Ride or Die 疾速下的自由

May 15, 2019 2019年5月15日

It’s common for a photographer to devote themselves to a few specific genres of photography. Some may choose to focus on architecture or landscapes while others may prefer portraiture or street photography. But Hou Zitong, a 23-year-old Beijing native, has decided to point his lens at a niche subject matter: bicycles, or specifically, fixed-gear bikes.


通常,每个摄影师都会有自己专精的摄影类型或主题,有人侧重拍摄建筑或风景,也有人喜欢专门拍摄肖像或街头摄影。而 23 岁的北京摄影师侯子通则把镜头对准一个比较小众的主题:自行车,或者再具体一点,死飞自行车(Fixed Gear)。

Fixed-gear bicycles are bikes named for the fixed cog fitted on the rear wheel. This setup means that, unlike regular bikes with a freewheel mechanism, if the wheels are moving, the pedals are moving too, making coasting impossible. While it can be tiring to ride, a fixie’s appeal lies in its simplicity. With fewer moving parts, they’re lighter and sleeker than traditional bikes. Some riders even forgo brakes, which also frees them to perform maneuvers that otherwise wouldn’t be possible. (Brakeless bicycles are illegal in many areas, though some enthusiasts insist they’re safe.) In China the popularity of fixies has waned since its peak in 2013, though dedicated communities of riders still exist,


死飞以安装在后轮上的固定齿轮命名。这意味着不同于一般自行车的飞轮构造,如果死飞的车轮在移动,踏板也会跟着移动,使得它无法在踏板静止状态下保持滑行。虽然骑起来比较累,但死飞的魅力在于它结构的简洁。由于移动部件较少,它们比传统自行车更轻、更顺畅。有些车手甚至会选择不安装刹车,以获得更多操控上的自由,做到更多之前做不了的动作。(无刹车自行车在很多地方都是非法的,即使有些爱好者坚持它们是安全的。)在中国,死飞的热潮在 2013 年达到了顶峰。虽然现在热度有所下降,但仍然存在着许多活跃的死飞车手团体。

Hou is one of these devoted riders. He’s loved both photography and fixies for as long as he can remember. During high school, he was already cruising the streets and shooting whatever caught his eye. Surprisingly, though, the idea of aiming his camera at the cycling culture he loved didn’t come about until much later.

In his early days as a freelance photographer, financial uncertainties were a constant. On one particularly bad month without any jobs, he considered the unthinkable—selling his beloved fixie. “My income at the time all came from photography jobs, but freelancing as a photographer, opportunities were sparse,” he says. “I remember I only had 300 RMB in my bank account, and I had no idea what I’d do after that was gone, but I didn’t want my family to think photography wasn’t a viable profession. So I thought about selling my bike. But I wanted to remember it, so I decided to try to get some cool snaps of it. They turned out rad as fuck, and that’s how it all began for me. I actually didn’t even end up selling my bike. Looking back now, it’s hard to imagine that I even considered it. Maybe it was some sort of divine intervention that was guiding me.”


侯子通本身就是一位狂热的死飞车手。他从小就热爱摄影和死飞自行车。早在高中时期他就很喜欢上街溜达,拍摄一切让自己感兴趣的事物。尽管如此,他却是到很久之后才萌生拍摄自行车文化的想法。

早期担任自由摄影师的时候,侯子通的经济收入很不稳定。在情况特别不好的月份里,他甚至连一份工作都没有。他不得已开始考虑那些难以想像的出路,例如卖掉自己心爱的死飞。“我当时完全靠摄影谋生,但实在没什么活儿。我清楚记得银行卡里只剩 300 人民币,我不知道花完这些钱后该怎么办。我不想向家里拿钱,让家人觉得摄影这个行业不可行,所以我只好考虑卖掉我的死飞。”他说,“为了留念,我想为它拍一张帅点儿的照片,结果拍完发现实在他妈太帅了。一切就从这里一发不可收拾,当然最后车也没卖。回想起来,我到现在也没法理解为什么那天会有卖掉死飞的想法。可能是暗中有某种力量在指引我走上拍摄死飞这条路。嗯,我想是这样的。”

Despite how niche fixies are in the world of sports photography, Hou’s decision to follow his heart has paid off. In recent years, he’s landed opportunities to work with cycling brands around the world, including Taiwan’s nabiis and Spain’s Dos Noventa. These opportunities have given him the chance to visit—and more importantly, ride in—cities he’s never been to before. “Shooting fixies has been a bridge of sorts for me,” he says. “It’s allowed me to go to different places and meet a lot of other riders.”


尽管死飞在体育摄影行业里非常小众,但侯子通始终坚持听从自己内心的声音,在最艰难的时候也没有放弃,最终他的坚持有了回报。近年来,他获得了和世界各地自行车品牌合作的机会,包括台湾的 nabiis 和西班牙的 Dos Noventa。这些机会也让他到访——或是更重要的——骑行在多个不同城市中。“拍摄死飞对我来说就像搭起一座桥。”他说,“它带我去到很多不同地方,认识很多车手。”

While the focus on cycling culture is a hallmark of Hou’s work, what makes his photography truly stand out is the sense of unfettered freedom that’s captured in every frame. His snapshots of riders weaving through traffic, towing themselves on moving trams, and bombing down steep hills encapsulate both the dynamic energy of cities in motion and the thrill of moving with the ebb and flow of that energy. It’s the same energy that he relishes every time he’s out riding, and the same energy that’s kept him infatuated with the sport for over a decade.

“You get to enjoy the city in different ways depending on when you ride,” he says. “In the daytime, with traffic and pedestrians, it’s like a constant tussle between you the city, but at night, you can enjoy the calm. Without cars, it’s just you, your music, and the rhythm of your peddling. But no matter the time of day, the best thing about fixies is the sense of freedom when you ride. It makes me feel like I own the city. Believe me, it’s something everyone should experience.”


虽然专注拍摄自行车文化是侯子通的一大特色,但真正让他的摄影脱颖而出的是,每一张照片中捕捉到的那种无拘无束的自由。在他的作品中,车手穿梭在繁忙的交通车流里,随着电车牵引骑行,疾速冲下陡峭的山坡,既呈现了城市中蓬勃的动态能量,也展现出跟随这股动能自在起伏移动的快感。这样的快感让他很享受每一次骑行,也因此在十多年间一直不减对这项运动的热爱。

“在不同时候骑行,你就能享受到不一样的感觉。”他说,“白天拥挤的时候,我觉得我在和这充满框架线条的城市作对;深夜骑的话,就能享受到完全的宁静。没有车,只有音乐和你踩动踏板的韵律。无论什么时候,对我来说骑死飞最大的乐趣就是让我感到自由。骑上死飞,就好像骑上了整座城市。相信我,你也会想体验一下这种感受。”

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Website: www.houzitong.me
Instagram: @houzitong
Weibo: ~/houzitong

 

Contributor: David Yen


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网站: www.houzitong.me
Instagram: @houzitong
微博: ~/houzitong

 

供稿人: David Yen

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Separating Motion 在电影诞生之前

May 15, 2019 2019年5月15日

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

English photographer Eadweard Muybridge was a pioneer of photographing motion, and his work paved the way for the motion picture industry. He was hired in 1872 to find out whether or not all four of a horse’s legs simultaneously leave the ground while galloping. Five years later, after much experimentation and unrelated delays, he successfully photographed and proved that indeed a horse’s stride finds it momentarily suspended in the air. He dedicated over 15 years to creating and publicizing his photos of human and animal locomotion, displaying his images in a grid to show the sequence of the movements.

Learn more about Muybridge’s photography and discover insights you can apply to your own documentation of motion.


