molding her figures, she says. “Some people think that because my figures have a certain kind of hair that it’s a man or a woman, but I don’t really pay attention to that while making them.” As Kim continues to develop as an artist, the ambiguities of her work will no doubt grow ever deeper and more dense. The children who enjoyed her work might one day return to find much more debate than just faces.


她在创作人物雕塑时其实很少会关注性别,她说:“有些人认为,因为我的雕塑有某种发型,那它就是男人或是女人,但我在创作时真的没有在考虑这一点。”作为一个艺术家,Gunyoung 仍在不断进步,她的作品中的不确定性也将变得更有深度,更加强烈。而今天这些围观她雕塑作品的孩子也许会在长大后的某一天重新审视她的作品,发现除了雕塑的表情外,还有更多值得争论的事情。

Instagram: @ggunyoung9


Contributor: Eugene Lee
Chinese Translation: Olivia Li

Instagram: @ggunyoung9


供稿人: Eugene Lee
英译中: Olivia Li

Opposite Perspectives 换一个角度看世界

March 13, 2019 2019年3月13日

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

In this fast-paced world, it is common to quickly snap a photo rather than document with creative intent. Instead of capturing a subject from one vantage point and moving on, try photographing a scene from opposite perspectives.

This challenge will require you to slow down, evaluate what you see, and think about your composition. Get innovative and use the following tips to photograph opposite viewpoints.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。



Capture your subject + what your subject sees / 捕捉你的主体+主体看到了什么

After photographing someone or something, move to put yourself in their place. Then take a photo that replicates their view. This will give the audience looking at your photos a more complete understanding of the setting and make them feel a part of the experience.

* Tip — Leave clues to let the viewer know the photos are related. There are many creative ways to go about this. In the above image, the photo on the right was shot through the yellow lens of the glasses to ‘truly’ see the scene from the person’s perspective.



* Tip — Take time to come up with a concept and plan the shoot before it happens. Not all locations photograph well from both directions, so do a bit of scouting ahead of time.


* Tip — Shoot with a partner. Find someone who is willing to be patient and hold a pose while you photograph them from both sides. The shot you have in mind may not be obvious to your model, so be sure to give clear directions.


Capture opposite vantage points / 捕获反向的有利位置

Explore the many ways you can document a scene — above and below, in front and behind, from outside looking in and vice versa.

* Tip — Additional tools, like a selfie stick or a drone, can make shooting from opposite perspectives easier and allow you to experiment with varying distances. If you don’t have those options, look for opportunities around you that provide different viewpoints, like a balcony or a bridge. In the photo above, a ladder was used to capture the model tying her shoe from different angles.



*Tip — When applying this practice to street photography, try to look ahead and anticipate potential moments as much as possible. People and objects are constantly moving, so you will need to react quickly when transitioning between one point of view to the other.


More than Skin Deep 肌理之下,越限而上

March 12, 2019 2019年3月12日



To mark the launch of Skullcandy‘s wireless Push™ earphones, we teamed up with the brand to present a series of stories celebrating those in the creative community who push themselves to the limit and break boundaries.

For the first story of the series, we caught up with professional skateboarder Wang Di. In this installment, we met up with tattoo artist Miho (Yao Meihui) to chat about body art, defying convention, and having the conviction to succeed.

为庆祝蓝牙无线耳机 Push™ 的重磅推出,Skullcandy 与 Neocha 正式携手合作,为你带来几位艺术家、运动员和音乐人,打破极限,自我出声的故事。


Yao Meihui is not your parents’ tattoo artist. Reserved, almost self-effacing, she’s hard to imagine wielding a tattoo gun. Were it not for the Chinese character drawn on her left cheek—jin (金), or gold—you might not even guess she has an interest in body art, much less that she runs one of Shanghai’s most in-demand studios, Shizhuo Tattoo. Her designs are unconventional, with intricate cartoon illustrations of goth girls drawn in a style she describes as Japanese and New School.

Yao is also not her parents’ tattoo artist. Their generation thought tattoos were something decent people just didn’t have. When she came home with her first one, at the end of high school, her parents pretended not to notice, maybe because she got it to celebrate a good score on the college entrance exam. But a few years later, when she announced she wanted to learn how to make them herself, her father hit the roof, and even threatened to cut her off. “My dad was against me learning how to do tattoos for a lot of reasons. One of them is that Northeastern China, where I’m from, is pretty conservative,” she says. “There’s a prejudice against it. If you have tattoos, maybe people will think you’re a thug or a criminal.”

Yet Yao stuck to her guns and kept learning on the sly. She taught herself the basics online, found her first willing customers, and eventually started to work at a roadside shop. After a couple of years, she apprenticed herself at YZ Tattoo, one of China’s most famous studios. Now that she’s become an independent, sought-after artist, even her dad’s come around.




Ever since she was little, when she saw her first cartoons, Yao has loved to draw. Her childhood dream was to make animated films, and at college, that’s what she studied. Only toward the end of her undergraduate years did she decide to take a different path from her classmates. “Tattoos are a pretty niche thing,” she recalls them telling her. “You probably can’t live off of that.” 

