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Cultural Strands 缠绕之发

April 17, 2019 2019年4月17日
Hair Landscape III (2013)《Hair Landscape III》(2013)

Hair is often the first thing we notice about a person. Gender, ethnicity, personality—we can make judgments about these characteristics from a mere glance at their hair. This is because however we choose to style it—whether it’s long or short, straight or curly, dyed or natural—we’re displaying a conscious decision. More often than not, this choice is the beginning of a story.

Yuni Kim Lang, a Korean-American artist based in Michigan, is fascinated by hair. Though she was born in Korea, she spent most of her childhood in various cities in China before attending an international school with a Western curriculum. She identifies as a “third-culture kid,” a term for people who have grown up in a culture different from that of their parents, and she often felt caught between three different sets of cultural expectations. “Every summer, when I went back to visit Korea, my heart would start beating faster the moment the airplane landed. I had this idea of what a Korean girl looked like and needed to be like. But what if I couldn’t fit into that box? It was a physical thing for me. I could literally feel how my body started to feel uncomfortable.”


住在密歇根州的韩裔美籍艺术家 Yuni Kim Lang,对头发有着很深的着迷。虽然她出生在韩国,但她在中国不同城市度过了大半的童年时光,接着再进入一所西方教育的国际学校。她认为自己是一个“第三文化小孩”,对于在与父母不同的文化中成长的人来说,她经常感到自己陷入三种不同的文化期望中。“每年夏天,当我回到韩国时,我的心脏就会在飞机着陆的那一刻开始快速跳动。我执着于‘一个韩国女孩应该看起来怎么样?’这样的想法。如果我不能融入呢?这对我来说也造成身体上的影响。我真的可以感到自己开始感觉不舒服。”

Woven Identity I (2013)《Woven Identity I》(2013)
Woven Identity II (2013)《Woven Identity II》(2013)

Lang’s best-known project, Comfort Hair, is the manifestation of that discomfort. The sheer mass of tangled knots pays homage to gache, heavy wigs formerly worn by Korean women to signify social status and beauty. The weight is both literal and figurative, and Lang has said she identifies with the story of a 13-year-old bride whose neck snapped under the weight of her gache. While cultural expectations can be beautiful, rooted in deep traditions, they can also be burdens. “Comfort Hair is about wanting to tell the story of this massive thing on top of my head that encompasses so much, and using it as a conversation starter to dig deeper into our stories,” she says. “It’s the perfect material that everyone understands to be personal.”

Yuni Kim Lang 最著名的项目《Comfort Hair》(《慰借之发》),正是这种文化不适的延伸。大量纠缠的发结,向古代韩国女性用以宣示社会地位和美丽的重型假发“加髢”致敬。这种重量既是象征性的,也是真实有形的。她说,曾经有一个13岁的小新娘的脖子,在加髢的重压下折断。虽然文化期望可以是美丽的,根植于深厚的传统,但它们也可能是重担。“《Comfort Hair》就是想要讲述这个巨大的命题,涵括了很多的东西,并借以开启一段对话,深入挖掘属于我们自己的故事。”她说,“头发正是一个恰好的素材,每个人都可以理解它的私密性。”

Generation (2013)《Generation》(2013)
Hair Landscape II (2013)《Hair Landscape II》(2013)
Hair Landscape IV (2013)《Hair Landscape IV》(2013)

The title also alludes to the “comfort women” taken as sex slaves by the Japanese army during World War II. Comfort Hair is intended to be experienced live as a performed work, with Lang wearing the pieces and lying quietly in a meditative state. Her presence highlights her connection to a complex history that contributes to her identity. Lang states that memory is an essential part of her work, and that hair can be thought to represent a “collective memory.” In one image, three women of different generations share the same web of dense, interwoven, black strands, linking hair with the triumphs and hardships of a community.

Hair is paradoxical. It is neither living nor dead—we cannot feel it, but it nonetheless grows out of our bodies. Similarly, our histories cannot be changed, yet they can be modified, shaped, and worn in different ways.

这个项目的命名,同时也暗示了二次世界大战期间被日本军队视为性奴的“慰安妇”(Comfort Women)。《Comfort Hair》旨在让观众现场体验,Yuni Kim Lang 戴上巨大的发结,静静地躺在冥想状态。她的存在强调了自己、与造就了她的复杂历史两者之间的连结。她说,记忆是她创作中不可或缺的一部分,头发可被视为一种“集体记忆”。在其中一张照片中,三位不同世代的女性拥有相同密集、交织缠绕的黑色织线,将头发与这一群体的伟大与艰辛,紧紧联系在一起。


Flow (2017)《Flow》(2017)

Lang’s newest project, Blooming, is a sequel to Comfort Hair. “Blooming was born from Comfort Hair and visualizes hair as much more than just hair,” she says. “It explores those layered meanings that hair encompasses. Hair is, at times, a stand-in for our identity, and this identity is not static. I see it as something growing and transforming that changes with our stories and unravels as we unfold life’s adventures. I find this concept much more appealing.” Audiences have said Blooming reminds them of flowers, mushrooms, or even sea creatures. “What I want to communicate is growth. Identity is an organism that’s alive, growing, spreading, and blooming.”

Yuni Kim Lang 的最新项目《Blooming》(《绽放》)是《Comfort Hair》的续集。“《Blooming》诞生自《Comfort Hair》,视觉表现上让头发发挥更多想像。”她说,“它探索了头发在不同层面上的意义。有时候,头发是我们身份的替身,但身份并非一成不变。我认为它是会随着我们的经历和生命故事成长而变化的东西。我发现这个概念更具吸引力。“有些观众说《Blooming》让他们联想到花朵、蘑菇、甚至是海洋生物。“我想要传达的是增长的概念。身份是一种有生命、不断成长、向外传播和绽放的有机体。”

Self Portrait II (2017)《Self Portrait II》(2017)
Self Portrait I (2017)《Self Portrait I》(2017)
Nest (2013)《Nest》(2013)

In a few pieces, she doesn’t wear the hair but instead lies in it. The metaphor of hair evolves into a surrounding environment, enveloping a wearer who is not overwhelmed by the pressure but peacefully coexisting with it. Lang, who was once anxious about “not being Korean enough,” has grown into an artist who understands the multifaceted nature of identity, as well as a mother tasked with guiding her boys through the challenges of understanding their heritage. She says hair gives her a platform to talk about the internal struggles she had growing up. “I enjoy talking to my boys about the things I hated and loved about being Korean, and who I am because of those understandings,” she says. Today she serves as a guide through the symbolic seascape of Blooming, both for her children and her audiences.