本篇文章来自新茶媒体合作伙伴  VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

英国摄影师 Eadweard Muybridge 是动态影像的先驱,他的作品为电影工业奠下了基石。他在 1872 年时被指派一项任务——确认马匹在奔驰时是否四只脚会同时离开地面。五年后,经过大量的实验,他终于成功拍摄到并证明马的步伐确实会暂时悬浮在空中。他为创作和推广自己记录人类和动物运动的照片,奉献了超过 15 年的时间。他的图像通常以网格的形式展示,显示出连续动作的顺序。

以下我们将带你了解更多关于 Eadweard 的摄影,你可以试着把这些技巧应用到自己的动态记录中。

Capturing Multiples

 

Modern cameras make capturing motion easy and convenient, but in the 19th century, Muybridge had to be innovative. He used up to 24 cameras to capture each scenario and designed his own set of electronic shutters and timers to fire quickly.

By photographing action in quick succession, you will capture subtle changes and end up with an interesting visual story. Shoot multiples to create a photo series or use it as a means to capture and curate the strongest image.


连续拍摄

 

现代相机使得拍摄动态影像简单又方便,但在 19 世纪,Eadweard 必须发挥一点创意。那时他使用了多达 24 台相机去捕捉每一个运动的桥段,并设计了自己的电子快门和定时器,以便能快速地拍照。

通过拍下快速的连续动作,你将捕捉到运动中微妙的变化,并在最后获得一个有趣的视觉故事。尝试连续拍摄数张照片,你可以创建出一个摄影系列,也可以让你策划、捕捉到一张最好的照片。

Making the Mundane Interesting

 

Muybridge photographed common actions like a person sweeping or emptying a bucket of water.

As a photographer, it is your vision and creativity that can transform something commonplace into something inspired. Challenge yourself to find ways to make the everyday interesting.


让平凡变得不凡

 

Eadweard 经常拍摄一些稀松平常的动作,比如一个人在清扫、或倒空一桶水。作为一名摄影师,正是你的视野和创造力可以将一些平淡无奇的东西变成灵感来源。挑战自己,找到让平凡变得不凡的方法。

Playing with Time & Speed

 

The progression of motion in Muybridge’s photos range from minute changes to obvious actions with a start and finish. To experiment with different results, vary the speed of the motion and the length of time photographing the scene. For example, to achieve a more repetitive, subtle patchwork of images, have a subject that moves slowly, and photograph them many times in a short amount of time.


和时间及速度赛跑

在 Eadweard 的作品中,既有捕捉一连串微小的变化进程、也有一贯到底的连续运动。为了尝试不同的结果,你可以改变运动的速度,以及拍摄的时间长度。例如,为了拼接出更加重复、细微的图像,让拍摄对象缓慢地移动,并在短时间内拍摄多次。

Photographing with Precision

 

Muybridge’s stills made insights beyond real-time observations possible, and his images were referenced by artists and scientists alike. He approached his work from a scientific perspective, using photography as a tool to collect data about human and animal locomotion.

While your approach may not be as technical, you can also use photography as a means to learn about your subject and inform others. Look for ways to document with the kind of accuracy that he did. For example, if you are documenting someone’s reactions, how can you capture emotions that are authentic rather than contrived?


精益求精

 

Eadweard 的动态摄影让实时观察下不允许的洞察变得可能,他的图像也被艺术家和科学家们所引用。他始终从科学的角度来看待他的工作,视摄影为收集人类和动物运动数据的工具。

虽然你的方法可能缺少了那么一点技术性,但你也可以将摄影当作一种手段,来更了解你的主题并传授给他人。寻找像 Eadweard 一样能准确纪录现实的方法,以精益求精。例如,如果你正在记录某人的反应,你该怎么做才能捕捉到最真实而不是做作的情绪呢?

Examples from the VSCO Community

 

There are multiple ways to create a grid of photos to share on VSCO. You can shoot on film and share the contact sheet, print and arrange the images to reshoot, or use an app like Photoshop to join the images. You can also upload the series one image at a time so people can scroll through the motion in their feed.


在 VSCO 上探索

 

要在 VSCO 创建这样的网格摄影有很多种方法。你可以拍摄胶片并和大家分享印放出来的小样、打印出来再排列图像、或是使用 Photoshop 等软件编排。你还可以一次上传一张照片,以便人们在页面中可以滚动查看更多照片。

Image by lolophoto / 图片由 lolophoto 提供
Image by chaoticechoes / 图片由 chaoticechoes 提供
Image by fin / 图片由 fin 提供
Image by kellyjuanson / 图片由 kellyjuanson 提供
Image by maryhunter / 图片由 maryhunter 提供

Hung Out to Dry 晾起你的衣服来

May 13, 2019 2019年5月13日

How do you dry your clothes? Do you hang them in the sun? Let them dry indoors? Or use a tumble-dryer?

In the densely populated city of Hong Kong, even space for laundry is limited. Photographer Jimmi Ho’s series, Laundry Art, showcases how locals make creative use of what little space they have. “I wanted to offer a new perspective on the practice of hanging laundry in public in this cramped city,” he explains.


你是怎么晾干你的衣服的?是挂到窗外,架个晒台,还是自动烘干?

在香港这样高密度的人口聚集区,晒衣服的空间自然也被压缩。来自香港的何颖嘉(Jimmi.Ho),拍下了这一幕幕的晾衣奇景《Laundry Art》(《晒衣艺术》)。“我一直在努力拍出能给人以不同的视角的照片:那些晾晒的衣物、公共空间和拥挤的城市背景所组合而成。”

None of the photos are staged or altered. Ho says that he often takes random walks without a set destination and captures what he sees along the way. “But sometimes I find places beforehand on Google Maps,” he adds. “I’ll go to a place at least two or three times to observe just how the people hang their laundry, what tools they use.”

It’s common to see locals cleverly make use of utility poles or other public property to tie up their clotheslines. “I try to combine contrasting elements into my photos,” he says. “Some of the images may appear a bit surreal, but that’s actually how Hong Kongers dry their laundry.”


这些照片都不是他的“摆拍”。Jimmi 说,基本上他是随心所欲穿梭在香港的大街小巷拍到的,“有时候我会在谷歌地图上找到一个地点,可能造访两三次,去看看他们如何晒衣服、用什么工具这类的。”

绝大部分情况下,香港居民们都会巧妙地使用绳索电线杆这类的公共设施,来架设自己的晾衣线。“我拍照时会试图将两个看似相悖的元素组合到一个画面中,虽然这些照片可能看起来有点超现实,但却是香港公共区间晾衣的真实记录。”Jimmi 说。

One of the strangest places Ho’s seen people hang their laundry is up and down the handrails on a pedestrian walkway. “I sincerely admire the laundry skills and adaptability of Hong Kong’s residents,” he laughs.

Even though hanging laundry in the public is in a legal gray zone in Hong Kong, it’s a practice born of necessity. With a little ingenuity, locals explore and make the most of the public space around them. “Personal space has become more and more unaffordable, so any space that can be used is a precious commodity,” Ho says. “In a way, the laundry is inadvertently adding a sense of vitality to these public spaces.”


而最让 Jimmi 觉得“匪夷所思”的晾衣地点,他说是“盖住整个楼梯和扶手”的那处。“我真的很钦佩香港居民的晾衣技巧和他们的对空间合理利用的能力。”Jimmi 说。虽然在香港,把衣服晾到公共场所仍然是法律未经许可的灰色地带,但港城市民们是如此自发地回应了他们自己的需求,他们挖掘、创造和利用属于他们的公共空间。“当私人空间被压缩到极限,任何能用得到的空间都显得弥足珍贵。而晾衣服却无意中为公共地区增添了活力。”

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Website: jimmi-ho.com
Instagram: @jimmi.ho

 

Contributor: Chen Yuan
English Translation: David Yen


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网站: jimmi-ho.com
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撰稿人:  Chen Yuan
中译英: David Yen

God in the Flesh 兔儿神

May 10, 2019 2019年5月10日

 

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Bodies loom large in the work of experimental artist and filmmaker Andrew Thomas Huang. Spanning video, animation, and VR, his work is full of strange subjects that equally evoke ancient myths and the latex costumes of contemporary BDSM enthusiasts, inviting viewers to touch, and in turn be touched by, inhuman skins. Perhaps it’s no surprise, then, that Huang’s latest work, a short film titled Kiss of the Rabbit God, which just premiered at the Tribeca Film Festival in New York, centers on an erotic encounter with an otherworldly stranger. 