Yao didn’t want to take the easy path. “I like to create different kinds of art,” she says. And she also likes to use different kinds of materials, something she couldn’t really do as an animator. “Skin is a really magical material. Skin is always different,” she says. “Some have soft skin, some people have hard skin, some people have thick skin, some people have thin skin.” On top of that, every body part is different and responds differently to the needle. “Every job is a challenge, you always feel you’re doing something new.”

从姚美惠小时候看了第一部漫画后,她就喜欢上画画。她儿时的梦想是制作动画电影,在大学也是读这个专业。直到本科快毕业时,她才决定选择与她的同学不同的职业。 “纹身是一个很小众地东西,你可能没有办法靠它吃饭。”她回忆当时同学对她的劝告。

姚美惠没有选择更容易走的那条路。“我喜欢创作不一样的造型。” 她说。她更喜欢用不同的创作材料,这是动画制作所没有的。“皮肤就是一个很神奇的材质。皮肤永远是不一样的,有的人皮肤比较软,有的人皮肤比较硬,有的人皮肤厚,有的人皮肤薄。”她说。最重要的是,每一个身体部位是不同的,在针刺下去时也会有不尽相同的反应。“每一次的工作都是挑战,你会觉得自己总是在做一些新的东西。”

Getting to where she is now took determination. Yao didn’t only face opposition from her father, she also had to face doubts from one of her mentors, a well-known tattoo artist with his own shop. “I’d been working there for around three years, and one day we were all sitting in a meeting and talking about tattoo styles and things. And our boss said to the dozen or so of us there, ‘None of the people sitting here will become an artist,’” she recalls. “But actually I was thinking, ‘I will.’” She’s always believed in herself, and that confidence pushes her to always keep moving forward, even when she’s not sure what to do next.


When Yao finds herself stuck creatively, she’s not immune to doubt. “When you’re blocked, you start to wonder if you’ve veered off course. Maybe my style isn’t natural enough? Maybe what I’m inking isn’t solid enough?” Her response is to force herself to keep creating. That’s the only way to get unstuck. Sometimes she’ll try painting or drawing for a bit— the detour into a different medium broadens her pool of inspiration. “I don’t let my hand stop, don’t let my brain stop,” she says. “You can really get a lot out of that. And when you finally make it past the dead end, you take a big leap forward.”


Being an artist is about constantly improving, says Yao. “Your works always look best before you’re finished. When you’ve added the last stroke, you think, ‘Not bad, but not perfect.’ A week later you think ‘They’re terrible, I need to do something better.'” She never stops seeking to outdo herself, making each design better than the last.

“Pushing limits, for me, means not stopping, always trying different methods, and striving to break through that dead end. Then you can soar.”



Shop the Push™ wireless earphones at Skullcandy’s Tmall page or official website.

想收获一副属于你自己的 Skullcandy 蓝牙无线耳机 Push™,敬请登陆天猫或者官网订购。

Weibo: ~/crowstattoo
Instagram: @meihui_miho


Contributor: Allen Young
Videographer: Ni ZhaoyuYang BingyingPaul Gardette, Damien Louise
Photographer: David Yen
Chinese Translation: Olivia Li

微博: ~/crowstattoo
Instagram: @meihui_miho


供稿人: Allen Young
摄像师: Ni Zhaoyu, Paul Gardette, Yang Bingying, Damien Louise
摄影师: David Yen
英译中: Olivia Li

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Some Kinks to Work Out 未成年人请注意

March 11, 2019 2019年3月11日

It can take a lot of bravery to express your innermost desires publicly, but when you present them with pastel colors, sharp linework, and characters that fit like puzzle pieces, it makes things a lot easier. Darling Kink is an erotic illustrator from the Philippines who channels her private feelings into work meant to force open the discussion of sexuality in her country.

“The Philippines is very repressed, very conservative,” she says in one of Manila’s many malls.  Her neon colored windbreaker matches her nails. “Like many others, my family is very religious, so it’s taboo to talk about these type of things.”

向他人坦露内心的欲望,往往需要很大的勇气。但是当你以柔和的色彩、清晰的线描以及拼图式的人物来表达这些欲望,好像又变得容易一些。Darling Kink 是菲律宾的一名情色插画家,她将自己私密的情感融入作品中,意图推进这个国家对性的公开讨论。

“菲律宾人是非常压抑、非常保守的。” Darling Kink 在马尼拉的一个商场里如此说道,她正身着霓虹色的风衣,衬出她的美甲色。“和很多菲律宾人一样,我的家人也是很虔诚的教徒,所以他们很忌讳谈论这些东西。”

Darling Kink’s family always supported her goal of becoming an artist, and when she enrolled to study visual communication in college, she found that the new surroundings also encouraged her to express herself. She took all those cues and found her way further by drawing her intimate fantasies in private. “I wanted to open this type of discussion, because it’s not available to many women in the Philippines. I wanted to create a space for the discussion of simple things like sexual and romantic relations. But I didn’t set out with an agenda, it just kind of happened.”

While she had trouble finding an audience for her early works on paper, Instagram provided a new outlet, one that seemed tailor-made for her new outlook: “My ability to express desires and fantasies is a luxury, because not a lot of women or those in the LGBTQ community can do that here. I don’t want them to feel guilty about their sexuality. People are seeking support groups to feel normal, and I think my account creates a space for that.” Then, with a sly smile and a mischievous gleam in her eye, she adds, “I want to fight the patriarchy.”

