Don’t Make Do, Make 我们都有一双“勤劳的手”

November 29, 2019 2019年11月29日



Why buy a lamp when you can build your own? That’s a question the team at the Hive Lab wants to get more people to ask. The workshop aims to shake consumers out of their readymade comfort zones and realize they don’t have to limit themselves to what’s on offer at Ikea or Taobao. Anyone can create their own things, from lamps to tables to bicycles. In fact, with a little training and the right tools, you too can do it yourself.

Founded by Yan Pu, Tseng Yi-Wen, and Hsiung Yun-Pei, the Hive Lab opened its doors in Shanghai in 2018, and since then it’s provided a place where DIY enthusiasts can use the kind of power tools they’re unlikely to have at home, like jigsaws, belt sanders, wood lathes, or even 3D printers. It also aims to lower the barrier to making your own things by offering courses in the basics of product design and wood- and metalworking. “We offer a completely outfitted shared workshop, a cozy office space, and all kinds of fun design courses and talks,” says Yan. “We believe that training in working with your hands, along with interdisciplinary dialogue and collaboration, are the keys to innovation.”

家里少一盏台灯?买新的还不如自己动手:这是“新蜂巢”创始人提倡的想法。这个工作坊旨在让消费者踏出舒适区,让他们意识到没有必要把所有的期望值限制于宜家或淘宝的商品上。而不管是台灯或者餐桌或者自行车,每一个人都能自己制造物什。只要接受些培训,你也可以自己为 DIY 代言。

由严璞、曾乙文和熊元培共同创立的新蜂巢,于 2018 年在上海开业。自那时起,它就为手工爱好者提供了一个可供使用电动工具的场所,那些不太可能在家里配备的器具,诸如带锯、砂带机、木工车床,甚至三维打印机,都可以在新蜂巢找到。此外,它还开设一些产品设计和木工及金工基础课程,让手工制作更易上手。“我们为大家提供了一个设备齐全的共享工作间,以及一个舒适的联合办公区域,各类有趣的设计课程和讲座,以及创意产品设计和研发。”严璞说,“我们相信,动手能力的培养以及跨学科的交流合作,对创新的产出来说至关重要。”

Maker spaces, as such communal workshops are called, are now a common sight in cities around the world, and Shanghai itself already has several, including Zowoo and Mushroom Cloud. The movement originated on the West Coast of the US in the early 2000s, when people immersed in an entrepreneurial startup culture sought a respite from the internet in the older pleasures of working with their hands. It’s both a product of, and reaction to, online living, and it covers a range of low-tech to high-tech activities. Just as some people brewed their own beer, tinkered on their own circuit boards, or made their own jewelry to sell on Etsy, others learned how to work a saw, and founded communal workshops to share the costs.

Yan, Tseng, and Hsiung met while studying in the UK, where they noticed how popular do-it-yourself culture was. Yan thought DIY spaces would be an opportunity back in China. “It occurred to me that this was a weakness in how China taught innovation,” says Yan. “So once I returned to China, I started making plans for a training space to promote DIY skills.”

现在这样的公共作坊被称为 “创客空间”,在世界各地的城市都很常见,上海也有一些,比如作物和蘑菇云。“创客运动” 这一概念起源于 21 世纪初的美国西海岸,当时人们沉浸在创业文化及精神中,寻求从互联网中获得的喘息机会,享受用双手工作的古老乐趣。它既是网络生活的产物,也是对网络生活的映射,它涵盖了从低技术到高科技的一系列活动。就像有些人自己酿造啤酒,自己制作珠宝在 Etsy 上出售一样,其他人也学会了如何使用锯子、建立了社区讲习班来分担费用。

三位创始人严璞、曾乙文和熊元培在英国留学时相识,他们在那里意识到 DIY 文化超高的受欢迎程度。严璞觉得回中国开设手工作坊会是一个好机会,“我认为这也是中国在创新能力教育上的一个短板。于是在回国后,我开始了筹划这么一个旨在提倡动手能力培养的空间。”

The Hive Lab is a space where people can come together to learn new skills. Designers and anyone else working on a DIY project can use the tools for a daily or monthly fee. Those who want to learn foundational skills can sign up for one of the lab’s many classes. One course teaches students to make a wooden lamp shaped like a puppy, while another lets them “hack” an Ikea product and create something individual. A collaborative course with MMT shows how to build a bicycle out of bamboo, while another collaboration with Yu Design Studio produces a wooden scooter. “Everyone is welcome, not just designers or enthusiasts,” says Hsiung. “We also encourage anyone who has no experience to come see for themselves, to make something that’s their own, and not passively accept what’s already on the market.”

This last comment points to the larger meaning that Yan, Tseng, and Hsiung see in DIY culture: more than a set of skills, it’s a philosophy of creativity. “As we see it, innovation doesn’t just spring from the mind but comes from testing, through constant experimentation and iteration,” says Tseng. “Design through making” is one of the team’s watchwords.

新蜂巢是一个人们可以聚在一起学习新技能的地方。设计师和其他参与 DIY 项目的人可以支付单节课或每月的费用,来直接使用工作坊配备工具。想要学习基础技能的学生,则可以报名参加工坊的专项课程,比如其中一门课程专门教授如何制作小狗形状的的木灯,另一门课程则带领学生改装宜家的产品,并创造出个性化的产物。而一项与 MMT 合作的课程,则展示了如何用竹子建造自行车;另一个与 Yu Design Studio 合作的课程,让学生参与了木滑板车的制作。“我们欢迎所有人参加,不光是设计师或者爱好者。”熊元培说,“事实上我们鼓励所有没有动手经验的人们也来体验,自己来动手创造出属于自己的东西,而不只是被动接受市面上已有的东西。”

这也恰恰点明了三位创始人在 DIY 文化中看到的更大意义:它不仅仅是一项技能,更是一种创造力的哲学。“在我们看来,创意本身并不是一拍脑袋而跳出来的,而是通过不断的试验和迭代而来。”曾乙文如是说。“通过动手来创造”,正是团队的宗旨。

If you can build your own lamp, if you can make a bike frame from bamboo, if you can repurpose your Ikea chair, what else can you do on your own? It’s about not accepting the world as it’s packaged and presented and sold. This insight has implications that go beyond furniture or home improvement projects. It could even—who knows?—be political. “DIY is also an attitude of challenging the status quo and solving problems in your own way,” adds Hsiung.

创客创造的,远不只家具。如果你已经能够亲手制作台灯、用竹子组装自行车架、手动改装宜家的椅子,你或许可以创造更多。这关乎一种理念:你可以向包装并陈列好的商品世界说“不”。而它的含义,早已超越了家具及改装课程。它甚至可能关乎政治态度——谁知道呢?“DIY 也是一个挑战现状、用自己的方式解决问题的态度。”熊元培补充道。

When the maker movement came to China a few years ago, it initially enjoyed strong support as part of a policy to boost innovation. Encouraging people to tinker and make their own things would, it was hoped, promote creativity throughout the economy. Yet China’s rapid development in manufacturing and technology as also inhibited maker culture, says Yan. “It’s spoiled people, because when anyone needs something their first instinct is to buy it new, rather than to think about how they could save money and time by making it themselves.” In the world’s most convenient country, where you can order anything you need on your phone, DIY is still far from the mainstream. Perhaps even more than in the West, here the maker movement is countercultural.

Nevertheless, Yan’s optimistic about the future. “As digital manufacturing technology improves, the speed of the internet increases, and demand for individualized products grows,” he says, “DIY will become more democratic and more common. I think this is the overall trend, both in China and abroad.” Why make do, when you can make?

几年前“创客运动”作为促进创新政策的一部分来到中国时,最初得到了强有力的支持。人们寄希望于鼓励动手修补、制作自己的东西,以助于促进整个经济产业的创造力。然而严璞说,中国在制造业和技术方面的快速发展,也反过来抑制了创客文化。“大众被惯坏了,大家需要什么第一反应就是直接购买新的就行,而不是想为了省钱省时间怎么自己动手去解决。”在这个世界上最便捷的国家,你可以在手机上订购任何你需要的东西,DIY 离主流群体还很远。与西方相比,这里的创客运动是 “反主流趋势” 的。

尽管如此,严璞对未来依然很乐观。“在未来随着数字制造技术和网络的加速升级,大众对个性化产品的需求与日俱增的情况下,DIY 在未来将会变的更加大众和普遍,相信这个大趋势无论在国外还是国内都是一样的。”自制代替购买,何乐而不为?