In the film, Matt, a Chinese-American restaurant worker (played by Teddy Lee), finds himself seduced by a mischievous Daoist god (Jeff Chen)­­ known as Tu’er Shen, the rabbit god of the title. Though unknown to many, the eponymous deity is celebrated by devotees today on both sides of the Taiwan Strait as a symbol of homoerotic affection. (A temple in New Taipei City built in his honor in 2006 has become a popular destination for gay pilgrims.)


在实验艺术家兼电影导演 Andrew Thomas Huang 的作品中,肉体是引人注目的元素。从视频、动画到虚拟现实,他的作品充满各种怪异的题材,令人联想到神秘的古代神话、或是现代 BDSM(皮绳愉虐)的乳胶衣,仿佛在邀请观众去感受这种非人类肌肤的亲密触碰。而他的最新作品,近日在纽约翠贝卡电影节上映的《兔儿神》,再次通过镜头向我们讲述了一个充满神秘情欲的风流韵事。

影片中,美籍华裔餐厅服务生 Matt(Teddy Lee 饰)遇上了民间传说中的淘气神祇“兔儿神”(陈剑风饰),并受到了来自后者的诱惑。虽然并非所有人都认识兔儿神,但在海岸两峡,有许多人将兔儿神视为同性恋的象征。(2006 年,新北市建造了一座纪念兔儿神的寺庙,成为同性恋者朝圣的热门目的地。)

Huang first discovered the tale of the deity’s origins while traveling. “On a trip to Mexico City, I encountered an exhibition on Xōchipilli, the Aztec god of flowers and patron of gay love. The story of Xōchipilli inspired me to redirect my lens toward my own Chinese heritage, through which I found the Qing dynasty story of Tu’er Shen (兔儿神), known as the Rabbit God,” he says. “Written by the eighteenth-century poet Yuan Mei,” and based on folk religions in Fujian province, “this story tells of a Fujianese soldier sentenced to death for professing his love to another man. In death, the soldier was ordained the Rabbit God and became the patron deity of gay love.”


Andrew 是在一次旅行时得知兔儿神的故事。“有一次去墨西哥城旅游时,我碰上了一场休奇皮里(Xōchipilli)主题的展览。休奇皮里是阿兹特克人的花神和同性恋守护神,他的故事启发了我,让我想把镜头再次聚焦于我自己的中国文化根源上,也因此想去了解清朝兔儿神的故事。”他说。“这个故事是中国诗人袁枚,根据福建的民间传说在 18 世纪所写的。故事讲述了一位福建战士因为爱上了另一位男性而判处死刑。死后,这名战士被封为‘兔儿神’,进而成为同性恋的守护神。”

In the film, Matt toils away day after day in his restaurant, lugging enormous sacks of food to and fro, sweating from the heat of the kitchen, scraping uneaten morsels from plates, and taking orders over the phone. When a mysterious customer sporting blood-red hair and Chinese seal-script tattoos appears, Matt is instantly, obviously intrigued—though he’s oblivious to the stranger’s origins, hinted at by the presence of a small shrine in the restaurant. The pair chat; Matt stumbles over his words. “I’m Shen,” the stranger says. But he disappears as quickly as he appeared, only to return later that night as Matt is busy locking up alone. Their first frenzied encounter is ultimately abortive, however, as Matt hesitates and the god departs, only to reappear the following night. Half-visions portend Shen’s eventual revelation of his divine identity. An accidental cut gives way to ritual bloodletting, with the thick, red liquid flowing into a suggestively placed talisman bearing Chinese characters suggesting spiritual bliss and union.


在影片中,餐厅服务生 Matt 每天要推着大堆食物来回走动,在溽热的厨房里大汗淋漓,整日忙于清理剩菜,接电话下单。有一天,一位顶着红发、有着篆文纹身的神秘顾客,引起了 Matt 的好奇和兴趣。他并不知道这位陌生人来自哪里,在餐厅一个神龛的隐约暗示下,两人聊了起来。

Matt 结结巴巴地说着话,神秘顾客自我介绍道“我叫 Shen。”然而一转身,他消失了。直至深夜 Matt 一个人在关店时,他又再次出现。两人的会面被 Matt 的犹豫打断,Shen 离开后又于隔天晚上再次现身,他模糊不清的形体预示着他不同于常人的神圣身份。一道偶然的划伤,演变成一次血祭仪式,浓稠的红色液体流入一个护身符中,上面刻着的是代表幸福和团聚的“囍”字。

Full of rich imagery of Chinese-American life and labor, Kiss of the Rabbit God might be understood as what media theorist Laura Marks calls “intercultural cinema,” a genre or movement that draws from various cultural and symbolic reservoirs to challenge dominant, monocultural assumptions. Intercultural films “evoke memories both individual and cultural, through an appeal to nonvisual knowledge, embodied knowledge, and experiences of the senses, such as touch, smell, and taste.” In Kiss of the Rabbit God, Huang orchestrates these ordinarily invisible bodies, locales, and labor into an audiovisual rhythm that steadily builds to the erotic climax, a sort of sexual theophany in which Matt and Shen consummate their bond on a spiritual plane. “Will it hurt?” Matt, knife in hand, asks nervously. “There’s nothing to be afraid of,” replies Shen, as Matt finally yields to the stranger, penetrates his skin with the blade, and carves the character for “immortal” into his chest. In Huang’s telling, gods don’t take on flesh. It’s flesh itself that’s already divine.


《兔儿神》里有许多美国华裔生活和工作的意象,可以被理解为媒体学者 Laura Marks 所说的 “跨文化电影”,一种从另一文化中取材,去挑战单一主流文化背景的流派或运动。跨文化电影能“通过非视觉知识、身体潜意识里的感官体验,如触觉、嗅觉和味觉,唤起个人或大众的集体回忆。”在《兔儿神》中,Andrew 将这些通常被隐藏起来的身体、场所和劳动,精心安排成一场节奏层层推进的视听盛宴,一步一步达到充满情色意味的高潮。

如同一场神性诠释下的性爱,Matt 和 Shen 在精神上完成了二人的结合。“会痛吗?”Matt 手中握着刀,紧张地问。“没有什么好害怕的。”Shen 回答。最终,Matt 屈服于 Shen,用手里的刀在胸前刻写下“仙”字的篆文。在 Andrew 的倾述下,众神无需道成肉身,因为肉体本身已成圣。

The artist’s work is consistently sensuous and surreal. And in Kiss of the Rabbit God he balances this imagery with more conventional narrative storytelling, but his deep-red palette and forays into other realms reveal his artistic inclinations. “I’m a visual director first and foremost, and this has aided me in telling stories about inner lives—in this case, a fantasy movie in which much of the protagonist’s experience is highly psychological and symbolic,” he says.  “I knew, for instance, that I wanted this film to climax with a sex scene. But from the beginning I set out to visually portray gay sex in a heightened, spiritual, and symbolic way, rather than a literal, carnal way.”


