A Layered World 跃然纸上的记忆

April 12, 2019 2019年4月12日
Girl Talk (2019) 18 x 24 in / Pen and ink on tracing paper 《Girl Talk》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

On average, Filipina artist Lui Gonzales uses five layers of paper to create one work. She starts by tracing along the paper with a pen, rendering the likenesses of people and everyday objects in meticulous detail. Then, after layering one over the other, she systematically tears the tracing paper from top to bottom. The torn edges of the paper decorate the pieces with striking lines that twist and turn to form dynamic figures and shapes. The resulting work is a feast for the eyes, each layer beckoning the viewer to come and explore its depths.


平均下来,菲律宾艺术家 Lui Gonzales 会用五层纸来做一个作品。开始时,她会先用笔在纸上描画,画面细致入微地展现着人物和日常物品;然后再把一张张的画叠起来,有计划地从上到下把画撕下来。而这些撕下的纸,Lui 则会用醒目的线条来装饰它们,扭曲、旋转的线条,形成动态的图样。她的作品可说是一场视觉盛宴,每一层纸张都在召唤着观看者来探索它的深度。

Conversational (2019) 36 x 48 in / Pen and ink on tracing paper 《Conversational》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Visitors (2019) 36 x 48 in / Pen and ink on tracing paper 《Visitors》(2019) 91 x 122 厘米 / 笔墨、硫酸纸

Gonzales first encountered art as a child. “When I was younger, my father let us read a lot of art books,” she says. What started as a hobby soon developed into a passion. In 2006, she was accepted at the Philippine High School for the Arts and specialized in visual arts. She went on to attend the University of the Philippines-Diliman, graduating with a major in painting in 2015. Since then, she has held multiple exhibitions at galleries and art spaces both in the Philippines and abroad.


Lui 接触艺术是在她儿时,“当我还小的时候,我父亲就让我们读了很多艺术书籍。”她说。这一开始的爱好很快就发展成一种热爱,在 2006 年的时候,她前往菲律宾艺术高中(Philippine High School for the Arts)就读,主攻视觉艺术。2015 年毕业于菲律宾大学蒂利曼校区(University of the Philippines-Diliman)的绘画专业。自那以后,她在菲律宾和国外的画廊和艺术空间举办过多次展览。

Spectators (2019) 36 x 48 in / Pen and ink on tracing paper 《Spectators》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Big Sky Minds (2019) 24 x 36 in / Pen and ink on tracing paper 《Big Sky Minds》(2019) 61 x 91 厘米 / 笔墨、硫酸纸

Many of Gonzales’ works possess a distinct, personal touch. She describes the process of drawing on paper as “immediate and honest,” and in this regard, her art is a personal diary of sorts. It is a manifestation of the process of recalling and interpreting the objects, events, and scenarios she has witnessed. Memory, and the various ways in which it reveals itself, plays a central role in her art.

In her first solo exhibition titled Colorless Confetti, Gonzales deconstructed the process of remembering, imagining memories as multiple, fragmented layers that appear before the mind in no coherent order. Some remain concealed, while others are in full view. Tearing through the layers of paper is an act of destruction, but even when torn, the pieces of paper still hold value. They are recalled and remembered, and therefore, brought back to life.


Lui 的很多作品都有着她鲜明的个人风格。她把在纸上绘画的过程描述为“直接的、诚实的”,在这方面,她的作品是日记式的,是回忆和诠释她所目睹的对象、事件和情景的过程展现。记忆,以及它揭示自己的各种方式,在 Lui 的作品中有着举足轻重之地。

在她的首个个展“Colorless Confetti”中,Lui 解构了记忆的过程,把记忆想象成多重的、支离破碎的层次,这些层次以不连贯的顺序呈现出来。一些仍隐匿在暗处,而另一些却暴露于众目睽睽之下。撕开一层层的纸的行为是破坏的过程,但即使撕破了,这些纸片仍然具有价值。他们被回想起来,被记住,因此也重新展现了生命力。

For Safe Keeping (2019) Varied Sizes / Mixed media《Conversational》(2019) 尺寸可变 / 综合材料

Gonzales further expands on this concept in her latest solo exhibition Circa. Organized by Kaida Contemporary and currently on display at the ArtistSpace Gallery of the Ayala Museum in Makati, the new show likewise focuses on the fleeting nature of memory. Gonzales examines the accuracy of our recollections, questioning whether our mental manifestations mirror what is true and real. The exhibit brings together an assemblage of scenes and portraits, taken out of their original sequence, and restructured on paper.