在几件作品中,她不戴头发,而是躺在头发里。头发的比喻演变成一个周围的环境,包裹着一个没有被外在压力打倒,而是与它和平共处的穿戴者。曾经一度担心“自己不够像韩国人”的 Yuni Kim Lang,已经成长为一个深刻了解身份多重性的艺术家,以及一位母亲,教导儿子去了解他们继承传统的挑战。她说,头发给了她一个平台,讨论成长过程中她内心的挣扎。“我喜欢和我的孩子谈论关于做韩国人我喜欢和讨厌的事,以及因为这些理解,从而去了解我到底是谁。”她说。今天,通过象征性的《Blooming》,她为她的孩子和她的观众提供了方向和指南。

Meditation II (2017)《Meditation II》(2017)
Self (2017)《Self》(2017)
Mother and Child (2017)《Mother and Child》(2017)

Lang recalls on one memorable encounter with a Korean adoptee who shared her personal story after an exhibition opening. Lang’s story of growing up as a third-culture kid resonated with her, and she explained how she too, often felt lost between Western and Korean cultures. However, they bonded over the fact that they can’t deny they’re Korean—their intense black hair would never allow them to. “The world will always see a Korean girl,” Lang says. Even if they covered their roots, their hair would eventually grow back, a mysterious force always trying to tell its story.

Yuni Kim Lang 回忆起有一次在展览开幕后,遇见一位被领养的韩国人。她分享了个人经历和故事,并提到这样的作品引起她很大的共鸣。她解释自己也是如此作为一个第三文化孩子成长,经常感到迷失于西方和韩国文化之间。 然而,两人都认同自己无法否认她们韩国人的身份——她们明显的黑发绝不允许她们这样做。“世界看到的我将会永远是一个韩国女孩。”她说。即使覆盖了根,头发也会长出来,仿佛丛生着一股神秘力量,总是试图去诉说它的故事。

Bloomscape (2017)《Bloomscape》(2017)

Instagram: @artist_yunikimlang


Contributor: Eugene Lee
Chinese Translation: Yang Yixuan

Instagram: @artist_yunikimlang


供稿人: Eugene Lee
英译中: Yang Yixuan

A Layered World 跃然纸上的记忆

April 12, 2019 2019年4月12日
Girl Talk (2019) 18 x 24 in / Pen and ink on tracing paper 《Girl Talk》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

On average, Filipina artist Lui Gonzales uses five layers of paper to create one work. She starts by tracing along the paper with a pen, rendering the likenesses of people and everyday objects in meticulous detail. Then, after layering one over the other, she systematically tears the tracing paper from top to bottom. The torn edges of the paper decorate the pieces with striking lines that twist and turn to form dynamic figures and shapes. The resulting work is a feast for the eyes, each layer beckoning the viewer to come and explore its depths.

平均下来,菲律宾艺术家 Lui Gonzales 会用五层纸来做一个作品。开始时,她会先用笔在纸上描画,画面细致入微地展现着人物和日常物品;然后再把一张张的画叠起来,有计划地从上到下把画撕下来。而这些撕下的纸,Lui 则会用醒目的线条来装饰它们,扭曲、旋转的线条,形成动态的图样。她的作品可说是一场视觉盛宴,每一层纸张都在召唤着观看者来探索它的深度。

Conversational (2019) 36 x 48 in / Pen and ink on tracing paper 《Conversational》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Visitors (2019) 36 x 48 in / Pen and ink on tracing paper 《Visitors》(2019) 91 x 122 厘米 / 笔墨、硫酸纸

Gonzales first encountered art as a child. “When I was younger, my father let us read a lot of art books,” she says. What started as a hobby soon developed into a passion. In 2006, she was accepted at the Philippine High School for the Arts and specialized in visual arts. She went on to attend the University of the Philippines-Diliman, graduating with a major in painting in 2015. Since then, she has held multiple exhibitions at galleries and art spaces both in the Philippines and abroad.

Lui 接触艺术是在她儿时,“当我还小的时候,我父亲就让我们读了很多艺术书籍。”她说。这一开始的爱好很快就发展成一种热爱,在 2006 年的时候,她前往菲律宾艺术高中(Philippine High School for the Arts)就读,主攻视觉艺术。2015 年毕业于菲律宾大学蒂利曼校区(University of the Philippines-Diliman)的绘画专业。自那以后,她在菲律宾和国外的画廊和艺术空间举办过多次展览。

Spectators (2019) 36 x 48 in / Pen and ink on tracing paper 《Spectators》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Big Sky Minds (2019) 24 x 36 in / Pen and ink on tracing paper 《Big Sky Minds》(2019) 61 x 91 厘米 / 笔墨、硫酸纸

Many of Gonzales’ works possess a distinct, personal touch. She describes the process of drawing on paper as “immediate and honest,” and in this regard, her art is a personal diary of sorts. It is a manifestation of the process of recalling and interpreting the objects, events, and scenarios she has witnessed. Memory, and the various ways in which it reveals itself, plays a central role in her art.

In her first solo exhibition titled Colorless Confetti, Gonzales deconstructed the process of remembering, imagining memories as multiple, fragmented layers that appear before the mind in no coherent order. Some remain concealed, while others are in full view. Tearing through the layers of paper is an act of destruction, but even when torn, the pieces of paper still hold value. They are recalled and remembered, and therefore, brought back to life.

Lui 的很多作品都有着她鲜明的个人风格。她把在纸上绘画的过程描述为“直接的、诚实的”,在这方面,她的作品是日记式的,是回忆和诠释她所目睹的对象、事件和情景的过程展现。记忆,以及它揭示自己的各种方式,在 Lui 的作品中有着举足轻重之地。

在她的首个个展“Colorless Confetti”中,Lui 解构了记忆的过程,把记忆想象成多重的、支离破碎的层次,这些层次以不连贯的顺序呈现出来。一些仍隐匿在暗处,而另一些却暴露于众目睽睽之下。撕开一层层的纸的行为是破坏的过程,但即使撕破了,这些纸片仍然具有价值。他们被回想起来,被记住,因此也重新展现了生命力。

For Safe Keeping (2019) Varied Sizes / Mixed media《Conversational》(2019) 尺寸可变 / 综合材料

Gonzales further expands on this concept in her latest solo exhibition Circa. Organized by Kaida Contemporary and currently on display at the ArtistSpace Gallery of the Ayala Museum in Makati, the new show likewise focuses on the fleeting nature of memory. Gonzales examines the accuracy of our recollections, questioning whether our mental manifestations mirror what is true and real. The exhibit brings together an assemblage of scenes and portraits, taken out of their original sequence, and restructured on paper.

