We Are Neocha 你好呀,我是 Neocha!

July 31, 2019 2019年7月31日



Since the launch of Neocha Magazine, we’ve showcased countless stories from around Asia that celebrate culture and creativity. These are stories that entertain us, make us think, and most important of all, inspire us. As a quick overview of what we’re all about, we’ve put together a showreel that highlights the spirit of our magazine. 👆

As always, we’re committed to producing thoughtful, engaging stories. We believe those stories should be beautifully told and accessible to as many people as possible. That’s why we publish every article in English and Chinese and pair it with stunning visuals.

We also believe in the power of collaboration and are always interested in chatting with like-minded individuals (and even not like-minded). Don’t just read our stories, get in touch with us!

Think your art should be featured on our site? Write us at submit@neocha.com

Got a story to pitch? Write us at contribute@neocha.com

Looking for a job on our media team? Write us at jobs@neocha.com

Want to advertise with us or learn about our editorial offerings? Write us at hello@neocha.com

从 Neocha 线上杂志创立以来,我们展现了亚洲地区无数关于文化和创意的内容。这些故事带给我们娱乐、思考,更重要的还有激发灵感。为了让大家快速了解我们,我们组合拼接了一个视频,以重点呈现 Neocha 线上杂志的主旨所在👆。



想自荐或者推荐报道?请邮件至  submit@neocha.com

想成为自由摄影师、摄像师、撰稿人?请邮件至  contribute@neocha.com

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100 Years of Manhua 总有一部国漫牵动着你的心

July 31, 2019 2019年7月31日

In China, manhua, the word for comics or manga, means different things to different people. For some it calls to mind a recent spate of movies based on illustrated characters; for others it means the online comics that have flooded the internet; for still others, it conjures childhood memories of stories like Journey to the West or Black Cat Detective.

But there’s no denying that over the last century, from its origins, to its golden age, to its latest innovations, Chinese manhua has developed a distinctive style—even if the Japanese and US influences are evident. A new exhibit organized by Design Society titled “Y-COMIC-X? One Hundred Years of Chinese Manhua,” held at Shenzhen’s Sea World Culture and Arts Center, traces the art form’s evolution in China. Neocha visited the show recently and selected our favorite highlights—and each one is a reason for comics fans to make a trip to Shenzhen.



The Cinematic


The Legend of Luo Xiaohei


This black kitten, ubiquitous not long ago on WeChat and QQ stickers, is the creation of independent Chinese cartoonist MTJJ. The simple, bubbly style and adorable expressions later appeared in a comic book, which proved a hit with readers.

In 2011, the kitten got its own show, The Legend of Luo Xiaohei, an animated web series created by MTJJ and his studio. It had heavy, colorful lines and an entertaining storyline about a demon cat stealing a magic pearl. With its slow updates, though, people on the internet began to joke that new episodes were a once-in-a-year occurrence. The opening of the exhibition coincided with a trailer and a release date for the long-awaited feature-length film. Fans eager for the adventure to continue can finally take heart.



这只曾广泛出现在微信和 QQ 中表情包里的小黑猫,由中国大陆独立动画制作人 MTJJ 创造,起初的动漫画风很简单,圆润可爱的造型配上软萌的表情,收获了大批用户的喜欢。

2011 年,罗小黑也成为《罗小黑战记》里的主角——这部由 MTJJ 及其工作室制作的一部动漫片,仍是以彩色粗线条的简笔画为主,加上了“猫妖盗取天明珠”的剧情,故事情节搞笑,但由于更新速度非常缓慢,被一众网友称为元老级“年番”国漫。就在百年国漫大展Y-COMIC-X?”开幕前后,《罗小黑战记》终于发布了大电影的先导预告和定档时间,或许终于可以告慰一下等待数年的观众了。

The Minimal


Wo Shi Bai


Born in 1988, Wo Shi Bai (whom Neocha has previously written about) was a video game designer until 2017, when he began working full-time as an illustrator. His comics feature a little character with a blank face and a generic outline. Simple as the art is, the stories have a dramatic depth that will give you pause.



1988 年生于上海的插画漫画作者我是白(点击可查看往期报道《我是白》)曾是一名游戏设计师,于 2017 年开始全职漫画创作。他的画里只有简单轮廓的小白人,简单的线条世界中,故事却很有戏剧性,让人回味无穷。

The Witty




Tango’s various identities are hard to reconcile: he has a day job in advertising, a master’s degree in industrial design from Tsinghua Academy of Art, and over a million followers on Weibo. His comics almost always involve just a few black lines: a person, a cat, or a painting are enough to fill a sketch, and more often than not they’re all it takes to make you laugh.



清华美院工业设计硕士、职业广告人、微博百万粉插画大 V,这三个很难关联的标签,都代表了 Tango 的某种身份。他的作品基本都由寥寥几笔黑色线条勾勒出来,很多时候一个人、一只猫、一幅画便是一个段子,常常让看画的人忍俊不禁。

The In-Demand


Zao Dao


Zao Dao, an artist in her 20s, grew up amid mountains and hills, and her comics are propelled by a wild spirit. Her trademark brushwork and her unruly, unconstrained style have a distinctly Chinese touch. Zao Dao already has two manhua books to her name, and she’s designed posters for such movies as The Mermaid and Monkey King: Hero is Back.



90 后漫画家早稻,从小在山野间长大,因而作品里也处处充斥着野性的灵气。她自成一派的水墨手法和洒脱不羁的态度,将中国元素表现得淋漓尽致。如今,早稻已经出版了两本画集,还一手包揽了《美人鱼》《大圣归来》等许多影视作品的海报。

The Feel-Good


Zhu Letiao


China’s “little goddess” of illustration, Zhu Letiao is the author of Diary of High School Class no. 5, the first comic in China to have its film rights bought by a production company. Zhu has also won more prizes than just about any other comic artist in the country.



身为国内绘本小天后”的猪乐桃,曾发表过的作品《高中 5 班日记》,是中国内地第一个被电影公司购买电影改编权的漫画,也是内地获奖最多的漫画家之一。

The Zany


Dick Ng


Born in Shenzhen and based in Hangzhou, Dick Ng draws a funny, absurd, thoroughly wacky style of manhua. His comics blend scenes from everyday life with a dry sense of humor.

Dick Ng


来自深圳的漫画家、插画师 Dick Ng,现居于杭州。他惯于将日常生活的元素融入到漫画中,并以冷笑话形式表现出来,风格荒诞、搞笑,非常无厘头。

The Classic


The Adventures of Sanmao

Not the first Chinese manhua character, but certainly the most famous, Sanmao was created by Zhang Leping in 1935. A street urchin who works as a paperboy, a shoeshine, and an apprentice, Sanmao had a vivid personality and a fresh style, and his adventures have a special place in readers’ hearts.