Lui 在最近的个展“Circa”上,进一步扩展了这一概念。这次新展同样关注记忆的转瞬即逝的本质,由 Kaida Contemporary 组织,目前正在马卡蒂阿亚拉博物馆的 ArtistSpace 画廊展出。Lui 检查我们记忆的准确性,质疑我们的精神表现是否反映了真实。这次展览汇集了一组场景和肖像,从原来的记忆顺序中取出,并在纸上重新构造。

Hey, Andy (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Hey, Reg (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Dwelling (2019) 48 x 36 in / Pen and ink on tracing paper 《Dwelling》(2019) 122 x 92 厘米 / 笔墨、硫酸纸

Gonzales’s largest work in this series is titled Crowded. At 72 inches wide by 42 inches long, the artwork uses ten layers of paper. Similar to other works in this exhibit, Crowded is a moment frozen in time. It depicts a large group of people as they weave their way amongst one another. “I like it when people are brought together into one setting,” Gonzales says. “I like observing how they all interact with each other, even if these events never happened in the same timeline. In my mind, they all morph into one another.”


Lui 在这个系列中最大的作品叫做《Crowded》(《拥挤》)。作品宽 72 英寸,长 42 英寸,用了足足十层纸。和本次展览中的其他作品一样,《Crowded》是凝固在时间中的一个瞬间。它描绘了一大群人,他们在彼此编织着自己的路。“我喜欢把人们集中在一个环境里。”Lui 说,“我喜欢观察他们是如何互相影响的,即使这些事件从未发生在同一个时间线上。在我的脑海里,它们都变成了彼此。”

Crowded (2019) 42 x 72 in / Pen and ink on tracing paper《Crowded》(2019) 107 x 183 厘米 / 笔墨、硫酸纸

Memories are fragments: scraps and pieces that our minds bridge together; the results are convincing but often inaccurate versions of events. The portraits in Circa are similarly disjointed, with faces seemingly in motion and no fixed expression. Instead, they shift and take on different forms, revealing a variety of emotions all at once.


记忆就像碎片:纷纷散落的碎片,经由我们的大脑连接;它们的结果往往令人信服,但又往往并不准确。“Circa”展览中的肖像也同样杂乱无章的,人们的脸似乎总在运动,没有固定的表情。反而又以转换和采取不同的形式,揭示了在同一时间各种各样的情感。

Hi Bessy (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bessy》(2019) 91 x 46 厘米 / 笔墨、硫酸纸
Hi Bert (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bert》(2019) 91 x 46 厘米 / 笔墨、硫酸纸

In Latin, the word circa means “around” or “nearby,” and in English, it is used for approximations. This exhibit is exactly that—a study in approximations. Each of the finished works contains a world of its own. The characters silently play their parts, and each silhouette is a recreation of something that once existed, and now, through its passage in the depths of memory, has been altogether transformed into something new. Circa is Gonzales’s examination of memory’s fickle nature and the many ways we perceive and process our experiences. Truth blends with emotions, sensations, and even imagination, ultimately creating a past that is always changing.


在拉丁语中,“Circa”的意思是“在周围”(around),而在英语中,“around”又用来表示近似。这个展览就是一个关于“近似”的研究。每一副完成的作品都包含了一个属于自己的世界。那些人物无声地扮演他们的角色,每一个剪影都是对曾经存在的事物的再创造。而现在,通过它在记忆深处的通道,已经完全转变为某种新的东西。“Circa”是 Lui 对记忆变幻无常的本性、以及我们感知和处理经验的检查。真相与情感、感觉甚至和想象融合在一起,最终创造了一个不断变化的过去。

Guided (2019) 18 x 24 in / Pen and ink on tracing paper 《Guided》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

EventCirca
Exhibition Dates: April 12, 2019 ~ April 27, 2019

 

Address:
Artist Space, Ground Level
Ayala Museum Annex
Makati Ave. (Corner of De La Rosa Street)
Metro Manila, Makati City
Philippines

 

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Instagram: @lui_gonzales

 

Contributor: Elle Lucena
Chinese Translation: Chen Yuan


活动名称: “Circa”
展览日期: 2019年4月12日——2019年4月27日

 

地址:
菲利宾
马卡蒂马尼拉
Makati Ave. (Corner of De La Rosa Street)
阿亚拉博物馆副楼
Artist Space 1F

 

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Instagram: @lui_gonzales

 

供稿人: Elle Lucena
英译中: Chen Yuan

The Routesetter 他的“壁虎漫步”

April 10, 2019 2019年4月10日

 

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The rise of indoor rock climbing gyms over the past two decades has led to an explosion in the sport’s popularity, allowing those with limited access to the outdoors to also take part. But the high cost of infrastructure, equipment, and space that these gyms require have largely prevented rock climbing from penetrating many developing countries. Today, the US, Japan, and many European countries are at the forefront of the global climbing scene, but passionate athletes in Cambodia have their noses to the grindstone as they work towards representing their country on an international stage.