Lui 在最近的个展“Circa”上,进一步扩展了这一概念。这次新展同样关注记忆的转瞬即逝的本质,由 Kaida Contemporary 组织,目前正在马卡蒂阿亚拉博物馆的 ArtistSpace 画廊展出。Lui 检查我们记忆的准确性,质疑我们的精神表现是否反映了真实。这次展览汇集了一组场景和肖像,从原来的记忆顺序中取出,并在纸上重新构造。

Hey, Andy (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Hey, Reg (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Dwelling (2019) 48 x 36 in / Pen and ink on tracing paper 《Dwelling》(2019) 122 x 92 厘米 / 笔墨、硫酸纸

Gonzales’s largest work in this series is titled Crowded. At 72 inches wide by 42 inches long, the artwork uses ten layers of paper. Similar to other works in this exhibit, Crowded is a moment frozen in time. It depicts a large group of people as they weave their way amongst one another. “I like it when people are brought together into one setting,” Gonzales says. “I like observing how they all interact with each other, even if these events never happened in the same timeline. In my mind, they all morph into one another.”

Lui 在这个系列中最大的作品叫做《Crowded》(《拥挤》)。作品宽 72 英寸,长 42 英寸,用了足足十层纸。和本次展览中的其他作品一样,《Crowded》是凝固在时间中的一个瞬间。它描绘了一大群人,他们在彼此编织着自己的路。“我喜欢把人们集中在一个环境里。”Lui 说,“我喜欢观察他们是如何互相影响的,即使这些事件从未发生在同一个时间线上。在我的脑海里,它们都变成了彼此。”

Crowded (2019) 42 x 72 in / Pen and ink on tracing paper《Crowded》(2019) 107 x 183 厘米 / 笔墨、硫酸纸

Memories are fragments: scraps and pieces that our minds bridge together; the results are convincing but often inaccurate versions of events. The portraits in Circa are similarly disjointed, with faces seemingly in motion and no fixed expression. Instead, they shift and take on different forms, revealing a variety of emotions all at once.


Hi Bessy (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bessy》(2019) 91 x 46 厘米 / 笔墨、硫酸纸
Hi Bert (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bert》(2019) 91 x 46 厘米 / 笔墨、硫酸纸

In Latin, the word circa means “around” or “nearby,” and in English, it is used for approximations. This exhibit is exactly that—a study in approximations. Each of the finished works contains a world of its own. The characters silently play their parts, and each silhouette is a recreation of something that once existed, and now, through its passage in the depths of memory, has been altogether transformed into something new. Circa is Gonzales’s examination of memory’s fickle nature and the many ways we perceive and process our experiences. Truth blends with emotions, sensations, and even imagination, ultimately creating a past that is always changing.

在拉丁语中,“Circa”的意思是“在周围”(around),而在英语中,“around”又用来表示近似。这个展览就是一个关于“近似”的研究。每一副完成的作品都包含了一个属于自己的世界。那些人物无声地扮演他们的角色,每一个剪影都是对曾经存在的事物的再创造。而现在,通过它在记忆深处的通道,已经完全转变为某种新的东西。“Circa”是 Lui 对记忆变幻无常的本性、以及我们感知和处理经验的检查。真相与情感、感觉甚至和想象融合在一起,最终创造了一个不断变化的过去。

Guided (2019) 18 x 24 in / Pen and ink on tracing paper 《Guided》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

Exhibition Dates: April 12, 2019 ~ April 27, 2019


Artist Space, Ground Level
Ayala Museum Annex
Makati Ave. (Corner of De La Rosa Street)
Metro Manila, Makati City


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Instagram: @lui_gonzales


Contributor: Elle Lucena
Chinese Translation: Chen Yuan

活动名称: “Circa”
展览日期: 2019年4月12日——2019年4月27日


Makati Ave. (Corner of De La Rosa Street)
Artist Space 1F


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Instagram: @lui_gonzales


供稿人: Elle Lucena
英译中: Chen Yuan

The Routesetter 当说到“壁虎漫步”时你会想起什么?

April 10, 2019 2019年4月10日



The rise of indoor rock climbing gyms over the past two decades has led to an explosion in the sport’s popularity, allowing those with limited access to the outdoors to also take part. But the high cost of infrastructure, equipment, and space that these gyms require have largely prevented rock climbing from penetrating many developing countries. Today, the US, Japan, and many European countries are at the forefront of the global climbing scene, but passionate athletes in Cambodia have their noses to the grindstone as they work towards representing their country on an international stage.


Seyha Nano, a 22-year-old athlete from Siem Reap, is one of the top climbers in the country, but he started from humble beginnings. Like many children from Cambodia’s countryside, Nano grew up scaling large trees for fun. “I use to live very close to a river, and I liked to climb coconut trees and jump down to the water,” he recalls. When he was finally introduced to rock climbing by one of his secondary school teachers, he quickly fell in love with it.

来自暹粒市、22 岁的 Seyha Nano 是柬埔寨顶尖的攀岩运动员之一。他出身卑微,和大多柬埔寨农村小孩一样来自农村,从小 Nano 最大的乐趣就是爬各种大树。“我以前住在河边,喜欢爬上椰子树,然后往下跳到水里。”他回忆起。后来,一位中学老师带他去攀岩,很快地他就爱上这项运动。

Taica, a Japanese company that’s actively involved in the Cambodian climbing scene, took notice of Nano’s talents early on and backed him as a sponsor, footing the bill for equipment and training. With their support, Nano was able to focus on developing his skills. He rapidly rose through the ranks and began securing gold medals in competitions across the country.

Today, as one of Cambodia’s top climbers, he’s traveled all over East Asia to compete and train with elite climbers from around the world, and he’s immensely thankful for these opportunities. “If I’d never started climbing, I wouldn’t have been able to travel to so many places and see how other people live, and how things can be different,” he says. These interactions with veteran climbers, he believes, have provided him with knowledge that he can inject into the local climbing scene.

Taica 是一家积极参与柬埔寨攀岩运动的日本公司。这家公司很早就注意到 Nano 的攀岩才华,并开始赞助他,为他支付设备和培训费用。有了他们的支持,Nano 终于能够专注于训练自己的技巧。他的排名迅速上升,并开始在全国比赛中赢得金牌。


Despite becoming one of the most recognized figures in the Cambodian climbing scene, Nano remains hard at work toward even more ambitious goals—to expand the sport’s popularity and nurture a new generation of climbers in the country. On any given day of the week, you can find him at Phnom Climb, setting routes, training, or teaching younger athletes. “Right now we don’t have good coaches in Cambodia, but I think I can become a coach here and train young climbers to be really good in the future,” he says.