Andrew 的作品始终充满感官刺激和超现实风格,然而在《兔儿神》中,他采用了较为传统的叙述方式来弥补这一点,不过,电影的暗红色调和对于神秘灵界的探索,依然透露了他原本的艺术偏好。“我是一名擅长视觉的导演,这有助于我去讲述人内心的故事。这是一部奇幻电影,主角大部分的体验都是心理上的和通过象征去表现出来的。”他说。“例如,我知道自己想用性爱的场面来推进电影的高潮。但是从一开始我就选择用更超脱、精神化和象征性的方式来表现同性之间的性爱,而不是一种很直接、充满肉欲的方式。”

For all its esoteric gods, cults, and scripts, the film’s transgression of cultural and sexual norms is ultimately a means of exploring new bodily possibilities. “I grew up in a really Christian environment where my queerness wasn’t able to thrive, and in a very white environment where my Chinese identity felt marginalized,” Huang explains. “So, naturally my work pushes the norm so that I can make more space for people like me, where my community and other queer people of color can exist and thrive.” Plumbing the depths of Chinese myths and symbols, he has crafted an unconventional story that, by foregrounding the body, its senses, and unspoken longings, urges viewers to take control of their destinies—by yielding to their desires. In the words of the red-haired Rabbit God: “You can be the master of your skin.” After all, in desire as in religion, sometimes mastery means surrender.

Kiss of the Rabbit God will premiere on Nowness on May 31st and will be shown at the Shanghai Pride Film Festival in June.


不论是深奥的神灵、祭仪或是影片对白,归根到底,这些打破文化的性意象都只是这部影片探索肉体新可能的一种手段。Andrew 解释道:“我在一个非常传统的基督教环境中长大,从小我就没办法表现出自己的性取向;同时我又是生活在一个白人为主的社会中,身为华人,我总是感到自己被边缘化。所以,很自然地,我希望通过作品去撼动这些俗常的社会规范,这样我就可以为像我这样的人们发声,让华裔酷儿和其他有色人种酷儿可以共好共存,自由地生活。”通过对中国神话和象征符号的深入探索,强调身体、感官和未说出口的欲望,Andrew 讲述了一个不落俗套的故事,鼓励观众去掌握自己的命运——借由顺从你的欲望。用影片中红发兔儿神的话来说:“你可以成为自己身体的主人。”无论是从宗教或是欲望看来,主宰,同时都意味着屈从。

《兔儿神》将于5月31日在 Nowness 上线,并且于六月底在上海骄傲电影节放映。

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Website: andrewthomashuang.com
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Contributor: Brandon Kemp
Chinese Translation: Olivia Li


网站: andrewthomashuang.com
Instagram: @andrewthomashuang

 

供稿人: Brandon Kemp
英译中: Olivia Li

Great Night of Shiva 伟大的湿婆之夜

May 8, 2019 2019年5月8日

Every year between late February and early March, Maha Shivaratri—or the Great Night of Shiva—is celebrated all over India and Nepal. As the name suggests, it’s a celebration dedicated to Shiva the destroyer, one of the three gods of the Trimurti, or triple supreme deities of Hinduism. Some claim that the festival is a celebration of Shiva’s marriage to the goddess Parvati. Others claim it’s to commemorate the day Shiva reached enlightenment. There are many different stories for what the festival celebrates, and there is no consensus on its origins.

Kathmandu is filled with worshippers during Maha Shivaratri. Countless Hinduists make the pilgrimage to Nepal’s capital to visit the Pashupatinath Temple, one of the most important religious sites for devotees of Shiva, and bring offerings of flowers and fruits in hopes of being blessed with an auspicious year.

Skanda Gautam is a Nepalese photojournalist, who, for the past six years, has taken to the streets of Kathmandu with camera in hand to capture the celebrations. “One of the toughest things about shooting Maha Shivaratri is how crowded it gets,” he says. “I try to get my shots on the eve of the festival or in the early morning before the temple-goers come out in droves.” And amidst the hustle and bustle of these religious festivities, he’s decided to train his camera on one specific subject: the sadhus.


每年二月底至三月初,尼泊尔迎来一年一度的湿婆节(Maha Shivaratri,也称 Great Night of Shiva),以庆祝印度教三大主神之一——毁灭之神湿婆神的生日(关于湿婆节的由来说法不一,有人称是湿婆神与帕尔瓦蒂女神的结婚纪念日,也有人说是湿婆神的成道日。众说纷纭,至今都尚未有定论。)

此时,成群结队的印度教信徒聚集在首都加德满都的街道上,大多人的目的地是供奉湿婆神的主庙——最为神圣的帕舒帕蒂纳特庙。他们带着鲜花供果,想着为自己接下来的一年祈求祝福。

一位土生土长于加德满都的摄影记者 Skanda Gautam,也带着相机挤在人群之中,按照自己过去六年来的习惯,上街拍摄这个神圣的节日。“湿婆节难以拍照的原因之一,就是人实在太多了!所以我几乎都会选在节日前夕或是一大早去拍照,避开步行前往庙宇的人潮。” 而在这浓厚的宗教氛围之下,他尤其将镜头对准了湿婆节中一种特殊的人群——苦行僧。

Sadhus are holy men who typically live in seclusion, but during Maha Shivaratri, they show up to attend the festivities. With faces decorated in ash and saffron-colored paint, the sadhus are practitioners of asceticism who seek to attain moksha, freedom from the cycle of death and rebirth. Many sadhus openly smoke cannabis during the festival, as the government temporarily lifts a ban on the drug for its use in ascetic rituals. Shiva himself is said to have smoked the drug, and some of his devotees believe it helps them achieve a higher spirituality. Gautam’s portraits offer an intimate look at these sages, their unwavering religious devotion, and the vibrant colors of Nepalese traditions.


平常深居简出的苦行僧,这时也会露面与信徒们一起欢庆湿婆节。他们往自己的脸上涂满白色灰烬,有时候还会有猩红或鲜黄色的颜料装饰。他们深信借由苦行这种修炼方式(比如禁欲、或降低物质生活)能够换取精神上的自由和灵魂的解脱,早日摆脱无尽的轮回之苦。

而那些弥漫街道的烟雾,是大麻的烧烟。在节庆期间吸食大麻是合法的,因为传说湿婆神也喜欢大麻,并会通过吸食它来加深修行。Skanda 用这一系列肖像摄影为我们打开了一片视野,让我们能近距离看见这些拥有虔诚信仰的僧人、和尼泊尔多彩的传统景色。

Gautam began his career as an intern at the Kathmandu Post and now works as a full-time photographer for the Himalayan Times. His photojournalist background has shaped his art. Many of his own works examine the country’s social issues, such as the series Air Pollution in Nepal, Life at a Brick Kiln, and the LGBT Community in Nepal in Pictures. Through his lens, he unearths stories that show the different, and often hidden, sides of his country. “Nepal is so culturally rich,” he says. “And the opportunity to bring these cultural stories to life is what inspires me as a photojournalist.”


过去在《加德满都邮报》(The Kathmandu Post)的实习工作让 Skanda 正式步入新闻摄影的领域,现在则在《喜马拉雅时报》(The Himalayan Times)担任摄影记者。而他同时也是一名相当关心社会的摄影师,在其他拍摄项目里,例如《尼泊尔的空气污染》(Air Pollution in Nepal)、《搬砖人》(Life at a Brick Kiln)、以及《尼泊尔LGBT 人群图片》(the LGBT Community in Nepal in Pictures)等等,通过他张力十足、色彩鲜明的照片,我们得以一窥尼泊尔最真实而美丽的一面。“尼泊尔是一个拥有多元宗教信仰和文化的美丽国家,在这里做一个摄影师的好处就是总是有拍不完的题材。”Skanda 说道。

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Contributor: Yang Yixuan 
English Translation: David Yen


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供稿人: Yang Yixuan
中译英: David Yen

Light & Portraiture 镜头下的浮光掠影

May 8, 2019 2019年5月8日

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

Nirav Patel is a portrait photographer based in San Francisco, California. In Sanskrit, nirav means quiet—a fitting name for a man drawn to capturing moments of stillness. By molding light, he creates a sense of calm and solitude, regardless of the turbulence and volatility around him.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

Nirav Patel 是一位居于加利福尼亚州旧金山的人像摄影师。在梵语中,Nirav 的意思是安静,这个名字恰好符合一个喜欢捕捉静谧时刻的人。通过形塑光线,无论周遭环境的变动和反覆无常,他都能在照片中营造出一种平和的寂静之感。

VSCO: A lot of your portraits are taken by windows. What about this combination are you drawn to?