在过去的二十年间,室内攀岩场馆的兴起掀起了一波这项运动的热潮,让那些无法到户外攀岩的人也可以参与其中。但是,这些攀岩场馆所需的基础设施、设备和空间成本较高,很大程度上影响了其在发展中国家的普及。如今,美国、日本和欧洲等国家处于全球攀岩运动的最前沿,但是,在柬埔寨,有越来越多热爱攀岩的运动员正埋头苦练,志在总有一天能代表他们国家,站上国际舞台。

Seyha Nano, a 22-year-old athlete from Siem Reap, is one of the top climbers in the country, but he started from humble beginnings. Like many children from Cambodia’s countryside, Nano grew up scaling large trees for fun. “I use to live very close to a river, and I liked to climb coconut trees and jump down to the water,” he recalls. When he was finally introduced to rock climbing by one of his secondary school teachers, he quickly fell in love with it.


来自暹粒市、22 岁的 Seyha Nano 是柬埔寨顶尖的攀岩运动员之一。他出身卑微,和大多柬埔寨农村小孩一样来自农村,从小 Nano 最大的乐趣就是爬各种大树。“我以前住在河边,喜欢爬上椰子树,然后往下跳到水里。”他回忆起。后来,一位中学老师带他去攀岩,很快地他就爱上这项运动。

Taica, a Japanese company that’s actively involved in the Cambodian climbing scene, took notice of Nano’s talents early on and backed him as a sponsor, footing the bill for equipment and training. With their support, Nano was able to focus on developing his skills. He rapidly rose through the ranks and began securing gold medals in competitions across the country.

Today, as one of Cambodia’s top climbers, he’s traveled all over East Asia to compete and train with elite climbers from around the world, and he’s immensely thankful for these opportunities. “If I’d never started climbing, I wouldn’t have been able to travel to so many places and see how other people live, and how things can be different,” he says. These interactions with veteran climbers, he believes, have provided him with knowledge that he can inject into the local climbing scene.


Taica 是一家积极参与柬埔寨攀岩运动的日本公司。这家公司很早就注意到 Nano 的攀岩才华,并开始赞助他,为他支付设备和培训费用。有了他们的支持,Nano 终于能够专注于训练自己的技巧。他的排名迅速上升,并开始在全国比赛中赢得金牌。

今天,作为柬埔寨最顶级的攀岩者之一,他前往东亚多国参加比赛,并与来自世界各地的菁英一起进行攀岩训练,他非常感谢这些机会。他说:“如果我没有去学攀岩,我就不会有机会去到这么多的地方,看到别人的生活,了解不同地方的文化。”他认为,通过与经验丰富的攀岩者互动,让他获得足够的知识,可以用来投入发展家乡的攀岩运动。

Despite becoming one of the most recognized figures in the Cambodian climbing scene, Nano remains hard at work toward even more ambitious goals—to expand the sport’s popularity and nurture a new generation of climbers in the country. On any given day of the week, you can find him at Phnom Climb, setting routes, training, or teaching younger athletes. “Right now we don’t have good coaches in Cambodia, but I think I can become a coach here and train young climbers to be really good in the future,” he says.


尽管在过去几年间,Nano 成为了柬埔寨最知名的攀岩运动员之一,但他仍然不断努力,朝着更雄心勃勃的目标前进——在当地推广攀岩运动,并为国家培养新一代的攀岩运动员。无论是一周间的哪一天,你总是能在 Phnom Climb 找到正在设置攀爬路线、或是在对年轻运动员进行培训和教学的他的踪影。他说,“现在在柬埔寨并没有特别好的教练,但我想成为一名教练,培养年轻的优秀攀岩者。”

Rock climbing has come a long way in Cambodia since Nano began, even recently gaining recognition in the country’s Ministry of Sports. But despite the progress, it still doesn’t stand up to traditional sports like football or volleyball. “When I talk about climbing to Cambodians, they think I’m talking about hiking, and still don’t really understand the concept when I explain it,” he shakes his head. This unfamiliarity with the sport means Cambodia still has a lot of ground to make up for if it hopes to send a delegation of athletes to the Olympics, but Seyha is eternally optimistic. “Right now we only have three members on the national team, but in the future, I’m sure we’ll have a great team that can compete in the Olympics.”