这不是中国最早的漫画,却是最为知名的漫画人物。张乐平笔下的三毛,诞生于 1935 年。这个无依无靠的流浪孤儿,小小年纪就体验过卖小报、擦皮鞋、当学徒……漫画中的三毛形象和性格鲜明,他的一切经历也都牢牢牵挂着每一个读者的心。

The Editors’ Pick


Manhua’s golden age has its own section at the exhibit, featuring ink sketches by Feng Zikai, the father of Chinese comics; early comics of the Monkey King; illustrated versions of The Romance of the Three Kingdoms; and the revolutionary-era picture-books known as lianhuanhua. Visitors can revisit their childhood memories of curling up with comics as kids.


The Experience


At X-COMIC-Y?, the gallery space is not what it seems. The design team has brought comics’ 2-D visuals into a 3-D space, and as you step into the gallery, you feel as though you’ve walked into an oversized comic book. As you move about the space, the dimensions of your perspective seem to shift, and you find yourself inside a comic frame, interacting with—almost becoming part of—the art.



Looking back to the classics while encapsulating the spirit of today, this exhibition of a century of Chinese comics gives a boost of inspiration to the manhua artists of tomorrow.

Y-COMIC-X? is now at the Sea World Culture and Arts Center in Shenzhen. Check it out! To purchase tickets, click here.




Event: Y-COMIC-X?


Sea World Culture and Arts Center, Main Ballroom
Wanghai Rd. no. 1187
Nanshan District
Shenzhen, China


July 20 to September 30, 2019
Monday to Friday 10:00 to 19:00
Saturday and Sunday 10:00 to 21:00


Like our stories? Follow us on Facebook and Instagram.


Contributor: Chen Yuan
English Translation: Allen Young
Images Courtesy of Design Society

展览名称: “百年国漫大展Y-COMIC-X?”


望海路 1187 号


2019 年 7 月 20 日 -2019 年 9 月 30 日
周一至周五 10:00 – 19:00
周六周日 10:00 – 21:00




供稿人: Chen Yuan
中译英: Allen Young

In Cycles 逃不开的句点

July 29, 2019 2019年7月29日
Bloom (2018) / Oil-painted animation 《闪烁的光》(2018) / 油彩动画

A period marks the end of a sentence, but it can also be understood as signifying the beginning of another. This process of ending and beginning again is at the heart of Period, an exhibition by Korean animator Na Yon Cho held at the PonetiveSpace Gallery in Paju, South Korea. The show consists of both animated and still pieces spanning a wide range of media including charcoal, oil paint, visual effects. “The word ‘period’ states that there is a beginning and an end, but periods are also part of a larger timeline,” she says of the title.

一个句号,可以标志着一句话的结束,也可以被理解为新一句的开端。这种周而复始的结束与开始,正是韩国漫画家 Na Yon Cho 个人展览《Period》的主题。该展览于韩国坡州 PonetiveSpace 画廊举行,由动画和绘画作品组成,呈现了一系列丰富的艺术媒介,包括炭笔画、油画和视觉效果。“‘Period’这个词不仅暗示了开始与结束,更是指时间线中的一段时间。”她这样解释展览的标题。

Snippet from Detective Flower (2018) 截取自《Detective Flower》
Snippet from Detective Flower (2018) 截取自《Detective Flower》

Central to the exhibition is also the concept of saenglobyeongsa (생로병사), a Buddhist teaching that translates to “birth, aging, sickness, death.” Though Cho herself is not Buddhist, the concept has been important to her since she was very young. “It’s always been such a huge part of my understanding of the world because it kind of humbles us in a way,” she says. “As much as we like to believe that we’re beyond animals, or are a unique species, everything has a beginning and there’s always an end. Like flowers, we bloom, and then we die. Death is natural—it just proves that we’re part of a larger ecosystem.”

整个展览的另一个主题是“人生四苦”(即韩文“생로병사”),这是一个佛教用语,意即“生老病死”。虽然 Na Yon 本人不是佛教徒,但这个概念从小就对她影响很大。“这个概念一直影响着我对世界的认知,因为它会让我意识到自身的渺小,变得更谦卑。”她说,“尽管人类认为自己不同于其它动物,但每一个物种都不能免于生死循环。花朵灿烂绽放,随后枯萎,人生也如此。死亡是一件很自然的事情,它证明我们隶属于一个更大的生态系统中的一部分。”

Cho’s animation style, with its short, looping videos, is itself is cyclical. Compared to 3D-based animation, she prefers a traditional process of drawing the frames images in charcoal, animating them, and making corrections by hand. In conveying the concept of saenglobyeongsa, Cho explains that she wanted to highlight how animation is done.

Cho moves back and forth between organic materials and technology. In creating Flickering Light, Cho wet her hands, rubbed charcoal on them, and drew the flame with her fingertips. She then photographed her stills, transferred them to her computer, and animated them based on a reference video of a live flame.

Na Yon 的动画风格带有一种周期循环感,简短、循环。相比于 3D 动画,她更喜欢传统的创作方法:先用炭笔素描每一帧图像,再使之动画化,并手工进行调整。Na Yon 解释说,在表达“人生四苦”的概念时,她想强调动画的制作过程。

Na Yon 的创作在有机材料和科技之间徘徊。在创作《Flickering Light》(闪烁的光)时,Na Yon 用湿透的双手磨擦炭笔,再用指尖描画火焰。之后用相机拍摄下这些静止的图片,传到电脑上,根据真实火焰的视频,制作成动画。

Flickering Light (2019) / Charcoal Animation 《Flickering Light》(2019) / 炭笔动画

Like many other millennials who grew up surrounded by technology, Cho has ambivalent feelings about her relationship with it. In fast-paced cities, far from nature, it’s easy to forget that one is part of a larger ecosystem. On the other hand, technology has allowed us to better understand the natural world. “I’m not against technology, but I think our dependence on it can lead to an unhealthy cycle,” she says.

Upon moving back to Seoul, Cho became reacquainted with traditional Korean art, and especially the tradition of perfecting the drawing of a single orchid. Cho spent six months trying to perfect a single line. “I want to find the perfect line, and this line can’t be pretty — it has to have qi, or energy. I look more for this ‘energy’ than prettiness or façade.”