一直以来,Darling Kink 的家人都很支持她成为艺术家。她大学在修读视觉传达专业时,发现这种新的环境令她更想要表达自己。慢慢地,她开始在私下用画笔画出自己内心的性幻想。“我想要开始这种有关性的讨论,因为在菲律宾很多女性都没有办法讨论这个话题。我想为她们创造一些空间,去谈论性和爱这类简单的话题。但我并没有特意做什么计划,只是自然而然开始做这件事。”

对于她早期纸上创作的作品,要找到观众并不容易;这时候,Instagram 提供了一个全新的创意出口,一个似乎为她量身订做的新出路:“我很幸运,可以自由地表达欲望和性幻想,因为在这里,很多女性和 LGBTQ 群体都无法做到这一点。我不希望他们要因为自己的性取向而感到羞愧。许多人会去找支持小组,让自己感觉像个正常人。我想,我的 Instagram 也算是创造了这样一个空间吧。”说完,她露出了狡黠的笑容,眼睛闪着调皮的光芒,她说:“我要对抗这个父权社会。”

Around the time we spoke, President Rodrigo Duterte was in the news for saying that as a teenager he molested his maid while she slept, a story he later claimed to have made up for dramatic purposes. It was just the latest controversy about women’s rights to entangle the president, who’s been known to make jokes about rape.

As if to emphasize her point about the country being very traditional and religious, many busy streets that are usually choked with traffic were flooded the day we met by over a million devotees participating in a Catholic procession called The Feast of the Black Nazarene. More than 80 percent of the country identifies as Catholic, which translates to some very conservative statistics relating to sexuality.

在我们见面的时候,新闻正报道菲律宾总统罗德里戈·杜特尔特(Rodrigo Duterte)曾说自己十几岁的时候曾经趁他的女佣睡觉性骚扰她,但后来又改口说那只是为了抢眼球才编造的故事。对于这位爱以性侵笑话取乐的总统,这只是他最近的另一起有关女性权利的丑闻。

似乎是为了强调她关于这个国家非常传统和充满宗教色彩的观点,在我们见面这天,通常许多塞满车的繁忙街道被超过一百万名的信徒挤满,他们正参加菲律宾天主教年度盛事黑拿撒勒人节(the Feast of the Black Nazarene)的活动。这个国家超过 80% 的人口都信奉天主教,在有关性的话题方面,他们都是非常保守的人。

It’s the only country in the world, aside from Vatican City, where divorce is illegal. Abortion is strictly prohibited, even in cases of rape, incest, or danger to the mother’s life. A plan to provide contraception to the poor has been a battle for decades. HIV is spreading at the highest rate in the Asia-Pacific region. And while some consider the Philippines to be the most LGTBQ-tolerant country in Asia, violence, and discrimination are still serious problems.

菲律宾是世界上除梵蒂冈外唯一一个离婚是非法的国家,堕胎也被严格禁止,即使是因强奸、乱伦或在危及母亲生命的情况下。一个为穷人提供避孕用品的计划竟然也被争议了数十年。这里的艾滋病蔓延速度是亚太区最快的。虽然有些人认为菲律宾是亚洲国家中对 LGTBQ 群体最宽容的国家,但针对性的暴力歧视仍然比较严重。

Darling Kink believes artists have a duty to address issues that others can’t. “The art scene here is very open, but it’s a very privileged circle. It’s mainly an upper-middle-class community. Everyone I know in the art world comes from backgrounds that allow them to explore,” she says, including herself within those ranks. “We’re offered a luxury that not many people have. So we have a responsibility to open these type of discussions for those who can’t.”

This activist streak of hers isn’t limited to sexuality; she also creates work addressing many other issues but doesn’t post it to her main feed. She was even involved in street protests when Duterte was first elected and experienced a backlash for it on social media: “I was active in protesting against him in the beginning, but I just got tired of everything. The political landscape here is so draining. A lot of people in my Facebook network were supporters, so I ended up deleting that account. I had 4,000 followers, but getting rid of it kept me and my family safe, which was more important than people  having access to my art.”

Darling Kink 认为艺术家有责任来解决这些别人未能解决的问题。“这里的艺术圈非常开放,但在这个圈子里的通常都来自中上层阶级,他们的家庭背景让他们有能力去自由探索。”她说道,“我们算很幸运的了,不是很多人有这种运气。因此,我们有责任去为社会上的更多人去推动这些讨论。”

她关心的并不限于性相关的话题;她的作品也会关注其他问题,只是没有被她重点展示出来。在杜特尔特首次当选时,她甚至参与了当时的街头抗议活动,也因此受到了一些报复。“我一开始也很积极地进行各种抗议他的活动,但后来我逐渐厌倦了这一切。这个国家的政治环境实在让人感到太无力了。在我的 Facebook 朋友中,很多人都是他的支持者,所以我最终注销了这个帐户。我在上面有 4000 名粉丝,但注销这个帐号能保证我和家人的安全,这一点对我来说,比让人们看到我的作品更重要。”

Now she’s wrestling with how to expand her impact through her art and is starting to bump up against the limits of her erotic brand: “There are other issues beyond sexuality that need fighting for. We’re still struggling with basic concerns like health care and labor rights. Am I really doing anything to address the most serious issues in the Philippines?” It’s a question that people who truly care often ask themselves, and one that offers a hint to what might be next.