The Hive Lab is taking part in Shanghai’s FutureLab 2019 at the West Bund Art Center. Stop by their booth this weekend, or visit their studio in Jing’an.


Studio Address:
800 Changde Road, Bldg. B16
Jing’an District, Shanghai

Monday ~ Sunday, 11am ~  8pm

新蜂巢目前正在参与上海西岸艺术中心举行的艺术与设计创新未来教育博览会(简称“教博会”或 FutureLab),本周末你就可去他们的展台参加工作坊。或前往静安寺加入他们的工作空间。



常德路 800 B16

周一至周日, 早上 11 点至晚上 8

Like our stories? Follow us on Facebook and Instagram.


WeChat: thehivelab


Contributor: Allen Young
Photographers: Allen Young, David Yen
Videographer: Ni Zhaoyu
Chinese Translation: Chen Yuan

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


微信: thehivelab


供稿人: Allen Young
摄影师: Allen Young, David Yen
视频摄像师: Ni Zhaoyu
中译英: Chen Yuan

A Day with Shaun Evaristo 和 Shaun Evaristo 的一天

November 27, 2019 2019年11月27日



“When I’m dancing, a lot of the times everything goes black,” says Shaun Evaristo. “I’m conscious that I’m dancing but I’m not exactly sure what my body is doing. I’m letting the flow kind of take place.”

Evaristo is a world-class dancer and choreographer with an unmatched stage presence. For him, dance is freedom. Once he’s in the zone, nothing else seems to matter, and it shows in the way he moves. There’s an authenticity in the way that he carries himself. His movements seem more like an extension of the music, rather than something that accompanies it. One of the aptest descriptions of his dance explains it as “not an expression of his limbs, but an expression of his heart.” Evaristo’s consultant work for the hit TV show Hot Blood Dance Crew has brought him to China several times in recent years, and on a fair-weathered day in Shanghai, we caught up with him to chat and take a stroll through the city.


舞台上的 Shaun Evaristo,是那一个遥远的身影,自由舞动,旁若无人。你会发现他跳的舞和其他人不太一样,既不炫耀,也不煽情,而是放任身体自然地随着音乐流转,每一次律动都是如此真挚。有人说,他跳的舞“肢体不是动作的出发点,灵魂才是”。菲律宾裔美国籍的 Shaun 是一位世界级的顶尖编舞师和舞者,近年因为参加节目《热血街舞团》的关系频繁来到中国工作。在结束录制工作 Shaun 将回美国的前一天,我们幸运地和他约到采访。

The weather hadn’t yet turned cold on the day we met, and the sun shone with a gentle warmth. As we walked together along the streets of Shanghai, Evaristo was delighted by everyday scenes, like the streetside vegetable vendors or the old woman drinking tea as she stroked the cat at her feet. These scenes—novel for a Filipino American from California—formed the backdrop as he talked about growing up, his family, and what dance means to him.

这一天天气还不太冷,日光和煦,我们一起走在上海的街边,一路上 Shaun 惊奇于那些中国日常的街景,路边叫卖的菜贩、喝茶同时摸着脚边猫咪的老妇,在他眼里看来都是不平凡的风景。我们佐着这些景色,和他从过去聊到现在,那些关于他自己、舞蹈、和生活的吉光片羽。

“I’m just a kid who loves dancing,” Evaristo says, recalling his childhood years in California. As a child, he formed a dance crew with his cousin and a few friends. Recruiting members was easy: Evaristo’s mother made a mean spaghetti that no one could resist. Entire afternoons were whiled away practicing in the garage with his friends. These remain some of Evaristo’s fondest memories. “At ten years old, I knew I wanted to be a choreographer, I just didn’t know what it was called at the time. I invited people over and taught them dance moves that I made up. Seeing their happiness made me happy. It was something I could see myself doing for the rest of my life.”

After high school, Evaristo moved to Los Angeles to pursue his dreams. He didn’t want to be a dancer—he wanted to be a choreographer. “I knew I wanted to do choreography from the very beginning,” he says. “I love dancing, but creating something new is my true passion.

“我只是一个很喜欢跳舞的街头小孩。”Shaun 回忆起小时候的自己说道。六七岁时,他就和表哥和朋友们组成一个小小的舞团,用妈妈的手工意大利面作为诱饵吸引大家加入。最快乐的时光就是把自己关在家里的车库里,跳舞跳上一整天。

高中毕业后 Shaun 决定搬到洛杉矶,追寻舞蹈生涯。不过并不是以舞者的身份,而是编舞师。“其实打从一开始我就知道我想做的是编舞师。我喜欢跳舞,但创造才是我真正热爱的事情。”他回想起,“十岁时我就在编自己的舞,只是我当时不知道这叫编舞而已。我把学校里一些也喜欢跳舞的小孩找来,教他们我自己设计的舞步。看到他们脸上开心的表情,这让我好快乐。我觉得我可以一辈子都做这件事情。”

Evaristo’s style and approach to choreography are uniquely his own: for him, dancing is the most genuine form of emotional expression, and he uses choreography to plumb the unseen, unquantifiable essence hidden deep inside a person’s heart. “Choreography isn’t just about making up cool moves,” he says. “It’s about self-expression like any other art form—choreography is about opening someone’s mind.”

Our stroll takes us to a traditional market, and Evaristo stops in front of stalls selling vegetables, dried fruit, sundries, and more. Since he can’t speak Chinese, he gesticulates to communicate with the stall owners. Much like his dance, simple movements and a genuine smile expressed much more than words ever could.

Shaun 有着他一套非常独特的编舞风格和理念,即舞蹈来自最真实的情感表达。通过编舞,他所探触到的往往是那一块隐藏在人们心中不可见光、不可量化的内心质地。“编舞并不是在教你跳一些很酷的舞步而已,而是一种自我表达,像任何其他艺术形式一样。编舞的一切,是关于你如何打开别人的心。”


In Los Angeles, Evaristo runs the choreography studio The Movement Lifestyle, yet to say that he’s only a choreographer isn’t quite accurate. He also works as a dancer, artistic director, producer, a dance instructor, and more. The studio’s name sums up his life philosophy: he believes that everyone should keep their life in motion by doing what they love. “It’s like painters paint, chefs cook, and I dance. Dancing is a way, not the way. It’s just a tool, a medium. It’s just the first step.”

And the next step? Just to go on living. To keep up the forward momentum, to go on living, taking the bitter with the sweet.

平常 Shaun 在美国洛杉矶经营着编舞工作室 The Movement Lifestyle,此时此刻,只把他看作一位编舞师也不太合适。他身兼编舞师、舞者、艺术指导、制作和舞蹈教学等多种身份,Movement Lifestyle 除了是他工作室的名字,这两个词语动态(Movement)和生活(Lifestyle)也正好解释了他的生活理念——他相信每个人都要借由做着自己热爱的事情,让生活保持在动态之上。“就像画家借由画画,厨师借由料理,而我借由跳舞。舞蹈只是众多保持动态的方式之一,是一个道具,也只是第一步而已。”


Night was falling, and the sunset had slowly tinged the sky a neon color. We were all hungry, so we decided to get some Shanghainese food. We ordered a table full of local delicacies, including an eggplant dish with ground pork. Shaun is usually a vegetarian, so he picked out the minced meat and chowed down. “If I don’t have a more now, I might not be able to get this in the US!” he said.

It was getting late, and our group began to break up and go our separate ways. As we said our goodbyes, Shaun suddenly asked me, “What do you think happiness is?” So we stood by the side of the road, chatting about happiness and ideals. That day ended on this mostly romantic conversation. “Because dancing has changed my life so much, I have this really big want for others to see the same. I believe that art can change the world, I really believe that. Our just is just to do it, to use it, to share it.”

眼看时间来到傍晚,晚霞渐起将天色染成一片霓虹,我们一伙人都饿了,决定去吃道地的上海菜。Shaun 平常吃素,我们点了一桌山肴野蔌,掺着肉末的油焖茄子,他仔细地挑出肉粒再吃,“现在不多吃一点,回美国可能吃不到了!”