和其他在众多科技中成长的千禧世代一样,Na Yon 对于自己与科技的关系充满矛盾的感情。在远离自然、节奏快速的城市,人们很容易忘记,自己本是一个更大的生态系统中的一部分。在另一方面,科技又使我们能够更好地了解自然世界。“我不反对科技,但我认为人类对科技的过分依赖会导致一个不太健康的循环。”她说。

回到首尔后,Na Yon 重拾韩国传统艺术,尤其是在描画兰花时不断雕琢完善的绘画传统。她曾花了半年时间努力来完善一个线条。“我想呈现一种完美的线条,比起展现‘漂亮’或好看的表面,它更需要有‘气’、有‘能量’蕴含在里面。”

Details of Flickering Light 《Flickering Light》细节图
Details of Flickering Light 《Flickering Light》细节图
炭笔动画手稿《Flickering Light》
Details of Flickering Light 《Flickering Light》细节图
Details of Flickering Light 《Flickering Light》细节图

Cho’s favorite piece of the exhibition, A Day in the Life, is a standalone painting with no accompanying animation. The chaotic lines of red, orange, and white reflect the stray thoughts that go through everyone’s mind on any given day. They’re a visual interpretation of how important ideas mingle with peripheral memories and float into our consciousness. Cho enjoyed the process of releasing her thoughts by scribbling with pastels, covering the canvas in a layer of oil, and scribbling again. When asked how such a human-centered piece fits into the larger theme of her show, she says that this flow of thoughts is also cyclical in nature.

在展览的作品中,Na Yon 本人最喜欢的作品是《A Day in the Life》(生命中的一天),这是一幅独立的画作,没有附带动画。红、橙、白三色混杂的线条,反映出人在日常那些漫无边际的想法。它也是在以视觉的形式,说明重要的想法与周边记忆融合在一起,并漂浮进我们的意识里。她喜欢用粉彩涂鸦,之后在画布中涂上一层油彩,再继续涂鸦,以此来释放自己的想法。当谈到这样一部以人为中心的作品是如何融入她展览的大主题时,她说,这种思想的流动,在本质上也是循环的。

A Day in the Life (2018) / Acrylic on canvas 《A Day in the Life》(2018) / 布面丙烯

Cho doesn’t want to enforce a singular interpretation of her art, and audience responses can be surprising. At her exhibition, she noticed an older lady watching an animation replay for ten minutes. The lady then came to her and thanked her for the exhibit, explaining that her son had died years ago, but the video, in some small way, helped her to come to terms with it. “She said she felt comforted by the idea that yes there’s death, but there’s also always a bloom.”

Na Yon 不希望强行对她的艺术加上特有的注解,所以观众的反映常常令人惊喜。在她的展览中,她留意到,有一位年迈的女士在一个动画回放前看了十分钟之久。后来,这位女士走到她面前来感谢她。她说自己的儿子几年前去世了,而这段动画视频让她终于接受了这一事实。“她对我说短片的主题让她感到慰藉——死亡是不可避免的,但死亡过后,又是新生。”

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Website: nayoncho.work
Instagram: @nacho.nyc


Contributor: Eugene Lee
Translator: Olivia Li

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


网站: nayoncho.work
Instagram: @nacho.nyc


供稿人: Eugene Lee
英译中: Olivia Li

Muscle Boys 谁的青春期不像“匹诺曹”?

July 26, 2019 2019年7月26日
The Real Boy 7 (2014) 80 x 100 cm / Oil on canvas 《正道仔 no. 7》(2014) 80 x 100 厘米 / 布面油画

When she first began painting, Shang Liang created carefully arranged, realistic depictions of everyday scenes in a mild color palette. Fifteen years later, her works have different air: one of abnormal power and force. She paints muscular characters that seem to burst out of the frame of her large canvases. They can be human or inhuman, but they all possess the same larger-than-life muscles. 

Born in 1981 in Beijing, Shang was raised in a military community in the same city. She attended the Central Academy of Fine Arts (CAFA), where she studied oil painting under Liu Xiaodong, one of China’s greatest painters. Several years later, searching for new means of expression, she returned to CAFA for a master’s degree in experimental art, and there she developed a distinctive, slightly surreal style.

刚开始画画时,商亮喜欢用柔淡的色调,描绘各种精心设计、写实风格的日常场景。15 年后,她的作品呈现出截然不同的风格:充满怪异力量感的画面。她笔下肌肉发达的角色像是要从画中冲出来一样。这些角色既有人类也有非人类,但无一例外,都拥有夸张的发达肌肉。

商亮 1981 年出生于北京,从小在当地一个军区大院长大。后来入读了中央美术学院,师从中国著名画家刘小东学习油画。几年后,为了寻找新的表达方式,她又回到中央美术学院,修读实验艺术硕士学位,并在那里形成自己独特的、偏超现实主义的绘画风格。

The Real Boy 25 (2016) 158 x 129 cm / Oil on canvas 《正道仔 no. 25》(2016) 158 x 129 厘米 / 布面油画
The Real Boy 21 (2016) 166 x 129.5 cm / Oil on canvas 《正道仔 no. 21》(2016) 158 x 129 厘米 / 布面油画

This distinctive style began to appear when she became interested in the subject of adolescence: “I think there is obscurity about this period in life,” she explains, “teenagers have confused emotions and uncertainty about what they will become. It’s a period of intense transformation and development, both in the body and the mind.” More than anything else, adolescence is an important moment for developing a moral sense. Teenagers are complicated beings, innocent and still quite vulnerable to the influences around them.


The Real Boy 19 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 19》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 6 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 6》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 1 (2016) 80 x 60 cm / Oil on canvas 《正道仔 no. 1》(2012) 80 x 60 厘米 / 布面油画
The Real Boy 20 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 20》(2016) 100 x 80 厘米 / 布面油画

In 2012, Shang began to work on The Real Boy series, portraying slender teenage boys with hypertrophic abdominals, chests, and arms. Some are flexing their muscles so hard that veins pop out on their skin. Their faces still reveal tenderness and immaturity, but their expressions and body language suggest a longing to become powerful, muscle-bound men. 

Some paintings in this series feature boys with long, pointy noses, a clear reference to Carlo Collodi’s classic children’s tale Pinocchio. Like the puppet who dreamed of becoming a real boy, the characters in these paintings have to prove themselves mature without straying from the path of honesty and morality. This series dramatizes the challenges and conflicting impulses of adolescence. 