从 Nano 投入这项运动开始,柬埔寨的攀岩确实成长了许多,最近甚至获得国家体育部的认可,但是与足球或排球这些传统运动相比,依然有很大进步的空间。“当我跟柬埔寨人聊起攀岩时,他们总是以为我在说爬山。当我向他们解释这项运动时,他们都一脸茫然。”他摇摇头说道。对这项运动的陌生也意味着,如果柬埔寨希望有朝一日能派运动员参加奥运会,他们还需要作出更多努力,但 Nano 始终十分乐观。“现在我们国家队只有三名队员,但在未来,我相信我们一定可以组成一支出色的队伍去参加奥运会。”

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Instagram: @sorseyh

 

Contributor, Photographer, and Videographer: Jeremy Meek
English Translation: Olivia Li


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Instagram: @sorseyh

 

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

VSCO – Agfa Ultra 100 Agfa Ultra 100 胶卷模拟

April 10, 2019 2019年4月10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.


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。

Great for bringing cloudy or dull settings to life, Agfa Ultra 100 (AU1) is the successor to Agfa Ultra 50 (AU5). Although AU1 and AU5 share similarities like high contrast and bright color, AU1 features cooler tones and a more balanced color palette. Ideal for all skin tones, make use of AU1 when editing portraits.


Agfa Ultra 100 – AU1 是 Agfa Ultra 50 – AU5 的进阶版,它能给场景添加阴天或昏暗的环境色。尽管 AU1 和 AU5 有其相似点,比如高对比度和明亮的颜色,但 AU1 的特点是更凉爽的色调和更平衡的调色板。并且,在编辑肖像时使用 AU1,它适合所有肤色的色调。

The Twisted Mind of Tony Cheung 愉悦之下的暴力

April 8, 2019 2019年4月8日

Guangzhou may be a step behind the established art scenes of Shanghai and Beijing, but Chinese illustrator Tony Cheung doesn’t necessarily see it as a negative. He says, like many other first-tier cities in the country, Guangzhou is a materialistic place where the people are overly focused money, and that this ultimately leads to the marginalization of non-mainstream art. Since art isn’t seen as a lucrative career path, fewer people are interested in it. “Of course, less competition might make artists lazier and financially less successful,” he notes. “But the peaceful and relaxing atmosphere in Guangzhou’s art circle is really appealing to me.”


就城市的艺术发展来说,广州可能稍稍逊色于上海或北京,但中国插画家庄汤尼( Tony Cheung )并不认为这是一个缺点。他说,像中国许多一线城市一样,广州也是物质主义盛行的地方,这里的人重视金钱导致了非主流艺术的边缘化。由于艺术不是一门利润丰厚的行业,越来越少人对它感兴趣。“当然,竞争少了可能会让艺术家变得懒惰,在收入方面也不太理想。但是,广州艺术圈宁静和轻松的氛围很吸引我。”他说道。

This same sense of peacefulness, however, does not translate into Cheung’s work. His images are nightmarish and chaotic, rife with sexualized schoolgirls, mutating phalluses, and grisly acts of violence. But these grotesque scenes aren’t created just for shock value alone; it’s a way for him to deliver his message to a populace that he believes to have been largely desensitized by a bombardment of digital media. “Our daily life is so full of all kinds of violent productions like photos, movies, news reports, and even advertisements,” he says. “Our generation is so used to it, which means as an artist, you need stronger stimulation to attract people’s attention. So violence and sometimes sex is the way for me to satisfy myself and the viewer, but at the same time, it’s a reflection of our visual reality.”