时间已经不早了,大家即将踏上各分东西的回家方向。生活本是如常,道别之际,Shaun 突然问我“你觉得幸福是什么?”于是我们就近站在路边,漫谈着所谓幸福和理想。这一天,就结束在这主旨浪漫的对话。“因为舞蹈改变了我的人生,所以我有这种很大的欲望,希望别人能跟我有一样的感受。我相信艺术可以改变这个世界,我是真的这么相信,而我们的工作就是去持续地做,去发挥,去分享它。”

Like our stories? Follow us on Facebook and Instagram.


YouTube: ~/MovementLifestyle
Instagram: @shaunevaristo


Contributor: Yang Yixuan
Photographer: Chan Qu, David Yen
Videographer: Ye Zi
Video Editor: Paul Gardette

喜欢我们的故事?欢迎关注 Neocha 的微博微信


YouTube: ~/MovementLifestyle
Instagram: @shaunevaristo


供稿人: Yang Yixuan
摄影师: Chan Qu, David Yen
视频摄影师: Ye Zi
视频剪辑: Paul Gardette

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Certain Uncertainties 唯一能确定的就是不确定性

November 25, 2019 2019年11月25日

As the saying goes, the only certainty in life is uncertainty.

It’s a concept that’s long fascinated Kelvin Kyung Kun Park. At his recently unveiled solo exhibition, Double Mirror, on display now as part of the Shanghai Glass Museum’s “Annealing” project, the Korean artist presents brand-new works that examine the theme of uncertainty in the context of identity, perception, and transformation.

For those familiar with Park’s past work, it might seem strange to see an artist best known for his directorial work at the Shanghai Museum of Glass, but this is precisely the point of “Annealing”: by inviting artists from different backgrounds, Lise Li, the project’s art director, hopes to push both the medium of glass and the artists’ creativity to their limits. She believes that this friction yields the best types of art, and Park’s stunning contributions this year validate this philosophy.


一直以来,艺术家朴庆根都对这句话非常着迷。在他最近举办的个展 “我是我的镜子中,这位韩国艺术家展出了一系列全新的作品,探讨了在身份、感知与事物转变的背景下的不确定性主题。目前,他的作品作为“退火”项目的一部分,在上海玻璃博物馆进行展出。


The first work in the show is a video art installation that plays to Park’s strengths as a director. Lacking dialogue, the film shows a pair of identical twins wandering through a labyrinth of mirrors. As they make their way through, they find themselves captivated by their own reflections, but the intensity with which they’re studying themselves in the mirror is unsettling—it’s almost as if they don’t recognize the person standing before them.

By making it unclear on whether the camera is trained on the characters themselves or their reflections, Park conveys the characters’ own sense of uncertainty. The ultra-wide aspect ratio, used purposefully to limit the audience’s field of view, heightens this feeling to anxiety-inducing levels. The discomfort that courses through the film’s 12-minute runtime poses a simple question, “How can we be sure that the person we see in the mirror is our true self?”


其实,就连摄像镜头也没办法确定拍摄到的是否是真实的人物还是镜像,朴庆根通过这部作品传达出了视频中人物自身的不确定感。超宽的影像,将观众的视野限定在视频中,让人们的焦虑感上升。整个影片共 12 分钟,其带来的不安氛围仿佛向我们提出了一个简单的问题,我们怎么知道镜中自己就是我们本人?

In the second part of Park’s exhibition, he gives physicality to the notion of uncertainty through a series of glass-and-steel sculptures that represent the inconstancy of human nature. On each work, triangular panes of glass affixed to a steel column and powered by servomotors that change their position over time. As they rotate and flip into different configurations, they reflect new geometric patterns of light across the ceiling and walls. The sculptures’ subtle changes and their effect on the surrounding room speak to a number of ideas: though we may not notice it, we’re always changing as individuals, and these changes directly influence the world around us—or at least our perception of it.

Through this multimedia exhibition, Park aims to alleviate our collective fear of change and uncertainty: once we recognize and accept that change is inevitable, we can stop worrying about things out of our control and fully appreciate the present.



Aside from Kelvin Kyung Kun Park, Chinese artist Sun Xun is also holding a separate solo exhibition, Frontier Part II, as part of this year’s “Annealing” project. Both are now on display at the Shanghai Glass Museum of Art until March 29th, 2020. Tickets are available online at Maoyan and Damai.


Double Mirror & Frontier Part II

Exhibition Dates:
November 5th, 2019 ~ March 29th, 2020

Tuesday ~ Friday, 1 pm ~ 5 pm
Weekend & Holidays, 11 am ~ 5 pm

Shanghai Museum of Glass Park
685 Changjiang West Road
Baoshan District, Shanghai

除了朴庆根个展,今年的“退火”艺术项目也展出了中国艺术家孙逊的“塞上(下集)”。二人的作品目前都在上海玻璃博物馆进行展览,截止至 2020 3 29 日。你可以通过猫眼大麦进入购票链接。


“我是我的镜子” 与 “塞上(下集)”

2019 年 11 月 5 日 ~ 2020 年 3 月 29 日


长江西路 685 号

Like our stories? Follow us on Facebook and Instagram.


Instagram: @kelvinkyungkunpark


Contributor: David Yen
Chinese Translation: Pete Zhang
Images Courtesy of the Shanghai Museum of Glass

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Instagram: @kelvinkyungkunpark


供稿人: David Yen
英译中: Pete Zhang
图片由 上海玻璃博物馆 提供

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Cities of Solitude 田岛大介:宏伟的孤独

November 22, 2019 2019年11月22日
View of Forced Isolation (2017) 194 x 112 cm / pen & ink on paper 《強制孤獨景色》(2017) 194 x 112 cm / 纸上钢笔、墨

Daisuke Tajima’s black-and-white ink drawings have a hypnotic power that draws viewers in. It’s easy to get lost in the Japanese artist’s intricate cityscapes, whose repetition and towering size form endless valleys and unimaginable peaks. Exaggerated lines of perspective command attention, and the seemingly endless level of minutiae rewards a viewer’s scrutiny.


Neo-territory II (2017) 181 x 91.2 cm / pen & ink on paper 《新界Ⅱ》(2017) 181 x 91.2 cm / 纸上钢笔、墨
Neo-city Sai Ying Pun (2019) 130.3 x 97 cm  / pen & ink on paper 《新西營盤市街》(2019) 130.3 x 97 cm / 纸上钢笔、墨

Tajima has always been an introvert; it’s a personality that fits the profile one might expect from such obsessively precise work. His withdrawn personality was considered weird by classmates at school but it’s proven to be a virtue in adulthood. “I always seem to disturb other people over everything,” he says. “For instance, when I played sports in school, I was the worst teammate. I started realizing how embarrassed I’d become in general society.” Slowly, he retreated into art without even realizing it; though doing art in isolation can often feel lonely, it was better than uncomfortable interactions with people who didn’t understand him.


Superpower of Eternal (Part 2) (2018) 334 x 240 cm / pen & ink on paper 《無限之超大國(第2部份)》(2018) 334 x 240 cm / 纸上钢笔、墨
Core of the Neo Territory (2019) 116.7 x 90.8 cm / pen & ink on paper 《新界的核心》(2019) 116.7 x 90.8 cm / 纸上钢笔、墨

But as Tajima started gaining attention for his work in recent years, he began meeting more and more like-minded people he could be himself around. : “I feel I’ve found a connection with other people because of my art. I’ve reached people outside of my small community, even overseas.” He grew up and still lives in Nara, a city with a sparse population of artists and art lovers when compared with places like Tokyo or Osaka. . “Normally I don’t even encounter other guys my age because most have left. The only people I talk to in person here are my elderly neighbor and my mom. It’s pretty boring, but I’m able to focus on my art.” He’s nestled in at home, designing and constructing a black-stained, wooden garage studio next to his house where he spends the majority of his time.


Photographer: Yugo Matsumura 摄影师: 松村有吾
Image Courtesy of Daisuke Tajima Studio 图片由田島大介工作室提供
Image Courtesy of Daisuke Tajima Studio 图片由田島大介工作室提供

Solitude helps him work, and considering the amount of time his drawings take, it’s essential to his art. A three-meter wide aerial view of a city took him three months to draw, working seven hours every day. To create a large piece like that, he first does a series of small sketches, a process that helps him figure out the layout and composition. He then affixes a large piece of paper to the wall, sketches the preliminary drawing with pencil and ruler, and fills in the final lines with pen and oil marker. For many of the larger pieces, he has to use a ladder to reach the higher sections. “That’s why my back always hurts,” he laughs.