Nirav Patel: I’m mainly a natural light photographer, so it’s instinctual for me to start searching for a portrait location based primarily on lighting. When I’m shooting in an indoor environment, a window is typically a good place to start. Once I have the light, then I move to the next phase, which involves modifying the light or environment. Lately I’ve been challenging myself by adding my own light sources, things like old slide projectors or lamps.


VSCO: 你的很多肖像都是在窗边拍摄的。你是如何受到这种构图吸引?

Nirav Patel: 我主要是一个自然光摄影师,我会本能上地基于光源去寻找拍摄的位置。当我在室内环境中拍摄时,窗边通常是一个很好的地点。一旦得到了好的光,我就会进入下一阶段,去进一步调整光线或是周围环境。最近我一直在挑战自己,通过增设自己的光源,像是旧的幻灯片放映机或是灯具。

VSCO: What do you look for when you’re shooting portraits?

Nirav Patel: I typically know what the image will look like before I even take it. When I see the world, I see it in exposures, and that has helped me when shooting with natural light. When I’m walking around a space trying to find the best spots to take a portrait, I always look for light over environment. The backdrop isn’t my main priority.


VSCO: 当在拍摄人像时,你通常试着追求什么?

Nirav Patel: 我通常在拍摄之前就会预先知道照片的样子。当我在看这个世界时,我是以“光”的角度去看的。这种视角帮助了我采取自然光拍摄。当我在一个空间中走动寻找最佳拍摄地点,我总是在环境中寻找最好的光线,背景并不是我主要考虑的东西。

VSCO: How do you build on a theme, while keeping each image unique?

Nirav Patel: I do my best to use new locations or backdrops, as well as modify the lighting in different ways with what’s available (fabrics, blinds, etc). This really helps to change the way the light is represented and can affect the overall feel of an image. I’ll also try using different lenses or shoot through different props, like a piece of glass.

For me, it’s about understanding the technical aspects of making a photograph and then throwing the rules out the window. Not everything works out all the time, but you learn so much from the process. I’ve had to teach myself that I only really fail if I give up before trying. Anything that happens after trying should be seen as a learning experience that leads to the growth and development of my vision. I’m not always happy about the results I achieve, but I do understand that it’s all part of the journey.


VSCO: 你如何基于同一个拍摄主题,同时确保每一次作品的独特性?

Nirav Patel: 我会尽我所能地使用新的位置或背景,以及用不同的方式修饰光线(利用布料、百叶窗等等)。这确实有助于改变灯光的表现方式,并可以影响图像的整体氛围。我也会尝试使用不同的镜头和拍摄道具,比如说一块玻璃。

对我而言,这关乎于先去了解摄影的基础技巧,再将学到的规则抛在脑后。不是所有事情都能如愿进行,但你会从发现意外的过程中学到很多东西。我是一位自学的摄影师,如果在每次尝试之前我就放弃,那我无疑会失败。尝试后发生的任何事情都应该被视为一种学习经历,可以让我成长。我并不总是对我的拍摄成果感到满意,但我确实理解这一切都是旅程的一部分。

VSCO: To capture a quiet mood, what time of day do you prefer to shoot?

Nirav Patel: Most of the shoots I do are inside of Airbnb’s or my own home. I do my best to work with whatever I have, so I try to make the best of lighting throughout the entire day. However, my favorite light would have to be close to and just past sunset (aka golden hour and blue hour). These two times of the day typically give me both dramatic and soft lighting in the best ways.


VSCO: 为了捕捉一个安静的心境,你喜欢在什么时候拍摄?

Nirav Patel: 大部分的拍摄都会在 Airbnb 或是自己家里进行。我会尽可能地利用手边现有的素材,并试着在一天之中充分利用光线。然而,我最喜欢的时刻是接近日落、或是刚刚过日落时(又称为黄金时刻或是蓝色时刻)。一天中的这两个时候通常可以提供给我最具戏剧效果和柔和优美的光线。

VSCO: How do you experiment with adding drama to your portraits?

Nirav Patel: I’ve always been drawn to fog because it has a cinematic quality to it. Most of my work is inspired by movies, so I decided to add my own elements of moviemaking into my photographs. Sometimes I use a smoke machine to add drama. I recently added two continuous light kits to my set up just in case there is nothing interesting happening with the natural light. I have a Lowell ID light, as well an Aputure LS-mini 20d. I’m hoping to also add an Aputure 120d to the set sometime soon for a bit more power and the ability to use Bowen light modifiers for more control. Look at me… talking like I actually know what I’m doing. Don’t let me fool you, I’ve just recently been getting into setup lighting kits and am learning as I go. I enjoy the pace of teaching myself through trial and error.


VSCO: 你会如何在你的照片中增添戏剧效果?

Nirav Patel: 我一直都很喜欢雾,它拥有电影般的质感。我的大多作品都受到电影启发,因此我会在照片中加入许多电影元素。有时候我会使用烟雾机来增加戏剧性。我最近增设了两组电影灯光,以防自然光的呈现效果太无趣。我有一个 Lowell ID 灯、以及 Aputure LS-mini 20d。我希望不久后能再加一个 Adure 120d 来增强我的设备,和 Bowen 柔光罩以获得更完善的功能。不过……别听我这样说,就以为我真的知道我在做什么。我才刚刚进入打灯的领域,我正在学习。我喜欢这样通过错误和反复尝试的学习过程。

Personal Textures 灰色地带的万种可能

May 6, 2019 2019年5月6日

Reo Ma’s clothing frequently evokes feelings of comfort and urbanity, something like a cool autumn breeze on a clean city street. Soft textures and relaxed fits run through many of the collections. The pieces are perfect for quiet weekends lounging about at home, but wouldn’t be out of place at a nightclub or a museum.  Sleekness and practicality make up a large portion of Ma’s design output, but he’s also got an adventurous side, with pieces that look more like artworks than functioning parts of a wardrobe.

While most of his collections deal mainly in grayscale—with only occasional appearances of bright reds or yellows—Ma has an uninhibited approach to design, partly evidenced by his versatility in making both menswear and womenswear. Wherever his creativity wants to go, Ma obliges: “I enjoy working in the moment—there’s no right or wrong for me. I work on whatever I love.”


香港服装设计师马浚傲(Reo Ma)的设计,透露着一种舒适和优雅的都市风格,给人的感觉就像是在干净的城市街道,迎面吹来的一股凉爽秋风。在他的大部分作品中,都能看到柔和的纹理和舒适的剪裁。他的服装不仅适合周末闲在家里时穿,即便穿着去夜店或博物馆,也丝毫不会显得出格。虽然马浚傲的大部分作品都采用流畅剪裁和实用设计,但有时,他也会展露大胆冒险的一面,打造前卫的、不主打实用性的服装作品。

马浚傲的大部分作品都以黑白为主色调,只有偶尔加入亮红或黄色元素,但他的设计并不拘泥于此。马浚傲的设计才艺不仅体现在做男装上,他也设计女装。不论何时,他总是乐于听从自己天马行空的创造力:“我喜欢即兴的创作,一切都没有对错之分。只要是我所热爱的就行。”

Embracing the Hong Kong creative’s hustle lifestyle, Ma operates on his own schedule: his day typically starts at 5 pm and ends at 6 am. Most of that time is spent in his new studio alongside assistant Hunter Tongin. Situated in an old factory from the ’60s in the New Territories region, the expansive workshop features a room specifically for dyeing and treating fabric, a personal design space with four different sewing machines and a motorcycle parked in one corner, and finally a room where his girlfriend produces music.