尽管在过去几年间,Nano 成为了柬埔寨最知名的攀岩运动员之一,但他仍然不断努力,朝着更雄心勃勃的目标前进——在当地推广攀岩运动,并为国家培养新一代的攀岩运动员。无论是一周间的哪一天,你总是能在 Phnom Climb 找到正在设置攀爬路线、或是在对年轻运动员进行培训和教学的他的踪影。他说,“现在在柬埔寨并没有特别好的教练,但我想成为一名教练,培养年轻的优秀攀岩者。”

Rock climbing has come a long way in Cambodia since Nano began, even recently gaining recognition in the country’s Ministry of Sports. But despite the progress, it still doesn’t stand up to traditional sports like football or volleyball. “When I talk about climbing to Cambodians, they think I’m talking about hiking, and still don’t really understand the concept when I explain it,” he shakes his head. This unfamiliarity with the sport means Cambodia still has a lot of ground to make up for if it hopes to send a delegation of athletes to the Olympics, but Seyha is eternally optimistic. “Right now we only have three members on the national team, but in the future, I’m sure we’ll have a great team that can compete in the Olympics.”

从 Nano 投入这项运动开始,柬埔寨的攀岩确实成长了许多,最近甚至获得国家体育部的认可,但是与足球或排球这些传统运动相比,依然有很大进步的空间。“当我跟柬埔寨人聊起攀岩时,他们总是以为我在说爬山。当我向他们解释这项运动时,他们都一脸茫然。”他摇摇头说道。对这项运动的陌生也意味着,如果柬埔寨希望有朝一日能派运动员参加奥运会,他们还需要作出更多努力,但 Nano 始终十分乐观。“现在我们国家队只有三名队员,但在未来,我相信我们一定可以组成一支出色的队伍去参加奥运会。”

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Instagram: @sorseyh


Contributor, Photographer, and Videographer: Jeremy Meek
English Translation: Olivia Li

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Instagram: @sorseyh


供稿人,图片摄影师与视频摄影师: Jeremy Meek
英译中: Olivia Li

The Twisted Mind of Tony Cheung 愉悦之下的暴力

April 8, 2019 2019年4月8日

Guangzhou may be a step behind the established art scenes of Shanghai and Beijing, but Chinese illustrator Tony Cheung doesn’t necessarily see it as a negative. He says, like many other first-tier cities in the country, Guangzhou is a materialistic place where the people are overly focused money, and that this ultimately leads to the marginalization of non-mainstream art. Since art isn’t seen as a lucrative career path, fewer people are interested in it. “Of course, less competition might make artists lazier and financially less successful,” he notes. “But the peaceful and relaxing atmosphere in Guangzhou’s art circle is really appealing to me.”

就城市的艺术发展来说,广州可能稍稍逊色于上海或北京,但中国插画家庄汤尼( Tony Cheung )并不认为这是一个缺点。他说,像中国许多一线城市一样,广州也是物质主义盛行的地方,这里的人重视金钱导致了非主流艺术的边缘化。由于艺术不是一门利润丰厚的行业,越来越少人对它感兴趣。“当然,竞争少了可能会让艺术家变得懒惰,在收入方面也不太理想。但是,广州艺术圈宁静和轻松的氛围很吸引我。”他说道。

This same sense of peacefulness, however, does not translate into Cheung’s work. His images are nightmarish and chaotic, rife with sexualized schoolgirls, mutating phalluses, and grisly acts of violence. But these grotesque scenes aren’t created just for shock value alone; it’s a way for him to deliver his message to a populace that he believes to have been largely desensitized by a bombardment of digital media. “Our daily life is so full of all kinds of violent productions like photos, movies, news reports, and even advertisements,” he says. “Our generation is so used to it, which means as an artist, you need stronger stimulation to attract people’s attention. So violence and sometimes sex is the way for me to satisfy myself and the viewer, but at the same time, it’s a reflection of our visual reality.”



The brutal violence of Cheung’s work is his way of pointing out certain societal injustices. “For me, violence as a word has been mostly used to describe physical harmful force, while spiritual or systematic violence are neglected,” he says. “Fewer people consider social injustice, sexism ideology, or class discrimination as violence as well. So I bring my criticism against all types of violence into my works, covering them with physical abuse and pleasure. In all, physical violence is just a metaphor for violence that is less visible.”


Even the hyper-sexualized girls that populate his works are more than they appear; at first glance, they might seem like twisted male fantasies, but what it requires is for viewers to look beyond the surface. From crying heads in lieu of breasts and limbless women, Cheung’s disturbing imagery intends to anti-fetishize the female form as a means of challenging a male-dominated society.


Cheung’s art forces viewers to confront discomfort on many levels. He paints the ugliness of real life, and through these revolting visuals, he hopes to inspire critical thinking and change. “I don’t know if my works truly reflect the reality of things, but at least that’s what I try to achieve,” he shrugs. “Reality is not something that inspires me, but rather reality is something I care deeply about and feel eager to change.”


Instagram: @tungningcheung


Contributor: Bryan Grogan
English Translation: Olivia Li

Instagram: @tungningcheung


供稿人: Bryan Grogan
英译中: Olivia Li

Idealists vs. Nihilists 时装周里的世纪谈判

April 5, 2019 2019年4月5日

Making my way past the stylishly dressed crowds and hordes of photographers at this year’s fashion week, I found myself at a history-making conference.

Inside, distorted audio of Party propaganda played in my ears as I was ushered into a dimly lit room. A set of red curtains being slowly pulled back marked the beginning of the show. Two different factions, differentiated by the pop of red and blue on their outfits, entered space. Gathered around them, a third group dressed in a neutral gray watched on. Representing nihilists and idealists, the red and blue parties seated across from one another at the circle of conference tables suddenly erupted in argument. After a heated back and forth, the negotiations end amicably with members from both factions amicably shaking hands.




A closer look at the models reveal meticulously designed pieces worn beneath their seemingly identical outfits and impeccable makeup work. By this point, it was clear that XIMON LEE has tossed all fashion show conventions out the window for its 2019 A/W collection. The attending audience were transcended the role of passive observers; they became officials presiding over this roundtable negotiation.

而拉近焦距后显现的那些藏在制服下的设计细节跟精致的妆容才让你幡然醒悟,XIMON LEE 19 A/W 又一次革新了你对一场时装发布会的理解,观众不再只是旁观者,更是这场理想主义与虚无主义和解的见证人。

XIMON LEE is a fashion label founded by Korean Chinese designer Li Dongxing. At the age of 24, Li became the first menswear designer to win the H&M Design Award and make it into the semifinals of the LVMH Youth Design Competition.

Li’s parents are from Daegu, South Korea, while he was born in Heilongjiang, China, and his formative years were spent between Beijing, Shanghai, and Hong Kong. He studied in New York, graduating from the Parsons School of Designs before moving to Berlin where he’s now based. These multicultural experiences have gifted him with an appreciation for cultural diversity, which has allowed him to produce refreshingly unexpected designs season after season.