Through art, he’s been able to travel and see the cities across Asia that inspire his artwork. But he always comes back to his village, where he can face inward and focus on the work that’s helped him come to terms with his introversion.

孤独助长了他的艺术,考虑到他的绘画需要花费的时间,独处是必不可少的因素。他花了三个月的时间来画一幅 3 米宽的城市鸟瞰图,每天需要工作 7 个小时。为了创作出这样的大作品,他先画了一系列小草图以厘清布局和构图。然后再在墙上贴上一张大纸,用铅笔和尺子画出初步的草图,接着用钢笔和油彩笔在最后一行里填上。对于许多较大的作品,他不得不使用梯子到达更高的部分。“这就是为什么我总是腰酸背痛。”他笑着说。


City Scape II (2015) 109.5 x 95.5 cm / pen & ink on paper 《世界市Ⅱ》(2015) 109.5 x 95.5 cm / 纸上钢笔、墨
Wild Flowers (2019) 182 x 116.7 cm / pen & ink on paper 《野生花》(2019) 182 x 116.7 cm / 纸上钢笔、墨
Superpower of Eternal (Part1) (2018) 400 x 194 cm / pen & ink on paper 《無限之超大國(第一部份)》(2018) 400 x 194 cm / 纸上钢笔、墨

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Instagram: @tienda006
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Contributor: Mike Steyels
Chinese Translation: Chen Yuan

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Instagram: @tienda006
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供稿人: Mike Steyels
英译中: Chen Yuan

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Noise / Gaze / Psych 噪盯迷

November 20, 2019 2019年11月20日

Zao Ding Mi is an annual showcase of alternative rock that began in Beijing. The event name is a portmanteau that could be translated as “noise gaze psychedelic,” which blends the names of three rock genres: noise pop, shoegaze, and psychedelic rock.

Psychedelic rock originated in the US and UK amidst the counterculture movements of the ‘60s and became a sound that defined the era. It was the forefather to the noise pop and shoegaze sounds of the ‘80s, genres that demonstrated how sonic dissonance can be used to artistic effect. Interest in these experimental genres waned in subsequent decades, but indie bands kept these retro sounds alive in the underground scene, that is up until recent years, where they’ve made a comeback in a big way.

噪盯迷中的可以指噪音流行(Noise-Pop)、鞋盯(Shoegazing等一众上世纪八十年代中后期在英国流行起来的反主流摇滚音乐形式。相比于直白的呐喊与繁复的编曲构架,这些音乐风格往往以自我审视、幻得幻灭的姿态,以及点到为止的 DIY 音色与旋律在听众耳前一亮。在九十年代垃圾朋克(Grunge)与英伦摇滚(Brit-Pop)复兴的到来之前,这些近亲形式的音乐曾红极一时,时至今日也依然陶染着大批独立以及地下音乐人。但由于当时这类音乐所表达的内容过于疏离,它们很快消失在更加繁荣的九十年代。 噪盯迷中的则指迷幻摇滚乐(Psychedelic Rock),这种六十年代兴起的音乐风格,往往营造出神秘奇异与遥不可及的美感氛围。而中国当代的迷幻摇滚在不断与本土音乐进行融合,被赋予了更多含义。

Maybe the resurgence of shoegaze, noise pop, and psychedelic rock, with their lonely, detached sounds, owes something to a growing desire to be disconnected in the internet age. In any case, by 2010, new indie bands began sprouting up, and scene veterans were releasing tracks again. Today these genres have proved their staying power, and China’s thriving youth underground scene is now dominated by noise, shoegaze, and psychedelic rock.

Zao Ding Mi is organized by M-Lab, an event agency operating under Chinese record label Modern Sky. The idea for the event was conceived by Lei Jiangtao, the label’s COO, back in 2017. His ambitions were simple, throw a party for young music fans, one that isn’t bound by genre restraints. Aside from the genres that are clearly called out in the event title, it also features bands playing post-rock, garage rock, among other forms of alternative rock. The bands, some old and some new, share a commonality in their DIY roots, which call to mind the heyday of indie rock.

或许因为互联网时代的人们更愿意陷入人与人之间的疏远与距离,噪盯迷类音乐藏匿多年之后,在 2010 年前后又重新被人们提起。那段时间,大量独立乐队在世界各地涌现,曾经始祖级别乐队也相继发片。如今这股风潮显然占据上风,你会发现国内近些年展露的年轻地下乐队当中,噪盯迷几乎占据半壁江山。

M-Lab 是北京摩登天空音乐公司旗下的活动厂牌,主理人雷江涛创立的噪盯迷研讨大会 2017 年开始便围绕噪盯迷类音乐展开一系列活动。这是一个属于年轻人的盛宴,所以在风格上并没有太多限制,你还会听到后朋克(Post-Punk),车库(Garage Rock)及冲浪摇滚(Surf Rock)等等声音。他们来自不尽相同的年龄段,彰显出的那股浓郁的 DIY 气质。或许会让你联想到十多年前独立乐队们争芳斗艳的那股劲儿。

Gathering bands from around the country isn’t an easy task, even though the event has been doing so for three years now. Since its inception, the event has invited The Molds, Birdstriking, FAZI, Gate to the Otherside, The Romp, Future Orients, Last Goodbye, and more. What began as a strictly Beijing event has also now grown into a multi-city affair. The upcoming editions of Zao Ding Mi—themed around the idea of “plunging into the crowd”—will take place in Nanjing, Hangzhou, and Shanghai at the end of this month. With the event coming up, we caught up with Lei to find out what fans can expect at this year’s event.

为了达到研讨会的热闹场面,噪盯迷需要每年同时将一众乐队聚集在一个或多个场地内,这样的工作并不容易。从创立到现在,他们邀请了 The Molds鸟撞FAZIGate to OthersideTHE 尺口MPFuture OrientsLast Goodbye 等等国内优秀且独特的乐队,活动场地也从北京延伸向了更多城市。2019 11 月下半旬,噪盯迷将在南京、杭州、上海举办一系列活动,以 “到人群中去” 的主题展开。在活动到来之时,我们找到了活动主理人雷江涛,与他聊了聊关于噪盯迷的一些事儿。

Neocha: What were your goals when you first started this event? What kind of experience do you hope to bring to music listeners?

Lei: I’ve always loved this type of music, so I wanted to host a showcase of these genres. The goal was just to bring people who liked this type of music together and hopefully build some new friendships.

Neocha: 噪盯迷研讨⼤会成立的初衷是为什么?希望乐迷在活动中获得怎样的体验?

雷江涛: 契机是当时比较喜欢这几类风格的音乐,所以想做一个这几类的拼盘演出。希望把喜欢这些音乐的朋友们都聚在一块儿,同时彼此也都能成为朋友。

Neocha: Zao Ding Mi, in addition to performances, also hosts live panels with the bands. What types of discussions take place?

Lei: We’ve actually met a lot of bands through this event. Many of them noted an appreciation for one another, and they haven’t had a chance to meet in person prior to an event like this. Zhao Ding Mi provided an opportunity for musicians to meet one another and exchange ideas. We’ll be hosting panels where bands interview one another, riff on ideas, critique each other’s music, and more. These types of discussions often provide a new perspective on these bands. It’s fascinating.

Neocha: 噪盯迷研讨⼤会听说真的会有研讨的部分,通常研讨的形式是怎样的?

雷江涛: 通过噪盯迷其实我们接触了不少乐队,发现其实很多乐队都互相欣赏的,只不过没有机会有所关联。噪盯迷为大家提供了这样的机会,大家在一起相互熟悉,交流音乐。会有研讨的形式出现,比如乐队互访、大脑呼唤、相互乐评等等,这样的研讨能发掘他们没被发现过的另一面,很有意思。 

Neocha: Now coming up on its third edition, what challenges have you encountered in the past few years?

Lei: There are new difficulties every year, but the support of all the bands has been really helpful. We’re also not making a profit, but that’s to be expected since these genres are still rather niche in China. We want to give fans a fuller experience, but we don’t want them to break the bank for tickets. We want to keep going, to give more bands chances to play at the show and help fans discover them.