Instagram: @darlingkink


Contributor: Mike Steyels
Chinese Translation: Olivia Li

Instagram: @darlingkink


供稿人: Mike Steyels
中译英: 李秋群

Science of the Secondary 这一切,都从一颗苹果开始

March 8, 2019 2019年3月8日
Issue #9 "Plates" / 第九期 《盘子》

A methodical science experiment carried out by a team of expert researchers examining overlooked, everyday objects to understand their “secondary” functions—that’s the premise of Science of the Secondary, an experimental publication created by Atelier HOKO, a self-described “research lab” based in Singapore. Similar to the family-run publication Rubbish Famzine, the team consists of creative director Alvin Ho and art director Clara Koh, while a third member, their grade-school-aged son Lou, tries to help out but more often just gets in the way. They make the most headway on the project after he goes to bed, or when he stays over at his grandparents’ place. In fact, it’s often a mad dash to get any work done in their home office before the little rascal is raising hell again.

一场严谨的科学实验,一个专业的研究团队,针对日常生活中被我们忽略的平凡物件,进行一次天马行空的“次要”解读:这就是《Science of the Secondary》(次要科学),一本由新加坡独立工作室 Atelier HOKO 所创立的杂志。类似 《Rubbish Famzine》,这团队由创意总监 Alvin Ho 和艺术总监 Clara Koh 组成,还有一位学龄前的淘气成员 Lou,他喜欢帮忙,但结果总是不尽人意。所以只有在 Lou 睡着或是待在外公外婆家时,Alvin 和 Clara 才能在家里的工作室安心工作,而且必须要赶在“混乱”回来之前,迅速把工作完成。

Making of Issue #9 / 第九期的制作过程
Making of Issue #9 / 第九期的制作过程

As the magazine’s title indicates, every one of their experiments has two key elements: the “secondary” and the “scientific.” The former refers to the features and details of everyday objects that we interact with but don’t give much thought to. The “scientific” aspect refers to the duo’s systematic and goal-oriented approach in uncovering these stories. From the moment readers flip open Science of the Secondary, they have to keep an open mind and accept that they’re entering a world of unknowns.

在这场实验研究里,有两个关键点:“次要”和“科学”。所谓 “次要”,指的是我们在日常生活中与周遭环境事物互动的过程里,经常无意识忽略的细节与经验;而“科学”即是有目的、有计划、有系统地去探索一件事情。从打开《Science of the Secondary》的那一刻开始,你将进入一片未知的领域。

Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》

It all began with an apple, which Ho and Koh decided would be the main subject of their inaugural issue. On the cover, a red specimen of the fruit sits against a sky blue backdrop creating visual contrast that immediately commands the viewers’ attention.

When you think about an apple, what first comes to mind? If there’s an apple nearby, hold it in your hands and take a close look at it. You might focus on its color and size, but have you thought about where on the apple the first bite would take place? Or can you outline step by step how one would eat an entire apple? Even though an apple, as an object, seems as boring it gets, once you look at it from different perspectives, it can pique your curiosity.

When kids learn to spell in English, “A is for Apple” is one of the first phrases they hear. This familiarity led the duo to choose it as their first topic. “The reason we chose an apple isn’t because it’s something that’s commonly eaten,” Ho clarifies. “It’s because everyone knows what an apple is.”



英文里有句说法叫做“A is for Apple”,这往往是我们在孩童时期学习英语接触到的第一个单词,这正是 Alvin 和 Clara 选择苹果作为第一个实验对象的原因,“并不是因为每个人天天都吃苹果,而是因为我们都知道苹果是什么。”

Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》

These overlooked objects in our lives are the very foundation of Science of Secondary. For example, issue six discusses the topic of “pipes.” When do we even acknowledge their existence? When one is clogged in our home? When there’s a leak or when one bursts? Only when problems arise do we pay momentary attention to these vital bits of household infrastructure. Once they’re repaired, they once again become invisible.

The goal of every issue of Science of Secondary is to spotlight these “invisible” everyday objects: teacups, clocks, windows, even eggs. In one issue, they decided that they hadn’t looked into anything below their waistline, so they decided to focus on socks. The choice wasn’t arbitrary—they want to cover objects everyone’s familiar with that can be found just about anywhere.

《Science of the Secondary》的基础,来自于生活中那些看似“隐形”的小物。例如在第六期里讨论的主角“水管”,我们何时会关注水管?当家里厕所的水管被阻塞?漏水?还是爆裂的时候?或许只有在它出现问题时,我们才会投入片刻的关注。等修理完毕,它便再次退回隐形的状态。

从第一期至今, 平常被隐形的日常物品一个又一个出现在《Science of the Secondary》里。从每个人每天都在使用的茶杯、每时每刻都会看的时钟;到包含更多空间意义的研究对象比如窗户;或是为了探讨一些容易取得的东西,于是选择了鸡蛋;没有研究过腰部以下的物品,所以研究了袜子……对于 Alvin 和他的团队来说, 每一次的研究对象并不是随机选择,它们的出现似乎有一个神奇的规律,且都有一个共同的特点:随处可见、且无人不知。

Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》

Curiosity is the catalyst for every issue. Atelier HOKO abides by what they describe as “strict scientific procedures” for each issue, but at the same time, they never compromise the magazine’s playful flair. Outside the publication, Ho and Koh enjoy presenting their ideas in other interactive formats for the curious-minded. For example, when the “Apple” issue was released, they made it available at select fruit vendors. People who bought the magazine also received an apple and got to experience the content in an immersive way.