2012 年,商亮开始创作《正道仔》系列,描绘一些有着大腹肌、粗壮胸部和手臂的十几岁少年。其中一些男孩用力展示自己的肌肉,以致于手臂上青筋爆突。他们的面孔仍然显露出温柔和稚嫩,但他们的表情和肢体语言却流露出成为肌肉结实的男人的渴望。

在此系列的一些画作中,有些男孩有着又长又尖的鼻子,这显然是在借鉴 Carlo Collodi 的经典儿童故事《木偶奇遇记》中的匹诺曹。就像梦想成为真正男孩的木偶人一样,这些画中的男孩必须在遵守诚实和道德的原则上,证明自己是成熟的男人。这个系列戏剧化地展示了青春期的各种挑战和矛盾的冲动。

The Real Boy 14 (2015) 80 x 100 cm / Oil on canvas 《正道仔 no. 14》(2015) 80 x 100 厘米 / 布面油画
The Real Boy 21 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 21》(2015) 40 x 40 厘米 / 布面油画
The Real Boy 18 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 18》(2015) 40 x 40 厘米 / 布面油画

Shang’s following series, Good Hunter, developed naturally from The Real Boy: it’s as if the same characters had grown both in physical form and in confidence. The new characters seem to have exaggerated internal strength, with bodies developed into cartoonish muscular form. Their faces, however, retain the same boyish expressions or have no expression at all. The oversized canvases, bigger than a human body, suggest an intimidating superhuman strength. Standing before these characters, the viewer may feel small, or even oppressed. The exaggerated manliness combined with a complete absence of women seems to be an allusion to patriarchal systems built on oppression and misogyny.


The Good Hunter 11 (2015) 100 x 100 cm / Oil on canvas 《好猎手 no. 11》(2015) 100 x 100 厘米 / 布面油画

In Boxing Man, her latest series, Shang departs completely from realistic human anatomy, and a new character emerges: one with a boxing glove in the place of the head and no sexual organs.  None of her characters ever really have an adult face, and here they are frightening and inhuman creatures. As she explains: “It’s not human. It’s a new species. You can guess how it senses the world, what it feels, and what it thinks.” With the metaphor of strength and power becoming a head on their own, Boxing Man appears as the culmination of all underlying issues found in her previous series: the struggle for the ultimate strength, the torture of moral dilemmas, and the blind pursuit of power. 


Boxing Man 7 (2018) / Oil on canvas 《拳击人 no. 7》(2018) / 布面油画
Boxing Man 8 (2018) / Oil on canvas 《拳击人 no. 8》(2018) / 布面油画

As references for her characters, Shang looks to bodybuilding and fighting TV shows. She also refers to classical sculptures by Michelangelo. To achieve a certain luminosity, she places different layers of paint one over the other. Red, dark-red, and brown are predominant colors, evoking oxygenated and deoxygenated blood and bruises. Her brushstrokes have a notable strength, which comes, no doubt, from her practice of Chinese calligraphy. There are also elements of taiji embedded in the movements and curves of the characters.

Although she has unconsciously absorbed traditional Chinese elements, Shang’s underlying subject matter is not specific to any country or culture. Her work can be seen as a critical commentary on traditional ideas of masculinity. It is fascinating that this appraisal comes from a female artist. If boys face excruciating difficulties when expected to assume the role of a man, what do girls feel when they, too, are expected to succeed?


Selected works from Good Hunter and Boxing Man are on display in a solo show at MadeIn Gallery until the first of September. 



MadeIn Gallery
Longteng Avenue, lane 2879, no. 106
Xuhui district, Shanghai




来自《好猎手》和《拳击人》系列的精选作品日前正在上海没顶画廊举办的个展中展出,展览将于 9 月 1 日闭幕。




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Website: shangliang.co


Contributor: Tomás Pinheiro
Chinese Translation: Olivia Li

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


网站: shangliang.co


供稿人: Tomás Pinheiro
英译中: Olivia Li

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Outsider Everywhere 局外人在说唱

July 24, 2019 2019年7月24日



In his latest music video, Txmiyama is hanging out of the window of a bus and surrounded by his crew as he raps at the camera. The song he’s performing is a tribute to the city’s iconic minibusses, a local necessity for Hong Kong’s night owls, whether they be commuters on the night shift or nightlife denizens making their woozy way home. In another video, he’s rapping about Chungking Mansions, the infamous indoor complex full of street vendors, hostels, and much, much more hidden deep within its winding halls and 17 floors.

Most people are familiar with Hong Kong’s electrifying skyline and its reputation as a luxury shopping mecca, but the places and things that underground rapper Txmiyama focuses on represent a distinctly local identity.

在说唱歌手 Txmiyama 个人最新 MV 中,周遭围着一众朋友的他,半身探出车窗外,对着镜头喊麦。他所演唱的这首歌,旨在致敬香港标志性的小巴,无论是上夜班的通勤者,还是享受完夜生活醉熏熏回家的人,都仰仗于这个交通工具。而在另一个 MV 中,他把主题转向重庆大厦。这个臭名昭著的大楼里充满了各色街头小贩、廉价旅馆,还有更多隐藏在蜿蜒的走廊和 17 层楼中的故事。

说起香港,大多数人首先想到的是这座城市的灯火阑珊的天际线,及其作为奢侈品购物天堂的声誉,但对地下说唱歌手 Txmiyama 来说,他所关注的地方和事物却更具香港本地特色。

Yet, despite the love and knowledge of the city displayed proudly through his music, Txmiyama still doesn’t consider himself a local. He’s lived in Hong Kong since the age of 12, but both his parents are Japanese and he was born in Toronto. “I don’t even know where I’m from, and I’m comfortable with that. I’m just a stray,” he says with a very subtle Canadian accent slipping out through his Os. “All my friends are here, and I definitely feel like I have a home here. But when it comes to the local community, they probably won’t accept me. So it’s kind of like I’m an outsider everywhere.”

然而,尽管 Txmiyama 在音乐中骄傲地展示了自己对这座城市的热爱和熟悉,但他仍然不认为自己是一个地道的香港人。他出生于多伦多,从 12 岁起住在香港,但父母都是日本人。“我甚至不知道自己来自哪里,但我接受这一点。我只是一个流浪者。”他的英语回答微妙地泄露出他的加拿大口音。“我所有的朋友都在这里,我觉得这里就是我的家。但是对于当地社区来说,他们可能不会接受我,所以不管在哪里,我都像是局外人。”

He embraces that role through his music, most prominently in the song “Outsiders,” where he raps in Japanese, English, and a little Cantonese, with even a line in Tagalog thrown in for good measure. It’s this appreciation of different cultures that has led him to hold places like Chungking Mansions—a popular gathering spot for many of Hong Kong’s ethnic minorities, including South Asians, West Africans, Filipinos, and more—in high regard. “The cultural diversity reminded me of Toronto. It felt like home,” Txmiyama says.”The people are genuine there. They’re like underdogs. They’re coming here and dealing with prejudices from locals, but they have real stories.”

