Unity in Diversity 当我们拥抱他人的不同

October 29, 2019 2019年10月29日

The quiet faces and still bodies depicted in portraiture are deceptively intimate. It’s satisfying to look deeply at another human, but the experience is filtered through multiple layers, and the viewer and the painter both project their own ideas onto the subject. “Human faces can have so many narratives. It’s a good vehicle to try to share an experience with my audience,” says Kim Hyunji, a Korean oil painter who specializes in portraits of people from different cultures and backgrounds. These works, featuring purple-tinted subjects within expanses of white, are a way for Hyunji to explore her identity, normalize diversity, and challenge stereotypes.


平静的表情,静止的身体,这些肖像画让人有种亲密的错觉。深入地去观察另一个人能让人有一种满足感,但这种观察往往会经过多重滤镜,观众和画家都会将自己的想法加诸于画中的人物。“人的面孔可以包含非常多的故事。这是我和观众分享经历很好的媒介。” Kim Hyunji 说道,这位韩国油画家很擅长描画来自不同文化和不同背景的人物肖像。这些作品多是以白色画布为背景,以紫色为主要色调,是她探索自己的身份认同、倡导多元文化和挑战刻板印象的一种方式。

Hyunji grew up in Korea but moved to Australia when she was 21. This was a life-changing experience for her. “After being so accustomed to only seeing Korean people while growing up in a single-race country, interacting with people from a diverse range of ethnicities was new for me,” she recalls. Korea ranks as one of the least diverse countries in the world, and because of that, she thinks many Koreans can benefit from interacting with people of different cultures. 


Kim 在韩国长大,在 21 岁的时候移居澳大利亚。对她来说,这是一个人生的转折点。“自小在单一种族的国家长大,我习惯了只看到韩国人,和多元化种族的人交流对我来说是一种全新体验。”她回忆道。韩国被评为世界上最不具备文化多元性的国家之一。正因为如此,她认为韩国人们可以通过和不同文化背景的人互动而获益。

But living in Australia also carried with it a difficult set of challenges. “People yelling ‘ni hao at me on the street has been part of my everyday life in whatever Australian city I’ve lived in, so you can guess what it’s like here,” Hyunji says. Most Asians in Australia have experienced discrimination, including a significant number of school-age kids. While she says she faces similar issues as second-generation peers, she understands that her circumstances are different. “People of color here have been negatively stereotyped and need to work way harder,” she says.


但是,在澳大利亚生活也伴随种艰难的挑战。“人们在街上见到我就大喊‘你好’,不论是澳大利亚哪座城市,几乎每天生活都会碰到这种情况,所以你也大概能知道在这里生活是什么感觉。” Kim 说。大多数在澳大利亚生活的亚洲人都曾遭到歧视,包括很多在上学的小孩。虽然她说自己也面临其他二代移民同龄人遇到的问题,她也明白,自己的情况有所不同。“在这里,有色人种往往被加诸了负面的刻板印象,所以需要比其他人更加努力地工作。”她说。

These experiences are reflected in her art. Her paintings, featuring people with different skin tones, hairstyles, and body types, are as much a celebration of diversity as they are a subversion of beauty norms. She says that painting people of color is important as a way to normalize their appearance in Western media, where Asian and other non-white representation is lacking and distorted. In Hollywood, the first film with an all-Asian cast, Crazy Rich Asians, didn’t come out until 2018, while in adaptations of Ghost in the Shell and Aloha, Asian lead roles were given to white actors. There’s also consistent stereotyping of the Asian faces that are given space, like of South Asians in The Simpsons with the Apu character. Through her art, Hyunji seeks to redress and challenge this state of affairs.


这些经历都被反映在她艺术作品中。她在画里描绘着不同肤色、发型和身材的人物,既是对多元文化的赞颂,也是对传统美丽规范的颠覆。她说,画有色人种是为了提高他们在西方媒体的曝光度,因为在这些媒体报道中,亚洲人和其他非白人人种的形象要么是缺失,要么就是被扭曲。在好莱坞,直到 2018 年才有了第一部全由亚洲演员拍摄的电影《摘金奇缘》,而在改编的电影《攻壳机动队》和《阿罗哈》中,本来为亚洲人的主角却找了白人演员。不仅如此,影片往往会以刻板印象来表现亚洲人角色,譬如《辛普森一家》中的南亚裔角色 Apu。Kim 正是通过自己的艺术在改变和挑战这种现状。

A few years back, Hyunji moved from Perth to Melbourne. Although many of the issues she faced in Perth followed her, the newfound diversity gave her some grounding. “Melbourne has started to acknowledge white privilege, but it’s still Australia,” she says. “I don’t think my life was any easier in Melbourne, but while living there, I started interacting with the queer community, and it’s helped me accept myself and overcome a lot of insecurity.”


近日,Kim 从珀斯搬到墨尔本。尽管她在珀斯遇到的许多问题在这里仍然存在,但墨尔本的环境更多元,因而她对生活能相对变得轻松一点。“墨尔本已经开始承认白人特权的问题。搬到这里生活后,我开始与酷儿社区往来,这样做能让我学会接受自己,也克服了很多不安感。”她说。

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

Women in Black 关于女性的黑白故事

October 28, 2019 2019年10月28日

Yuan Gun Gun’s graceful figures, vast landscapes,  lush and intricate vegetation, and faces staring eye to eye, all hand-drawn in black and white, stand out for their breadth and realism. Drawing by hand is a painstaking process, but it lets Yuan, who calls herself a mixed-media creator, “use the ‘authenticity’ of the materials to give full expression to the distinctive qualities of the medium.”


元滚滚所有的作品都是手绘的:窈窕的身体、对望的眼睛、绵延的山河细致到繁复的树叶枝桠,在黑白构建的平面世界里,显得异常生动与广阔。手绘的过程来得慢,但元滚滚却很喜欢这个过程,她对自己的定义是“综合材料创作人”,因为“运用材料所带来的‘真实感’去创作,可以发挥媒介本身的特质。”

This authenticity is also apparent in her subject matter. “Women are definitely my main subjects,” says Yuan. “As a woman myself, I want to convey contemporary anxieties about women’s identity and the challenges of growing up.” Most of her drawings are based on her own emotions and are closely related to her individual experience. “My whole process of maturation took a slightly more meandering route than most kids. At college I changed majors, went on leave, and traveled around the country, and since graduating I haven’t really had a job. My choices are entirely different from those of my peers. Because things have never been easy, art has naturally been a channel for releasing emotions and expressing myself.”


一样呈现着真实的,是她笔下画的主题。女性一定是我画里面的主角。元滚滚说,因为我自己本身是女性,所以会想要表达当代情境下的女性身份焦虑和成长的困境。”大部分的画面,都来自于她自身的情绪和感受,和自己的个人经历紧密相关。“我的整个成长过程相对大多数孩子要波折一些,我大学里转过专业、休过学、全国旅行过,毕业之后也没怎么上过班 跟同龄人的选择完全不一样,因为一直都不顺利,所以非常自然地,创作是我一个比较好释放情绪、可以表达自我的途径。”

And now her desire to speak out as a woman is a source of motivation. “Since I was little, I’ve been subject to all kinds of stereotypes, such as the idea that women can’t study science, or that a good husband is better than a good job,” she says. “And by your early twenties, you start getting pressure to get married. At the same time, I’ve noticed there are still a lot of women and men who have no sense of this.”

This is no way live, in Yuan’s view. People should fight for the life they want—and perhaps women most of all.


而现在,元滚滚创作的一部分动力,还来自于为女性发声。“我从小到大都经受过各种刻板印象,比如女生学理科就是不行、干得好不如嫁得好,二十出头就开始被催婚逼婚等等。同时,我还发现还有很多女性男性对此并无感知。”

元滚滚坚定地认为不应该这么活,人应该努力争取自己想要的生活——或许,尤其是女人。

Yuan has now gathered her new charcoal drawings into a series titled Burning Question. “What I want to explore are the most important issues I faced growing up, because they troubled me for many years.” These questions aren’t limited to two-dimensional drawings—she also has several sculptures and 3-D virtual digital creations. “I want more women to freely make their own choices, so in the future, I’m going to make more art about women’s topics,” she explains. “I wouldn’t say I want to influence women, but rather that I hope others won’t take such a circuitous path—even though sometimes circuitous paths are necessary.”


现在,元滚滚把新的炭笔画算作一个系列,叫做《Burning Question》。“中文意思是非常紧要和重要的问题,想要探讨的就是我自己的成长中最重要的问题,因为我过去很多年一直卡在其中。”这并不局限在平面插画里,还有很多石雕雕塑或者 3D 虚拟的数字创作等等。“我还是希望更多的女孩能自由做她们自己的选择,所以我之后会创作更多女性话题的创作。说不上想要影响其他女性,更多只是希望他人少走一些弯路吧(虽然有时弯路也是必经之路)。”她说。

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Contributor: Chen Yuan
English Translation: Allen Young

 


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供稿人: Chen Yuan
中译英: Allen Young

 

A Guide to Chinese Post-rock 重塑你对国内后摇的定义

October 25, 2019 2019年10月25日

Post-rock can be perplexing for the uninitiated. With its fluid use of analog and digital instruments, irregular chord progressions, and vocal-less compositions, the subgenre has upended the formulaic structure of traditional rock music. Post-rock songs are more like lengthy, melody-led narratives, designed to evoke powerful emotions and whisk listeners away to distant lands.

China’s first post-rock band wasn’t formed until 1998, but the scene has matured over the past two decades. As bands began experimenting, many started to include traditional instruments, which resulted in sounds with a distinctly Chinese flair. These unique sonic textures are what helped put Chinese post-rock on the map, but many bands are still flying under the radar.

In this edition of Neocha Select, we’ve put together a list of Chinese post-rock bands that we think you should check out. From up-and-comers to veterans, these bands from across the Middle Kingdom offer a gamut of different styles that’ll satisfy music lovers of all persuasions.


后摇滚(post-rock),摇滚乐里的无字天书——这种鲜有固定旋律、鲜有人声的音乐,瓦解了传统摇滚后重组旋律、揉杂着古典乐、器乐和现代电子音乐,它带来的是宛如长篇叙事般的情绪大爆发,虽然,它仿佛只提供了旋律和氛围,但所带来但震撼,却让无数乐迷感受到了海洋、宇宙、孤独和爱。而自从 1998 年第一批中国后摇乐团的成立,国内后摇的历史至今也已经书写了整整二十个年头。不少以器乐为主的演奏方式和东方传统文化的体现,也让中国后摇的独辟蹊径,获得不少国际的关注。

这篇 Neocha 精选集,从风格、地域、成立年份,多方面盘点了国内不同地域的后摇乐队,有元老级的先锋乐队,也有略为小众的新声代,希望能给你带来不一样的聆听体验。


Wangwen


惘闻


Region: Dalian, Liaoning
Year Formed: 1999
Style: Grandiose, Plaintive, Atmospheric

Wangwen is one of the most iconic bands in the Chinese post-rock scene, and they’ve been an international presence since their early years. They’ve crafted a signature sound that’s brash but desolate, forming dense soundscapes tinged with melancholic undertones. It’s precisely the band’s dimensionality that has turned even the harshest critics into fans. Guitarist Yuan Laoqian has summed it up the best, “Post-rock is subversive. It deconstructs melodic structures and explores an instrument’s full spectrum of sounds. It doesn’t follow genre expectations.”