Music is a big part of his creative life. When the sound of his girlfriend’s music isn’t drifting through the space, Ma usually has Pink Floyd or Radiohead on repeat. A revolving door of guests includes musician friends as well, who like to drop by to make music and hang out. “We create new stuff here and mess around with ideas all the time,” he says.


马浚傲习惯了香港快节奏又充满创意氛围的生活方式,他有着自己的时间表:通常来说,他从下午 5 点开始起居工作,到早上 6 点结束。大部分的时间,他都是和助手 Hunter Tongin 在他的新工作室里工作。工作室位于新界,是一幢上世纪 60 年代的旧厂房,开阔的工作室内设有一间专用于染色和处理面料的房间,一个摆放着四台不同的缝纫机的个人设计空间,还有一架停放在角落里的摩托车,最后还有一间房给他的女友创作音乐。

对于马浚傲来说,音乐是创作非常重要的一部分。当他女朋友没有在做音乐时,他通常就会循环播放 Pink Floyd 或 Radiohead 的音乐。他的朋友-包括很多音乐家朋友,都喜欢造访这里,一起创作音乐和聊天。“在这里,我们会一起创作新的事物,有各种各样好玩的想法。”他说。

Ma first got into designing clothes while attending boarding school in the UK. “I was making denim pieces during my time there because everyone except me could afford a pair of Dior Homme pants,” he recalls. “So I was creating my own in order to wear something interesting.” He spent nine years in the UK total, studying visual and performing arts in college.


第一次接触服装设计,马浚傲还是在英国的寄宿学校的学生。“我是唯一一个买不起 Dior Homme 裤子的人,我就自己亲手做牛仔裤。因为我想做一些比较有意思的服装来穿。”他回忆道。他一共在英国生活了九年,在大学修读视觉和表演艺术。

His unlikely path into the world of fashion shows in his unorthodox design process. Ma typically starts with a quick, rough sketch that no one else can understand. Once he decides on the direction he’ll take, he chooses a fabric and makes the first prototype. He looks for fabrics with interesting textures, such as his staples of linen, denim, and leather. For the hand-waxed pieces, he even makes his own beeswax—while it creates a thoroughly unique feel, it’s easily damaged, so he recommends not washing them. “I actually never wash my denim,” he laughs. “Some of my denim has gone like ten years without a wash. I turn them inside out to let the sun do his job.” His releases are all limited, with only 30 to 90 pieces available in each run.


马浚傲进入时尚行业更像是误打误撞,这体现在他另类的设计方式上。设计时,他会先快速勾画一幅别人看不懂的草图。一旦他决定好作品方向,他就会开始选择面料,打造第一件样衣。他喜欢用质地比较有趣的面料,如他常用的麻布、牛仔布(单宁)、皮革等。对于手工打蜡的面料,他甚至会自己制作蜂蜡,这样能让面料有非常独特的感觉。但如此一来,衣服也很容易洗坏,所以马浚傲的建议是不要清洗。他笑着说:“我其实从来都不会洗我的牛仔衣。我的一些牛仔服已经穿了快 10 年,但一次也没洗过。我只会把衣服翻过来,在太阳底下晾晒一下。”他的作品都是限量版,每次仅推出 30 至 90 件。

Ma reveals that he only began taking fashion design more seriously after moving back to Hong Kong to be closer to his family. Returning as an adult was a very different experience for him. As a child in Hong Kong, he spent most of his time in and out of hospitals due to a heart condition. But his childhood illness informs a lot of his creative output as a designer today, such as the pieces with inside-out stitching that are inspired by a surgery he underwent at age six. “It left a huge scar on my chest,” he recalls. “Classmates were often afraid of me because of that—I felt like it turned me into a monster.”

Today, instead of hiding scars, he spotlights them. He understands flaws are what makes us unique as humans, and through his unconventional designs, he hopes people can learn to embrace imperfection.


大学毕业后,为了离家人更近,他搬回了香港,然后才开始真正深入服装设计。成年后回到香港,对他来说是非常不同的体验。小时候在香港生活时,因为心脏问题,他经常要出入医院。小时候的那场病对他今天的创作有很大的影响,譬如他的一些采用外露缝线的作品,就是以他 6 岁时的一次手术为灵感设计的。“那次手术在我胸口留下了一道很大的伤疤。”他回忆道,“就因为这道疤痕,我的同学都很怕我——我感觉这让我变成了一个怪物。”

然而到了今天,他不再隐藏疤痕,反而是将其变成焦点。在他看来,缺陷是我们作为人类的独特之处,他希望能通过自己打破常规的设计,让人们学会接受不完美。

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Website: www.reoma.co
Instagram: @reo.ma | @atelier.reoma
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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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网站: www.reoma.co
Instagram: @reo.ma | @atelier.reoma
脸书: ~/AtelierReoMa

 

供稿人: Mike Steyels
英译中: Olivia Li

Gallery Graffiti 画框中的涂鸦墙

May 3, 2019 2019年5月3日

Sometimes artists’ own stories show through in their art. Chen Xuanrong is a Beijing-based artist who uses acrylic paint to create graffiti-like works on huge canvases. The result is a vigorous fusion of styles and techniques that tells the story of an artist who, though raised in the art world, struggled for years to find his place there.

Born in 1991 to a family of artists, Chen faced an unusual kind of parental pressure for success. His mother was a dance teacher, while his father, Chen Zhiguang, was a prominent sculptor who exhibited at notable galleries around the world and became known as the “King of Ants” for his gigantic sculptures of these insects.


有时候,艺术家的故事会通过他们的艺术展现出来。陈轩荣是一位居住在北京的艺术家,擅长在巨大的画布上使用丙烯颜料创造出类似涂鸦的作品。他的创作风格与技巧兼具,之中还隐隐道出一个故事——关于一个在艺术世界中成长、却挣扎着寻找定位的艺术家。

于1991年出生在一个艺术世家,陈轩荣从小面对着一种来自父母、关于追求成功不同于寻常的压力。他的母亲是一名舞蹈老师,而父亲陈志光是一位杰出的雕塑家,曾经在世界各地的著名画廊展出,并因其巨大的昆虫雕塑,被称为“蚂蚁之王”。

Growing up in this environment, Chen started studying art in high school. He admits that it took a few years for him to actually enjoy it. “I didn’t really like art at first, but as I painted and made some progress, it started to grow on me,” he recalls. At first, his motivation was merely to pass his exams to get into a good art school, which he did: he earned a spot studying printmaking at the prestigious Central Academy of Fine Arts in Beijing. While there, he won several art prizes, which pleased his parents immensely.

After graduation, Chen traveled to New York City to immerse himself in the art world. He wanted to see the works of great masters that hang on the walls of the city’s museums, particularly Velázquez and Rubens. All throughout his school years, his books, teachers, and classmates held up these painters as paragons of artistic expression. Xuanrong repeatedly visited the same institutions, studying the masterpieces intently and taking photos to continue to analyze them back in his hotel room. “After two weeks I felt sick of all these masters,” he recalls. Something wasn’t quite right.