XIMON LEE 是毕业于帕森斯设计学院的韩裔华人设计师李东兴创立的服装品牌,24岁就成为首位获得 H&M 设计大奖的男装设计师,接着又入围了 LVMH 青年设计大赛候选名单。

现居柏林的 Ximon,父辈来自韩国大邱却出生于黑龙江,之后辗转在北京、上海、香港、纽约学习生活,复杂的阅历让他对文化多样性有更深刻的理解,这也使得 XIMON LEE 每一季都呈现出截然不同的惊喜。

Li’s talent lies in his ability find inspiration from unlikely sources: the 2005 documentary The Children of Leningradsky, bodily shame, mass production culture, and now nihilism and idealism. While each collection is unique in their own right, they share commonality in that they’re all methods for him to offer his commentary on modern society. His avant-garde shows are a marked departure from the extravagant consumerism that’s often celebrated at deafening volume in today’s fashion world. What Li offers is an untainted creative vision that cuts through the noise.


Instagram: @ximonlee
Weibo: ~/ximonlee


Contributor: Shou Xing
Photographer: Chan Qu

Instagram: @ximonlee
微博: ~/ximonlee


供稿人: 寿星
摄影师: 凤阳

Memories of the Future 未来人做着什么样的梦?

April 1, 2019 2019年4月1日



With the whirlwind pace of technological advancements, some ideas that seemed ludicrous not long ago are now within the realm of possibility. Future Cities is one such idea. Masterminded by Cody Ellingham of DERIVE (whose photo series Danchi Dreams and Painting the Town Red we’ve featured in the past), the ambitious project combines the talents of 3D artist Ruben Frosali, sound designer SJF, and Ellingham himself. The result of the collaboration is a cutting-edge art exhibition based on photogrammetry, a method of measuring distance between objects on static images. Using these calculations, they’ve developed a way for 2D stills to be experienced in an interactive format.

随着科技不断进步发展,以往一些看似荒谬可笑的想法在不久后的未来也有可能成为现实。《未来城市》(Future Cities)正是一个例子。这个艺术项目由 DERIVE 的摄影师 Cody Ellingham 所策划,又在此基础上融入了 3D 艺术家 Ruben Frosali 和音效设计师 SJF 各自的创作才华(其中摄影师 Cody 的过往作品报导可参看链接:《Danchi Dreams》和《Painting the Town Red》),利用摄影测量术打造了一个高科技的前卫展览。摄影测量术是一种测量静态照片上不同物体之间距离的方法。通过测算,他们成功创造出一种能让人在静态二维空间实现人景交互的体验。

Future Cities began with the team making 3D scans of different locations across Tokyo. The scanned images were then digitally altered by Frosali and paired with moody soundtracks from SJF to create the series of immersive dream sequences. Streaking beams of light and disintegrating pixels transformed familiar locales like Kabukicho and Akihabara into otherworldly settings that only bear a vague resemblance to their real-life counterparts.

“We did not want to simply guess at what a generic sci-fi future might look like,” Ellingham explains. “Instead, we wondered what someone from the future would be dreaming of, and we came to the conclusion that it might be memories of a distant past: our present day, combined with their own future.”

At the two-day show in Tokyo, audience members were handed controllers, allowing them to wander through these fragmented memories of the future and become lucid participants in someone else’s dream.

这个项目首先从东京各地进行 3D 扫描开始,然后由 Ruben Frosali 进行后置处理,再与来自 SJF 空灵的配乐相结合,以打造一系列沉浸式的梦中画面。人们熟悉的场景如歌舞伎町和秋叶原,在四溢的光束和液化的结构映衬下,幻化成一场超脱尘世的的梦境,而这些场景和他们的真实外表只相形大概。

“我们并不想仅仅猜测一个普通的科幻未来会是什么样子。相反,我们想知道来自未来的人会梦想些什么。” Cody Ellingham 解释道,“我们最后得出的结论是,也许会是关于遥远过去的回忆吧。”


The second edition of Future Cities will debut in Taipei, Taiwan on April 20th. Similar to the first show, the Taipei exhibition will feature brand new settings based on real locations in the exhibiting city. Click here for event details.

第二届《未来城市》将于 4 月 20 日在台北亮相。与第一届展览类似,台北场展览也将基于全新拍摄的当地实景来创作。点击此处可了解更多展览的详细信息。

Facebook: ~/


Contributor: David Yen
Chinese Translation: Olivia Li
Images & Video Courtesy of DERIVE

脸书: ~/


供稿人: David Yen
英译中: Olivia Li
图片与视频由 DERIVE 提供

Turning the Tables 本地人/异乡人?

March 18, 2019 2019年3月18日

On a blistering Sunday afternoon, the staccato beats of Jersey club are kneaded together with the flashy textures of Congolese soukous inside Elevator, one of Shanghai’s most popular—but now defunct—electronic dance venues. A group of young women is huddled behind two DJ mixers on opposite sides of the room instead of on the dance floor.

Started in March 2018, NÜ SHÙ (女术) is a Shanghai-based non-profit DJ collective that teaches women, femme-identified queers, or non-binary individuals with or without musical experience. In addition to Elevator, NÜ SHÙ has also hosted club nights and free workshops at DADA Shanghai, ALL Club, and Daliah. Their curricula range from lectures to technical equipment introductions to practical workshops where participants can bring their own flash drives of .mp3s to practice on CDJs. Prominent Shanghai-based female DJs including MIIIA, DIFAN, JI NA, and the 16-year-old Gouachi have been invited to share their expertise as guest instructors.

一个酷热的星期天下午,揉杂着 Jersey club 断续的节奏与 Congolese soukous 的华丽音效,上海曾最受欢迎的地下电子舞场之一:Elevator 里放着这样的音乐——但现在它却早已关门了。一群年轻女子却并没有挤在舞池里,而是站在两个 DJ 的混音器后面。

NÜ SHÙ 女术”于 2018 年 3 月成立组合,是一个总部位于上海的非盈利性 DJ 集体:她们教授女性和非二元性别的酷儿人群,无论有没有音乐经验皆可。除 Elevator 外,“女术”还在上海 DADA、ALL 和 Daliah 举办俱乐部之夜和免费工作坊活动。他们的课程包括讲座、技术设备介绍、实用研讨会等,在那里,学员们可以携带自己的储存设备来播放 mp3 文件,以练习 CDJs。上海著名的 DJ 们,包括 MIIIA,DIFAN,JI NA,以及年仅 16 岁的 Gouachi 都被邀请来分享他们作为客座导师的专业知识。

The trio running the collective—DJs Asian Eyez, Amber Akilla, and Daliahfind it difficult to pinpoint an exact moment when NÜ SHÙ was conceived. Having all been connected either as housemates or via shared social spheres, the three DJs had common projects and focuses that made the workshop an obvious collaboration. “There’s just like this spirit and energy of women artists that I love to support,” says Asian Eyez. “Why shouldn’t we put together our connections and create something new? This workshop is another step for me—really focusing and reaching out to these girls—this makes me happy.”