地域:辽宁大连
组建时间1999
关键词
:宏伟、沉郁、大气

作为中国后摇的代表乐队,惘闻从成立至今一直活跃在国际舞台上。惘闻的创团元老兼吉他手谢玉岗曾说:后摇是一种颠覆性的音乐,破除乐曲既有结构,挖掘器乐不同的声响,而非某种同一流派的音乐类型。”以器乐为主的惘闻乐队,音乐显得磅礴、粗犷而冷冽,这些宏伟的器乐引领听众在旋律中冲破现实的桎梏,但其中蕴含的细腻而阴郁的情感,却悄无声息地接踵而至。或许正是这样一种厚度,让绝大部分挑剔的耳朵获得了饱足。


 

Zhaozhe


沼泽


Region: Guangdong
Year Formed: 1998
Style: Traditional, Folk, Melodic

In China, Wangwen may be considered the quintessential post-rock band of the north but Zhaoze claims that title for the south. Though both are pioneers of the Chinese post-rock scene, they have vastly different styles. Zhaozhe broke grounds by being the first post-rock band to incorporate traditional Chinese instruments into their music: the result is a captivating sound that seamlessly weaves the elegance of Chinese folk music with the ferocity of rock. Blistering chord changes and nimble strumming on a modified guqin (a seven-stringed Chinese zither) combined with their guitar riffs, basslines, and drums make for emotionally charged tracks that excite the imagination.


地域:广东
组建时间1998
关键词
:古琴、民乐、悠扬

北惘闻,南沼泽这是流传在众多后摇乐迷团中的一句话。作为最初成立的两支国内后摇乐队,沼泽和惘闻的曲风大相径庭。沼泽乐队开创性地摇滚中融入中国民乐:古琴。悠扬淡雅的传统民乐,撞上激烈狂野的摇滚,赋予了他们的音乐以独特的魅力,被改装过的古琴,在空弦音与泛音之间回切,而以往占主旋律的吉他、贝斯和鼓声成为了某种情绪点缀,更深邃的想象空间,就在那一次次的流转中豁然显现。


 

Return to Delicate Past


重返袖珍时光


Region: Henan
Year Formed: 2007
Style: Mellow, Ethereal, Romantic

Return to Delicate Past is a post-rock band that doesn’t believe in overengineering their sound. Fitting to their name, the band produces airy compositions through a less-is-more approach, one that implores listeners to sift through each note and take in the melodic details. Their music reminds listeners that simplicity has its merits and rewards those who aren’t afraid of stepping into unfamiliar sonic terrains.


地域:河南焦作
组建时间:2007 年
关键词
:细腻、空灵、浪漫

重返袖珍时光的音乐并不是波澜壮阔的那种,正如乐队名一样,这是一支醉心于“给听众打开一个袖珍物件内部的繁茂内景”、让人“对细碎时光不断解析与深掘”的后摇乐队。它像是一个袖珍的放大镜,给听众呈现细微的切入点,从而让人们对未知图景,进行宏大的想象与思考。


 

Sparrow


文雀


Region: Beijing
Year Formed: 2007
Style: Grandiose, Romantic

Sparrow‘s music marries instrumental ambiance and electronic influences with math-rock time signatures, creating tracks that brim with warmth and strength. Through razor-sharp drum beats and meticulous songwriting, they’ve crafted a distinctive sound that ebbs and swells with intensity, one that listeners can get lost in for days.


地域:北京
组建时间2008
关键词
:辽阔、浪漫

器乐、数字、电子,毫不违和地交织在一起,合成一段段温暖、明亮又不乏力量的曲调,就是文雀带来的后摇。这个乐队的鼓点鲜明、节奏紧凑,曲风时而跳脱时而澎湃,却能让人在旋律里沉迷整日,真的像大雁般不问归途。


 

Little Wizard


小巫师


Region: Shaoxing, Zhejiang
Year Formed: 2008
Style: Brash, Dissonant

Despite the electronic and punk influences that appear in their music, Little Wizard has a style that leans towards traditional rock sounds. In their music, the slow burn of emotions found in typical post-rock is nowhere to be found, instead replaced by an unrelenting energy that kicks off on the getgo. Powered along by punk-rock drums and electronic synths, their music hit listeners like a defibrillator to the chest.


地域:浙江绍兴
组建时间2008
关键词:摇滚、朋克

小巫师的音乐,某种意义上像是回归了摇滚乐的怀抱,不同于一般后摇乐曲一开始的情绪渲染,小巫师的曲子常常开篇直入,鼓点带动节奏,迅猛有力,情绪一触即燃,加上电子朋克的元素,听来相当酣畅淋漓。


 

Amber


琥珀


Region: Xi’an, Shanxi
Year Formed: 2008
Style: Rhythmic, Gentle

Though the band was formed in Xi’an, Amber‘s music is far removed from the gravitas that many associate with the ancient Chinese city. Their sound is elegant, mesmerizing, and infused with a contemporary sensibility. The track, “Hangover Star,” is often cited as many people’s first taste of post-rock in China. With recurrent melodies and a slow-ascending emotionality, Amber’s music soars to climactic heights before caressing listeners with euphonic harmonies.


地域:陕西西安
组建时间2010
关键词
:节奏强、温柔

诞生于古城西安的琥珀,旋律却并未如其名称和地域般历史氛围浓重,它反而是一支优雅而迷人的后摇乐队,代表作《宿醉之星》被很多人称为“后摇入门曲”,循环的旋律、渐渐推进的情绪感,它的爆发并不激烈,却出奇地意味深远。


 

Mofei


莫非


Region: Shanghai
Year Formed: 2008
Style: Clean, Down-to-earth

From “Dopamine” to their latest release “Spring Festival,” Mofei has a playful approach to choosing track names. The way they interact with online fans is similarly tongue-in-cheek, often responding to comments with a heavy of self-deprecating humor. The band has crafted a distinguishing sound that’s raw and unpretentious. Listeners won’t find bleary-eyed melancholy or bludgeoning rhythms in their music; what they will find is a sound that, much like the band itself, is introspective, pure, and sincere.


地域:上海
组建时间:2011 年
关键词:干净、真实

莫非乐队的歌名很有意思,从《多巴胺》再到最新的《春节》,基本上都取材于生活,真实简单。他们在网上回复乐迷的留言也有意思,基本都是带着自嘲的腔调说着大实话。再回到他们的音乐,没有哀婉的弦乐,也没有不间断的爆炸鼓点,莫非乐队和他们的音乐,很适合拿来和自己共处,干净、实诚。


 

Tation


天声


Region: Qinghai, Xining
Year Found: 2012 年
Style: Chinese-style, Grandiose, Abstract

Tation‘s music is often described as “post-rock from the highlands of China” and it is: the members are all from the snow-capped mountains of the Qinghai-Tibet Plateau. With their sharp focus on instrumentation, Tation creates meandering tracks that combine classic folk instruments with experimental electronic sounds. Their tracks, through masterful manipulation of tension, take listeners in and out of riotous crescendos and spacious interludes. The band’s Chinese name, Tian Sheng (meaning “sound from the heavens”), is inspired by a line from poet Li Bai’s Gu Feng: “They disappear, suddenly, into the shadows; but the wind returns with a voice from the heavens.” Considering the polarity of their sounds, it’s a name that feels particularly fitting.


地域:青海西宁
组建时间:2012 年
关键词:中国风、抽象、壮阔

这支被称为“高原后摇”的乐队:天声,的的确确来自雪山之巅的青藏高原。他们以器乐创作为核心,一首长篇后摇里,会糅合民族乐器、实验电子,时而静谧时而壮阔,音色极具张力。从混沌而来,向苍茫而去,他们的乐队名字也恰恰应了李白那句诗:“去影忽不见,回风送天声”。


 

Xiantong


仙童


Region: Weihai, Shandong
Year Found: 2015 (Disbanded in 2017)
Style: Pure, Unconventional

Guitarist Dong Shu was once asked about his musical aspirations. He answered that he hoped his music could be like a child, able to cast aside worldly cares and exist with a fairy-like sense of wonder. This is how the band name, Xiantong (meaning Fairy Child), came about. The band’s mentality of “ignoring outside influences and going against the mainstream” has attracted them a devout following during their active years. Though the band has since disbanded, their uncompromising approach to music-making is something that can still be appreciated.


地域:山东威海
组建时间2015 年/2017 年解散,现为单人后摇团
关键词
:纯粹、跳脱

遗世独立、一身仙气的孩子——吉他手董恕形容的这个形象,最后就成为乐队的名字:仙童。后摇不破不立的音乐曲式,“既不想受别人影响,也不随大流”,让仙童最开始的几首曲子收获了不少忠实的听众,如今再听,也让人不得不感慨曲中的纯粹。


 

Before the Sunrise


日出之前


Region: Beijing
Year Found: 2015
Style: Soulful, Melodic

Not much information is available online about Before the Sunrise. Even on their official channels, the band’s bio features only two sparse sentences: “Darkness and cold dissipate with the coming dawn. Hope and light are reborn with every rising sun.” Their sound, while classifiable as post-rock, stands out from bands who’ve pigeonholed themselves into the genre—it’s music that has a soul. The band pairs digital sounds with human vocals to create jaunty, hummable tunes. These songs move along at an unhurried pace and often end abruptly, leaving listeners craving for more.


地域:北京
组建时间:约为 2015
关键词
:灵动、悠扬

这支乐队能在网上找到的资料非常少,官方的介绍页面,也只留着短短的两句话:“所有黑暗与寒冷都将在日出之前湮灭。所有光明与希望都将在日出之后重生。”说是后摇乐队,但和标榜自己是“后摇”的乐队还不太一样,日出之前的曲风轻快,旋律非常灵动,有些曲调结合了电子乐和人声,甚至可以跟着唱和,再悠悠然结尾,让人有种扑了空的怅惘。


From thunderous cacophanies and soothing stillness to optimism and despair, the appeal of post-rock lies in the universality of its sounds and the emotions they convey. The magic of the genre lies in its ability to captivate the imagination and invite listeners to engage with the music on their own terms.