Neocha: “Plunge into the crowd” is this year’s theme for Zao Ding Mi. What can people look forward to this year?

Lei: This year’s theme is because I’ve noticed that people who listen to this kind of music tend to be very low-key. Their job takes everything out of them, so after work they don’t like to go out, don’t like to socialize, don’t like to meet new people. So I hope people will “plunge into the crowd,” go make friends, go see shows. Of course, this is also a reminder for me.

Neocha: 今年的主题是到⼈群中去,这个主题和⾳乐有哪些联系?今年会有哪些令⼈期待的元素?

雷江涛: 今年的到人群里去是因为发现我们这些听这一类音乐的人都比较疏离,在工作上几乎花费了所有光和热,私下其实不爱说话,不爱出门,不爱交朋友。所以我是希望大家都可以到人群里去,积极交友,积极看演出,当然对我也是一种提醒。 

Tickets are now available online.


11.28 / Nanjing



Star HorseSWE
Absolute Purity
Street Kills Strange Animals


DMO Music Space
Nanjing Olympic Sports Center (Across from A18)
222 Jiangdong Middle Road
Jiangye District, Nanjing

11. 29 / Shanghai



(Guest Ban)


Baoli Shiguangli Shopping Mall B1-09
230 Ruiping Road
Xuhui District, Shanghai

11.30 / Hangzhou



Star Horse (SWE)
Street Kills Strange Animals
Young & Dumb

Ye Peng
Shui Men Ting


MAO Livehouse (@ Shangcheng 1157)
77 Zhongshan South Road,
Shangcheng District, Hangzhou



11.28 / 南京



Star HorseSWE




11. 29 / 上海






11.30 / 杭州



Star Horse (SWE)


MAO Livehouse (尚城1157)
77 三楼

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Contributor: Pete Zhang
Images Courtesy of M-Lab

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供稿人: Pete Zhang
图片由 M-Lab 提供

Unconventional Aesthetics 把街趣穿在身上

November 18, 2019 2019年11月18日

Foil insulation, herbal supplements, and tacky signage: these unlikely objects are all fertile ground for fashion inspiration in the eyes of Jeff Shen. The Guangzhou native has an affinity for incorporating outlandish and unexpected elements into his clothing and accessory designs. The pieces are often created as tongue-in-cheek experiments, but their playfulness is balanced with an aesthetic eye. 

Jeff Shen 眼中,铝箔绝缘材质、草药补品还有又土又丑的广告标牌等等不太可能被利用的元素,都是他滋生时尚灵感的沃土。这位在广州长大的服装设计师,喜欢将一些意想不到的偏怪元素融入进服装与装饰品中。他的作品看上去就像是半玩笑性质的实验品,但玩笑又能和审美达到平衡。

In one piece, Shen repurposes the advertising stickers and storefront signage of China into an all-over pattern for a pair of sneakers. In another, he embeds price tags into a transparent choker. These pieces were school projects, but he’s since parlayed that work into an entry-level job at Puma.

在 Jeff 的一幅作品中,他尝试将中国广告贴纸和标牌融入在整双鞋子的图案设计里;还有一幅作品,他甚至将一些价格标牌嵌入在透明脖圈内。虽然这些都是 Jeff 在校期间完成的作品,但已经达到了彪马敲门砖的水准。

Shen has always been creative. “I liked to doodle on the wall at home as a little kid,” he recalls. “We moved out of that house when I was about five, but my parents really loved my  doodles, which they never cleaned from the walls, so they didn’t rent it out until recently.”

Shen’s father is a poet and his mother was an illustrator and fashion designer, so they’ve always supported his creative pursuits. In middle school, he began designing T-shirts for events, and his grades were good enough to get into one of Guangzhou’s top high schools, though he admits to slacking off once he got in. “I kind of stopped paying attention in class and instead I was drawing logos, illustrations, and stuff.”

Jeff 时刻保持着创造力十足的样子。他回忆道:“小时候的我喜欢在家中的墙壁上涂画。大概在五岁的时候我们搬到了别处,但我的父母非常喜欢我的画。他们从未清理过墙壁,直到最近,他们将房子了租出去。”

他的父亲是诗人,母亲是插画和服装设计师,双方一直非常支持 Jeff 所追求的创意。初中时期,他开始为活动设计体恤衫。尽管他的成绩可以考上广州顶尖高中,但他也承认了自己当时的懒惰。“我那时候整天做 Logo,插画之类的事情,已经没有心思上课了。”

That interest in illustration and graphic design was matched by a fondness for street fashion. “I love to dress fresh,” Shen says, “I’ve been a sneakerhead since high school. But I never considered becoming a shoe designer or apparel designer.” He didn’t work with fabrics until his junior year at RISD in the US, and he didn’t start making shoes until his senior year, which changed his whole career path.

这种对插画和平面设计浓厚的兴趣,与他对街头时尚的喜爱相吻合。Jeff 说:“我喜欢把新鲜感穿在身上。高中时期开始,我就是狂热的球鞋爱好者。但那时候我从来没想过自己会成为一名鞋样和服装设计师。” 在纽约罗德岛设计学院的头一年,Jeff 才开始接触各种面料材质。随后,在他高年级期间 Jeff 接触到了鞋样设计,也彻底改变了他的事业轨迹。

Although Shen has been inspired mainly by US and Japanese designers, he believes China is catching up: “China used to be a little behind, but brands are making lots of great moves in recent years. The innovation speed is incredible.” He cites designers like Su Wukou of Purlicue fame and kids on Instagram like @scccccry as people changing the game back home. 

尽管 Jeff 的灵感主要受到一些美国和日本设计师的影响,但他相信未来的中国会迎头赶上。他说:“在这个领域,中国之前会落后一些,但近些年来很多品牌都有大动作。创造与革新的速度令人惊叹。” 他列举了苏五口魏子雄等国内的设计师们,他们都是正在改变规则的人。

With a portfolio of work that ranges from avant-garde fashion to stress-relief toys, the young designer’s interests have been broad and varied over the years—but sneaker design seems to have finally captured his heart.

“What kind of designer is better, someone who does one thing for 30 years, or someone who designs all sorts of different things?” Shen asks. “My mother thinks there’s essentially no difference between the different types, as they both grow and develop in their own way. When a person does a thing for an extremely long time, the world doesn’t get smaller, instead it gets bigger and bigger as this person digs deeper. It’s an expanding universe in itself.”

从前卫时尚到令人放松的玩具,Jeff 的作品集展示了一位年轻设计师涉猎多年的广泛与多样胃口。只不过,他的内心似乎只会被球鞋俘获。

“什么样的设计师更好,是拥有三十年经验的设计师?还是拥有与众不同风格的设计师?” Jeff 闻道,“我妈妈认为,不同事物之间并无比较可言,它们都在按照自己的方式成长与前进。当某人很长时间只做一件事,世界对他/她来说不会变小。要知道研究越深入,世界观就会越大。而我们所处的世界,也正不断延伸。”

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Contributor: Mike Steyels
Chinese Translation: Pete Zhang

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供稿人: Mike Steyels
英译中: Pete Zhang

Rear Windows 后窗,窗后

November 15, 2019 2019年11月15日

Outside the window, in Shanghai’s busiest shopping district, North Shaanxi Road buzzes with activity; but inside the sunlit salon, silence reigns over the ornate wooden staircase and artwork-covered walls. You’d almost think you’d stepped a century back in time to the age of Shanghai’s gilded splendor. Look closely, though, and a few incongruous details—paintings of modern cityscapes set inside a window frame; television screens flashing a single character at a time; and a KTV room playing a retro hit, its video oddly scrubbed of people—tip you off that you’re in an exhibition space.

This is Prada Rong Zhai, the site of artist Li Qing’s exhibition Rear Windows.

窗外是街,是全上海最繁华的商业地段,一条车水马龙的街;而窗内是静谧的木楼梯、洒满阳光的大房间和挂了满墙的画。你不会觉得这里是一个展厅,反而更像是步入了百十年前鎏金的上海岁月——但仔细看,旧窗框切割了油画的街景,电视机播放着单个的文字,小包厢里放映的怀旧金曲,MV 也被替换成了无人的空镜。

这里是 PRADA 荣宅,艺术家李青“后窗”的展览现场。

Li came up with the idea to use windows as a medium while searching for different ways to approach contemporary painting. He noticed that windows framed scenery much like a camera’s viewfinder, and on certain types of windows, glass panes divided up a scene into multiple compositions. By placing scenes inside of old window frames, they were imbued with an immersive realism.