尽管如此,庄汤尼的作品却不像这座城市一样平和。反之,他的画作演绎了各种噩梦般的混乱画面——摆弄性暗示动作的女孩、变异的性器、以及各样可怕的暴力行为。这些怪诞的场景并不单纯是为了冲击视觉而存在,更是他传递信息的方式。

他认为现在的观众因为泛滥的数字媒体而变得麻木不仁。他说:“我们每天的生活充满这么多暴力作品,照片、电影、新闻报道、甚至是广告。我们这一代人早已习已为常。这意味着,作为一个艺术家,你需要创造更强烈的刺激来吸引人们的眼球。所以有时我会借助暴力和色情来满足自己和观众。不过,与此同时,这些作品也是在反映我们见到的现实。”

The brutal violence of Cheung’s work is his way of pointing out certain societal injustices. “For me, violence as a word has been mostly used to describe physical harmful force, while spiritual or systematic violence are neglected,” he says. “Fewer people consider social injustice, sexism ideology, or class discrimination as violence as well. So I bring my criticism against all types of violence into my works, covering them with physical abuse and pleasure. In all, physical violence is just a metaphor for violence that is less visible.”


在庄汤尼的作品中,野蛮的暴力是他用来抨击社会不公的方式。“在我看来,暴力这个词大多被解释为实际上的身体伤害,而精神或制度上的暴力却被忽略了。”他说,“越来越少人意识到社会不公、性别歧视、或阶级歧视都是暴力。所以,我希望在作品中批评所有类型的暴力,将它们掩盖在身体虐待和愉悦之下。总之,身体暴力只是在隐喻其他形式的无形暴力。”

Even the hyper-sexualized girls that populate his works are more than they appear; at first glance, they might seem like twisted male fantasies, but what it requires is for viewers to look beyond the surface. From crying heads in lieu of breasts and limbless women, Cheung’s disturbing imagery intends to anti-fetishize the female form as a means of challenging a male-dominated society.


乍看之下,在他作品中那些被严重性化的女孩,似乎只是一幕男性扭曲的性幻想。但当你把眼光跳脱画面之外,哭泣的头部取代了乳房和截肢的女性,令人不安的画面旨在抗议物化女性的思想,以此作为挑战男权社会的一种手段。

Cheung’s art forces viewers to confront discomfort on many levels. He paints the ugliness of real life, and through these revolting visuals, he hopes to inspire critical thinking and change. “I don’t know if my works truly reflect the reality of things, but at least that’s what I try to achieve,” he shrugs. “Reality is not something that inspires me, but rather reality is something I care deeply about and feel eager to change.”


庄汤尼的艺术强迫观众去直面多种层次的不安。他描绘出现实生活中的丑恶,并希望通过这些骇人的视觉效果,激发人们的批判思考和改变作为。“我不知道我的作品是否真实反映了现实,但至少这是我尽力达成的目标。”他耸耸肩,“现实不是我的创作灵感,而是我非常关心,并且渴望有所改变的事情。”

Instagram: @tungningcheung

 

Contributor: Bryan Grogan
English Translation: Olivia Li


Instagram: @tungningcheung

 

供稿人: Bryan Grogan
英译中: Olivia Li

Idealists vs. Nihilists 时装周里的世纪谈判

April 5, 2019 2019年4月5日

Making my way past the stylishly dressed crowds and hordes of photographers at this year’s fashion week, I found myself at a history-making conference.

Inside, distorted audio of Party propaganda played in my ears as I was ushered into a dimly lit room. A set of red curtains being slowly pulled back marked the beginning of the show. Two different factions, differentiated by the pop of red and blue on their outfits, entered space. Gathered around them, a third group dressed in a neutral gray watched on. Representing nihilists and idealists, the red and blue parties seated across from one another at the circle of conference tables suddenly erupted in argument. After a heated back and forth, the negotiations end amicably with members from both factions amicably shaking hands.


穿梭于时装周每个镜头背后精心装扮的身影里,我去了一个世纪谈判现场。

耳朵里交替着刻意机械化处理的口号,走进一个昏暗空间,红色的幕布徐徐拉开,身着红蓝制服的两个阵营与一身灰衣的目击者悉数登场。

在一阵激烈的内部争论后,两大阵营在圆桌前握手言和。

A closer look at the models reveal meticulously designed pieces worn beneath their seemingly identical outfits and impeccable makeup work. By this point, it was clear that XIMON LEE has tossed all fashion show conventions out the window for its 2019 A/W collection. The attending audience transcended the role of passive observers; they became officials presiding over this roundtable negotiation.


而拉近焦距后显现的那些藏在制服下的设计细节跟精致的妆容才让你幡然醒悟,XIMON LEE 19 A/W 又一次革新了你对一场时装发布会的理解,观众不再只是旁观者,更是这场理想主义与虚无主义和解的见证人。

XIMON LEE is a fashion label founded by Korean Chinese designer Li Dongxing. At the age of 24, Li became the first menswear designer to win the H&M Design Award and make it into the semifinals of the LVMH Youth Design Competition.