在这种环境中长大,陈轩荣在高中开始学习艺术。他承认是在过几年后才真正享受它。“起初我不喜欢艺术,但是当我画画获得一些进展时,我就渐渐喜欢上它了。”他回忆道。一开始,他的动机仅仅是通过考试进入一所好的艺术学校,然而他做到了:他在北京著名的中央美术学院学习版画。在那里他先后赢得了几个奖项,这让他的父母非常高兴。

毕业后,陈轩荣前往纽约,将自己沉浸在艺术世界中。他的愿望是看到挂在博物馆墙壁上那些伟大大师的作品真迹,尤其是维拉斯奎兹(Velázquez)和鲁本斯(Rubens)。在校期间,所有教科书、老师和同学都把这些画家视为艺术表达的典范。陈轩荣多次访问同一间博物馆,专心研读这些杰作,拍下照片回到酒店房间继续研究。“两周后,我却对这些大师作品感到厌倦了。”他回忆道。事情,开始有点不太对劲。

G1.0.3.9 (2018) 55 ⅒ x 82 ⁷/₁₀ in / Acrylic on canvas 《G1.0.3.9》(2018) 140 x 210 厘米 / 布面丙烯
G1.0.4.9 (2018) 55 ⅒ x 82 ⁷/₁₀ in / Acrylic on canvas 《G1.0.4.9》(2018) 140 x 210 厘米 / 布面丙烯
G2.0.0.6 (2018) 94 ½ x 118 ⅒ in / Acrylic on canvas 《G2.0.0.6》(2018) 240 x 300 厘米 / 布面丙烯
G1.0.4.6 (2018) 59 ⅒ x 78 ⁷/₁₀ in / Acrylic on canvas 《G1.0.4.6》(2018) 150 x 200 厘米 / 布面丙烯
G1.0.3.6 (2018) 59 ⅒ x 78 ⁷/₁₀ in / Acrylic on canvas 《G1.0.3.6》(2018) 150 x 200 厘米 / 布面丙烯

As it turned out, Chen’s hotel was located in Queens, a district with a rich tradition of street art. On his commute, he’d take the 7 train, which runs above ground for much of the way, revealing different views of the city. Bit by bit, he started noticing how several buildings were covered with stunning graffiti, creating striking urban compositions. While exploring Queens, he visited 5 Pointz, an abandoned factory complex that, until its demolition in 2014, was a graffiti Mecca. “When I first got there I was shocked. The colors, the lines . . . none of the old masters used simple lines and pure colors like that.” It was a defining moment, and his attention began to drift away from the walls of the museums to the walls on the streets around him.


陈轩荣的酒店位在皇后区,这是一个富含街头艺术文化的街区。他通勤时经常乘坐地铁7号线,运行路线大部分都在地上,可以看到城市中各种不同的样貌。他开始注意到那些被涂鸦覆盖的建筑物,是如何勾勒出令人惊奇的都市景色。在探索皇后区时,他参观了被称为“涂鸦圣地”的 5 Pointz,这是一个废弃的工厂集合地,直到2014年被拆除。“当我第一次到那里时,我感到好震惊。这些颜色、线条… 没有一个大师画家使用过这样简单的线条和纯粹的颜色。”这是一个决定性的时刻,他的注意力开始从博物馆的展示墙,转移到他周围街道的涂鸦墙上。

Chen started to absorb street elements and combine them with what he’d learned in school. He began making paintings of the urban environment: walls, alleys, public toilets, abandoned train wagons, and empty pools, all covered in graffiti. Taking works created with spray cans and markers and reproducing them in acrylic on canvas on a large scale—his works are up to three meters wide—became his signature. He now has over 50 pieces that relate to each other as if they came from different sites in the same“graffiti town,” though they’re taken from locations all around the globe.

When he travels, Chen rides the metro and gets out at random stations to explore, hoping to find graffiti art. He constantly takes pictures to have enough material to work with when he gets back to his studio in Beijing. He also looks for interesting locations online, particularly on Instagram. When he reaches a location he’s only seen online, it often look completely different. Yet it’s never a disappointment. “I like how graffiti art changes frequently, how it gets dirty—these are the effects of time,” he says. In his own paintings, he also uses multiple layers, showing old graffiti covered by new. “One of my paintings was shown in an exhibition in Shanghai, and when it was returned to me, I felt the urge to cover it with another layer.”


陈轩荣开始吸收来自街头的创作养分,并与他在学校所学的东西结合起来。他开始画下那些覆盖着涂鸦的城市景观:墙壁、小巷、公共厕所、废弃的火车车厢和空荡荡的游泳池。把这些用喷漆罐和马克笔创作的作品,重现在大规模的帆布上——他的作品通常宽达三米,成为他为人所知的标志。他现在有超过50件作品,相互关联,仿佛它们都出自同一个“涂鸦小镇”。不过,这些作品都取材自世界各地。

当他旅行时,他会乘坐地铁,在随机一站下车去探索城市,希望能找到涂鸦艺术。他会拍摄许多照片,确保回到北京的工作室时手上会有足够的素材。他也会在网上寻找有趣的地点,特别是在 Instagram 上。当他真正去到当地,现实往往看起来不太一样,但这种落差并不会让他感到失望。“我喜欢涂鸦艺术的变幻无常,它如何变脏,如何受到时间的影响。”他说。他的画作通常是多层次的,展示了旧的涂鸦被新的覆盖。“有一次,我的一幅画作在上海的展览中展出,当它被归还给我时,我马上感觉到一股冲动想用另一层画盖掉它。”

Chen likes to explore areas with graffiti when nobody is there, so that he can observe them properly. “I enjoy the feeling of having the entire place for myself. There’s a strange feeling of mystery,” he explains. He never portrays people in his works: the canvases are populated exclusively by the remains of the scribblings, stickers, and tags left there over time by different people, culminating in a grand chaotic montage.

Human figures would distort what he seeks to portray: an urban landscape of concrete and brick and spray paint. Chen’s works hang on the walls of museums, just like the works of the masters he was compelled to study. Bridging the gap between graffiti and galleries, he’s staked out a place in the art world that’s distinctively his.

 

To keep up to date with upcoming exhibitions or works from Chen Xuanrong, visit Art+ Shanghai Gallery.


陈轩荣特别喜欢在四下无人的时候探索这些涂鸦,才能够适当地观察它们的全貌。“我喜欢这种自己拥有整个地方的感觉,有一种奇怪的神秘感。”他解释道。他也从不在他的作品中描绘人物,因为这并不是他想要捕捉的东西——城市中的混凝土、砖墙和喷漆才是。

最终,画布完全被由不同的人随着时间留在那里的涂鸦、贴纸、和标记的遗迹所填满,形成一个万花筒般混乱斑斓的巨型蒙太奇。陈轩荣的作品挂在博物馆的墙上,就像当初他被迫学习的那些大师作品一样。作为牵系起涂鸦和画廊之间的桥梁,他在艺术世界中占据了一个与众不同的地位。

 

想持续关注陈轩荣的展览和作品信息,可点击浏览艺术+上海画廊官网

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Contributor: Tomas Pinheiro
Photographer: Irina Kovalchuk
Translation: Yang Yixuan
Additional Images Courtesy of Chen Xuanrong


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供稿人: Tomas Pinheiro
摄影师: Irina Kovalchuk
英译中: Yang Yixuan
附加图片由陈轩荣提供

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Gabber Modus Operandi 我们是危险的年轻人

May 1, 2019 2019年5月1日

Warning: do not click play on Gabber Modus Operandi’s music until you’ve had at least one cup of coffee. This Bali-based electronic duo is proudly abrasive, pummeling audiences with a sound that’s like something drained from the sewers of death metal or the gutters of rave music. GMO’s music doesn’t fit into any category, and there’s nothing quite like their style. They constantly veer into new territories, and listeners who brave the onslaught are rewarded with fresh sound pallets and surprisingly intricate textures. There are even drums and melodies pulled from local Indonesian traditions, and the combination is seamless.

Ican Harem and Kasimyn, the duo behind Gabber Modus Operandi, are deeply engaged in Indonesia’s wealth of musical traditions. They’re inspired by everything from traditional gamelan to newer genres like penceng, a sound driven by endless solos played on cheap keyboards at frantic speeds. Harem handles the vocals, while Kasimyn takes care of production.