Science of Secondary seeks not only to explore these neglected objects, it also aims to foster people’s curiosity about the overlooked potential in their daily lives, so they can discover more “secondary” aspects in everyday objects. If you’re similarly interested in engaging with your curious side, then maybe this is the magazine for you. Select issues now available for purchase on the Atelier HOKO e-shop.

好奇心是这场实验的核心驱动元素。对于每一期的研究,Atelier HOKO 都遵循着认真严肃的科学研究方法,但又不失趣味性。除了杂志本身,主创团队还会定制一些特别的体验,比如第一期的《苹果》就放在水果摊寄卖,购买杂志的人都能拿到一个苹果,让读者可以真实、立体地感受到杂志的研究过程,更沉浸在内容里。

《Science of the Secondary》希望我们在探究生活小物的同时,能够对日常生活所有潜在的可能性都保有高度的好奇心,延伸出更多“次要“的精彩发现。想测试一下你的好奇心吗?不妨翻开这本杂志吧。购买请上 Atelier HOKO 的线上商店

Issue #4 "Window" / 第四期 《窗户》
Issue #2 "Cup" / 第二期 《杯子》
Issue #3 "Clocks" / 第三期 《时钟》
Issue #8 "Socks" / 第八期 《袜子》

Website: www.atelierhoko.com
Facebook: ~/atelierhoko
Instagram: @atelierhoko


Contributor: Handowin Ho
Images Courtesy of Atelier HOKO

网站: www.atelierhoko.com
脸书: ~/atelierhoko
Instagram: @atelierhoko


供稿人: Handowin Ho
图片由 Atelier HOKO 提供

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Powerlifting is for Girls 摔碎那些你对女孩的偏见

March 6, 2019 2019年3月6日



In South Korea, femininity is most often associated with adjectives like “petite, “meek,” or “delicate.” Female powerlifters, however, certainly don’t fit into any of those descriptions—calloused hands, muscular legs, and brawny shoulders aren’t typically associated with conventional notions of female beauty in the country. These physical attributes are, however, symbolic of a new generation of girls who are redefining what it means to be a female in modern times.


Lee Seon-mi, a senior at Gyeongbuk Physical Education High School near Daegu, is currently at the forefront of women’s powerlifting in South Korea. She’s been a dominant force in both domestic and international competitions and is currently one of the most widely recognized figures in the Korean powerlifting scene. Though many of Lee’s peers describe her as a quiet and unassuming individual, she’s anything but meek in competitions. She has broken every junior powerlifting record in the country, including those set by Korea’s 2008 Olympic gold medalist, Jang Mi-ran. Lee is on track to shatter more records as she transitions to senior competitions next year. When asked about the powerlifting records she’s broken so far, she looked sincerely puzzled: “Which ones? It’s hard to remember all of them.”

大邱(Daegu)附近的庆北体育中学(Gyeongbuk Physical Education High School)的高年级学生 Lee Seon-mi 目前处于韩国女子举重运动名列前茅的几位之一。她一直是国内和国际比赛的主导力量,目前也是韩国举重场景中最受认可的人物之一。虽然 Seon-mi 的许多同行形容她是一个安静而不张扬的人,但她在举重比赛中并不温顺。她打破了这个国家的每一个青少年举重记录,包括韩国 2008 年奥运会金牌得主 Jang Mi-ran 的纪录。明年即将过渡到高级比赛的 Seon-mi 有望打破更多记录。当被问及她到目前为止打破的举重记录时,她看起来真诚而疑惑:“哪些?很难记住所有的记录啊。”

Despite her achievements, Lee remains mindful of gender stereotypes in Korean society. “A lot of girls avoid this type of sport here,” she says. “There’s a bias that girls are weak in Korea.” With each win under her belt, she’s proving that this is far from the truth.

Lee’s parents are equally aware of the cultural expectations surrounding girls in Korea. They’re proud and fully supportive of her pursuits, but they understand it’s an uphill battle for her to be seen as a “normal girl” in the country. Luckily, neither Lee nor her peers are bothered by these superficial constructs of Korean femininity. They’ve placed more importance on pursuing something they’re truly passionate about.

尽管身为女性的 Seon-mi 已小有成就,但她仍对韩国社会的性别期望保持着清醒的态度。她说:“在韩国,很多女孩都避免这种类型的运动。”她说,“有一种偏见,认为韩国女孩很弱。”然而,随着一次次的胜利获奖,她用自己证明了这根本不是事实。

Seon-mi 的父母也同样意识到围绕韩国女孩的文化期待。他们为她的追求感到骄傲,并全力支持她的追求,但他们明白,要让她在这个国家被视为“正常的女孩”,还是一场艰苦的战斗。幸运的是,Seon-mi 和她的同伴们似乎都没有被这些韩国女性的肤浅偏见所困扰。她们更看重追求自己真正热爱的东西。

Powerlifting is less popular among females than other sports, but Lee hopes that her success will garner interest in the sport among those younger than her. “I think it would be great if more girls did powerlifting,” she chirps. “It’s helped me build my confidence, and I’ve made a lot of new friends.”