在《Outsiders》(局外人)这首歌里,他用日语、英语和一点粤语说唱,甚至还加插了一句菲律宾塔加洛语歌词。可以说,Txmiyama 是通过自己的音乐,学会接受自己的身份,正是出于对不同文化的理解,他才会对像重庆大厦——这类香港少数人种的聚集地,包括南亚人、西非人、菲律宾人等等——产生极大的尊重感。Txmiyama说:“这种多元文化让我想起了多伦多。让我有一种家的感觉。那里的人都很真实,他们也知道外界很多人对他们有负面的看法,来到这里,面对当地人的偏见,但他们有着真实的故事。”

Listen to to some of our favorite tracks from Txmiyama below:

点击即可试听几首 Txmiyama 的歌曲:

While cultural diversity is on the rise in Hong Kong, it’s largely due to migration from other Asian countries and Caucasian expats moving there for corporate gigs. Chungking Mansions represents a more truly global population, one that some people are unfortunately wary of. At the international high school Txmiyama attended in Hong Kong, other Japanese kids often commented about the people of color he surrounded himself with and shunned him, leading him to feel estranged from his Japanese roots.”They didn’t really like me because I would hang out with too many ‘brown people,’ and I thought that was fucked up,” he recalls. “So growing up, I had some animosity towards Japanese people at one point. I felt like they needed to step out of their comfort zone more. These are all good people, why can’t you just try to understand cultural differences?”

香港的文化多样性正不断扩大,但主要都是来自其他亚洲国家的移民和受企业派遣的欧美外籍人士。而重庆大厦却代表了一个更加真实的全球化人群,但不幸,有些人对此感到忧心忡忡。Txmiyama 在香港的国际高中读书时,其他日本学生经常对他身边的有色人种指指点点,并且有意排斥他,导致他感到自己与日本的根源逐渐疏远。他回忆道:“他们不喜欢我,因为我和太多‘深肤色的人’一起玩,我觉得这种想法太糟糕了。所以在成长过程中,我曾经对日本人产生过一些敌意。我觉得人们应该要多走出自己的舒适区。那些朋友都是很好的人,为什么大家就不能试着去理解文化差异呢?”

Even as an adult, Txmiyama often feels like an outsider among his peers, especially in the local rap scene. “There’s always a gap between international Hong Kong and local Hong Kong,” he explains. “There are people out here who won’t accept my music as Hong Kong music because I don’t rap in Canto or whatever.”

It’s an ironic situation, considering local promoters say that the more commercial clubs complain when they try and play Cantonese rap and prefer English-language rap. But it makes sense since rap’s always been infused with a heavy dose of hometown pride. Local rappers are reclaiming that lost element by showing a new preference for their own language. “I understand their perspective,” he adds, noting that some artists like Dough Boy and Young Hysan are working to bridge the gap between local and international Hong Kong. “The city is getting more diverse, with more cultures coming together. But it’s got some ways to go. We’re such a small city and I feel like we’ve all got to work together to put the city’s rap scene on the map.”

即使成年后,Txmiyama 也经常感觉自己是同侪,特别是在当地的说唱圈。“本地化和国际化的香港之间始终是不同的。”他解释说,“这里的人不认为我的音乐是香港音乐,因为我不会粤语说唱。”

这种情况其实很有讽刺意味,因为许多的当地活动团队说,当他们尝试在主流夜店推广粤语说唱时,对方却表示会倾向英语说唱。但因为说唱总是充满了强烈的故乡自豪感,这其实也有道理。当地说唱歌手对母语的优先运用,重新找回了歌曲中丧失的元素。“我理解他们的想法。” Txmiyama 补充说道。他指出,像 Dough BoyYoung Hysan 这样的音乐人正在努力弥合本地化和国际化的香港之间的差距。“香港现在环境越来越多元,文化之间越来越共融,但前面还有一段路要走。这个城市地域很小,我觉得大家应该携手努力,将香港的说唱发扬光大。”

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Instagram: @txmiyama
Facebook: ~/txmiyama852
YouTube: ~/txmiyama


Contributor: Mike Steyels
Photographer & Videographer: Mart Sarmiento

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


Instagram: @txmiyama
脸书: ~/txmiyama852
YouTube: ~/txmiyama


供稿人: Mike Steyels
图片与视频摄影师: Mart Sarmiento

Auntie is Coming 大姨妈要来了

July 22, 2019 2019年7月22日

Puberty can be an awkward time in a teenager’s life. Proper sex education is vital to helping kids understand the changes they’re going through, but in many countries, such a curriculum doesn’t exist in schools.

Stacey Wei, a self-taught Chinese-American artist, recognizes the importance of sex education during adolescence. She recalls the confusion and apprehension that she experienced when going through puberty. “I’m not sure I knew what was going on,” Wei says. “And my parents and teachers never really addressed it.” To help girls today avoid what she went through, she decided to create educational content that can offer guidance during this tumultuous period of bodily change.


韦思莹是一位自学成才的美籍华裔艺术家,对于青春期性教育的重要性,她深以为然。回忆起在青春期经所经历的困惑和忧虑,Stacey 说:“我不确定到底发生了什么事。而我的父母和老师也从来没有真正去解决过这个问题。”为了帮助当代女孩避免她的遭遇,她决定创作教育性的内容,来引导正经历动荡的青春期的女孩。

Working with translator Yunqian Wang, Wei published Big Auntie is Coming, a Chinese-language booklet that tackles the subject of female puberty and menstruation with a lighthearted touch. The title is based on a common Chinese euphemism for menstruation, and it begins with Wei sharing a few more of her favorite euphemisms from other countries, such as France’s, les anglais ont débarqué (meaning “The English have landed,” a reference to the British Army’s red uniforms of the past), and Portugal’s sinal vermelho (meaning “red traffic light”).

韦思莹与译者 Yunqian Wang 合作,出版了中文画册《大姨妈要来了》,以轻松诙谐的风格讲解女性青春期和月经的问题。书名取自中国对月经的委婉表达, 韦思莹分享了她所知道的一些其他国家关于月经的委婉说法,例如在法国是“les anglais ont débarqué”(意思是“英语人已登陆”,因为过去英国军队穿的是红色的制服),在葡萄牙则是“sinal vermelho”(意为“红色交通灯”)。

As readers make their way deeper into the pages, the book stays on course with its silliness, a way of appeasing to the pre-teen readership that the book is meant for. To this end, Wei also opted for easy-to-understand language, a playful style of illustration, and a roster of zany characters who help push the story along: the menstrual cycle first appears personified as a superwoman dressed in pink, a bra-wearing toy poodle offers words of encouragement about breast-size insecurities, and girls striking Rosie-the-riveter pose reassure readers that leakage is common.