 

Due to copyright issues, more songs can be found on the bands’ official channels.

从温暖到哀愁,再从暴烈到沉寂,后摇的生命力所在,就是在一次次呈现这世界喧扰的同时,迸发出充沛能量和情绪,让人遐想,也让人期待。

 

由于版权受限,更多音乐可自行前往音乐软件收听。

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Contributor: Chen Yuan


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供稿人: Chen Yuan

Between the Stars & Clouds 云海星宿之间的神韵

October 23, 2019 2019年10月23日

Constellations and clouds billow across the canvas in dense, inky dreamscapes. The figures in these scenes appear with their eyes closed, perhaps lost in a reverie about their current and past lives. Combining traditional Chinese drawing techniques with a heavy dose of surrealism, these works are the result of Dalian artist Ji Qiong‘s musings on the past and the present.

As a child, Ji’s parents often took her to Taoist temples. Memories of scroll paintings seen through the haze of incense smoke left a deep impression and instilled in her a fascination with traditional Chinese art. At age five, she began studying ink-wash painting, and the pages of her sketchbook quickly filled with paintings of clouds, rivers, and mountains rendered in gradients of black. “Landscapes like that make my heart soar,” Ji says. “In my work, I’m drawn to wide-open vistas—I feel as though they can break through the bounds of space, as though time’s subtle changes give them an eternal presence.”

Over the course of her studies, Ji tried out several different styles, but ink-wash painting always held a special appeal. “With a brush, you can get endless variations by changing the pressure, and that gives me versatility and freedom.”


在浓重的水墨线条里,星罗棋布与流云秀水交辉相映,凝成大气磅礴的画卷,背景下的人物们双眼紧闭或神情安详,似乎每个人都拥有一段奇幻般的前世与今生。这些作品来自大连插画艺术家继琼,重现了中国传统绘法,同时具有强烈的超现实主义色彩。

继琼在青少年时期经常被父母带去参观道观和寺庙,缭绕的香烛烟气与精美绝伦的壁画印刻在她的记忆深处,让她对中国传统绘画情有独寄。继琼五岁开始学画,后来慢慢地,大学时代的她开始对云、山、水等风景画渐渐神往起来,每当我看到山水,便会心生开阔。自己的创作方向也更愿意描绘这些无尽的场景,感觉日月山川可以突破空间的桎梏,时间带来的微弱变化令它们常存。

学习过程中,继琼曾尝试过很多不同的画风,但最吸引她的依然是用毛笔作画,一枝笔不同力道的运用会呈现出万千的变化,令我觉得灵活与自由。

Since graduating from the Central Academy of Fine Art in 2017, Ji has created artwork for the music, publishing, and film and television industries. These large, striking, supernatural compositions are far removed from her everyday life, where she seeks inspiration in solitary walks at night or twilight visits to the shore, plugging in her earphones and letting her thoughts roam free. The swirling beauty of her style perhaps owes something to her seaside upbringing: the boundless ocean and the whistling wind have subtly have shaped her art. “I want my works to feel gentle, fanciful,” she says.


2017 年从中央美术学院绘本工作室毕业之后,继琼为音乐、影视、出版物等作品创作大量作品,这些作品都拥有天马行空、仙佛鬼神的大场面。但日常中的继琼则喜欢在夜里独自散步,插上耳机,思绪一下子从大脑中涌现,这是她最大的灵感来源。或许自幼在海边长大,继琼的作品总带有一种流动的美 —— 大海的包容、海风的潇洒都潜移默化地影响了她的作品,我希望我的作品都带有温柔和率性的气质。

The cover art for Guzz’s Walking in a Boundless Dream Guzz《走不出的梦境》 专辑封面

Traditional Chinese art stresses the importance of the yijing, or creative principle. For Ji, this comes from the people and things she encounters in her everyday life, transformed by her imagination, as in the case of the tai chi master radiating light against the darkness, or the feast on the cover of Guzz‘s album Walking in a Boundless Dream, with its Southeast Asian motifs. In winter of 2017, on a walk around Beijing’s Houhai Lake, the sight of her moonlit reflection in the water set her to work on a series depicting people and mythical beings observing each other. As in Lhama Latso, the holy lake in Tibet that’s said to show people’s past, present, and future lives, the images are like reincarnations that reflect the characters’ inner state.


中国传统画法讲究意境,继琼在日常生活中遇到的人和事物都会先在脑海中进行加工,来传达人物背后的意境,比如黑暗中光明磊落的太极拳祖师爷、以及电子音乐人 Guzz 专辑封面中奇妙的东南亚元素盛宴。2017 年的冬天,继琼在后海散步途中,望见月亮和自己在湖中的倒影,于是创作了一系列作品,画中的现实与神话人物彼此相望,仿佛神仙转世,展现了每个人的不同心境。她联想到了西藏拉姆拉措神湖,那里的湖水可以看见人的前世今生与来世。

The above image is under copyright 此图已申请版权

In late 2018, Ji traveled to Tibet to study thangka art, and although she found Lhamo Latso less mystical than expected, she was captivated by the natural and human environment. “It’s a place steeped in mystery, and every time I see the contours of its landscape beneath the stars and moon, I commit it to memory, storing it away to use as inspiration for future creations,” she says. “There are also lots of stunning temples in Tibet with fantastic murals within their walls. My Tibetan friends are all incredibly creative people with a poetic outlook on life. Their ways of thinking have helped broaden my own mind, and that, in turn, has provided new perspectives on my art.”


2018 年末,继琼来到西藏学习唐卡,虽然拉姆拉措的湖水并没有像传说中那样神奇,但那里的自然人文色彩让她深深着迷,继琼说:“那些神秘苍茫的景色中流淌着久远的时光。每次见到这些历经亿万年演变而来的自然轮廓和星月,我都会默默记下,留着以后慢慢画。西藏还有很多非常棒的寺庙,内壁都会附有极其精美的壁画。我的藏族朋友们都拥有着丰富的想象力,与诗意的生活态度都在开阔着我的思维,使我跳出之前的绘画思考模式。”

The mindfulness and attention with which Ji approaches her art is rare. More than a method of painting, what she preserves is a certain artistic charm, an interest in exploring inner realms. From apprenticing with tai-chi masters on Wudang Mountain to studying thangka art in Tibet, she believes that safeguarding traditions requires a thorough understanding of them. “History moves at its own pace, and the waning of traditions is unavoidable,” she says. “But our generation bears the responsibility to carry the torch.”


继琼笔墨之间挥洒的写意与精致,其实在当代艺术家身上很难遇到,她的延续不单单有绘画的方式,更有古人探索内心世界的神韵。从武当山拜师太极,到西藏唐卡取精,继琼用一种沉浸式的方式去传承。她说:历史有着自己的进程,传统在一点点被人们淡忘是不可避免的。而我们这一代的艺术从业者肩负着对传统的吸取,继承且传播的责任。

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Weibo: ~/jqjqjjq 
Instagram: @jjiqiong

 

Contributor: Pete Zhang
English Translation: David Yen, Allen Young


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Weibo: ~/jqjqjjq 
Instagram: @jjiqiong

 

供稿人: Pete Zhang
英译中: David Yen, Allen Young

Fou Gallery 否画廊:生活和艺术互为补充

October 21, 2019 2019年10月21日

Tucked away on a tree-lined street in Bedford-Stuyvesant, Brooklyn, Fou Gallery offers more than the usual openings, artist talks, and receptions. It’s also a space for relaxation and community, hosting private dinners, tea ceremonies, and a monthly performance series. Founded in 2013 by Echo Hé, the gallery defines itself against the mainstream New York art scene.

“Traditionally, commercial art galleries operate on a very simple business model: sell artworks to a very small group of collectors to support the gallery’s operation. Normally the gallery is in a simple white cube to make the business straightforward,” she says. “Collectors tend to buy works from big galleries with a track record of artists that have ‘investment value,’ and smaller galleries struggle to be part of the game.”


否画廊”(Fou Gallery)藏匿于布鲁克林道贝德福—斯都维森(Bedford-Stuyvesant)一条林荫小道中,这里除了举办各种展览开幕、艺术家对话和招待会之外,也是休闲放松和社区活动空间,举办各种私人宴会、茶会和每月定期的影像放映、音乐会和其他表演活动。画廊由何雨创办于 2013 年,是一家独立于主流纽约艺术圈之外的画廊。

“传统上来说,商业艺术画廊都是以非常简单的商业模式运营:将艺术作品卖给一小撮收藏家,以支持画廊运营。而通常情况下,画廊都是在一个‘白盒子’里,让交易更直接明了。收藏家倾向于从大型画廊购买具有‘投资价值’的艺术家作品,而较小的画廊则难以参与其中。” 她说。

Hé wants Fou to be different. While the gallery sells artworks to sustain itself, Fou also presents cultural, culinary, and other programming to attract a diverse group of people. The Chinese character it’s named for, 否, means negation, and is made of the components 不 (bu, no) and 口 (kou, mouth). “So, silent,” Hé explains. “We wanted to more silently promote ourselves. Plus fou means crazy in French and drunk in Scottish.”

Fou specializes in works by Chinese artists, as well as other artists working in traditional Chinese mediums. “A lot of Chinese artists in New York, especially the young generation who came here to study, can’t find places to show their work,” says Hé. “It’s hard for them to break into the community.” At Fou, artists can show their work and build relationships with their peers.


何雨对否画廊有不一样的期望。虽然否画廊也会出售艺术品来维持运营,但同时还会举办文化、美食及其他活动,吸引不同人群。中文里的“否”意为否定,由“不”字和“口”字组成。“加在一起就是沉默的意思。”何雨解释说,“我们希望默默地推广自己。而且,‘fou’在法语意指疯狂,在苏格兰语里又有喝醉的意思。”

否画廊主要代理中国艺术家的作品,以及以传统中国艺术媒介和概念创作的艺术家作品。“在纽约有很多中国艺术家,尤其是到这里来读书的年轻一代,他们比较难找到地方来展示自己的作品。他们比较难能融入当地社区。”何雨说。而在否画廊,艺术家不但可以展示自己的作品,还能认识其他艺术家。

Fernando Villela & Zhe Zhu: Time Flies So First Things First / Photographer: Eugene Neduv 《费尔南多·维利纳和朱喆:先办正事》/ 摄影师: Eugene Neduv
Liu Chang: The Light of Small Things / Photographer: Nadia Peichao Lin 《刘唱:微物之光》/ 摄影师: 林沛超
Han Qin's exhibition Ethereal Evolution / Photographer: Nadia Peichao Lin 韩沁个展《演·化》/ 摄影师: 林沛超

Liu Chang, an artist who held her first solo exhibition at Fou in 2016, is a firm believer in the gallery’s vision. “Many young artists, including myself, held their debut solo exhibition at Fou,” she says. “Instead of being limited by the constraints imposed by traditional or profit-driven galleries, artists are given the opportunity to showcase their work the way they want to here.”