虽然 Seon-mi 意识到力量举重在女性中不如其他运动那么受欢迎,但她希望自己的成功能在引起比她年轻的人对这项运动的兴趣。“我认为如果有更多的女孩参加力量举重,那就太好了,”她说道,“它帮助我建立了自信,而且交了很多新朋友。”

Lee’s Olympic aspirations have yet to be settled, but a series of international competitions in 2019 that she is highly favored to win will ultimately determine her place on the 2020 Olympic team. Lee says, “I’d like to attend two Olympic Games and take medals both times.”

She’s already out lifting her closest competitors by over 25 kilos. This, coupled with the cabinet full of gold medals that currently sits in her parent’s living room, suggests that the Korean public will soon be introduced to a star who’ll be forcing the country to reevaluate their notions of femininity.

Seon-mi 的奥运抱负还有待确定,但 2019 年有她非常看好的一系列国际比赛,这也将最终决定她在 2020 年奥运会上的位置。Seon-mi 说:“我想去两次奥运会,两次都拿奖牌。”

她的举重级已经比最接近的对手重了 25 公斤。仅这一点,再加上她父母客厅里摆满了金牌的橱窗,表明韩国公众很快就要知晓这位明星了,而这位明星也将迫使韩国人重新审视自己对女性的固有观念。

Contributor, Photographer & Videographer: Jeremy Meek
Chinese Translation: Chen Yuan

供稿人,图片摄影师与视频摄影师: Jeremy Meek
英译中: Chen Yuan

Editing with FN16 没有色彩的美

March 6, 2019 2019年3月6日

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

The FN16 (Fuji Neopan 1600) preset is one of the Film X entitlements included with VSCO Membership. This black and white preset excels in a number of situations and is known for its high contrast and bright appearance. Below we will look at a few tips to get the most out of this preset and see inspiration from the community and how they have used it to edit their photos.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

FN16(富士 Neopan 1600)预置是 Film X 其中的一种,包含于 VSCO 会员套餐内。这种黑白预置以其高对比度和明亮的外观而著称,在许多情况下应用都显得非常出色。下面我们将介绍一些小贴士来充分利用这个预置,看看 VSCO 用户的灵感,以及他们是如何使用这项预设编辑照片的。

Before / 修前
After / 修后

Tip 1: Character

Adjust the Character slider to the left to create faded tones and to the right to create a brighter and more vivid edit. The Character tool is designed specifically for Film X presets and simulates how film behaves when over or underexposed.

小技巧 1:字符

调整字符滑块到左边创造褪色的音调和右边创造一个更光明和更生动的编辑。角色工具是专门为 Flim X 预设而设计的,用于模拟电影在过度曝光或曝光不足时的模样。

Before / 修前
After / 修后

Tip 2: Shadows

With the increase of Character to +6, added contrast is applied to the image. The use of the shadows tool then helps recover detail lost in the darker parts of the image, helping to create a well-balanced scene.

小技巧 2:阴影

字符增加到 +6 之后,图像也增加了对比度。使用阴影工具,帮助在较黑暗的部分丢失的细节形象,帮助创造一个平衡的场景。

Before / 修前
After / 修后

Tip 3: Exposure

Try increasing the exposure to create a more interesting scene where unnecessary details fade into the bright image, drawing attention to the main subject in the scene.

小技巧 3:曝光


Image by fcatapano / 图片由 fcatapano 提供
Image by willemdouven / 图片由 willemdouven 提供
Image by dinasorkmo / 图片由 dinasorkmo 提供

The Glamorous Boys of Tang 唐朝绮丽男

March 4, 2019 2019年3月4日

Years before Ang Lee’s gay Confucian melodrama The Wedding Banquet, or Tsai Ming-liang’s slow-burning cinematic exploration of crisscrossed desires Vive l’amour, Chiu Kang-chien’s 1985 film The Glamorous Boys of Tang debuted in Taiwanese cinemas. The blatantly queer and absurdly costumed film was not well received on an island still under martial law. Featuring exorcisms, gruesome deaths, and orgies, it naturally ran afoul of the authorities, resulting in heavy cuts. But it also represented a small milestone in Taiwanese queer cinema. Now Su Hui-yu has released a remake that hews closer to the script’s subversive edge than even the original. (Watch a trailer here).

1985 年,在李安的同志情节剧《喜宴》,以及蔡明亮缓慢探寻交织爱欲与城市疏离感的“水三部曲”都还未面世前,邱刚健的电影《唐朝绮丽男》在台湾院线上映了。电影中露骨的同性情欲和穿着奇装异服的画面,在当时仍在戒严的岛上并不受欢迎。这部以驱魔、死亡和狂欢为题的电影,理所当然与当局的立场发生冲突,影片也招致大幅剪裁。但它仍代表了台湾同志电影中的一个小小的里程碑。现在,导演苏汇宇重新翻拍了这部电影,比原作更加贴近剧本中的颠覆性。

Su’s version, which updates not only the technology but also the content to better reflect Taiwan’s diverse contemporary sexual realities, can be viewed as a four-channel video installation or a short film. Somewhere between respectful homage and radical remake, it resists easy classification, but partly for this reason it makes for a truly hypnotic watch. Su’s Dionysian vision celebrates queerness as something that refuses to be contained by normal modes of thought and experience. Instead, it presents the queer as what overflows and disturbs ordinary life, offering in its place agonies and ecstasies far stranger and more intense. To explore these themes in greater depth, I spoke with the artist about his remake, which had its European premiere in January at the International Film Festival Rotterdam.