The result is that Big Auntie is Coming almost reads like a children’s picture book, though the content is meant for a slightly older audience. This approach gives the book a whimsical charm that makes the educational material fun and entertaining. “The book is a way of introducing menstruation in a less awkward way,” Wei explains. “It can hopefully alleviate some of the stigmas of talking about it so that a more in-depth conversation can be had.”



This book is only the beginning for Wei. Seeing the positive reception to Big Auntie Is Coming has motivated her to publish more educational content that covers a breadth of health-related topics, including hygiene, male puberty, and mental health.

Auntie is Coming is now available in the Neocha Shop.


《大姨妈要来了》现于 Neocha 商店发售

Like our stories? Follow us on Facebook and Instagram.


Instagram: @sswei
Behance: ~/staceywei


Contributor: Daniella Danuvy
Chinese Translation: Olivia Li

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


Instagram: @sswei
Behance: ~/staceywei


供稿人: Daniella Danuvy
英译中: Olivia Li

True Colors 下跪的艺术

July 19, 2019 2019年7月19日
National Anthem (San Francisco 49ers) (2019) 16.5 x 29 in / Watercolor on paper《National Anthem (San Francisco 49ers)》(2019) / 水彩, 42 x 74 cm

In September 2016, Colin Kaepernick, a quarterback for the San Francisco 49ers, began kneeling during the US national anthem at the start of each NFL game. He did this to protest systemic racism in the US, and particularly police violence against black men. President Donald Trump attacked him on Twitter, saying that this was disrespectful to the flag; other commenters countered that his actions were in fact an embodiment of the American spirit. Suddenly Kaepernick had become famous beyond the world of football, and discussions of the controversy led to a national reexamination of American identity.

Kaepernick’s actions, and the protests that followed, intrigued Kota Ezawa, a Japanese-German artist who resides in the US. His series of watercolors National Anthem, which was recently shown at the Whitney Biennial, explores these events. “A lot of protest happens through language or slogans,” says Ezawa. “The genius of his gesture is that it was non-verbal—it was just taking a knee. It said so much without saying anything.”

2016 年 9 月,NFL 球员柯林·卡佩尼克(Colin Kaepernick)在比赛前奏国歌时下跪,以表示对美国机构性种族主义的抗议,特别是抗议警察对黑人男性的暴力行为。美国总统特朗普发推说这是对国家和国旗的不敬;但有些民众说,这才是美国精神的体现。柯林一下在橄榄球界内外闻名,而关于下跪事件的讨论,也推动了美国社会对美国身份的反思。

卡佩尼克的这一跪,以及接下来的抗议活动,激起了常住加州的日裔德国艺术家 Kota Ezawa 的兴趣。他为惠特尼双年展创作的《国歌》系列,就探究了下跪事件的意义。“言语或口号是很多抗议活动的表达渠道。” 他说,“而柯林无声的举动却胜过有声的表达:他仅仅下跪而已,什么都没说,但这种表达却很丰富。”

National Anthem (Miami Dolphins) (2019) 10.5 x 19 in / Watercolor on paper《National Anthem (Miami Dolphins)》(2019) / 水彩, 27 x 48 cm
National Anthem (The Roar of the Jaguars) (2018) 13 x 23 in / Watercolor on paper《National Anthem (The Roar of the Jaguars)》(2018) / 水彩, 33 x 58 cm

When Ezawa was approached to submit work for the Whitney Biennial, he originally planned to create a piece based on Robert Frank’s iconic photography series The Americans. Yet after reading about the football controversy, he thought, why not do a piece on Kaepernick’s kneeling? “It rarely feels like I am choosing a subject for my work. More often the subject finds me, or an idea comes to me unexpectedly,” he says. This series was no exception.

Before the controversy made headlines, Ezawa had only thought of the national anthem that’s played before sports events as a moment for silence, and he had never given much thought to its patriotic or political significance. Yet Kaepernick’s decision to kneel showed him how powerful a moment it could be. “I perceived it as some unusual act of patriotism. If you stage a protest on such a large platform in front of millions of people, it can only be because somehow you care about the country that you’re supposed to represent.”

Recreated in watercolor, the news images have a surprising warmth. “In general, I try to incite some kind of conflict between the surface of the work and what‘s behind it,” he says. Here he takes what could be a passing story and gives it a certain permanence, while also making the events seem less distant—perhaps like actions that anyone could take.

当惠特尼双年展邀请 Kota 提出作品的时候,他原先准备基于罗伯特·弗兰克的典型照片集《美国人》作画。但他看了这次足球争议之后,突然被想法击中:为什么不以柯林下跪为主题呢?Kota 说,“我很少感觉自己选择主题,往往是主题找到了我,或者是突然间出现在我脑中。”这个作品就是如此。

在争议铺天盖地之前,Kota 只把国歌当做比赛前的一个静止时刻,从没想到这个固定程序背后的爱国情绪和政治涵义,但柯林的举动证明了这一刻的震撼。“我发觉,这是一种独特的爱国行动。如果你在这么大的舞台上、在上百万观众前反抗,那说明某种程度上,对你要代表的国家,你一定是关切至深的。”


National Anthem (Oakland Raiders) (2019) 13 x 23 in / Watercolor on paper《National Anthem (Oakland Raiders)》(2019) 33 x 58 cm / 水彩
National Anthem (Tampa Bay Buccaneers) (2019) 10.5 x 19 in / Watercolor on paper《National Anthem (Tampa Bay Buccaneers)》(2019) 27 x 48 cm / 水彩
National Anthem (Buffalo Bills) (2018) 11 x 15.5 in / Watercolor on paper, 《National Anthem (Buffalo Bills)》(2018) 28 x 42 cm / 水彩

Ezawa, who has lived in the US for over 20 years, was raised in Germany, the son of a German mother and a Japanese father, and he’s always had an ambivalent relationship to national identity. “I never felt a connection to this attitude of patriotism,” he explains. “I never knew which flag I should wave, the Japanese one or the German one. Now I’m a naturalized US citizen, but I never thought of myself as having these strong patriotic feelings about the US.”

Slowly, he’s begun to feel more American, and perhaps Kaepernick’s protest—with its brave and thoughtful patriotism, so different from the flag-waving variety—is one of the reasons. “Until recently, I thought of myself mainly as a foreigner and immigrant, but this perspective is slowly softening,” he says. Being selected as a representative of US contemporary art in the Whitney Biennial is a milestone for him. “At least in the eyes of the art world, it seems like I qualify as American.”

Still, he maintains distance from easy national identification. “I’m not so sure that my perspective is tied to any national origin. I once heard it said that an artist sees the world through the eyes of a tourist,” he notes. “I think that is my preferred perspective.”

To keep up to date with upcoming exhibitions or works from Kota Ezawa, visit the Haines Gallery website.