Recent exhibits have showcased work by glass artist Du Meng, photographers Zhe Zhu and Fernando Villela, painter Chen Dongfan, multi-media performance artist Han Qin, and more. But the gallery also helps support collaborating artists in less tangible ways. “When I did a two-month artist residency and worked on a few exhibitions in China over the summer, I sent my portfolio to Echo,” Han recalls. “She told me that it should be updated; my two latest exhibitions weren’t in there. I was touched. It felt like I had someone truly on my side, someone who’s invested in my growth, an industry insider who can offer expert advice. It can feel quite lonely as an artist sometimes, so having a mentor like that is uplifting.”


艺术家刘唱在 2016 年举办的首次个展就在否画廊,她非常肯定画廊一直在做的事情。“有很多像我一样年轻的艺术家,他们人生中第一次个展都在否画廊举办。”她说,“与那些被利益和传统所向导的画廊不同,在这里艺术家们并不会受到限制,他们能够有机会以自己希望的方式呈现个人作品。”

近期以来,画廊内陈列了玻璃艺术家杜蒙、摄影师朱喆和 Fernando Villela、画家陈栋帆以及多媒体艺术家韩沁等多名艺术家的作品。同时,画廊还以各种方式帮助艺术家们。“之前有一整个夏天,我都在国内进行着艺术家驻地项目和一些展览。” 韩沁回忆道,“当时我把作品集发给了何雨,她发现我在作品集中遗漏了我最近的展览信息,并让我加进去。我觉得能有人为我和我的个人发展考虑,并为我提供专业的意见,令我非常触动。有时候做艺术是一件孤独的事,但能有一位这样的导师陪伴在身边,我倍感鼓舞。”

Traditional Chinese artistic values, with their emphasis on connections to the natural world, are central to Fou’s goals. Echo believes the gallery offers an alternative to the monetary emphasis of the mainstream art scene. “Nowadays, there are two main religions: technology and money. So there is a deep need for people to go back to their hearts. And I think old Chinese aesthetics can help with that,” she says. “What I’m trying to create or present in this space is old-soul tradition. It’s about an appreciation of god—not a singular god from any religion, but a universal connection to the earth and back to the universe.”


中国传统的艺术价值强调与自然世界的连接,这也是画廊创立理念的核心。何雨认为,他们提供了一个秉持“金钱至上观”的主流艺术界以外的艺术空间。“目前人类有两大信仰:科技和金钱。因此,人们有一种更深层的需要,是回归自己内心。我认为传统的中国美学会有帮助。”她说,“我在画廊想要创造或展示的正是这种古老的传统。这是一种对神的敬畏,但这种神不属于任何宗教,而是指与地球万物的联系,对宇宙的回归。”

On the day of my visit, Michael Eade’s past is present is future was on display, and it’s hard to miss what Hé is going for by showing this kind of work. Eade’s paintings depict different versions of the Tree of Life, incorporating world mythologies and exploring different cultural relationships with nature. These images of trees and forests from around the world are paired with the real trees from the garden outside tickling the gallery’s windows. More than simply presenting art by ethnically Chinese artists, Hé’s goal is to foster real connections between art, humans, and the natural world.


去否画廊采访时,那里正在举办 Michael Eade 的《刹那》(“past is present is future”)展览。从这次展览的作品,不难看出何雨的这些艺术理念。Eade 的画作描绘了不同版本的生命之树,结合世界神话,探索人类与自然在文化层面的不同关系。这些描画树木和森林的作品与从画廊外探进屋里的真实树木相互映衬。何雨并不是单纯要推广中国艺术家的作品,她的目标是促进一种艺术与人,人与自然世界真正的连接。

The gallery also operates outside its own walls, striving to bring art to alternative locations. “For instance, we supported artist Chen Dongfan to present public art project The Song of Dragon and Flowers with a NYDOT and Chinatown Partnership, changing the 64-meter Doyers Street into a mural.” Fou also hosted a one-day program for Wix Academy’s design students, which included an art workshop and concert, and it will curate a special art program for the China Institute’s 2019 Blue Cloud Gala, which will showcase works from Yang Renqian and Liu Chang.


否画廊的活动空间并不局限于画廊本身,还会在其它场地运营,努力将艺术带到不同的地方。“比如,我们在纽约市交通管理局和华埠共同发展机构的协助下,支持艺术家陈栋帆展示其公共艺术项目《龙与花之歌》,在宰也街(Doyers Street)街面创作了 64 米长的壁画。否画廊还为 Wix Academy 学院设计专业的学生专门举办了“一天计划”,其中包括艺术工作坊和音乐会,还将协助华美协进社 2019 年的 Blue Cloud Gala 慈善晚会策划特殊的艺术项目,呈现刘唱和杨人倩的作品。

One day with Wix Design Playground / Photographer: Yotam Kellner 否画廊为 Wix Design Playground 策划的一天活动 / 摄影师: Yotam Kellner
One day with Wix Design Playground / Photographer: Yotam Kellner 否画廊为 Wix Design Playground 策划的一天活动 / 摄影师: Yotam Kellner

Hé studied business at Peking University. She was well on her way to her master’s program at the Guanghua School of Management when she realized she had chosen that path not for herself but to please others. After a stint abroad in Amsterdam, she returned to Beijing, graduated from her program, and moved into an underground artist community for a year.

That’s when she chose art. She interned at Pace Gallery Beijing and eventually applied to study Visual Arts Administration at NYU. “In New York, I continued to work part-time at Pace and also did an internship at Christie’s,” she says. “That’s where I found out that I did not want to pursue a career in auction houses. Monetary value becomes the main concern there, rather than aesthetic value, and there aren’t many opportunities to work directly with artists. Art becomes part of the capital game.”


何雨毕业于北京大学的商科专业。在攻读北大光华管理学院的国际博士学位时,她意识到自己选择的这条道路只是为了取悦他人,并不是自己真正的兴趣所在。在阿姆斯特丹生活了一段时间后,她回到北京,在一个地下艺术家社区生活了一年。她决定了选择艺术。之后她进入北京佩斯画廊实习,最终申请入读了纽约大学的视觉艺术管理专业。“在纽约,我继续在佩斯画廊兼职工作,后来也在佳士得拍卖行实习。”她说,“也是在那时候,我意识到自己在拍卖行工作并不是我想追求的职业生涯。艺术作品只剩下金钱价值,而且也没有办法跟艺术家合作。艺术沦为了一种资本收益。”

Hé came up with the idea of opening an apartment gallery with classmate Jiaxi Yang, and they launched Fou in 2013. The gallery moved to its current location in 2016, a historic brownstone in Bedford-Stuyvesant, in 2016. Yet finding a permanent home was not easy, and after months of searching for a suitable and affordable site, Hé was close to giving up. “I still clearly remember that winter day in 2016. I met up with Du Meng, who was also graduating from school. We both had visa problems. On that windy street, I told her if I found a new space then we had to do a show together.” And they did: Du held her first solo show at Fou.

“This is a space where life and art become indispensable to each other. And it’s not staged dependence—it’s real. From the very beginning I wanted the gallery to have a kitchen,” Hé says. She wants Fou to feel like a home, and it probably helps that it is one: the space also serves as Hé’s apartment.


后来,何雨和同学杨嘉茜一起想到了创办一间公寓画廊,并在 2013 年成立否画廊。2016 年,画廊搬到了贝德福—斯都维森的新址。要为画廊找一个永久的家并不容易。何雨曾经为了找合适又负担得起的场地奔波了好几个月,最后几乎快要放弃了。“我还清楚地记得,那是 2016 年的冬季。我遇到了同样刚毕业的玻璃艺术家杜蒙。我们俩都有一些签证的问题。那天风很大,我俩走在街上,我告诉她,我找到了画廊的理想场地。我跟她说,如果能重新开空间,我们要一起做个展览。”后来,杜蒙就在否画廊举办了自己首个个人作品展

“这个画廊是一个生活和艺术互为补充的空间。这种相互性不是假装的,而是真实的。从一开始,我就想让画廊有一间厨房。”何雨说道,因为她希望否画廊感觉像一个家,因此,这个画廊也是她的公寓。

An installation by Lin Jing at Artificial Boundary / Photographer: Lin Jing 林璟展在《仿真边界》的作品 / 摄影师: 林璟
Du Meng: The Climb, The Fall / Photographer: Liu Zhangbolong 《杜蒙:退火》/ 摄影师: 刘张铂泷

Hé hopes Fou can be a space where artists, writers, performers, musicians, scientists, architects, and creative people of different professions can meet and collaborate. She believes too much of modern life occurs on the internet, accessible to everyone but genuinely experienced by no one. “The real joy of life is not to think of yourself, but to consider the wholeness of the world,” she says. “That’s what this gallery really wants to do.”


何雨希望否画廊能成为囊括艺术家、作家、音乐家、科学家、农业研究者、建筑师,还有各行各业的创意人士相聚、协作的空间。她认为互联网占掉了现代生活的太大部分,所有人都可以出现在网上,但却没有人真正在体验生活本身。“生命中真正的快乐不能只想着自己,而是要考虑世界的整体性。”她说。“这就是否画廊真正想做的事。”

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周日至周一不对外开放
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Websitewww.fougallery.com
Instagram@fougallery
Facebook: ~/fougallery
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Contributor: Johanna Costigan
Photographer: Anrong Xu
Chinese Translation: Olivia Li
Additional Images Courtesy of Fou Gallery


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网站www.fougallery.com
Instagram@fougallery
脸书: ~/fougallery
微博: ~/fougallery
微信: fougallery

 

供稿人: Johanna Costigan
摄影师: Anrong Xu
Chinese Translation: Olivia Li
附加图片由 否画廊 提供

Young Blood 百货商城中的我才算真实

October 18, 2019 2019年10月18日

Recently, Japanese rapper Tohji performed in a park in central Tokyo, rapping a capella without a mic as a group of teenagers jumped around and sang along, belting out his lyrics in a ringing chorus. The performance started as a free show at the Levi flagship store in Shinjuku, but the venue couldn’t accommodate everyone who showed up. Tohji didn’t want the fans stuck outside to be left out, so he moved the show to a nearby park. After just one song, the police arrived to shut things down.

Tohji isn’t much older than the teenagers who came to see him. At 22, he’s not even out of college yet, and he’s already making waves in the Japanese music scene with his DIY tactics and unconventional path to success. Even more impressive is the fact that he only started making music two years ago.


