Jiangnan 国境以西,边疆以南

September 6, 2019 2019年9月6日

In Xinjiang, the region in Western China whose name means “new frontier,” history seems to be everywhere you look. The landscape is stark and bewitchingly beautiful. Across the southern half of the region runs the Tarim river, whose basin collects waterways of the Taklamakan desert and defines the borders of the area known as Nanjiang.

Nanjiang is the subject of a photography series by Zhang Boyuan called, somewhat confusingly, Jiangnan.

Zhang was born and raised in Xinjiang, and after college he went to study at the University of the Arts, London. And it was there—homesick and far away, having just watched the documentary Tarim River—that he first got the idea to shoot a series in Nanjiang.


新疆,这个坐落在中国西北部边疆的地区,旧称西域,仿佛从古老历史中缓步而来,兼具神秘的美感、荒芜的野性;塔里木河,这条绵延两千公里,贯穿塔克拉马干沙漠的河流,则画出了“疆南”地理上的起止。

张博原的镜头,正是对准了这个“疆南”——生于新疆的他,本科毕业后去伦敦艺术大学读研,去拍南疆的这个决定,则是在他身处异国怀念家乡时,偶然看了《塔里木河》这部纪录片后所做的。

When Zhang first shot the series, one picture in particular stood out to him: an Uyghur child crouching in Unity Square, in the city of Hotan, in front of an enormous statue of Mao Zedong shaking hands with Kurban Tulum. (Kurban Tulum, or “Uncle Kurban,” was an Uyghur farmer glorified by the central government as a symbol of unity). It’s an image rich in detail and suggestion. Zhang has shot all of Jiangnan’s iconic settings, figures, and scenery. He uses that scenery to “construct my own impression, my own fantasy of the land.” It’s an expression of his love for the landscape.


这个系列进行的时候,张博原说有一张照片曾让他印象深刻:一个维吾尔族小巴郎子,蹲在和田的团结广场上,而他背后有着一座巨大的毛主席与库尔班大叔握手的雕像,那张照片拥有着丰富的细节与信息量。南疆令人为之吸引的人物、景色、氛围,张博原都拍。他说,这是在用景观“构建自己对这片土地的印象与幻想”,是“寄情于景”的表达。

Zhang says that the scenes in his photographs are things that were already there, but are also reflections of his own moods, and bearers of stories. “Compared to emotions and connections with people, relationships with the landscape are more internal, and more difficult,” he says. “My series Jiangnan has been going on for a long time now, and it will continue into the future. What I’m trying to do is use the relationships among the landscapes, and to juxtapose them with people and create connections, to tell the stories of this land.”


张博原说,照片里呈现的景观,是这片土地已然存在的物事,其实也是自己内心情绪的映射,是故事的载体。“相比与人产生的联系和情感,与景产生的共鸣更内化,也更不容易。《疆南》系列已经是一个长期项目,会继续做下去。我希望做的,是用景观各自间的关系,以及它们和‘人’并置、产生连接,来讲述这里的故事。”

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Website: zhangboyuan.net
Weibo: ~/张博原

 

Contributor: Chen Yuan


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网站: zhangboyuan.net
微博: ~/张博原

 

供稿人: Chen Yuan

 

Crash Course 后宫的热辣狂舞

September 4, 2019 2019年9月4日

The music of Taipei’s Sonia Calico has always been thoughtful. It draws on various styles of urban club music from around the world, like grime and Jersey club, and then blends them with Asian references in an homage to her inspirations. 

One genre that Sonia touches on is ballroom, a style with origins in black gay communities in New York that’s often the soundtrack to vogue dancing. A central element of this music is the “ha crash,” which is a cluttering and crashing snare explosion, often with the word “ha” mixed in. Sonia’s been partial to the sound for a while but only recently started working with Taipei’s vogue community after she met Slutty Pomi, a queer dance group, at a party she DJ’d.