在美国生活了二十余年的 Kota 成长于德国,母亲是德国人,父亲是日本人,他对国家认同一直存有矛盾。“我从未对爱国主义有什么联系,每次都不知道自己该挥舞哪国的国旗,到底是日本还是德国呢。”他说,“虽然如今是美国籍,但从不觉得自己对美国有这种强烈的爱国情绪。”

Kota 现在慢慢开始感觉自己更像美国人,也许是柯林的抗议让他认同的原因之一——那种周密、勇敢、跟民族主义完全不同的爱国态度。“我之前觉得自己是外国人,是移民,但最近这个视角慢慢开始改变。” 他说。被选入美国当代艺术的代表惠特尼双年展,对他来说也是一个里程碑,“至少在艺术世界里,好像我已经被当成了美国人了。”

但无论如何,Kota 对流于表面的国家认同保持距离。“我不觉得我的艺术视角和任何国家有关。我曾听过一句话,说的是艺术家的世界观和游客一样,我觉得这才是我所偏好的视角。”

想持续关注 Kota Ezawa 的展览和作品信息,可点击浏览 Haines Gallery 官网

National Anthem (Cleveland Browns) (2019) 8 x 29 in / Watercolor on paper《National Anthem (Cleveland Browns)》(2019) 20 x 74 cm / 水彩
National Anthem (Tennessee Titans) (2019) 16 x 29 in / Watercolor on paper《National Anthem (Tennessee Titans)》(2019) 41 x 74 cm / 水彩,
National Anthem (Washington Redskins) (2019) 13 x 23 in / Watercolor on paper《National Anthem (Washington Redskins)》(2019) 33 x 58 cm / 水彩
National Anthem (Denver Broncos) (2018) 9 x 19 in / Watercolor on paper《National Anthem (Denver Broncos)》(2018) 23 x 48 cm / 水彩

Like our stories? Follow us on Facebook and Instagram.


Contributor: Jiang Yaling
English Translation: Allen Young
Images Courtesy of Kota Ezawa and Haines Gallery

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


供稿人: Jiang Yaling
中译英: Allen Young
图片由 Kota Ezawa 与 Haines Gallery 提供

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Asia by Night 夜晚的城市街头

July 17, 2019 2019年7月17日

Teemu Jarvinen is a Finnish photographer known for his street photography and cityscapes across Asia. As a digital nomad in the IT industry, Jarvinen travels the world, taking every opportunity he can to capture images wherever he finds himself. Inspired by the futuristic aesthetic of cities such as Tokyo and Seoul, Jarvinen’s photography often focuses on the neon lights and colors that come alive at night.

芬兰摄影师 Teemu Jarvinen,以他在亚洲各地的街头摄影和城市景观而闻名。作为一个在 IT 行业的数字游牧者,Teemu 周游世界,利用一切可能的机会,捕捉他在不同城市自己所在的图像。受到东京和首尔等城市未来主义审美观的启发,贾维宁的摄影作品经常聚焦于夜晚鲜活的霓虹灯和色彩。

For Jarvinen, notable Instagram photographers have played a major role in shaping his style—he cites photographer Liam Wong as one of his main influences. At the same time, he laments the herd mentality that platforms like Instagram have fostered by encouraging people to take photos in the locations or styles that will generate the most likes. Jarvinen says, “There’s a phenomenon amongst aspiring photographers today where each one of us is trying to take the same photo at the same spot, which is all too easy to do. I’m guilty of this as well, sometimes when you go to a scenic place it’s hard not to take that iconic shot that will undoubtedly get a lot of Instagram likes each time.”

在 Teemu 看来,Instagram 上著名的摄影师 Liam Wong 是影响他的主要人物之一,在塑造他的摄影风格方面发挥了重要作用。同时,他也感慨像 Instagram 这样的平台通过鼓励摄影师在最受欢迎的地点或风格拍照,从而也培养了大家的从众心理。Teemu 说:“现在的摄影师中存在这样一个现象,就是每个人都试图在同一地点拍摄同一张照片,这很容易做到。但有时候当你去一个风景秀丽的地方,很难不拍下每次都能得到很多赞的标志性照片。我也为此感到愧疚。

Jarvinen feels his photography is more authentic when he’s creating images at street level, as opposed to taking shots of iconic landscapes and cityscapes. “Street photography forces you to be creative and to look for beauty in the mundane. It forces you to explore and walk around cities, a perfect hobby for a traveler. And lastly, it’s really difficult to do well which makes it very rewarding when you do get a really good shot,” he says. His advice to aspiring photographers is simple: “Never be completely satisfied with your work. Analyze what you like or dislike about your own and other people’s work. And then just go out and shoot a lot, edit a lot. Over a longer period of time, you will keep getting better.”

根据 Teemu 的说法,摄影是创造街头图像更真实的途径,而不仅仅是拍摄标志性的风景和城市景观。他告诉我们,街头摄影迫使你富有创造性,要在世俗中寻找美。它迫使你在城市里探索和行走,一个旅行者的完美爱好。最后,要做好是很困难的,所以当你得到一个非常好的球时,这是非常值得的。他对立志摄影的同行给出了很简单的建议:永远不要对你的作品完全满意。去分析自己和他人的照片里你喜欢或不喜欢的地方,然后走出去,多拍照,多修图。慢慢随着时间过去,你就会越来越上手。

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Instagram: @teemu.jpeg


Contributor: George Zhi Zhao


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Instagram: @teemu.jpeg


供稿人: George Zhi Zhao

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Experiment with High Saturation 来一场高饱和度的视觉盛宴

July 17, 2019 2019年7月17日
Image by bellkitsos 图片来自 bellkitsos

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.

With high saturation, you can transform ordinary surroundings into mosaics of color and contrast. Rich, tonal hues define this look and color takes the center stage. Achieving this look yourself can be done with a few simple tricks. Check out these approaches you can use to experiment with high saturation.

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。


High Saturation Presets


Image by thesolipsist 图片来自 thesolipsist
Image by greatsabri 图片来自 greatsabri

Agfa Ultra 50 is definitively known for its intense color saturation. AU5 is perfect for experimenting with rich colors and warm tones, especially when reds and yellows are part of the composition. Though traditionally used with landscapes, this preset can help push the boundaries of other genres as well.


Agfa Ultra 50 是公认的、强烈的彩色饱和度的滤镜。AU5 非常适合色彩丰富、色调温暖的照片,尤其是红黄两色为组成调的时候。虽然通常这个滤镜会与风景照一起使用,但这个预设也可以用作其他更多用处。

Image by amjordan 图片来自 amjordan

Kodak Ektar 100 is a favorite for creating saturated, color-filled images. It was designed to hold up in a variety of lighting conditions, even afternoon sun, but like most Kodak films, it has a warming effect perfect for evening and morning light. Its high saturation and bold contrast sets it apart and has helped it become one of our most popular Film X presets.