今年 7 月,日本说唱歌手 Tohji 在东京市中心一个公园里表演,随着他的无伴奏说唱(Acapella)声响起,一大帮年轻人围了过来,大伙们边跳边唱,一同高声喊出他的歌词。这场原定于新宿 Levi’s 旗舰店的免费表演,因为场地无法容纳所有人,导致一些乐迷无法参加。但 Tohji 不想冷落门外的歌迷,他把表演场地搬到了附近的一个公园内。然而,第一首歌曲刚刚结束,警察就赶来中止了演出。

Tohji 的年纪其实并不比在场的歌迷大出多少。他的同龄人甚至还没踏出大学校门,而这位 22 岁的说唱歌手就已经引起日本说唱圈内的阵阵波澜。他独特的创作方式为成功另辟蹊径。更令人意外的是,从他开始创作至今也只有仅仅两年的时间。

Tohji first got inspired by the new crop of US rappers who had found global success through SoundCloud. Anyone could create a hit, he realized. So he set aside his studies and got to work producing beats and writing lyrics. As his local fanbase grew, he started throwing monthly parties with live rap performances and DJ sets at a popular venue in Shibuya called WWW. “I think that was the most important part of my career,” he says. “It’s unique because it was the first rap party in Tokyo thrown by kids and not adults. We started in the smaller room but have moved up to the big one now.”

This is youth culture in its purest form: it’s not music picked by corporate suits and marketed to kids. And a venue for live music is key to a thriving music scene, giving fans a place to meet and forge stronger bonds with each other and with artists.


Tohji 最初的灵感来自一批成名于 SoundCloud 的美国说唱歌手们。他们在全球范围内的大获成功让 Tohji 意识到,任何人都可以一夜成名。于是,他放弃了学业搬去东京,一门心思专注制作和填词。 当粉丝群体逐渐建立起来之后,Tohji 开始每月在涩谷颇受欢迎的场地 WWW 内举办说唱和 DJ 表演。“那段时间是我职业生涯中最重要的时光。” Tohji 说,“它之所以这么特别,是因为这是东京第一次由青少年而非大人举办的说唱聚会。刚开始活动场地还比较小,现在就大很多了。”

这或许是青年文化最纯粹的形式:没有大公司包装、没有推销的形式。当然,一个像样的音乐现场也在整个场景的发展中起到关键作用:它能为乐迷提供一个相互交流的场地,维系大伙儿之间的友谊。

Last year Tohji teamed up with the rapper Gummyboy to form the duo Mall Boyz, and their song “Higher” became a hit. “Before our generation came up, everyone was copying US styles,” Tohji says. “Every Japanese rapper talked about growing up in Tokyo or Osaka, imitating US-style hometown pride. That’s not real to me. But the mall is real to me.” Their style draws inspiration from the early 2000s, often referencing pop-culture icons like the Black Eyed Peas and Pokémon that are familiar to Gen Z-ers and late millennials around the world.


去年,Tohji 与 Gummyboy 组成 Mall Boyz 二人团体,他们的单曲《Higher》在互联网上掀起一阵热浪。“在我们这一代说唱歌手之前,大家还都在模仿美国的说唱风格。”Tohji 说,“每个日本说唱歌手都在模仿美国说唱那种故乡骄傲的主题,讲述在东京或大阪成长的故事。但我觉得这不是很 real。对我来说,那种大型的百货商城(Mall)才是我日常生活的写照。” Mall Boyz 的音乐还从千禧年初期汲取灵感,常常会借鉴例如黑眼豆豆(Black Eyed Peas)和宠物小精灵(Pokemon)等耳熟能详的流行文化元素。

In the Mall Boyz, Tohji tends to rap about light-hearted subjects and feature brighter melodies. His solo work, on the other hand, is more personal and leans on darker beats. On his first mixtape, angel, he reveals a level of self-awareness and maturity that may surprise fans only familiar with his Mall Boyz persona.

The beats on angel frantically shift tempo and mood, but when paired with his lyricism and impeccable delivery, it all flows together to form a cohesive soundscape. Pop-culture references also appear, like a song named after Hi-Chew candy and another built on a sample from “Sugar, Sugar.”


轻松欢乐的主题和旋律在 Mall Boyz 的说唱中比较常见。但相比较在团体中的表现,Tohji 的个人作品则更注重自我,曲风更偏向黑暗的 trap 节奏。在他的首支混音带《Angel》(天使)中,他所展现出的自我与成熟的气质,让熟悉 Mall Boyz 的粉丝感到意外。

在《Angel》中,节奏和情绪快速切换,搭配 Tohji 无懈可击的演唱和引人思考的歌词,让所有元素一气呵成。混音带中也体现了对流行文化的借鉴,例如一首以嗨啾糖(《Hi-Chew candy》)命名的歌曲、另一首歌曲则采样自 60 年代动画片《The Archie Comedy Hour 》主题曲《Sugar,Sugar》。

Listen to some of our favorite tracks from Tohji below:


点击即可试听几首 Tohji 的作品:

Tohji’s insistence on collaboration is evident throughout his work. He worked closely alongside producer Murvsaki in creating angel. “We made it together, discussing ideas as we went. We worked on it every day here in my apartment over two months,” Tohji says. ” Murvsaki moved in while working on it because he’s from Osaka and had nowhere else to stay in Tokyo. My roommates were pretty nice about it.” 

That understanding of the power of collaboration extends to the project’s videos. “Anton Reva came here from Russia and saw me perform,” Tohji says, describing how the video for “Snowboarding” came together. “He messaged me afterward, and since we really liked each other’s work, we decided to do something together. We flew him out here, got him a hotel, and got to work. I told him my concept and he made it happen, fleshing out all the details.” Tohji is now directing music videos for other Japanese rappers, such as “Black Hole” by Shaka Bose.


“合作” 是 Tohji 作品中的关键字眼,嘻哈文化亦是如此。混音带《angel》便是由他与制作人 MURVSAKI 共同完成的作品。“在那两个月的时间里,我们每天都呆在公寓里,一起创作,一起讨论。” Tohji 说,“专辑制作的时候,MURVSAKI 搬进了公寓,因为他在大阪生活,在东京没有落脚的地方。对于这一点,我的室友也都很理解。”

这股合作的力量同样延伸到了歌曲 MV 的制作上。“俄罗斯的 Anton Reva 来日本的时候看了我的演出。” Tohji 谈论起《Snowboarding》(滑雪)的 MV 制作经历,“之后他就发消息给我,我们都很喜欢彼此的作品,于是决定一起做点什么。我们邀请他住在日本,给他安排了酒店,并开始一起创作。我跟他讲了我的概念,让他来帮我实现,包括其中所有的细节。”Tohji 也开始帮助一些本土说唱歌手制作 MV,譬如 Shaka Bose 的《Black Hole》(黑洞)。

 

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Tohji’s success represents a shift not only in the style of rap in Japan, but also the business behind it. “The Japanese music industry is very closed-minded, and labels are still doing things in very old ways. It’s crazy!” he says, pointing out that music consumption in the country still revolves around CDs, while most of the world has moved on to streaming. “Japanese artists are usually more receptive to what big labels and companies want. These companies look toward the US market and hope for English lyrics, but I want to go global naturally. We’re making deals with big companies on an equal footing but not compromising our own creative vision. I don’t just want to make money, I want to do something with cultural meaning.”


Tohji 的成功不仅代表着日本说唱场景的转变,也映射出其背后音乐产业的发展。“日本音乐产业向来比较保守,许多唱片公司还是用过时的方式来工作,真的让人很无语!”他指出,目前日本国内的音乐消费依然以 CD 光盘为主,而在世界上大多数国家都已经转到流媒体。“日本的艺术家通常会听从音乐厂牌和唱片公司的要求;而这些公司的目光都在美国市场身上,甚至会刻意在歌曲中加入英文。但我想用真实的方式来打造国际化的音乐。我们希望在平等的基础上与大公司合作,不应该牺牲我们自己的创作构想。我不只是想赚钱,那些有文化、有内容的作品才是我真正想做的。”

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Instagram: @_tohji_
Soundcloud: ~/11_tohji_11

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li
Images Courtesy of Tohji


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Instagram: @_tohji_
Soundcloud: ~/11_tohji_11

 

供稿人: Mike Steyels
英译中: Olivia Li
图片由 Tohji 提供

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Technicolor Tokyo 当你步入科幻色彩

October 16, 2019 2019年10月16日

To view Liam Wong‘s photography is to enter a new universe. Although he creates work that’s tethered to the here and now, Wong isn’t afraid to take artistic liberties and tread outside the bounds of reality. The majority of his work features Tokyo after midnight, a time that even locals may rarely see. Through masterful command of color, his images of the city’s lights and signage drip with a heightened sense of mood and mystery. They hint at stories and worlds just beyond reach. As a former art director at Ubisoft, his work is directly inspired by video games and the escape they offer.


Liam Wong 的摄影作品让人有种时空转换的错觉。虽然拍摄的是当下的世界,但摄影师却大胆发挥自己的艺术创意,游走于现实的界限之外。他的大部分作品都拍摄于东京的午夜,往往在这个时间段,街上当地人的身影也寥寥无几……通过对色彩的出色把控,他照片中所拍摄的东京城市的灯光和商铺招牌,涌动着丰富的情绪和神秘感。似乎在暗示一段画面以外的故事和世界。作为 Ubisoft 前任艺术总监,他的作品灵感正来源于电子游戏和其中的虚拟世界。

Wong almost never traveled as a child. But when he landed a job after graduation and moved to Montreal, Canada, the world opened up for him. “I didn’t really have the money to travel growing up,” Wong recalls. “The first time I went to Tokyo was in 2014 for business, and I immediately knew I wanted to come back.” These work trips inspired him to take photos, mainly on his phone at first. But beyond creating visual travel logs for himself and close friends, he also shot reference images for work. “One time in Tokyo I did a full sweep of an alley, up and down every surface to capture the weather and texture and grime. Everyone who works in games takes reference photos.”


小时候,Liam 一直没有机会外出旅游。但当他毕业后来到加拿大蒙特利尔工作,眼前像是打开了全新的世界。“我小时候真的没有钱去旅游。直到 2014 年出差时才第一次去了东京,我当时就觉得我会再来的。”Liam Wong 回忆道。出差途中他开始拍摄照片,最初主要都是用手机来拍摄。除了拍照给自己留念或分享给好友,他还会拍摄工作用的参考图片。“一次东京之行,我在一条小巷子里来回拍照,用相机捕捉下每一个角落,包括天气、周围环境的表面和污垢。因为从事游戏行业工作,需要用照片的形式进行参考。”

Once Wong made the leap and bought a DSLR camera, his coworkers taught him the basics of photography. “That was a steep learning curve, but there were a lot of people around me who didn’t mind answering my stupid questions,” he laughs. “Sometimes at lunch we’d walk around alleyways and they’d show me tricks. I already knew what was wrong with the photos I took. It was the technical side that was the hard part.” Eventually, he started an Instagram and the immediate feedback the platform offered motivated him to take his photography further. 