来自台北的 Sonia Calico 的音乐总是兼收并蓄的。她从世界各地的俱乐部音乐风格中汲取灵感,包括 grime 和 Jersey club 等音乐风格,并融入亚洲元素,达到融会贯通的高度。这种混合风格的音乐是对多元化俱乐部音乐的致敬,在糅合全球音乐风格的基础上,呈现出极具个性的旋律。

Ballroom 是影响 Sonia 的风格之一,其是一种起源于纽约黑人同性恋社区的音乐。“ha crash” 是这种音乐风格的标志性元素,即繁复军鼓与名曲 “the Ha Dance” 人声部分采样的混搭,拥有爆炸的情绪和十足的冲击力。一直以来,Sonia 都对 ballroom 音乐情有独钟,最近,她担任台北 vogue 舞者和变装皇后派对的 DJ 时,认识了酷儿舞蹈团体波蜜坏女孩。而她最新作品的灵感,便是来自她在台北的 vogue 派对和变装社区经历。

Listen to to some of our favorite tracks by Sonia Calico below:


点击即可试听几首 Sonia Calico 的歌曲:

“When I started playing ballroom that night, people were surprised that someone in Taipei was making this kind of music, because other DJs only played tech house or house music,” Sonia says. “People jumped onto the stage and were doing death drops every time they heard the crash. They did like a hundred death drops! The energy was so good.” (In a death drop, a dancer flamboyantly drops to the floor as if suddenly struck dead.) Afterward, she met with Slutty Pomi, who wanted her to write some music for a performance of theirs. That song and dance were the prototypes for her new ballroom-inspired music video, “Hougong Crash.”


“当我在台上播放 ballroom 音乐时,大家都很意外,没想到在台北也有人制作这种音乐,因为其他 DJ 一般只会演奏 tech house 或 house 音乐。”她回忆道,“大家跳到台上,一听到 crash 就做 death drops 的舞步。他们做了上百次的 death drops! 气氛非常好。” (Death drops 是指舞者突然华丽地倒在地上,像是被击中后的瞬间倒地。)在那之后,波蜜坏女孩找到了 Sonia,他们希望 Sonia 可以为演出带来音乐创作。演出中的歌曲和舞蹈后来成为 “后宫乱斗” MV 的原型。

 

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This video centers on vogue dancers, and it incorporates visuals from hougong soap operas, which are popular Chinese TV shows set in the palaces of imperial China and populated with concubines who plot against one another as they compete for power and influence. The experience has been rewarding for Sonia: “The dancers didn’t know too much about ballroom music producers, but they knew the famous dance houses. It was interesting to talk to them about it because we approach ballroom in totally different ways.”


MV 围绕 vogue 舞者们展开,将视觉与后宫类肥皂剧的画面结合在一起,这类剧集主要讲述古代皇宫中,一众嫔妃为争夺权力勾心斗角的故事。波蜜坏女孩负责了 MV 中的舞蹈的概念。这次的经历对 Sonia 获益匪浅,“舞者可能对 ballroom 音乐制作人不太了解,但他们熟悉经典的俱乐部舞蹈方式。这也让我们之间的话题变得很有意思,因为我们了解 ballroom 音乐的途径是截然不同的”。

This is the second music video Sonia has directed, after “Clutter Confines,” which was inspired by the struggle for same-sex marriage. Taiwan legalized it in May, but only after a pitched struggle. “The debate surrounding it was really depressing, so we tried to create something to heal ourselves,” she explains. “The four parts of the video are about different emotional stages. The first is very angry, because the whole society was split and arguing, both sides trying to hurt each other. It was really extreme. The second is very sudden, like I was speechless. Next is mutual understanding and communication. The finale is overcoming differences and celebrating life. This work is a tribute, because I got a lot of inspiration from my queer friends. I wanted to repay and support them.”