苏汇宇的短片于今年 1 月在荷兰鹿特丹国际电影节上进行欧洲首映,也曾经在台湾以四道视频装置形式展出过。他的重拍有技术上的更新迭代,内容也更佳地反映当代台湾多元性别的现况。作品游移于对原作的致敬和激进的改编之间,难以定义。或许也正因如此,而更令人神往。苏汇宇纵欲狂欢的视界,颂扬“酷儿”作为一种对抗常规思维与经验模式制约的存在状态。伴随着更多诡异而强烈的痛楚和狂喜,它从庸常生活的框架中漫溢出来,并扰乱了原本的秩序。为了更深入探讨这些主题,我与这位艺术家讨论了他的作品。

Neocha: What was the initial impetus for The Glamorous Boys of Tang? What attracted you to the original work?

Su Hui-yu: Starting around 2012, I became interested in using my work to explore history in a dreamlike, psychedelic fashion. I drew on past works that were originally misunderstood, ahead of their times, or taboo, including films, photos, books, or counter-cultural events. Chiu Kang-chien’s The Glamorous Boys of Tang definitely fits this mold. But it wasn’t until 2016 that a well-known photographer and friend of mine, Chang Chao-tang, who was Chiu’s original cameraman, reminded me of the film.

I saw the movie posters when I was just a child, but revisiting the film again later, I understood why it was not commercially successful, and why the original script couldn’t be accurately reflected on screen. It was just too transgressive, with its beautiful boys, its threesomes, its juxtaposition of spiritual and sexual images, and its necrophilia. There was simply no way for it to be faithfully adapted in the martial law period. And so I became fascinated by the spirit of the original work and tried to reinterpret it to uncover new possibilities in an entirely different social context.


苏汇宇: 2012年左右,我开始对一件事感兴趣——也就是借由自己的作品,以梦境般、迷幻的方式来探索历史。我利用了那些原本被误解、超前于时代或禁忌的作品,包括电影、照片、书籍或反文化事件。邱刚健的《唐朝绮丽男》绝对符合这个模式。但直到 2016 年,我的一个摄影师前辈张照堂,也是《唐朝绮丽男》本片的摄影,才让我再想起了这部电影。


Neocha: Extremes of sex and violence play a role in this work and others by you. What keeps drawing you back to these themes?

Su Hui-yu: First, when viewed with unflinching eyes, sex and death are by their very nature beautiful. Second, when you juxtapose them, these two states seem to merge into something that transcends either of the individual terms. I was fascinated by this, but I also found that that these subjects and sentiments are not just personal but also closely tied to collective memories, society, ideologies, and moral systems.

Neocha: 在你的影片中有着极端的性与暴力。是什么让你回想起这些主题?

苏汇宇: 首先,当我们用无畏的眼光来看,性和死亡在本质上就是美丽的。其次,当你把它们并置时,性与死亡会融合为一,成为超越两者本身的某种状态。我对此非常着迷,但我也发现这些主题和情感不仅仅是个人的,还与集体记忆、社会、意识形态和道德体系紧密相连。

Neocha: In many ways, your interpretation of The Glamorous Boys of Tang seems incredibly queer but not “gay” in a straightforward or homonormative sense. How would you position your work vis-à-vis queer identities?

Su Hui-yu: To liberate our desires, we need to try to go beyond LGBT categorical thinking, no matter what our sexualities are. Only through a profound reconsideration of our bodies and minds can we shake off the vestiges of an ultimately conservative sexual imagination. In this respect, these matters should be important to everyone. This is what I took from Chiu Kang-chien’s film. Yes, it could be interpreted as a film about LGBT identities, but it could also be far more radical than that. So, for me, it’s not just a reshooting project but an attempt to redefine “queer” as a wider concept for everybody in order to free our bodies from outdated ideologies.

Neocha: 在某种意义上,你对《唐朝绮丽男》的改编带有很大的酷儿色彩,但这又不是一部传统同性恋霸权的“同志电影”。你如何定义作品对酷儿身份认同的观点呢?

苏汇宇: 依我之见,为了解放欲望,无论我们的性倾向是什么,都应该超越 LGBT 这种分类思维。只有通过深刻地反思身体和思想,我们才能扫除根本上保守的性想象。从这方面看来,这些问题对每个人都很重要。这是我从邱刚健电影里理解而来的内容。是的,它可以被解读为一部关于同性恋身份的电影,但它也可能远比那更激进。所以,对我来说,这不仅仅是一个重编的剧本,而是尝试重新定义“酷儿”为一个更广泛的概念,为了把我们的身体,从过时的意识形态中解放出来。



Contributor: Brandon Kemp
Chinese Translation: Chen Yuan



供稿人: Brandon Kemp
英译中: Chen Yuan

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A Tenacious Spirit 一块滑板上的无限人生

March 1, 2019 2019年3月1日



To mark the launch of Skullcandy‘s wireless Push™ earphones, we teamed up with the brand to present a series of stories celebrating those in the creative community who push themselves to the limit and break boundaries.