Soon the desire to focus on his own creative endeavors took hold and Wong decided to leave his job. “We had just wrapped up a big game and I had a bunch of compensation time, plus my apartment lease was about to run out, so it was like, now or never,” he says. He moved back to the UK for a while and then spent a few months in Japan, trying to figure out what he wanted to do. All the while, he continued to take photos, building a body of work that was slowly gaining a loyal online following. “It felt  much better working on my own ideas.”


随着 Liam 的摄影技术快速进步,他又买了一台单反相机,请同事教他摄影的基础知识。“那是拍照技术直线提升的时期,幸好我身边有许多人不介意回答我各种愚蠢的问题。”他笑着说,“有时候吃完午饭,我们会在小巷里闲逛,他们就会跟我分享一些拍照的技巧。我知道自己拍摄的照片问题出在哪里。技术是最困难的部分。”后来,他开设了一个 Instagram 帐号,在上面分享照片,从平台上获得的即时反馈,也促使他更进一步提升自己的摄影水平。

不久后, Liam 想要专注于自己的创作,遂辞去了工作。“我们当时刚刚结束了一个大型的游戏项目,我有一堆补休的时间,再加上我的公寓租期快到了,所以我当时就觉得机不可失,时不再来。”他说道。搬回英国生活了一段时间,他又去日本呆了几个月,试图理清自己想做的事情。在这期间,他没有中断摄影,慢慢累积自己的作品,在网上也吸引了越来越多的忠实粉丝。“能够按照自己的想法来创作,这感觉好多了。”

When Wong comes across a scene he likes,  it’s not as straightforward as pressing the shutter button. It’s often a game of patience. He’ll wait for the right moment—for a person to enter the frame or for day to turn to night.  Sometimes, though, he admits there is an element of luck. “There’s one picture of a girl in a taxi that I didn’t even know I took until I went back and looked at my camera roll.”


遇到喜欢的场景时,Liam 不会急于按下快门,这是一个讲究耐心的游戏。他要等待合适的时机,譬如等一个人进入画面,或是等待白天变成夜晚。不过,他承认有时候运气也很重要。“有一张照片是一个坐在出租车里的女孩,我当时都不知道自己拍了这张照片,直到我回去,翻看相机里的图片才知道。”

Rather than simply capturing reality as is, Wong’s snapshots are often just a base he uses to build his final image. “For the longest time, I didn’t consider myself a photographer, because I thought photography is about the shot itself with limited editing. I never thought to take artistic liberties,” he says. It wasn’t until he found a book of work by Syd Mead, a concept artist of Blade Runner fame, that Wong began seeing the creative possibilities of the medium. “My approach to photography is similar to filmmaking, in how they take a shot and build off it with color grades and adding effects. It’s less photography in the traditional sense and more of a hybrid. I’m not a photojournalist.”


Liam 的摄影并非简单地捕捉现实,而是他用来创作最终作品的基础。“在很长的时间,我不认为自己是一个摄影师,因为我觉得摄影主要是拍摄,对照片只能做少量的后期编辑。我从未想过真正的艺术自由创作。”他说。直到他读了《银翼杀手》的概念艺术指导赛得·米德(Syd Mead)的一本作品集,他才开始看到媒介创作的可能性。“我的摄影方式与电影制作类似,在电影制作中,人们拍摄影像后,通过颜色处理和添加特效来打造最终的成品。从传统意义上来说,这不算摄影,更多是一种混合创作。毕竟我也不是摄影记者。”

Earlier this year, he announced a photo book titled TO:KY:OO, which marks the first time he worked with print. “There are some photos that look better on the screen than they do in print,” he says.“I even had to re-edit shots for the book.” His publishers are also helping him put together gallery shows, which he plans to debut in different cities early next year. “In Canada, they printed up one image the size of a door frame. I’d never seen one of my photos with that much detail before. I pretty much stick to a 13-inch Macbook screen, so it was overwhelming. The possibilities of print are exciting.” The book is currently available for pre-order on Amazon.

These days, photography has completely taken over his life. Wong can’t go anywhere without a camera. If he doesn’t at the very least have a phone to take photos, he feels guilty: “It’s very hard to turn off now. The thing I love most is getting that one perfect shot and going home to look at it. It’s really rewarding.”


今年早些时候,他为摄影作品集《TO:KY:OO》做了预推广,这是他第一次接触印刷作品。“有一些照片在屏幕上看起来比打印出来的效果更好。”他说,“我甚至要为出版的书重新编辑了一些照片。”他的出版商也在帮他策划画廊展览,计划于明年初在不同城市亮相。“在加拿大,照片会被放大到门框那么大的尺寸。我从来没有见过我的照片呈现出如此多的细节。我一直都是用 13 英寸的 Macbook 笔记本处理图片,所以打印出来的照片让我很震撼。印刷作品的效果真是令人兴奋。”本书现在已可在亚马逊接受预定。

现在,摄影已经成为了他生活的重心。无论去到哪里,Liam 都要带着自己的相机。如果身边连手机这样能拍照片的设备都没有,他就会油然而生一种罪恶感:“我已经无法停止摄影了。我现在最想做的事情是拍到理想的照片,然后回家看,真的很有成就感。”

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Website: www.liamwong.com
Instagram: @liamwong

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


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网站: www.liamwong.com
Instagram: @liamwong

 

供稿人: Mike Steyels
英译中: Olivia Li

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Your Attention, Please 看与被看,现实与影像

October 14, 2019 2019年10月14日

Whether we’re broadcasting on social media or captured by closed-circuit cameras, we’re always being watched. How do we act when we know there’s always an audience?

This is the theme of RECONSCIOUS, the SS20 collection from fashion designer Ximon Lee, released under his eponymous fashion label. Now that social media allow us to seek attention and validation from friends and strangers, Lee asks whether the images we show online are our true selves.


当代社会,无论在社交媒体上还是在监控设备下,人们的一举一动都被他人注视。而面对无处不在的观众,人们的注意力反而成为媒体争相抢夺的稀缺资源,在这样的情况下,我们究竟该怎么办?

设计师 Ximon Lee 将这一主题贯穿在 2020 年春夏系列 “RECONSCIOUS” 当中,并由他的同名品牌 XIMONLEE 推出。Lee 认为,社交媒体、镜头既然能够帮助我们获得更多来自朋友和陌生人的关注,那我们在线上的形象是真实还是虚假的呢?

At the recent runway show for the new collection, Lee brought this question into sharp relief by installing surveillance equipment throughout the space and broadcasting the audience’s every move and gesture on screens in real-time. As attendees watched the show, the cameras were watching them. Models filed past in crushed velvet, delicate knits, cold metal, and glossy leather, showing off flawless silhouettes. Vibrant reds popped out of the otherwise restrained palette, while blurry black-and-white designs evoked the oversized surveillance footage playing on the screens behind them. Beyond his materials and colors, Lee’s distinctive textures give this series a bewitching luxurious quality.


在本季秀场里,Ximon 将这一思考呈现出来——秀场内各个角落都安放了监控设备,将人们的一举一动即时转播在不同屏幕上。当在座嘉宾观看走秀的同时,镜头也在盯着他们看。模特们一身利落穿行其间,无论是压碎的天鹅绒、细腻的针织、闪亮的皮革还是冰冷的的金属,无不精细考究地勾勒出身体的形态,节制的色彩应用使得那抹鲜红的出现如油画高光一般令人兴奋。低清的黑白印花元素引人联想至那些巨大的实时画面。而在材质与色彩之外,Ximon 一如既往的独创性面料更额外为整个系列添上一些神秘的高级质感。

所有这些元素结合在一起,在凝视与被凝视间碰撞再生。

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Websiteximonlee.com
Instagram@ximonlee
Weibo~/ximonlee

 

Contributor: Shou Xing
Photographer: Chan Qu


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网站ximonlee.com
Instagram@ximonlee
微博~/ximonlee

 

供稿人: 寿星
摄影师: 凤阳

A Study in Contradictions 混凝土丛林中的传道士

October 11, 2019 2019年10月11日

When I first sat down with Howie Lee in Beijing, I asked him about the EP he’d released a few days earlier. He blinked at me in confusion, and I began to wonder whether I had made some mistake. “Socialism Core Values III?” I said tentatively, and he laughed. “Oh, that’s garbage,” he said. “Just edits, simple stuff.”

I had, in fact, made a mistake: Socialism Core Values III was part of a trio of more casual mixtapes, full of tracks sampling music from grandiose socialist anthems sung in televised Spring Festival galas, 1980s Chinese pop hits, and old folk songs. The night before our meeting, I had watched him litter a DJ set at Beijing’s Zhao Dai club with these tracks and more like them. The audience had responded with joyous disbelief. At one point he played an old Chinese rock song he hadn’t touched up at all—just put the song on and stepped back, watching as the Chinese in the crowd roared the lyrics, and grinned widely, raising his arms to the ceiling and belting out the chorus with them.


第一次在北京和 Howie Lee(李化迪)见面时,我问起他前几天发行的单曲。他懵然地看着我,让我怀疑自己是不是说错了什么。“《社会主义核心价值观III》?”我试探着说,他听后大笑起来。“哦,那是随便弄的。”他说,“就简单编辑了一下。”

事实上,我确实弄错了。《社会主义核心价值观III》只是他即兴打造的混音带三部曲之一,其中采样了春节晚会上气势宏伟的歌曲,还有 1980 年代的中国流行乐和民歌,都是一些不常被用来混音的声音片段。我们见面的前一晚,他在北京 “招待所” 俱乐部(Zhao Dai club)里放歌,整晚放的都是这些音乐。台下观众始料未及,反响十分热烈。表演过程中,李化迪甚至直接播放了一首完全没有经过混音的中国老摇滚曲目。当播放键按下,台下的观众狂喜着大吼歌词,他在 DJ 台上后退一步并举高双手,与大伙儿一起合唱起来。

The audience clearly found something culturally validating, even empowering, about hearing Lee update this type of music, so often regarded as cloying or tacky, into something danceable. But Lee’s point is that, when DJing, he plays a mix of experimental, underground music and old Chinese songs; in China, he says, this works better than anything else. “If you go to the UK, or anywhere else, you hear the local hits. We play Western hits too because we grew up with them—but we don’t want to abandon our Chinese memories.” When I mentioned that I had Chinese friends who rolled their eyes at such music, he laughed, and then grew serious. He admitted that he too had gone through a period of deriding the saccharine side of Chinese music but now sees such an attitude as unproductive hatred of his own country’s past. “At one point I thought, well, this kind of music is too much, but it’s who I am.”