警告:点击播放 Gabber Modus Operandi 的音乐前,请确保你已至少喝了一杯咖啡。巴厘岛电音二人组我行我素的音乐风格,似是脱胎于地下死亡金属或锐舞(rave)音乐,为观众的耳鼓带来震撼冲击。GMO 的音乐不属任何流派分类,也很难找到与之类似的音乐风格。他们不断探索新的音乐领域,只有勇于接受他们音乐洗礼的听众,才能领略到前所未有的新颖音乐风格和出人意料的复杂层次。他们甚至糅合了印尼当地的传统音乐中的鼓乐和旋律,无缝融入到音乐创作中。

Gabber Modus Operandi 的两位成员 Ican Harem 和 Kasimyn 都对印尼大量的传统音乐有着深深的着迷。他们的创作灵感丰富多样,从传统甘美兰(gamelan)音乐到新兴音乐流派,如 penceng ——无数疯狂快节奏的键盘音乐独奏。二人中,Harem 处理人声,而 Kasimyn 则负责后期制作。

Listen to to some of our favorite tracks from Gabber Modus Operandi below:


点击即可试听 Gabber Modus Operandi 的几首歌曲:

When they’re not composing or performing, the two scour the internet looking for sounds and subcultures that are both intensely local and globally informed. “There’s a suburban culture called Alay, where they love traditional music but also street racing on motorcycles,” they explain excitedly. “They have their own language. They’re trying to be Western, but it’s mistranslated and as a result thoroughly Indonesian. So instead of customized motorcycles, we get these maximalist, improvised scooters, because that’s what’s available here.” GMO’s Instagram is full of pics showing expressions of Indonesian identity that are equal parts ingenious and absurd.


没有创作或表演的时候,二人就会在网上搜索各种有着本地和全球特色的音乐和亚文化。“有一种郊区文化叫 Alay (印尼语,意为“浮夸”),这群人既热爱传统音乐,也喜欢摩托车街头赛车。”他们兴奋地解释道,“他们有自己的语言,想模仿西方的文化,但又因为错误的理解,最终变成印尼特色的文化。他们并没有改装重型机车,只有浮夸、凑合用的踏板摩托车,因为在这里你只能找到这些了。”GMO 的 Instagram 帐号上发布了很多有印尼亚文化的代表性照片,这些照片既充满创意又有着一丝荒谬感。

GMO’s music draws on this blend of subcultures. They mix the unrelenting drums of gabber, a style of electronic dance music popularized in the 1990s in Holland, with the mutilated vocals of heavy metal and the droning screeches of experimental noise, and to that they add the traditional melodies of gamelan, sampled from the radio or from their neighbors, and touches of a local dance music called funkot. There’s a beautiful give-and-take of roving styles, one that’s particularly suited for Indonesia, a country with a rich and diverse musical history. The result is a sound that’s all its own.

The pair stresses that there are probably other people mixing these traditions, given the thousands of islands in Indonesia, even if they’re unaware of them. Uwalmassa, a group from Jakarta, also blends gamelan with modern club music, but in a much sleeker way and with a deeper sound. Back in the 1990s, Barakatak fused West Javan music with house, while the ketipung rhythm of koplo (a regional version of live pop) introduced 4/4 time to local styles of music. And more recently, in 2010, Senyawa released rhythmic experimental music rooted in the Indonesian experience. “Senyawa really opened our minds to the idea that it’s okay to be Indonesian. It’s okay to speak our languages, it’s okay to present the dark side of things here,” they say. “We’re really only in the beta phase of DIY Indonesian music right now.”


他们的音乐借鉴了这种混合的亚文化,融合了 20 世纪 90 年代在荷兰普及的电子舞曲 gabber、重金属音乐的人声部分、实验性噪音的尖锐声音,然后再加入他们从收音机或邻居处采样的甘美兰传统旋律,以及当地的舞蹈音乐 funkot。他们的音乐充满着令人着迷的多元融合风格,也特别适合印尼,因为这是一个拥有丰富多元的音乐历史的国家。这种融合的最终成果是一种独一无二的音乐。

两人强调,可能在印尼,也有其他人在结合传统音乐创作,只是他们不知道罢了,毕竟这是一个“万岛之国”。来自雅加达的组合 Uwalmassa 在他们的音乐中同样融合了现代的俱乐部音乐和传统甘美兰音乐,但是风格更流畅、更深沉。而早在上世纪 90 年代,另一支乐队 Barakatak 就曾经混合西爪哇音乐和 House 音乐,此外,koplo 音乐也进一步推广了 4/4 拍节奏。在 2010 年,印尼实验组合 Senyawa 就曾推出充满印尼音乐特色的节奏感实验音乐。“Senyawa 的音乐让我们真正明白到,印尼风的音乐也可以很棒,印尼语也创作出好的音乐,我们是可以通过音乐来展现出印尼这个国家不那么光彩的一面的。我们现在还只能算是在 DIY 印尼音乐的试验阶段。”他们说。

“Underground music here is all basically imported,” they explain. “When we do play out, we play to crowds that are maybe all punk rockers or mainly familiar with noise music. But these locals experimenting in the other scenes are quite different, and we’re a bit jealous. They don’t really have the funds to travel or experiment with a bunch of electronic gear, but they push the tools they have as far as they can go and have fun with it, creating something brand new. That’s what really inspires us.”

As for traditional music, they see three different attitudes in Indonesia: “One is really sacred, and it relates to the kingdom family and celebrates the idea of religion. It’s a strict set of rules. Then there’s the stuff they play for tourists, like at the airport. Elevator gamelan, basically. Then there’s a third one, the hybrid. Kids who listen to death metal but also gamelan. The last one is our favorite. The contrast makes us really happy. It’s a political identity, they’re comfortable with what they have.”


“这里的地下音乐基本上都以外国音乐为主。”他们解释说,“当我们在外面表演时,观众可能全是朋克摇滚爱好者,或大部分都是熟悉噪音音乐的。但是,有一群印尼音乐人,他们在进行自由的实验创作,我们真的特别羡慕他们。虽然他们没有太多资金去旅行或用一大堆电子音乐设备进行创作,但他们能够将手上的工具物尽其用,尽情享受过程中的乐趣,去创造出一些全新的音乐。这真的给了我们很大的鼓舞。”

至于传统音乐,他们在印尼看到有三种不同的分类:“一种是比较神圣的音乐,因为这些传统音乐会涉及到古代皇室和宗教。有一套严格的规则。第二种就是为游客演奏的传统音乐,譬如在机场的时候,基本上可以称为‘电梯甘美兰音乐’。最后,第三种就是融合风格的传统音乐。对于喜欢听死亡金属音乐又喜欢听甘美兰的人来说,最后一种是我们的最爱,不同风格的音乐之间的对比碰撞听起来很过瘾。这代表了一种政治态度,他们对自己所拥有的一切感到心满意足。”

The duo manages to fit all these disparate influences into a sound that expresses their personal identity, an identity that’s angry and sarcastic, but also thoughtful and refined. Everything they write is microtuned into the pentatonic scale. And while some of their lyrics sound sacred, in one case they’re actually mimicking local street vendors who peddle snake oil. “We want to break stereotypes,” they announce proudly. “We’re dangerous and young.”


乐队的两位成员设法将这些不同的影响融合成一种能表达他们个人身份的音乐,一种充满愤怒和讽刺,同时不失思考和精致的态度。他们所创作的音乐都处理成五声音阶的“微分音”音乐。虽然他们的一些歌词带有神圣感,但有时他们实际上只是在模仿当地街头小贩兜售蛇油的叫声。“我们要打破陈规,我们是危险的年轻人。”他们自豪地宣布。

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Contributor: Mike Steyels
Photographer: Oktavian Adhiek Putra
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
摄影师: Oktavian Adhiek Putra
英译中: Olivia Li