Each of the founders brings their own unique sets of skills and connections to the project, pulling together everyone’s resources to fill in any gaps. On top of the founder themselves, NÜ SHÙ also collaborates with friends who are DJs, designers, and photographers to work together across different creative disciplines and create a bigger, self-sustaining organization. “I don’t really see myself as a talker or teacher, and that’s why I like to express myself in putting these kinds of events together,” says Asian Eyez. “I already have contacts when it comes to venues, DJs, and the teachers we need. As long as I’m in this industry, why shouldn’t I support all these women, when I have the ability to?”

“We meet a lot of girls, queer, and non-binary people who just don’t even know where to begin when it comes to DJing,” says Amber Akilla. “They love music but don’t know where to start. I think that just being able to create a space where people feel comfortable to learn new things, share ideas, and meet people is important. That’s more of what we’re trying to create, rather than create DJs.”

小组的三位成员 DJ Asian EyezAmber AkillaDaliah 已经记不清是什么时候有了成立“女术”的想法。三人当初因为共同的社交圈子和作为室友相识,曾一起做过项目,加上相似的理念,最终一起成立了“女术”工作坊。“我一直很希望能支持女性艺术家的精神和能量。”Asian Eye说道,“那为什么我们不结合起来,一起进行新的创作?这个工作坊对我来说是迈出了新的一步——真正去关注和接触这些女性艺术家,这让我感到特别开心。”

作为创始人,她们分别为这个项目带来自己的专长和人脉,将大家的资源整合在一起,互补长短。除了创始人之外,“女术”也会与她们的 DJ、设计师和摄影师朋友合作,让跨越不同创意领域的人走在一起,共同创造出一个更大的、自我维持的组织。“我不觉得自己是演讲家或教师,但是正因如此,我喜欢通过组织这些活动来表达自己。”Asian Eyez 说,“我有场地资源,也有认识的 DJ 和老师。既然我身处这个行业,为什么不趁我有能力的时候去支持一下这个行业里的女性呢?”

Amber Akilla 说:“我们遇到过很多女性,还有 LGBTQI 群体(即同性恋、双性恋、跨性别者、酷儿和无性恋者),他们都不了解怎样才能成为 DJ。他们喜欢音乐,但不知道要从哪里开始。我觉得如果能够创造一个自在的空间,让大家去学习新的东西、分享观点与认识朋友,这样做很必要。所以,事实上,与其说我们在努力培养 DJ,还不如说是想打造这样一个空间。”

From left to right: Asian Eyez, Daliah, and Amber Akilla / 左到右: Asian Eyez, Daliah, and Amber Akilla

NÜ SHÙ is not the first organization of its kind. It follows a longer history paved by the ideas and work of their predecessors, including Discwoman in New York, SIREN in London, and North America-wide Intersessions. After attending an Intersessions workshop in Los Angeles back in 2016, Amber Akilla connected with that group’s co-founder Chippy Nonstop for advice on establishing a workshop structure, and eventually started NÜ SHÙ. As it and similar groups grow, the participants lift each other up, banding together to create a larger global community and support system for non-cis-male DJs.

“女术”并不是同类组织的首创。在它之前,已经有很多类似的组织,包括纽约的 Discwoman、伦敦的 SIREN 和北美地区的 Intersessions,在长时间的运作中,这些组织作出过许多的努力,也留下了很多想法。2016 年,Amber Akilla 参加了在洛杉矶举办的 Intersessions 工作坊。在开始“女术”之前,她也曾就工作坊组织结构的问题咨询过 Intersessions 的联合创始人 Chippy Nonstop 的意见。随着像“女术”这样的本地社团的发展,参与者可以相互扶持,联合起来创造一个属于非顺性男 DJ 的大型全球社团和支持组织。(注:顺性男即 Cis-male,指出生时生物性别是男性,自己也觉得自己是男性的人群。)

At NÜ SHÙ’s first club night, at DADA Shanghai in August 2018, Intersessions instructor Bambii headlined with support from Asian Eyez and Amber Akilla, NÜ SHÙ instructors JI NA and Gouachi, and an open deck at the beginning of the night reserved for NÜ SHÙ students to gain DJ experience in a live club setting. NÜ SHÙ’s roles as both a workshop and event organizer allow for a self-sustaining line of continuity and consistency within the community, in which opportunities for learning can directly link to opportunities for performing.

“When I was growing up, I always felt like it was a competition between women,” says Amber Akilla. “You have to be protective of your own space or whatever you’ve created for yourself because you’re always pitted against each other, especially in the industry. I feel like men have much more space to just create what they want even if what they’re doing already exists. It’s slowly changing through social media—you see more women and non-binary communities sharing and collaborating more.”

去年 8月,“女术”在上海 DADA 酒吧举办了第一次的活动。由 Intersessions 讲师 Bambii 带领,在 Asian Eye 和 Amber Akilla 的支持下,“女术”的 JI NA 和 Gouachi 担任主讲,在当晚让“女术”学员在俱乐部现场学习 DJ 经验。因为同时作为工作坊和活动组织者的角色,让“女术”在社区内实现了自我持续的连续性和一致性,在这种形式下,学习与表演的机会往往是连在一起的。

“在我成长的过程中,我总觉得女人之间充满了竞争。”Amber Akilla 说,“你必须时刻保护好自己的空间或任何你自己的创造,因为大家都像是在互有争斗,特别是在这个行业。但对男性来说,他们却似乎有更多的空间来自由创造,即便他们所创造的是一些已经存在的事物。而随着社交媒体的发展,这种情况慢慢地得到了改变——你可以看到越来越多的女性和跨性别人群在共享和协作。”

Although it’s found inspiration in Intersessions and Discwoman,  NÜ SHÙ is still localized and rooted in Shanghai—meaning that the steps, decisions, and priorities in community-building can look different. For each workshop, they invite two instructors to teach at opposite ends of the space, one in Mandarin and one in English. Contrasting against Discwoman’s explicitly political focus and speaking out against sexism, NÜ SHÙ has emphasized that rather than resisting gender structures, their priority is on learning and connecting through music.

“Our experiences as women mostly exist outside of China, so it’s really important to me, as a weird visitor who’s local but non-local, to not force any identity politics onto people here,” says Amber Akilla. “How gender inequality and feminist issues exist in China is just different from the West, and it’s not my place.”