Lee’s simple remixes reflect his audience’s nostalgia as well as his own. “So many times,” he recalls, “I’d get out of the club drunk at three a.m., get in a taxi, and hear these songs. I’d feel like crying, and not know why.” Sampling them now is a mark of respect: why would he sample a song he doesn’t like?


李化迪将这些一度被视为俗气甚至是令人腻烦的音乐进行重新演绎,加入了强劲的律动,混合了实验、地下音乐和经典中文老歌。他认为这样的音乐在中国很吃香,能让观众的自身文化受到肯定,同时带有一种震慑心扉的能量,“在英国,或者其他国家,你都可以在排队上听到当地的流行音乐。我们也会放欧美流行音乐,因为我们从小就是听这些音乐长大的,但同时我们也不想放弃中国本土的特色。”当我提到我的一些中国朋友很鄙视这样的音乐时,他放声大笑,尔后表情又严肃起来。他承认自己也有段时间看不起这种过于矫情的中国音乐,但现在的他却觉得这样的态度,纯粹是对国家过去的不满,毫无益处。“后来我就想,好吧,虽然这样的音乐是太过了,但这是我们的音乐。”

在李化迪最近的混音带中,总能反映出他和观众对过去的挽怀。他回忆道:“有很多次,我在凌晨三点,醉着走出俱乐部,上了出租车,耳边就响起这些歌曲。我想哭,但不知道为什么。”现在,他以这些音乐采样是出于尊重的心情。毕竟,用自己不喜欢的声音来创作,对他来说太没必要了。

Lee initially came to DJing by way of punk and rock music. “Nothing has hit me harder than rock did,” he told me, pointing out the rock hits I’d heard him play the night before, the kind of thing he used to DJ in college parties. “I used to play bass in a punk band for a few years in university, we would play underground clubs, Mao Livehouse, places like that.” He left the band around the time he graduated college when they entered talks with a major Taiwanese label that Lee felt was too mainstream. “I didn’t want to sign to that stupid thing,” he says, waving a hand dismissively. “So I quit.”

It was then, around 2009, that he started DJing and producing in earnest. Perhaps unsurprisingly, given his past as a bass player, his 2010 release 0010111 00100000 010001000 0110001 01111001 0111011 is full of bass-heavy tracks that sound as though they belong in a club setting.  Coming up in the EDM trap wave, by 2012 Lee had gone so far as to secure an official remix for hip-hop great Snoop Dogg. Then came a geographical shift: feeling inspired by the scene in the UK, he moved to London to do a master’s degree in sound art. Starting in 2014, his tracks became cleaner and smoother, with finer detail, more groove, and a noticeable attention to the design of the sound.

But Lee says with a shrug that he found the UK scene less complicated than he had imagined, so rather than stay for very long, he learned what he could in a year and decided to bring it back home.  Upon his return to China, his label Do Hits Records solidified a reputation as a touchstone of China’s underground music scene, releasing volume after volume of compilation albums featuring a wide array of forward-thinking producers.


起初,李化迪是从朋克和摇滚乐转向电子音乐的。“没有什么音乐比摇滚更能打动我。”他指着那些摇滚唱片对我说道,这是他昨天晚上播放的音乐。“我曾经在大学的朋克乐队里担任贝斯手,我们当时就在地下俱乐部、Mao Livehouse 这些地方表演。”大学毕业时他退出了乐队,当时乐队开始和台湾一间大型的唱片公司接触,但李化迪觉得这家唱片公司太主流了。“我不想签那种烂合约。”他说,挥手表示不屑,“所以我就退出了乐队。”

2009 年左右,他开始尝试 DJ 和音乐制作。2010 年,曾经的贝司手发行了一张贝斯味儿十足的专辑《0010111 00100000 010001000 0110001 01111001 0111011》,留下了俱乐部音乐的足迹。随着在 EDM trap 浪潮中崭露头角过后,2012 年,李化迪被说唱歌手 Snoop Dogg 力邀参加了官方 Remix 的制作。之后,他来到英国,在当地多元的音乐场景的熏陶下,让李化迪倍受激发,于是他来到伦敦攻读声音艺术的硕士学位。从 2014 年开始,他的音乐变得越来越简洁、流畅,细节更出众,听上去变得更有律动,对声音的布置也显得更为突出。

但李化迪逐渐发现,英国的音乐场景并没有像想象中那样高深莫测,所以并不适合长时间居住。一年后,他又带着自己学到的知识回到了中国。回国后的他创立了电子音乐厂牌 Do Hits Records,该厂牌迅速晋升为中国地下音乐圈的中流砥柱,接二连三地发行了数张合集,这些作品是都来自五湖四海具有前瞻性的音乐制作人们。

Listen to some of our Howie Lee’s earlier works below:


点击即可试听几首李化迪的早期作品:

Over the years, Lee slowly started to add in more sounds inspired by Chinese music. Concerned that the West has undermined Chinese people’s confidence in their own musical traditions, he set out to “bring China back from Western cultural colonization.” Lee once described himself as a nationalist, though in our conversation he amends this to “civilizationalist,” noting that Chinese culture extends beyond the People’s Republic, as well as the malleability throughout the history of China’s borders, which have included very different people at different times. Still, he says, “We have to accept that we’re different, politically, historically, culturally.”He cites the theory that Westerners exist more as individuals, whereas Chinese people exist in a Confucian relationship to those around them. “I don’t think it’s a bad thing. We can still be friends.” This conviction has led him to absorb and replicate the sounds of China and the rest of the world. He does not shy from synthesizing these diverse sounds with the kind of music he was making before, but he does avoid privileging sounds of the West over the rest.


多年以来,李化迪开始慢慢吸收中国音乐精髓。在他看来,欧美音乐的影响让中国人对自己的音乐失去了信心,于是,他开始着手于 “让中国摆脱西方文化殖民” 的创作方式。李化迪曾说自己是一个 “民族主义者”,而在我们的谈话中,他把这种说法改为了 “文明主义”。他认为中华文化的范畴远远超出于了共和国的定义,它的延伸性超越了历史上中国的边界,涵盖着不同时代下的特定人群。他说:“必须承认,我们在政治、历史、文化背景上的不同。”他指出,西方更强调个人,而中国则更强调以儒家伦理维系的人际关系。“但我不认为这是一件坏事。大家还是可以做朋友的。”这种信念促使他不断吸收和运用中国和世界其他地区的音乐元素,毫不闭塞地将各种多元的声音与他自身的音乐风格融合,创作时也会有意避免让欧美音乐元素喧宾夺主。

With his 2015 release Mù Chè Shān Chū, by far his longest project at the time, he incorporated more eclectic sounds from a wider range of influences. The listener hears not just punk and electronic, but also hip-hop, classical, folk, and a noticeable increase in Chinese strings and percussion. On his following two EPs, Homeless (2017) and Natural Disaster (2018), he honed an aesthetic that’s at times disturbing, full of distorted samples of folk music from China and its neighbors. He increasingly used vocals, but stretched and pitched them bizarrely, pairing them with strings and percussion edited to climax at unexpected times or in unexpected ways.


2015 年,李化迪推出个人迄今为止最长的专辑《木屮山出》,融合了来自领域更广、更丰富的音乐元素。你不仅能听到朋克和电子音乐,还有嘻哈音乐、古典音乐、民俗音乐的融入,其中中国味的弦乐和打击乐元素也明显增多。在随后推出的两张 EP(《无家》(2017)和《自然灾害》(2018))中,他琢磨出一种富有煽动力的美学风格,运用了大量来自中国及其他亚州地区民间音乐,进行了风格上大刀阔斧的改编。相比于以往,他在作品中加入了更多人声采样,以拉伸和扭曲的怪异方式呈现,搭配古老的弦乐和打击乐,以出人意料的方式达至高潮。

Listen to select tracks from Mù Chè Shān Chū, Homeless, and Natural Disaster below:


点击即可试听几首来自《木屮山出》、《无家》与《自然灾害》的精选歌曲:

Technology has opened doors to more and more sounds, and Lee seems intent on using them all. His music is a thousand things at once, with familiar sounds finding a new expression. Lee says as much when speaking of his transformation of folk, which he describes as a “kind of a deconstruction—destroy the old stuff to build the new old. A lot of people doing traditional folk music don’t like what I do. They’re really hardcore,” he says, with obvious relish. “I appreciate that so much. I think they should preserve their tradition because they come from that background. But I don’t come from that background. One day maybe they’ll understand me.” Lee’s folk sounds are thrilling and unsettling—clearly drawn from tradition but unfamiliar enough to make you sit up and listen.

The result is a global amalgam of sound, at once archaic and futuristic, pure and broken, melding ancient sounds with the noise of industry and the internet age. The contradiction is a reflection of a society struggling with how its cultural norms and traditions collide with technology, increased access to the rest of the world, and its own swift development. Given how well these elements blend in his music, there’s reason to hope they can do so in the rest of the world, too. Lee sees the contradiction as something that goes hand-in-hand with the immense amount of capital circulating in China. “It’s destroying a lot of stuff, but it’s destroying and rebuilding.”


科技的发展让声音的纬度变得更加丰富多彩,而对李化迪来说,所有声音都可以成为素材。他的音乐海纳百川,擅长在熟悉的乐曲中摸索出新的表达方式。在谈到自己对民俗音乐的重新演绎时,李化迪形容那是 “一种解构主义”——通过摧毁旧事物,构建出旧事物的新面貌。“很多做传统民俗音乐的人不喜欢我的音乐,他们是真的硬核。”他笑嘻嘻地说道,“我很欣赏他们。我觉得他们就应该保留自己的传统,因为那是他们的文化背景。但我没有那样的背景,也许有一天他们可以理解我的创作。”李化迪的民俗音乐作品总能营造出令人鼓舞又不安的气氛——这显然受到传统音乐的影响,让人熟悉却又感到陌生,让听者想要抓住歌曲的每一个细节。

李化迪的音乐成品是全球音乐的杂交体,既古老又充满未来主义,纯粹、破碎,将古老的经典音乐与工业和互联网时代的噪音融为一体。彼此矛盾的元素,折射出这个社会的现状——文化道德准则、传统在科技与社会快速发展情形下的苦苦挣扎。这些元素在他的音乐中融合得如此出色,令人忍不住期待在世界其他地方也能出现这样的音乐。李化迪认为这种矛盾与中国社会资本的大量流动息息相关。“这种现象破坏了很多东西,但它在破坏同时也是在重建。”

Listeners can expect further explorations of these collisions to continue on Howie Lee’s new album, titled Tian Di Bu Ren. Lee’s shift from pure electronic to the inclusion of more natural sounds was on full display on the Do Hits 8th anniversary tour earlier this year. Though he mostly performed surrounded by keyboards and MIDI controllers before a huge screen full of computer-generated imagery, he also came to the front of the stage to sing unmic’d, kneeling with a stringed instrument on his lap. He recites for me a list of instruments he used in the recording process—“a lot of drums, jazzy drums, saxophones, a little bit of zurna flute, bass, guitar”—then adds that he’s been playing with programs on his iPad and more complicated editing. He’s even incorporated artificial intelligence software, which he feeds samples to manipulate and copy. “It generates this weird-sounding, wild, and crazy stuff. Something a human cannot make.”