In the first story of the series, we caught up with professional skateboarder Wang Di to chat about skating, perseverance, and the meaning of courage. For the second installment, we met up with tattoo artist Miho (Yao Meihui).

为庆祝蓝牙无线耳机 Push™ 的重磅推出,Skullcandy 与 Neocha正式携手合作,为你带来几位艺术家、运动员和音乐人,打破极限,自我出声的故事。

作为我们的专题人物的第一位,我们有幸请到了职业滑手王玓,请他与我们聊一聊关于滑板背后的故事,以及他对滑板与“Pushing Limits”的理解。而在下一期,我们则将与纹身艺术家姚美惠相约,讲述更多故事。

“The spirit of skateboarding is courage plus perseverance.”


Every skater has a stubborn, tenacious side. From popping ollies on the street to landing tricks on ramps and rails, learning to skate takes perseverance. For professional skateboarder Wang Di, the constant challenge is part of the sport’s allure. “Pushing limits is the only way to become one of the best,” he says. “I don’t give up easily. If I can’t figure something out today, I’ll push myself tomorrow.”

Born in 1995, Wang’s already been skating for over a decade. While his former classmates are stuck in the rat race, slaving away in front of a computer, he’s making a name for himself as a professional athlete. He owes his success to his refusal to give in, no matter how tired or frustrated he gets. “Skateboarding takes courage,” he says. “You have to be willing to challenge everything, you can’t back down.”


生于 1995 年的王玓,现在已经有十多年滑龄了。在他的同学们按部就班地读书、应聘、工作,走着规划好的人生路时,他却让自己的名字成为了滑板界的一道风采。王玓的成功归功于无论遭遇了多少疲惫或沮丧他都拒绝屈服。滑板它需要的就是你的勇气。他说,“你要敢于挑战这一切,不要缩。”

“I don’t give up easily. If I can’t figure something out today, I’ll push myself tomorrow.”


Wang learned perseverance from his father, who gave him his first board at age 12. When his son showed a talent for skating, he encouraged him to follow his passion as far as he could—and then keep going. Before long, Wang was taking home prizes at competitions.

Back in school, whenever a skateboarding event fell on a weekday, his family let him take time off to compete. “The longest I ever took off was a week. When I look back now, it’s hard to believe,” he says. “Compared to other parents of that generation, my dad was really open-minded. And he knows a lot about skateboarding—he started getting into it at the same time I did.” So when Wang announced he wanted to take the leap and skate professionally, his dad had his back.

王玓是从他父亲那里学会的坚持。也正是他父亲,在他 12 岁时送给了他人生第一块滑板。当王玓表现出滑板天赋时,父亲鼓励他尽可能地追随这爱好和激情——然后继续前进。不久之后,王玓就带回了在滑板比赛中赢得的奖品。


“Pushing limits is the only way to become one of the best.”


In China, skateboarding is still viewed with suspicion, and even finding a spot to skate is hard—you never know when you’ll be chased away by an overzealous security guard. So telling people you’re a professional skater raises more than a few eyebrows.

But thanks to the determination of skaters like Wang, things are changing. Skateboarding recently won Olympic recognition, and China will field a team in the 2020 Summer Games in Tokyo. Wang’s courage in defying convention has helped the sport go mainstream—though he puts it in much humbler terms. “The path was right for me,” he says. “All I wanted to do was focus on this one thing.”


但得益于越来越多像王玓这样致力于滑板的选手们的努力,现在滑板运动为国际奥林匹克所认可,中国也将在 2020 年的东京奥运会组建一支专业滑板队。王玓敢于违抗先例的勇气,也帮助了这项运动的推广——尽管他以更加谦逊的方式表达了这一点。 “这条路很适合我,”他说, “就不要做别的了,就专注于一件事情。”

“All I wanted to do was focus on this one single thing.”


For Wang, doggedly training and daring to outperform the competition are at the sport’s heart. “The spirit of skateboarding is courage plus perseverance.” Mastering a new trick can take days or even months. Some take ten times as long as others. At its worst, it’s repetitive, tedious, and painful: you try the same trick over and over again, you keep falling on the unforgiving concrete. But diehard skaters keep getting up, bruised and bloodied, and hop back on their boards to try again. The feeling of finally landing that trick, says Wang, “is the rush of your life.”

Pushing limits doesn’t mean attempting flashy, dangerous maneuvers, he says. It means overcoming doubt. And the confidence and perseverance he’s gained on his board extend far beyond skating. “On my board, I don’t have a care in the world,” he says. “I feel there’s nothing I can’t do. Skating’s made me optimistic about life.”




“Skateboarding takes courage. You have to be willing to challenge everything, you can’t back down.”


Shop the Push™ wireless earphones at Skullcandy’s Tmall page or official website.

想收获一副属于你自己的 Skullcandy 蓝牙无线耳机 Push™,敬请登陆天猫或者官网订购。

Weibo: ~/王玓WD
Instagram: @wangdi_1995


Contributor: Chen Yuan
Videographer: Damien Louise, Paul Gardette, Ni Zhaoyu
Photographer: David Yen

Instagram: @wangdi_1995


供稿人: Chen Yuan
摄像师: Damien Louise, Paul Gardette, Ni Zhaoyu
摄影师: David Yen