Li’s parents are from Daegu, South Korea, while he was born in Heilongjiang, China, and his formative years were spent between Beijing, Shanghai, and Hong Kong. He studied in New York, graduating from the Parsons School of Designs before moving to Berlin where he’s now based. These multicultural experiences have gifted him with an appreciation for cultural diversity, which has allowed him to produce refreshingly unexpected designs season after season.


XIMON LEE 是毕业于帕森斯设计学院的韩裔华人设计师李东兴创立的服装品牌,24岁就成为首位获得 H&M 设计大奖的男装设计师,接着又入围了 LVMH 青年设计大赛候选名单。

现居柏林的 Ximon,父辈来自韩国大邱却出生于黑龙江,之后辗转在北京、上海、香港、纽约学习生活,复杂的阅历让他对文化多样性有更深刻的理解,这也使得 XIMON LEE 每一季都呈现出截然不同的惊喜。

Li’s talent lies in his ability find inspiration from unlikely sources: the 2005 documentary The Children of Leningradsky, bodily shame, mass production culture, and now nihilism and idealism. While each collection is unique in their own right, they share commonality in that they’re all methods for him to offer his commentary on modern society. His avant-garde shows are a marked departure from the extravagant consumerism that’s often celebrated at deafening volume in today’s fashion world. What Li offers is an untainted creative vision that cuts through the noise.


系列灵感从《列宁格勒的孩子》、美丑观念、到人为复制再到这场虚拟的对峙,每个情感点都独立存在却又饱含着统一的对社会议题的讨论。在这场几乎快被消费主义掌权的华丽又嘈杂的表演里,大概是为数不多清晰可辨的声音了。

Website: ximonlee.com
Instagram: @ximonlee
Weibo: ~/ximonlee

 

Contributor: Shou Xing
Photographer: Chan Qu


网站: ximonlee.com
Instagram: @ximonlee
微博: ~/ximonlee

 

供稿人: 寿星
摄影师: 凤阳

The Rules of the Game 真实人生的大富翁游戏

April 3, 2019 2019年4月3日

You can tell from her drawings that Vietnamese illustrator Cao Le Dieu Phuc is a curious, perceptive, and insightful artist. Her works are understated but incisive, with a caustic edge. One example is her recent project, Vocabulary, which features a collection of index cards that match definitions from the dictionary with drawings redefining each word. On one card, the definition of “monopoly” is coupled with a world map, a commentary on how reality isn’t far off from the Hasbro board game with rich elites wanting to accumulate as much land and wealth as possible. On another, the definition of “loudspeaker” is paired with an assault rifle, serving as a critique on how only those with power are heard. This project is her distinctive view of society. “Through art, I want to show everyone my views on this world,” Cao says.


从越南插画家 Cao Le Dieu Phuc 的画作中就可以感受出来,她是一个充满好奇心、观察力、和洞察力的创作者。如同她在最近的作品系列《Vocabulary》(《单词》)中,带着一丝揶揄的调侃意味,她把字典里不同字词配上自己原创的图解,创造出全新的释义——把大富翁游戏解释为整个世界,是富者插旗置产的游戏主场;或是扩音器解释为枪,拥有武器的人的声音更能被听见……这一系列作品提供了她对现实社会独到又残酷的见解。Cao Le Dieu Phuc 说,“我想通过艺术向大家展示我对这个世界的想法。”

Bleach / 漂白
Loudspeaker / 扬声器
Monopoly / 大富翁
Band-aid / 创可贴
Tickets / 票卷

Even as a child, Cao was insatiably curious. This inquisitive nature would follow her into adulthood and nurture her creativity. “Ever since I was a kid, I’ve always had lots of questions about normal things in life, such as, ‘What is death like? Why am I me and why are they them? How would it feel to be someone else?” she recalls. Even though she’s now older, she still hasn’t found definitive answers to these questions. Yet she isn’t alone. We’re all clueless, like pawns set down in this game, groping our way forward.

“It still feels like I’m playing my childhood games as an adult,” she says. “But the games feel much harder because many rules have changed.” Cao’s series Are You Ready? explores these changes, depicting the realities of adulthood through illustrations of popular board games and video games from the 90s. In the series, the tiny humans are seemingly estranged from their peers, isolated in their own games as they chase after dollars, look for a partner, try to fit in, seek out attention, and face death: this is everyone’s life in miniature.