As Li’s art evolved, the windows that appear in his work have taken on new meaning. In a way, they’re bearers of history. Not only do they evoke a sense of familiarity, the windows of a building can be also understood as a testament to the structure’s past and present.



This meditation on the past and the present is at the core of Li’s Tetris Windows, one of the most noteworthy series of the exhibition. Mounted within antique window frames, Li’s paintings center on the historic architecture of Shanghai. Unlike past works, select panes have been replaced with multimedia collages of text, photos, and other materials. These additions draw attention to the changes that each building has undergone over the years, hinting at a larger narrative of how a city’s growth can have a lasting impact on local culture and lifestyle. This idea of time and change is also evident in the paintings themselves, which depict the same scene at different times of the day. Certain sections radiate with the glow of the early-afternoon sun while other sections are drenched with the indigo hues of dusk. Through these ambitious concepts and approaches, Li’s windows have become more than just an aesthetic device—they offer unique glimpses into the artist’s worldview.

Rear Windows shares similarities with Hitchcock’s eponymous film in that they’re both designed to show only what the artist wants the audience to see. The exhibition, through jarring contrasts between old and new, is designed to influence viewer perception, Li says. In doing so, his work forges unlikely connections between windows, people, architecture, and city.



Tetris Window: Asiatic Society (2019) 212.5 x 106 x 10 cm / Wood, metal, plexiglass, oil colors, markers, clothes, printed matter, and aluminum plastic panel 《迷窗·亚洲文会》(2019) 212.5 x 106 x 10 cm / 木、金属、有机玻璃、油彩、马克笔、衣物、印刷品
Tetris Window: Ampere Foreign Firm (2019) 212.5 x 106 x 10 cm / Wood, metal, plexiglass, oil colors, markers, clothes, printed matter, aluminum plastic panel 《迷窗·安培洋行》(2019) 212.5 x 106 x 10 cm / 木、金属、有机玻璃、油彩、马克笔、衣物、印刷品
Tetris Window: OCT (2019) 212.5 x 106 x 10 cm / Wood, metal, plexiglass, oil colors, markers, clothes, printed matter, aluminum plastic panel 《迷窗·华侨城》(2019) 212.5 x 106 x 10 cm / 木、金属、有机玻璃、油彩、马克笔、衣物、印刷品
Tetris Window: Amber Building (2019) 212.5 x 106 x 10 cm / Wood, metal, plexiglass, oil colors, markers, clothes, printed matter, aluminum plastic panel 《迷窗·琥珀大楼》(2019) 212.5 x 106 x 10 cm / 木、金属、有机玻璃、油彩、马克笔、衣物、印刷品

Unlike typical galleries, with their sterile white walls, Rong Zhai feels lived in, a sensation that Li heightens in this show. In the ballroom, bedrooms, and music room, he places works that resonate with each space, inviting the viewer to question their relationship to the constantly changing world outside. A century-old colonial house converted to a nontraditional exhibition space or art gallery, says Li, “gives these works a fuller context, makes the art itself more diverse.”


Take, for example, the grand ballroom, which was once used to host formal events and extravagant parties. In a gesture of irony, Li chose the space to display Things You Can Take Away and Hangzhou House Series. The former is a collection of carpets designed in the likeness of floor tiles found in old Hangzhou housing. In it, Li plays with the contrast between the soft comfort of rugs and the harsh imagery of scuffed tiles covered in dirt. Per the artist’s intent, these carpets are completely overshadowed by the glitzy stained-glass skylight overhead.

For Hangzhou House Series, Li covers the ballroom’s windows with photos of buildings in the Hangzhou suburbs. These houses were built based on the locals’ ideas of modern luxury, but they’re a far cry from the palatial estate that these photos are now showcased in.



Hangzhou House No. 7 (2018) 《杭州房子 7》(2018)
Hangzhou House No. 11 (2018) 《杭州房子 11》(2018)

With the presence of different time periods and urban cultures, the coexistence and combination of different viewpoints and ideologies, a dialogue begins between past and present, and a relationship is established between people and the city. And this is precisely what Li hopes to show through Rear Windows. “Everything is you see here,” he says, “is part of the show.”


Tickets are available via the Prada Rong Zhai WeChat Mini Program.


Rear Windows

Nov. 7th 2019 ~ Jan. 19th 2020

Prada Rong Zhai
186 North Shaanxi Road
Jing’an District, Shanghai
People’s Republic of China



前往 PRADA 荣宅的微信小程序 即可购票。



2019 年 11 月 7 日 ~ 2020 年 1 月 19 日

陕西北路 186 号

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Contributor: Chen Yuan
Images Courtesy of Prada Rong Zhai

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供稿人: Chen Yuan
图片由 PRADA 荣宅 提供

A Mind for Absurdity 意想不到的漫画

November 13, 2019 2019年11月13日

All it takes is an eye for it: everyday life offers plenty of material that can, with a little effort, produce comic results. For example, a high school dean might criticize a student’s crazy haircut. But what if that hair style is due to his bizarrely shaped head? This is Dick Ng‘s creative philosophy: to draw comics from life, but to make them more outlandish, more absurd. “I usually incorporate aspects of everyday life into my comics, and add in some dry, offbeat humor,” he says.

只要你善于发现,平凡的生活中总有很多有趣的点,这些点稍被加工就会达到意想不到的效果。就比如高中的时候,教导主任总和我们的发型过意不去,但想象一下,如果一位学生夸张的发型和他的头型有直接联系,效果一定让人咋舌,带来猝不及防的幽默感。这就是漫画家吴子元Dick Ng)的创作哲学 —— 源于生活,但比生活更荒诞、更离奇。我习惯将日常生活的元素融入到漫画中,并以古怪脱力冷笑话形式表现出来。

Haircut 剪头发
All You Can Eat 吃到饱
Kabedon 壁咚
A Day in the Life of Ah Ren 阿仁的一天

Ng, who hails from Shenzhen, prefers to use his Cantonese last name. (The Mandarin pronunciation would be “Wu.”) He’s loved fantasy comics since he was a kid, and up through college he continued exploring them. “One of my classmates recommended the Japanese manga Fushigiryū, a four-frame comic by the artist Fushigi Sanjuro. Most of it was absurdist humor based on everyday life, and it had a big influence on me.”

Ng keeps an eye out for inspiration at work and during his commute. One of his earlier series of comics offered a humorous yet motivational take on office relationships. “My creative motivation is casual and spur-of-the-moment. Whenever I notice something funny in my life, or in conversations with others, I jot it down right away, and once I have time, I turn it into a drawing.” At first, because of his work schedule, Ng could only draw at night, but after he’d amassed a body of work, he gradually started to get noticed by renowned Chinese comic artists like Tango. That pushed him to quit his job and devoted himself to drawing comics full-time.

吴子元来自广东深圳。英文名字里的 “Ng” 是广东话姓的发音拼写,念 “En”,因为经常有人念错,所以他特别强调这一点。Dick Ng 从小酷爱宫格漫画,大学时期他一直坚持对漫画的研习。当时同学向我推荐了《千奇百怪》四宫格漫画,这是不思议三十郎的作品。里面大部分无厘头搞笑的内容都来自生活,对我有很大的影响。

吴子元经常在上班路上与办公室寻找乐趣。在此前他发布过的一系列漫画中,就将办公室严肃的雇佣关系描述得活脱且滑稽。我的创作动机挺随性和即兴的,生活上或者聊天中的一些让我在意的有趣点子,我就会当下记下来,一旦有空闲时间,我就会画出来。而最初因为工作的原因,吴子元只能晚上作画,而随着作品的积累,他逐渐受到来自 Tango 等国内漫画家的赏识,随后便辞去了工作,全身心投入漫画事业。

Hair no. 1
Hair no. 3
Hair no. 4
Hair no. 5

Sequential graphic art like comics is limited to two-dimensions, but within those constraints anything is possible. And while the frames seem inflexible, they create a space where Ng can find his own path. Readers shouldn’t take his work too seriously, enjoying instead the clever reversals and absurd contrasts. “Usually I dig deeper and deeper in odd observation, adding surprise after surprise. The process is constantly challenging and enlarging my mind.”