虽然“女术”的创立灵感来自于 Intersessions 和 Discwoman,但它仍是一个扎根于上海的本地组织——这意味着团体的运作步骤、决策和在社区建设的优先级可能会有所不同。每次工作坊,“NÜ SHÙ 女术”都会邀请两名主讲,分别在空间的两端以普通话和英语授课。并且,与 Discwoman 针对性别歧视的鲜明政治立场和反对声音不同,“女术”是强调而不是抵制性别结构,其首要重点是学习,以及如何通过音乐把人们连接起来。

“作为女性,我们大部分的生活经验是在中国以外的地方,在这里,我们是‘奇怪的游客’,既是本地人也是异乡人,所以我们不想将自己的政治观点强加于这里的人们。”Amber Akilla 说,“中国的性别不平等和女权问题与其它西方国家的情况是不一样的。所以这里并不是我的主场。”

Moreover, the founders agree that gender inequality is not as embedded in China’s young and developing music scenes as it is in the US and Europe’s long history of club music. “I feel like for us in Shanghai, it’s much more welcoming for women—as a female DJ you’re not questioned as much here from my experience,” says Amber Akilla. “Even though the scene isn’t as ‘bro-y,’ we can say that most spaces are inclusive of men, and a lot of the time, women and minorities feel intimidated to start their own thing—so that’s why this project is femme-queer-focused. This is our trying to lead by example. You don’t have to try to get on lineups that are male-dominated, you can create your own line-up.”

Creating a space is step one of the continuous process that is “community”—sustaining a community is work that requires constant reflection and dialogue. Because of the founders’ personal experiences, NÜ SHÙ started out as a DJ workshop, yet they acknowledge the possibilities of expanding outside of Shanghai and trying other formats and skill sharing. They also want to take their time in figuring out the best way to develop and maintain the existing community.

此外,“女术”的创始人一致认为,在中国这个年轻和新兴的音乐领域,性别不平等并不像美国和欧洲这些有着悠久俱乐部历史的地方一样根深蒂固。Amber Akilla 说:“我觉得在上海,女性 DJ 会更受欢迎一些——从我自己的经验来看,女性 DJ 在这里受到的质疑会更少一些。虽然这个行业不能算是完全男性的天下,但我们可以说,大部分地方都是男性为主的,很多时候,女性就像少数群体一样,不敢去开始自己的事业——正因为这样,这个项目才会以女性 LGBT 群体为重点。我们想要通过行动告诉其他人,你不必试图在由男性占主导的世界里排队等候自己的机会,你完全可以创造出属于自己的天地。”

创建这样的空间只是打造“社区”的其中一步——要维持这样的社区,需要不断反思和对话。因为创始人的个人经验,“女术”最开始是作为一个 DJ 工作坊的形式存在的;但是,她们也表示,将来会有可能扩展到上海以外的地方,她们在尝试其他形式的技能分享活动,同时也在努力思考发展和维持现有社区的最佳途径。

Instagram: @nvshushanghai


Photographers & Contributors: Jasmine Lin, April Lin
Additional Images Courtesy of NÜ SHÙ
Chinese Translation: Olivia Li

Instagram: @nvshushanghai


摄影师与供稿人: Jasmine Lin, April Lin
附加图片由 NÜ SHÙ 提供
英译中: Olivia Li

Science of the Secondary 这一切,都从一颗苹果开始

March 8, 2019 2019年3月8日
Issue #9 "Plates" / 第九期 《盘子》

A methodical science experiment carried out by a team of expert researchers examining overlooked, everyday objects to understand their “secondary” functions—that’s the premise of Science of the Secondary, an experimental publication created by Atelier HOKO, a self-described “research lab” based in Singapore. Similar to the family-run publication Rubbish Famzine, the team consists of creative director Alvin Ho and art director Clara Koh, while a third member, their grade-school-aged son Lou, tries to help out but more often just gets in the way. They make the most headway on the project after he goes to bed, or when he stays over at his grandparents’ place. In fact, it’s often a mad dash to get any work done in their home office before the little rascal is raising hell again.

一场严谨的科学实验,一个专业的研究团队,针对日常生活中被我们忽略的平凡物件,进行一次天马行空的“次要”解读:这就是《Science of the Secondary》(次要科学),一本由新加坡独立工作室 Atelier HOKO 所创立的杂志。类似 《Rubbish Famzine》,这团队由创意总监 Alvin Ho 和艺术总监 Clara Koh 组成,还有一位学龄前的淘气成员 Lou,他喜欢帮忙,但结果总是不尽人意。所以只有在 Lou 睡着或是待在外公外婆家时,Alvin 和 Clara 才能在家里的工作室安心工作,而且必须要赶在“混乱”回来之前,迅速把工作完成。

Making of Issue #9 / 第九期的制作过程
Making of Issue #9 / 第九期的制作过程

As the magazine’s title indicates, every one of their experiments has two key elements: the “secondary” and the “scientific.” The former refers to the features and details of everyday objects that we interact with but don’t give much thought to. The “scientific” aspect refers to the duo’s systematic and goal-oriented approach in uncovering these stories. From the moment readers flip open Science of the Secondary, they have to keep an open mind and accept that they’re entering a world of unknowns.

在这场实验研究里,有两个关键点:“次要”和“科学”。所谓 “次要”,指的是我们在日常生活中与周遭环境事物互动的过程里,经常无意识忽略的细节与经验;而“科学”即是有目的、有计划、有系统地去探索一件事情。从打开《Science of the Secondary》的那一刻开始,你将进入一片未知的领域。

Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》

It all began with an apple, which Ho and Koh decided would be the main subject of their inaugural issue. On the cover, a red specimen of the fruit sits against a sky blue backdrop creating visual contrast that immediately commands the viewers’ attention.

When you think about an apple, what first comes to mind? If there’s an apple nearby, hold it in your hands and take a close look at it. You might focus on its color and size, but have you thought about where on the apple the first bite would take place? Or can you outline step by step how one would eat an entire apple? Even though an apple, as an object, seems as boring it gets, once you look at it from different perspectives, it can pique your curiosity.

When kids learn to spell in English, “A is for Apple” is one of the first phrases they hear. This familiarity led the duo to choose it as their first topic. “The reason we chose an apple isn’t because it’s something that’s commonly eaten,” Ho clarifies. “It’s because everyone knows what an apple is.”