从小 Cao Le Dieu Phuc 就对生命抱持着许多疑问,她满怀好奇心以及追根问底的个性也跟随她进入成年,并滋养了她艺术上的创意表现。“死亡是怎么样的?为什么我是我,而他是他?如果可以成为别人那会是什么样的感觉?”虽然这些问题在她长大之后不见得能得到解答,但她并不是孤单的。我们每个人都一样懵懂无知,如同棋子一般被安插在人生这场游戏里,摸索着向未来前行。

“我好像还是在玩这些小时候的游戏,只不过更困难,因为游戏规则变了。”Cao Le Dieu Phuc 这样形容她对人生的看法。《Are You Ready?》(《准备好了吗?》)这一系列作品是她针对现实的描摹,以 90 年代经典的桌游和电玩游戏为原型,画面中的小人与身旁的伙伴形同陌路,游离在各种的游戏里——挣钱、寻找另一半、融入群体、寻求关注、死亡——这是一部部人生的缩影。

But games and real life are very different. Unlike video games, in life, there’s no pause, and you can’t hit the restart button. The drab palette of Cao’s illustrations almost seems to allude to this glum realization, but she’s actually an optimist at heart. “My art isn’t stating that we can only play by the rules of the game,” she explains. “It’s just that when you get better, you’ll have to face even harder challenges, just as you would when you advance to the later levels of a video game. We need to figure out how to beat the level, to master the game of life, and have fun doing it. This series has allowed me to say goodbye to childhood and face the real world.”


不过与游戏不同的是,现实中少了暂停键,也没有重新开始的选项。她的画披上一层灰濛濛的色彩,看似悲观,但她本人却不是这样想。反之,她相当乐观和抱持希望。“我并不是想说我们只能按照规则来玩。只是在人生里,当你玩得越好,就会面临更多困难和挑战,就像在游戏中升级了一样。我们得想办法怎么晋级,玩得更好,成为人生这场游戏的佼佼者,开心地玩。画这一系列让我得以向童年道别,然后接受现实。”

Behance: ~/caoledieuphuc
Facebook: ~/caoledieuphuc

 

Contributor: Yang Yixuan


Behance: ~/caoledieuphuc
脸书: ~/caoledieuphuc

 

供稿人: Yang Yixuan

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Seeing through Prisms 一枚三棱镜带给你的多重惊喜

April 3, 2019 2019年4月3日
Image by r-hu / 图片由 r-hu 提供

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.

Adding a simple object to your toolkit, such as a prism, can keep your creative process fun and fresh. There are many types of prisms to choose from—glass or plastic, triangular or round, large or small. To get started, we suggest a six-inch-long glass triangular prism, but feel free to experiment with a variety of types.

Remember that when held at different angles, a single prism can produce multiple effects. Try shooting with a prism in the following three ways:


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。

在你的工具包中添加一个简单的物体,比如棱镜,就可以让你的拍摄过程充满乐趣和新鲜感。有许多类型的棱镜可供选择——玻璃或塑料的,三角形或圆形的,大型或小个的。在一开始,我们建议使用一个 6 英寸长的玻璃三角形棱镜,但你也可以自由尝试各种不同的类型。

请记住,当在不同的角度举行,一个单一的棱镜可以产生多种效果。试着用以下三种方法用棱镜拍摄:

Create repetition / 创造重复感

The more sides or ‘faces’ a prism has, the more repetition you can create in your photo. Draw attention to your favorite portion of a scene by using the prism to multiply the number of times it appears in the photo.


棱镜的面越多,你在照片中就越能创造出“重复感”。通过使用棱镜来增加它在照片中出现的次数,来吸引人们对场景中你最喜欢的部分的注意。

Image by leeloo-mina-lekatariba / 图片由 leeloo-mina-lekatariba 提供
Image by jasonleedenton / 图片由 jasonleedenton 提供
Image by thelabyrinth / 图片由 thelabyrinth 提供

Incorporate reflections / 结合反射

Use a prism to layer a reflection from outside of the frame onto your image, such as the sky overhead. This effect often feels similar to a double exposure and can be used to give additional insight into your surroundings.