“后宫乱斗” 是 Sonia 的第二部 MV,上一部 “Clutter Confines” 的灵感来自同性婚姻平权运动,今年5月,台湾同性婚姻正式合法化。“有关这个问题的争议令人很沮丧,所以我们试图创作一些东西来安慰自己。”她坦述道,“MV 的四个部分展示了不同的情绪阶段。第一部分是愤怒,因为整个社会在分裂和争论,双方互相伤害,非常极端。第二部分是突如其来的冷静,令人哑口无言。接下来是相互理解和沟通。最后是克服分歧,享受生活。这部 MV其实是一种致敬,因为我从我的酷儿朋友那里获得了很多灵感。我想以此来回报和支持他们。”

As a straight woman, Sonia wasn’t sure how to properly address queer topics in her videos. But her choreographer, Jasmine Lin, who’s queer, suggested they seek out creatives from the community to work with—that way, the songs would connect more directly with the people they were honoring. In both her music and her videos, Sonia makes room for marginalized voices with a rare and welcome sensitivity. 

See Sonia perform at her label UnderU’s upcoming compilation release party at Final in Taipei on Sept. 27th.


作为一位直女,Sonia 并不确定如何将同性主题安排在自己的视频当中。但是她的编舞拍档 Jasmine Lin 是一位酷儿,在 Li 的建议下社区内的创作者参与其中,这也让歌曲本身与自豪的人们联系得更加紧密。在音乐和视频里,Sonia 能以亲密无间的珍贵姿态,去拥抱边缘化的声音。

9 月 27 日,Sonia Calico 所在的厂牌 UnderU 将在台北 Final 俱乐部举办最新的 “合集” 发行派对,届时 Sonia 也会参加演出。

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Contributor: Mike Steyels
Photographer: Huang Juntuan

Chinese Translation: Olivia Li


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供稿人: Mike Steyels
摄影师: Huang Juntuan

英译中: Olivia Li

Thrown for a Loop 怪奇空间

September 2, 2019 2019年9月2日

Sushi rolls made of people, human hearts fresh from the factory, eyeballs swimming like sperm: these dark comics, drawn in 3×3 grids, are the work of Chinese artist Mangchangzhi. (The name literally, and appallingly, translates to “cecum juice.”) A self-described washed-up painter, he claims he’s never studied art. But that hasn’t kept his work from attracting a devoted following.

Drawn in black, white, and crimson red, the series is composed of pithy frames that tell a story. Mangchangzhi hasn’t yet chosen a title, but he says he’s considering calling it “Loop,” because the first frame in every grid follows from the last frame in the previous one.


被吃掉的人型寿司卷、批量生产的新鲜心脏、蝌蚪一样游动的眼珠……这一张张暗黑系九宫格漫画,出自盲肠汁之手,自称“画渣”的他据说从没学过画画,但毫不妨碍这个相册收获大众的喜爱。

这个系列以黑白红三色为主,画面简洁、故事性却很强。虽然暂时还没有一个确定的名字,但盲肠汁说,等全部画完后可能会以《Loop》(循环)命名,因为系列里每张画的第一格都承接着上一幅画。

According to the artist, this interlinked style is less of an attempt to get people to think than an exercise in exploring and expanding his imagination. The idea for the first comic came to him on Valentine’s Day: two people meet, embrace, become entwined, and finally find themselves rolled together into a sushi maki, at which point they’re placed on a cutting board . . . It may be gruesome, but it’s not unoriginal.

“Drawing allows for more ambiguity, compared to speaking,” the artist says. “Even the viewers’ misunderstandings are interesting. You put what you want to convey into the picture, and people who understand you get it, while people who don’t get it also have their fun. And that’s fine.”


盲肠汁说,这种首尾连接的创作方式,与其说想引起人们思考,更像是在自我探索想象力扩展的训练。他的第一幅作品就是在情人节时想到的:两个人相见、相拥、相互缠绕,最后滚成一团,变成了寿司卷,然后再被人放上砧板……虽然可怕,却也相当有趣。

“绘画相对于说话更具多义性,一张画无论观者是正解还是无解都挺有意思,把想表达的东西塞进画里,懂你的人看出门道倍感亲切,不懂的人自有他的热闹也挺好。”盲肠汁说。

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Douban: ~/Cecumjuice

 

Contributor: Chen Yuan


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豆瓣: ~/盲肠汁

 

供稿人: Chen Yuan