柯达 Ektar 100 是最受欢迎的饱和、彩色填效果之一。它原先是为各种照明条件设计的,甚至午后的阳光直射也可以。但就像大多数柯达胶卷一样,它色调温暖,对晨暮的阳光展现尤其完美。其高饱和度和强烈的对比,使其与众不同,并已帮助它成为我们最受欢迎的胶片滤镜之一。

Image by daviddahlia 图片来自 daviddahlia

Fujifilm Provia 400X is great for high saturation without overwhelming warmth. Fujifilm is known for cooler tones, and FR4 is no exception. If you’re looking deepen colors while maintaining a more natural look, try slightly underexposing with FR4 and you’ll notice how blues and greens are especially targeted with this preset.


富士胶片 Provia 400X 可以创建高饱和度、没有温暖主调的照片。富士胶片以冷色调著称,FR4 也不例外。如果你正在寻找暗沉颜色的滤镜,同时又要保持自然的外观,可尝试在一张低曝光的照片上使用 FR4,你会发现它是如何通过蓝绿两色来实现这个滤镜效果的。

Tools for High Saturation



Use this tool to quickly boost all of the colors in your image. Increasing the slider will enhance and deepen hues, especially in areas where color plays a dominant role.


The HSL tool gives you full control over individual colors in your image. This enables you to increase the saturation of specific areas, like a blue sky or a yellow car.


Though not directly shifting color, increased contrast can help emphasize and intensify the colors by brightening mid-tones and darkening shadows. This can help areas of color pop out from their surroundings.




HSL 工具可以使你可以完全控制照片中的个别颜色。这可以让你增加特定区域的饱和度,比如蓝色的天空或者一辆黄色的汽车。



Capturing High Saturation


Image by jeffmercado 图片来自 jeffmercado

High saturation images can start before you even hit the shutter. Always look out for bold colors that can enliven a composition—neons and bright reds are especially good at this. Finding the right light also helps—afternoon sun is often harsh and washes out color, instead, try shooting in the morning or evening when the sun is lower in the sky. Heading outside after some rain is also a great way to catch colors at their peak.


In Full Bloom 记忆的黑洞

July 15, 2019 2019年7月15日



Memory can be a fickle thing, especially in old age.

Filmmaker Maegan Houang’s latest short, In Full Bloom, highlights the cruelty of age-related memory loss through a surreal story with no dialogue. The film centers on Cecile (played by Vietnamese-American actress Kiều Chinh), an elderly woman confined to her house by anxiety after the death of her husband.


Maegan Houang 的最新短片电影,《In Full Bloom》(《在盛开时》),通过一个没有对话的超现实故事,呈现了随年岁增长而记忆渐失的残酷。影片以 Cecile(越南裔美籍女演员 Kiều Chinh 饰)为主角。丈夫去世后,她因有广场恐惧症(agoraphobic)而被困在家里。

The agoraphobic protagonist continues to practice her favorite pastime, gardening, even if it’s just tending to potted plants in her poorly lit home. Hoping to grow a rare flower, she orders special worms advertised to help with the soil. But overnight, the worms—brought to life by stop-motion artist Jason Whetzell—escape the pot and burrow a hole under her couch. The ominous hole serves as a metaphor for dementia and the erosion of Cecile’s mental faculties, and as it grows larger and larger over the course of the film, it vacuums up everything she holds dear.

Cecile 为缓解焦虑,一直在学习园艺作为消遣,哪怕只是在昏暗的家里种下盆栽。为了种植稀有花卉,她订购了广告里说是帮助耕种土壤的特殊蚯蚓。但一夜之间,那些蚯蚓——由定格动画艺术家 Jason Whetzell 制作并“复活”的蠕虫——逃离了花盆,并且在她的沙发下挖了一个洞。这个不祥的洞,象征着阿尔茨海默症以及 Cecile 的智力衰退,它在短片电影中日长夜大,吸走了她所珍爱的一切。

Alone and frightened, Cecile considers packing up her things and leaving, but reaching the front door, she finds herself unable to overcome her fears of being outside. She’s stuck at home, she’s forced to face the ravenous chasm by herself.

Cecile secures what remains of her furniture and belongings with rope and retreats to her bedroom. But during the night, the unforgiving void continues swallowing her things at an even more violent rate, eventually taking one of her most precious possessions: a photo of her late husband.

The film’s sense of dread and helplessness encapsulates the feelings experienced by Alzheimer’s patients who watch helplessly as the disease robs them of everything. These emotions are all too familiar to Houang, who saw first-hand the effects of Alzheimer’s with her grandfather. In the later stages of the disease, he even forgot his wife had passed away.

受惊后的 Cecile 想收拾好东西离开,但到了前门,她发现自己无法克服出门在外的恐惧。她被困在家里,被迫独自面对那个贪婪的深洞。

Cecile 用绳子把她剩下的家具和财物固定起来,然后逃到卧室。可到了晚上,那可憎的空洞还在以更猛烈的速度吞噬着她的东西,最终夺走了她最珍贵的财产之一:一张她已故丈夫的照片。

影片里的恐惧和无助感,向观众集中展现了阿尔茨海默症患者的感受:他们无助地看着疾病夺走他们的一切。Maegan 对这再熟悉不过了,因为她亲眼目睹了阿尔茨海默症对她祖父的影响。在疾病的晚期,他甚至忘记了他的妻子已经去世。

Just like the stories of many Alzheimer’s patients and their families, Houang’s film doesn’t end on a happy note. In the morning, Cecile emerges to a completely barren home, save for the single flower that’s spawned the whole mess. The hole, now larger than ever, almost seems to taunt her. In the final scene, she approaches it, eases herself onto the edge, and lets herself slip in, disappearing into the darkness.

就像许多阿尔茨海默症患者和他们的家人的故事一样,Maegan 的电影并没有画上一个圆满的句号。早上,Cecile 从卧室出来发现,家里只剩下一朵孤伶伶的花。而那个洞此刻已经比以往任何时候都大,大到几乎像是在嘲弄她。最后一个场景里,Cecile 慢慢接近了黑洞,在它边缘平静地坐下,再之后就纵身滑进黑洞,从此消失在黑暗里。

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Website: www.maeganhouang.com
Instagram: @houangm
Vimeo: ~/maeganhouang


Contributor: David Yen
Chinese Translation: Chen Yuan

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


网站: www.maeganhouang.com
Instagram: @houangm
Vimeo: ~/maeganhouang


供稿人: David Yen
英译中: Chen Yuan