使用棱镜,给你取景框之外的景象层层反射进来,就如头顶的天空。这种效果通常感觉像双重曝光,可以用来给你的周围环境增加额外的洞察。

Image by kjffrs / 图片由 kjffrs 提供

Generate partial effects / 产生部分效果

Instead of covering your entire lens with the prism, try a more subtle approach. Hold the prism so that only a corner or portion of the frame becomes distorted. This method works especially well when shooting portraits, because it maintains the person’s natural appearance, while still adding a dreamy effect.


与其用棱镜复盖你的整个镜头,不如尝试一个更微妙的方法。保持棱镜只有一个角落或部分在取景框之内,它会使相片一角变得扭曲。这种拍摄方法在拍摄人像的时候效果特别好,因为它保持了人的自然外貌,同时还增加了梦幻般的效果。

Image by apricotberlin / 图片由 apricotberlin 提供
Processed with VSCO with f2 preset
Image by starryjenn / 图片由 starryjenn 提供

Memories of the Future 未来人做着什么样的梦?

April 1, 2019 2019年4月1日

 

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With the whirlwind pace of technological advancements, some ideas that seemed ludicrous not long ago are now within the realm of possibility. Future Cities is one such idea. Masterminded by Cody Ellingham of DERIVE (whose photo series Danchi Dreams and Painting the Town Red we’ve featured in the past), the ambitious project combines the talents of 3D artist Ruben Frosali, sound designer SJF, and Ellingham himself. The result of the collaboration is a cutting-edge art exhibition based on photogrammetry, a method of measuring distance between objects on static images. Using these calculations, they’ve developed a way for 2D stills to be experienced in an interactive format.


随着科技不断进步发展,以往一些看似荒谬可笑的想法在不久后的未来也有可能成为现实。《未来城市》(Future Cities)正是一个例子。这个艺术项目由 DERIVE 的摄影师 Cody Ellingham 所策划,又在此基础上融入了 3D 艺术家 Ruben Frosali 和音效设计师 SJF 各自的创作才华(其中摄影师 Cody 的过往作品报导可参看链接:《Danchi Dreams》和《Painting the Town Red》),利用摄影测量术打造了一个高科技的前卫展览。摄影测量术是一种测量静态照片上不同物体之间距离的方法。通过测算,他们成功创造出一种能让人在静态二维空间实现人景交互的体验。

Future Cities began with the team making 3D scans of different locations across Tokyo. The scanned images were then digitally altered by Frosali and paired with moody soundtracks from SJF to create the series of immersive dream sequences. Streaking beams of light and disintegrating pixels transformed familiar locales like Kabukicho and Akihabara into otherworldly settings that only bear a vague resemblance to their real-life counterparts.

“We did not want to simply guess at what a generic sci-fi future might look like,” Ellingham explains. “Instead, we wondered what someone from the future would be dreaming of, and we came to the conclusion that it might be memories of a distant past: our present day, combined with their own future.”

At the two-day show in Tokyo, audience members were handed controllers, allowing them to wander through these fragmented memories of the future and become lucid participants in someone else’s dream.


这个项目首先从东京各地进行 3D 扫描开始,然后由 Ruben Frosali 进行后置处理,再与来自 SJF 空灵的配乐相结合,以打造一系列沉浸式的梦中画面。人们熟悉的场景如歌舞伎町和秋叶原,在四溢的光束和液化的结构映衬下,幻化成一场超脱尘世的的梦境,而这些场景和他们的真实外表只相形大概。

“我们并不想仅仅猜测一个普通的科幻未来会是什么样子。相反,我们想知道来自未来的人会梦想些什么。” Cody Ellingham 解释道,“我们最后得出的结论是,也许会是关于遥远过去的回忆吧。”

在东京的为期两天的展览上,观众可以使用控制器去探索这些梦中场景,得以在这些支离破碎的未来记忆中漫步,成为他人之梦的参与者。

The second edition of Future Cities will debut in Taipei, Taiwan on April 20th. Similar to the first show, the Taipei exhibition will feature brand new settings based on real locations in the exhibiting city. Click here for event details.


第二届《未来城市》将于 4 月 20 日在台北亮相。与第一届展览类似,台北场展览也将基于全新拍摄的当地实景来创作。点击此处可了解更多展览的详细信息。

Website: derive.tokyo
Facebook: ~/derive.tokyo

 

Contributor: David Yen
Chinese Translation: Olivia Li
Images & Video Courtesy of DERIVE


网站: derive.tokyo
脸书: ~/derive.tokyo

 

供稿人: David Yen
英译中: Olivia Li
图片与视频由 DERIVE 提供