You might think Ng would be an oddball in real life, but this isn’t the case. “He’s disappointingly normal,” says one friend. Ng laughs and agrees. “In general I’m an extremely ordinary person—not crazy like my comics.”



Beer Time
Basketball Court
Washington Boulevard

So far Ng has published two books: Baoluo Wanxiang (“All-Inclusive”) and Qiquji 1 (“Collection of Oddities 1”). Outside of black-and-white comics, he’s tried his hand at illustration, blending lines and colors to create leisurely real-life scenes. “Illustration is another medium for expression. In addition to colors, illustration lets me add some other interesting details.”

Recently Ng was invited to attend the International Erlangen Comic Salon, and he took his experiences of Western cultural differences and published them in comic form. “A Day in the Life of Ah Ren is about how people in China work overtime and rarely leave the office before their boss, whereas in Germany most working people leave work on time. All You Can Eat is about how Chinese people show their hospitality by ordering a lot of dishes, whereas German people would probably order only as much as you want to eat.” People in each country see their own customs as entirely normal, but taken out of context, they can look ridiculous. This kind of thinking is very common in Ng’s work.




Ng’s comics don’t set out to express any clear-cut concepts, though they do pick up on aspects of life that you might not otherwise give much thought. They’re funny because they’re surprising, and surprisingly familiar. And that’s what makes them timeless: a little absurd humor always lightens up the daily routine.

其实 Dick Ng 的作品并没有明确想要表达的概念,不过它们能帮你拾起生活中不经意的片段,在惊喜与意外之后,留下会心地一笑。同时,他的作品属于任何时代都能看得懂的漫画,因为平凡中的乐趣是生活永不改变的真理。

Door Access Control

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Contributor: Pete Zhang
English Translation: Allen Young

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供稿人: Pete Zhang
中译英: Allen Young

Cultural Capital 好艺术需要好推手

November 12, 2019 2019年11月12日
Chi K11 Art Museum Chi K11 美术馆

“Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.” Andy Warhol’s famous line lies somewhere between sarcasm and sincerity, and it’s probably best taken as a provocation: he’s trolling us, daring us to defend a belief in art as a spiritual pursuit unsullied by lucre. You don’t have to be a romantic to insist that art and business are, in fact, very different creatures, though you also don’t have to be a cynic to recognize that art’s production and circulation depend on the market—artists, curators, and gallerists still have to eat, after all. Even if business isn’t really art, art has a business side that can’t be overlooked.

Arts management, as this business side is called, is the subject of a new series of workshops put on by the Department of Culture and Education of the German Consulate General in Shanghai—which we’ve written about before—in cooperation with WhyWhyArt. “Arts Management and Society” pairs experts in various fields from both China and the West to inspire the next generation of cultural professionals. Free and open to the public, the workshops are especially intended for students and industry insiders, and they highlight the important role that curators, gallerists, theater managers, museum directors, and others play in the art world. Not only do such professionals educate the public, they also help to discover rising stars. “Cultural managers can be talent scouts, finding ways to give exposure to the work of a new generation,” says Zane Mellupe, founder of WhyWhyArt. (She is also a founding member of the collective Island6.)


德国驻上海总领事馆文化教育处WhyWhyArt 合作举办了一系列以商业领域所谓的“艺术管理”为主题的研讨会。“艺术管理与社会”(Arts Management and Society)系列研讨会汇聚了一批来自中国和西方不同领域的专家,旨在激发新一代的文化专业人才的灵感创想。这些研讨会对公众免费开放,特别适合学生和行业内人士,并强调了策展人、画廊运营者、剧院院长、博物馆馆长和其他职位在艺术界中的重要作用,他们的角色不仅在于对公众的引导,也在于发现新晋的艺术人才。“文化管理者也可以被称为星探,他们会想方设法帮助新一代艺术人才的作品获得更多曝光机会。” WhyWhyArt 创始人 Zane Mellupe 说道。(她也是上海艺术团体六岛创始人之一。)

Zane Mellupe | Image Courtesy of Goethe Institut China Zane Mellupe | 图片由 德国驻上海总领事馆文化教育处 提供
Oliver Hartmann | Image Courtesy of Goethe Institut China Oliver Hartmann | 图片由 德国驻上海总领事馆文化教育处 提供

This series of six workshops, which began in August and will run through December, explores topics such as “The Arts between Production and Consumption,” “The Impact of Arts Institutions,” and “The Functions of Culture and the Values of Art.” Each workshop consists of a recorded lecture by an European arts professional (originally part of a MOOC, or massive open online course, produced by the Leuphana University of Lüneberg) and a live discussion with one of six China-based arts experts: Gan Zhiyi, of the Shanghai Minsheng Art Museum; Jin Xing, of Jin Xing Dance Theatre; Lin Hongming, from the Shanghai Conservatory of Music; Huang Rui, from Thinking Hands; Zhang Huiqing, of the Shanghai Dramatic Arts Centre; and most recently, Venus Lau, of the Chi K11 Art Museum. The recorded lectures are delivered in English, while the live talks are given in Chinese, with simultaneous translation to Chinese sign language. These new Shanghai-based talks are available online on the platform Yizhibo, and they’ll eventually be followed by a video series on the Goethe website, establishing a sort of cross-continental dialogue with the original lectures. “I think both parties can learn from each other,” says Oliver Hartmann, head of the consulate’s Department of Culture and Education. “That’s why we’re trying to combine perspectives of cultural managers with the experiences of prominent figures from the Chinese art scene.”

此系列的六场研讨会从 8 月开始,将一直持续到 12 月结束,所探讨的主题包括 “作品和消费之间的艺术”、“艺术院校的影响” 和 “文化的功能与艺术的价值” 等等。每场研讨会都会纳入欧洲艺术专家主讲的录制讲座(吕内堡大学 Leuphana University 在 MOOC 及更多开放性教育平台上的课程)以及六位来自中国的艺术专家的现场讨论,他们分别为:上海民生现代美术馆的甘智漪、金星舞蹈团的金星、上海话剧艺术中心的张惠庆、上海音乐学院的林宏鸣、思想手设计·计划的黄锐,以及上海 Chi K11 美术馆的刘秀仪(Venus Lau)。录制讲座以英文讲授,而现场讲座则是以中文讲授,并配有中文手语同声传译者。上海的现场讲座现已在 “一直播” 平台上公开,同时你还将可以在歌德学院的官方网站看到这些视频。现场的讲座视频与录制课程相互呼应,构成大陆间对话的形式。“我认为双方都可以从彼此身上学习。” 总领事馆文化教育处负责人 Oliver Hartmann 表示,“因此,我们试图将文化管理者的观点与中国艺术界杰出人物的经验相结合。”

Successful cultural managers need much more than an eye for art and a grasp of trends. “Creativity, sensitivity, attention to detail, planning skills, an understanding of different cultural backgrounds, and strong organizational skills are a necessity,” says Mellupe. “So are writing skills, fundraising, budgeting, and the ability to reach audiences and ideally generate revenue.” Versatility is key.

Finding ways to fund cultural projects, or even make them self-sustaining, is a central part of the profession, but that’s not to say the goal is to turn a profit. On the contrary, only when financial pressures are tamed can artists fully devote themselves to their creative work. “Since I came to China nearly 20 years ago, many artists I’ve worked with have ended their art practice,” Mellupe goes on. “And for many, the reason was societal pressure to make more money.” Arts managers can help artists realize their visions by insulating them from the vagaries of the market. In other words, a solid understanding of art’s relationship to business could serve to keep the two separate.

Hartmann concurs. “Making a profit is not the main concern,” he says. “Arts management is important not just because it supports artists in their creative work, but also because it has a social and educational value.”