He is also beginning to experiment more with lyrics. Previously, on tracks like “A Junkie’s Whispering” on the Homeless EP, inspired by a fascination with music in languages he did not know, he rapped in technologically pitched-down nonsense syllables. “I listen to music in other languages and have no idea what they’re saying but it’s so great—so why can’t I make something up? That was my point, for a while. But now I’ve started to write lyrics, I think lyrics can do good things,” he says. Thematically, some songs on the new album are inspired by ethnic groups such as the Miao living in China’s mountains, and by the influx of those people to the cities, where they live in the new mountains: apartment buildings. “They have this culture in the mountains in China where they sing to the women, back and forth—I’m kind of writing the ‘loneliness mountain songs’ for people living in the concrete jungle.”


在李化迪的新专辑《天地不仁》中,你会听到他对这些对立面的进一步探索。今年早些时候,李化迪在 Do Hits 八周年巡演派对上将全电子声效的表演方式抛之脑后,并融入更多现实的声音。即便你还会在大屏幕前,看到他忙不迭地操作着键盘和 MIDI 控制器,但那些未经处理的人声以及架在大腿上的弦乐器,不由让人眼前一亮。他为我一一罗列了演出中用到的乐器——“各类鼓、爵士鼓、萨克斯、唢呐、贝斯、吉他”,然后在 iPad 上进行更为复杂的编曲。他甚至加入人工智能软件,输入采样,让软件自行操作和复制。“软件可以生成各种奇怪、夸张和疯狂的效果。这是人类做不到的。”

这一次,李化迪还尝试了更多歌词方面的创作。此前在 EP《无家》中,出于对未知语言的迷恋,他用胡编乱造的喃喃废话创作了歌曲《A Junkie’s Whispering》。李化迪说:“有时候我听外语歌,也不知道他们在唱什么,但是听起来很棒,就想我为什么不能也胡编乱造一下呢?有一阵子我都是这么想的。但现在我开始写歌词了,我觉得歌词也可以很有用。”从主题上讲,新专辑中部分歌曲灵感为居住在中国山区的少数民族,以及这些少数民族涌入城市后居住在 “新大山”——公寓楼的现象。“在中国的山区有一种文化,男人会和女人对唱山歌,我这算是为生活在混凝土丛林中的人们写的寂寞山歌吧。”

At the time of writing, three singles have been released in advance of the album. The first, “Tomorrow Can Not Be Waited” [sic], featured a curious music video that explored the relationship between Daoism and virtual reality. Next came “Enter the Tigerwoods” and “21st Century Suicide,” both of which blur the lines between electronic music and more traditional recording techniques. They both display fascinating continuation of Lee’s work, but “21st Century Suicide” is especially striking as a three-act piece. Beginning with a single staticky bass note, it features Lee’s heartbreaking vocals and a mix of Chinese and Western instruments, and ends with a flute playing over a blast of synthesizers and frenetic drumming that build up and then fade out into a single breathy bass note that seems to disappear into the wind.


写下本文的时候,专辑的三首单曲已先于专辑发布。第一首单曲《明日不可待》配套了一支令人着魔的 MV,其中探讨了道教与虚拟现实之间的关系。接下来是《入老虎林》和《二十一世纪自杀》。两首作品都展示出李化迪一贯迷人的音乐风格,但《二十一世纪自杀》三幕式的结构尤其突出。歌曲以冷静的低音开始,随后李化迪令人心碎的人声悄然来临,长笛在合成器和鼓声中狂舞,节奏逐渐加快,又逐渐转淡,化为如呼吸般沉迷的低音,一下子消失在风中。

Listen to some of our favorite tracks from Howie Lee’s Tian Di Bu Ren below:


点击即可试听几首来自《天地不仁》的歌曲:

When I point out to Lee that his professed faith in the collective identities of culture and nation might be at odds with his idiosyncratic sound, he makes no attempt to reconcile these contradictions. He compares it to the search for the Way, as expressed in Daoism and Buddhism, and relates the story of one of Buddha’s followers asking him in confusion why he was telling people about the Way if it was truly so unexplainable. “The common argument is that once you start to talk about the Way, it disappears—the real Way is not something you can explain, but the Buddha still has to tell people it exists . . . This is the big conflict,” he says earnestly. “This is something I have to explore through my art, and the more I do it, the more I will understand.”

Lee’s music is something he creates to say what he can’t put into words yet, a manifestation of his search for the Way. He tells the story of his search to make sense of all the clashing elements of our modern world, complete with the sonic textures of everything from mountains to cities, from the real to the virtual, from the ancient to the futuristic. It’s a world so full of contradictions that, when one attempts description, it defies clear portrayal, slipping through the listener’s ears and ultimately beyond their grasp.

Tian Di Bu Ren can now be streamed on Apple Music, Spotify, NetEase Cloud Music, Xiami, and more.


我对李化迪说,他对文化和民族的集体认同信仰似乎与他特立独行的音乐格格不入,他却没有试图调和这些矛盾。他将这种矛盾比喻为道教和佛教中对“道”的探索,还讲了一个佛教故事:有佛教信徒困惑地问佛,如果“道”当真无法用言语解释,那他为什么还要向人们传“道”。“普遍的说法是,一旦您开始谈论‘道’,‘道’就消失了。真正的‘道’是无法解释的,但是佛仍然必须告诉人们道的存在……这是最大的矛盾。”他认真地说道,“这是我必须通过艺术进行探讨的问题。当我进行创作越多,也越来越明白。”

李化迪通过音乐来表达他无法言喻的事情,这是他对 “道” 的追寻。在讲述自己寻 “道” 的故事时,他融入了现代社会各种冲突的要素,从山脉到城市、从真实到虚拟、从古老到未来,并力求理解它们的真正意义。世界本身就存在很多矛盾体,当你试图描述时,它们好像并没有那么明确。这些相互矛盾的声音闯入听者耳廓,让人猝不及防。

《天地不仁》现已登陆网易云虾米SpotifyApple Music 等各大国内外音乐平台。

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Contributor: Kiril Bolotnikov
Photographer: David Yen
Chinese Translation: Olivia Li


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供稿人: Kiril Bolotnikov
摄影师: David Yen
英译中: Olivia Li

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Tuzi is an animated short that’s anything but joyful. Through scathing sarcasm and dark undertones, the seven-minute-long film examines the issue of domestic violence.

The film is a graduation project created by Han Yeming, Tang Ruofan, and Chen Siyue, three students of the China Academy of Art. Their story was originally planned to be a cathartic tale about a child escaping his abusive upbringing. However, as the script developed, the story took a different direction. The completed script still features a child raised in a violent home, but there isn’t exactly a feel-good resolution—the protagonist instead grows up to become someone that’s not unlike the father who he so despised, a person who terrorizes others.

“Not every child who grew up in these types of environments is rescued,” says director Han Yeming. “And not all wounds can be healed.”


这部短片,看起来并不怎么愉快。讽刺、黑暗,豁出命的冲突中,暗藏着背后的“家暴”主题。

《兔子》是一部毕设作品,制作者有三个人,负责剧本美术的韩叶铭,负责表演和动画的唐若凡和陈思月,都是中国美术学院同届同班的同学。原先的剧本是一个在破碎家庭中的孩子得到拯救治愈的故事,但最终呈现的却不是这样。一个在暴力家庭中长大的孩子,没有正确的渠道疏通,他最终也变成了和自己鄙视的父亲一样的人。

“其实我们发现不是所有的孩子都能在这种环境下得到帮助,也不是所有的伤痛都能得到治愈。”主创之一韩叶铭说。

The use of a rabbit as a symbolic device wasn’t originally planned, but once the idea came about, it felt like a perfect embodiment of innocence, and its mutation into a blood-thirsty monster, in turn, depicts the corruption of innocence that can result from growing up in a violent environment.


整部短片的制作周期大约有一年,而“兔子”这个意象则是在偶然中被挖掘出来的,几个团队成员觉得,用变异的兔子怪物来比喻原本纯真、但是在暴力影响下逐渐扭曲的孩子,再好不过。

The short’s ending is purposefully ambiguous. The protagonist, having been subject to abuse for much of his life, seems to want to wreak vengeance on society. But in the final scene, when he sees himself as a monster in the mirror, he seems surprised. The film concludes with the monster alone in frame smashing its reflection in the mirror.

Is he vowing to conquer the monster within? Or does he accept the monster as his true self?

“There isn’t a clear conclusion to Tuzi; you could say it was all a dream, an epilogue, or part of an unending cycle,” says Han. “The true ending of Tuzi is whatever the viewer wants it to be. Our goal is to invite the audience to think, and for their interpretation to contribute to the completion of this work.”


但故事怎么说,取决于观众怎么看。有时候,受到伤害的人会把伤害别人当做理所当然,从而陷入被伤害与伤害的恶性循环中去。但影片提供了另一种解读的可能:如果主人公最后发现了自己恐怖的样子,并想要毁坏镜中的自己,那么《兔子》就是一个人想要得到救赎的故事。

他是否要征服内心潜藏的怪物?还是接受怪物就是真实邪恶的自我?

“《兔子》其实没有一个绝对的结局,你可以说它是一场梦,一个终结,也可以是一个周而复始的循环。”韩叶铭说,“你心中的结局就是《兔子》真正的结局,我们的目的是引起观众的思考,和观众一起完成这个作品。”

Han and his team believe that animation shouldn’t only be about presenting beautiful things; it also has a responsibility to present the unpleasant parts of life. “We want to show people the reality of things,” says Han. “And also prove that animation isn’t just for kids. It can be darker fairytales meant for adult audiences.”

Tuzi was selected as a Design Mark winner in this year’s Golden Pin Design Award. Learn more about this year’s winners here.


韩叶铭他们觉得,动画的天马行空,除了能歌颂美好以外,也能扩大社会中黑暗的一面,“我们想要将现实表现给观众看,也想证明动画不只是儿童的娱乐消遣,还能是成人的黑暗童话。”

《兔子》在今年的金点概念设计奖中被选为设计标章得主。点击此处更多有关今年获奖者的信息。

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Contributor: Chen Yuan


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供稿人: Chen Yuan