成功的艺术管理者不仅需要有欣赏艺术的眼光和对潮流趋势的掌握。“创意、敏感性、对细节的关注、计划技巧、对不同文化背景的理解以及强大的组织能力都必不可缺。” Zane 说,“此外,还需要有写作技能、筹款、预算、吸引观众以及创造盈利的能力。”总而言之,就是要多才多艺。

想办法获得文化项目资助,甚至是让项目实现自我维持,这些都是文化管理者工作的核心,但这并不是说其目标就是盈利。况且,只有在没有财务压力的情况下,艺术家才能充分专注于自己的创作。“从我 20 年前到中国以来,和我合作过的许多艺术家都没有再进行艺术创作了。” Zane 补充道,“对于许多人来说,原因都是来自收入方面的压力。”而艺术管理者可以帮助艺术家实现他们的梦想,帮助他们对抗市场的变幻莫测。换句话说,对艺术与商业关系的深入理解,有助于保持两者相互的独立性。

Hartmann 点头表示同意,他说:“赚钱不是主要目标。艺术管理之所以重要,不仅因为它能支持艺术家的创作,更因为它具有社会和教育价值。”

Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供

In Shanghai, where the line between malls and museums is distressingly blurry, training in arts management is all the more important. Museums here sprout up like mushrooms, and while a few boast excellent collections, several more struggle to cover their walls. (A few are unabashed real estate ventures.) The past decade alone has seen the creation of the Rockbund Art Museum, the Shanghai Minsheng Art Museum, the Yuz Museum Shanghai, the Power Station of Art, the Long, the Shanghai Himalayas Museum, Chi K11 Art Museum, the Shanghai Center of Photography, the Fosun Foundation, the Modern Art Museum, the HOW Art Museum, the Pearl Art Museum, the Silo of 80,000 Tons, the Powerlong Art Museum, and Tank Shanghai—and that’s only to list the larger institutions for the visual arts. Theatre, music, and the performing arts are likewise developing apace.

在上海,购物中心和艺术博物馆之间的界线越来越模糊,艺术管理方面的培训显得愈加重要。这里的博物馆如雨后春笋,尽管其中一些博物馆有非常出色的馆藏,但也有一些博物馆难以为继(其中有一些更是不折不扣的房地产企业。)。在过去十年中,就陆续出现了上海外滩美术馆、上海民生现代美术馆、上海余德耀美术馆、上海当代艺术博物馆、龙美术馆、上海喜玛拉雅美术馆、上海 Chi K11 美术馆、上海摄影艺术中心、复星艺术中心、艺仓美术馆、昊美术馆、上海明珠美术馆、民生码头8万吨筒仓、宝龙美术馆和油罐艺术中心——这些都还只是其中较大型的视觉艺术机构。戏剧、音乐、表演艺术机构也在同样快速发展。

Shanghai Minsheng Art Museum 上海民生现代美术馆

If art is sold as a product, that’s partly because audiences seem less interested in works that challenge or move them than they are in “punching the card,” as the Chinese expression has it: posting a selfie to show that they’ve visited the same popular spots as everyone else. “Many people don’t know how to interpret or understand what they see in an exhibition, performance or play,” Hartmann says. “So I think one important role for cultural managers is to educate audiences in their habits of perception, to show them how to engage with art and how to be patient and self-reflexive, especially when dealing with serious or conceptual art that can be fairly complex.” 

For Mellupe, creating in-person experiences is an important part of the mission of arts managers. “As people spend more time online, art forms that make people move are becoming more and more important,” she says. “Physical experiences are attractive and get people to leave the comfort of living on the internet.”

艺术品作为商品出售,部分原因在于观众对于打卡的兴趣远大于作品本身对他们的触动与震撼 —— 大部分人们还是会选择拍一张自拍,在互联网上晒出来,证明自己也和其他人一样参观了某个热门景点。“很多人不知道如何解释或理解他们在展览、演出或戏剧中所看到的作品。所以,我认为文化管理者的一个重要职责是培养观众的感知习惯,向他们展示如何与艺术互动,如何耐心欣赏和自我反馈,尤其是在面对严肃而抽象的复杂艺术时。” Oliver 说道。

Zane 认为,创造亲身经验是艺术管理者的重要使命之一。“随着人们上网的时间越来越多,能够带动人们的艺术形式变得越来越重要。”她说,“相比于虚拟网络的舒适区,亲身体验显得更有吸引力。”

Thinking Hands 思想手设计·计划
Shanghai Conservatory of Music 上海音乐学院
Shanghai Dramatic Arts Centre 上海话剧艺术中心

The future of art in China depends not only on painters and sculptors and videographers, but also on the people behind the scenes, curating the exhibitions, organizing the tours, producing the shows, and critiquing the work. And for art to be art, rather than just business, cultural managers will have to play a decisive role. “If we understand that painting and sculpture are not purely decoration, that plays or dance performances aren’t just about filling the theatre and making a profit, then we can recognize that art institutions are for supporting artists and for appreciating and promoting their work,” says Hartmann. “They provide platforms for free expression, the exchange of ideas, and cultural education.”

中国艺术的未来不仅取决于画家、雕塑家和摄像师,也取决于幕后策划展览、组织参观、制作表演和评论家。至于如何让艺术成为艺术,而不沦为纯粹的商业,文化管理者在这方面将发挥决定性的作用。“如果我们明白绘画和雕塑并不是纯粹的装饰,明白戏剧或舞蹈表演不只是要让剧院满座和赚钱,那么我们也能够明白,艺术机构的目的是支持艺术家,欣赏和推广他们的作品,为自由表达、交流想法和文化教育提供了平台。” Oliver 说道。

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Contributor: Allen Young
Chinese Translation: Olivia Li

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供稿人: Allen Young
中译英: Olivia Li

Holy Boulevard 是谁造的海市蜃楼?

November 11, 2019 2019年11月11日

From birds ensnared by fishing nets, to giant tortoises ingesting plastic bags, to coral reefs covered in refuse—ocean trash has become a global issue with far-reaching ramifications.

To bring awareness to this issue, Mumbai-based visual artist Sameer Tawde has created Holy Boulevard, a series of sculptures constructed with styrofoam waste collected from the ocean.


居住在印度孟买的视觉艺术家 Sameer Tawde 在海洋上用废弃的泡沫塑料所建造的“海市蜃楼”创作了一个摄影系列《Holy Boulevard》(意为“神圣的林荫大道”),希望以此唤起人们对海洋保护的认知。

Tawde is an active volunteer in the community and recycling is a cause that’s near and dear to his heart. Seeing the rising levels of marine pollution near Mumbai has been disheartening.  So for this project, he decided to use styrofoam—an environmentally damaging, non-biodegradable material—to create monuments to the sea’s beauty. “I grew up by the sea, and I’m inspired by the endlessness and vastness of the ocean,” he says. “This is why I wanted to create these serene sculptures on the water. I had to make sure the material didn’t drift away, so I had limited time to make and shoot them. The tide conditions had to be right. After shooting, I collect the structures and disassemble them. They’re then packed up and sent to a vendor in Dharavi, Mumbai who’ll recycle it.”

Sameer 在孟买从事社区服务,致力于垃圾回收利用选项目,一直以来这都是他最关切的议题。眼见周边海域的污染日趋严重,他非常忧心,因而决定用泡沫塑料(即聚苯乙烯,一种对环境有害的、不可生物降解的材料)来创造一种“海市蜃楼”。我是看着海洋长大的,正是这无垠、宁静和浩瀚的海洋,激发了我对空间的想象和创造。这就是为什么我希望在海平面上创作这个作品。”他说,“我需要确保塑料装置不会被潮汐带走,所以只能在合适的时间里拍摄。拍摄结束后,这些临时搭建的泡沫建筑都会被运回工作坊拆掉,然后打包好送回到孟买达拉维的小贩那里回收。”

The project, which includes building the sculptures and photographing them, took an entire two months, but it was a rewarding experience for Tawde. Through his work, he hopes to inspire people to think about how our individual actions affect the natural world. “These constructs are meant to be my vision of utopia; it’s satirical commentary about the modern ‘utopias’ we live in,” he explains. “This project is a reflection on the relationship between humans and the environment.”

Sameer 整个项目为期两个多月,他说自己创作这个作品的本意就是让人们思考人对自然造成的影响。从社会角度来看,人造环境被认为是人类的终极发展目标。虽然我创造了这个乌托邦,但我也对我们社会的乌托邦作了讽刺性的评论,从而反映了我们人类与环境之间的关系。他说。

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Contributor: Chen Yuan
English Translation: David Yen

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Instagram: @sameertawde


供稿人: Chen Yuan
中译英: David Yen