英文里有句说法叫做“A is for Apple”,这往往是我们在孩童时期学习英语接触到的第一个单词,这正是 Alvin 和 Clara 选择苹果作为第一个实验对象的原因,“并不是因为每个人天天都吃苹果,而是因为我们都知道苹果是什么。”

Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》

These overlooked objects in our lives are the very foundation of Science of Secondary. For example, issue six discusses the topic of “pipes.” When do we even acknowledge their existence? When one is clogged in our home? When there’s a leak or when one bursts? Only when problems arise do we pay momentary attention to these vital bits of household infrastructure. Once they’re repaired, they once again become invisible.

The goal of every issue of Science of Secondary is to spotlight these “invisible” everyday objects: teacups, clocks, windows, even eggs. In one issue, they decided that they hadn’t looked into anything below their waistline, so they decided to focus on socks. The choice wasn’t arbitrary—they want to cover objects everyone’s familiar with that can be found just about anywhere.

《Science of the Secondary》的基础,来自于生活中那些看似“隐形”的小物。例如在第六期里讨论的主角“水管”,我们何时会关注水管?当家里厕所的水管被阻塞?漏水?还是爆裂的时候?或许只有在它出现问题时,我们才会投入片刻的关注。等修理完毕,它便再次退回隐形的状态。

从第一期至今, 平常被隐形的日常物品一个又一个出现在《Science of the Secondary》里。从每个人每天都在使用的茶杯、每时每刻都会看的时钟;到包含更多空间意义的研究对象比如窗户;或是为了探讨一些容易取得的东西,于是选择了鸡蛋;没有研究过腰部以下的物品,所以研究了袜子……对于 Alvin 和他的团队来说, 每一次的研究对象并不是随机选择,它们的出现似乎有一个神奇的规律,且都有一个共同的特点:随处可见、且无人不知。

Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》

Curiosity is the catalyst for every issue. Atelier HOKO abides by what they describe as “strict scientific procedures” for each issue, but at the same time, they never compromise the magazine’s playful flair. Outside the publication, Ho and Koh enjoy presenting their ideas in other interactive formats for the curious-minded. For example, when the “Apple” issue was released, they made it available at select fruit vendors. People who bought the magazine also received an apple and got to experience the content in an immersive way.

Science of Secondary seeks not only to explore these neglected objects, it also aims to foster people’s curiosity about the overlooked potential in their daily lives, so they can discover more “secondary” aspects in everyday objects. If you’re similarly interested in engaging with your curious side, then maybe this is the magazine for you. Select issues now available for purchase on the Atelier HOKO e-shop.

好奇心是这场实验的核心驱动元素。对于每一期的研究,Atelier HOKO 都遵循着认真严肃的科学研究方法,但又不失趣味性。除了杂志本身,主创团队还会定制一些特别的体验,比如第一期的《苹果》就放在水果摊寄卖,购买杂志的人都能拿到一个苹果,让读者可以真实、立体地感受到杂志的研究过程,更沉浸在内容里。

《Science of the Secondary》希望我们在探究生活小物的同时,能够对日常生活所有潜在的可能性都保有高度的好奇心,延伸出更多“次要“的精彩发现。想测试一下你的好奇心吗?不妨翻开这本杂志吧。购买请上 Atelier HOKO 的线上商店

Issue #4 "Window" / 第四期 《窗户》
Issue #2 "Cup" / 第二期 《杯子》
Issue #3 "Clocks" / 第三期 《时钟》
Issue #8 "Socks" / 第八期 《袜子》

Facebook: ~/atelierhoko
Instagram: @atelierhoko


Contributor: Handowin Ho
Images Courtesy of Atelier HOKO

脸书: ~/atelierhoko
Instagram: @atelierhoko


供稿人: Handowin Ho
图片由 Atelier HOKO 提供

Powerlifting is for Girls

March 6, 2019 2019年3月6日



In South Korea, femininity is most often associated with adjectives like “petite, “meek,” or “delicate.” Female powerlifters, however, certainly don’t fit into any of those descriptions—calloused hands, muscular legs, and brawny shoulders aren’t typically associated with conventional notions of female beauty in the country. These physical attributes are, however, symbolic of a new generation of girls who are redefining what it means to be a female in modern times.


Lee Seon-mi, a senior at Gyeongbuk Physical Education High School near Daegu, is currently at the forefront of women’s powerlifting in South Korea. She’s been a dominant force in both domestic and international competitions and is currently one of the most widely recognized figures in the Korean powerlifting scene. Though many of Lee’s peers describe her as a quiet and unassuming individual, she’s anything but meek in competitions. She has broken every junior powerlifting record in the country, including those set by Korea’s 2008 Olympic gold medalist, Jang Mi-ran. Lee is on track to shatter more records as she transitions to senior competitions next year. When asked about the powerlifting records she’s broken so far, she looked sincerely puzzled: “Which ones? It’s hard to remember all of them.”

大邱(Daegu)附近的庆北体育中学(Gyeongbuk Physical Education High School)的高年级学生 Lee Seon-mi 目前处于韩国女子举重运动名列前茅的几位之一。她一直是国内和国际比赛的主导力量,目前也是韩国举重场景中最受认可的人物之一。虽然Seon-mi 的许多同行形容她是一个安静而不张扬的人,但她在举重比赛中并不温顺。她打破了这个国家的每一个青少年举重记录,包括韩国 2008 年奥运会金牌得主 Jang Mi-ran 的纪录。明年即将过渡到高级比赛的 Seon-mi 有望打破更多记录。当被问及她到目前为止打破的举重记录时,她看起来真诚而疑惑:“哪些?很难记住所有的记录啊。”

Despite her achievements, Lee remains mindful of gender stereotypes in Korean society. “A lot of girls avoid this type of sport here,” she says. “There’s a bias that girls are weak in Korea.” With each win under her belt, she’s proving that this is far from the truth.

Lee’s parents are equally aware of the cultural expectations surrounding girls in Korea. They’re proud and fully supportive of her pursuits, but they understand it’s an uphill battle for her to be seen as a “normal girl” in the country. Luckily, neither Lee nor her peers are bothered by these superficial constructs of Korean femininity. They’ve placed more importance on pursuing something they’re truly passionate about.

尽管身为女性的 Seon-mi 已小有成就,但她仍对韩国社会的性别期望保持着清醒的态度。她说:“在韩国,很多女孩都避免这种类型的运动。”她说,“有一种偏见,认为韩国女孩很弱。”然而,随着一次次的胜利获奖,她用自己证明了这根本不是事实。

Seon-mi 的父母也同样意识到围绕韩国女孩的文化期待。他们为她的追求感到骄傲,并全力支持她的追求,但他们明白,要让她在这个国家被视为“正常的女孩”,还是一场艰苦的战斗。幸运的是,Seon-mi 和她的同伴们似乎都没有被这些韩国女性的肤浅偏见所困扰。她们更看重追求自己真正热爱的东西。

Powerlifting is less popular among females than other sports, but Lee hopes that her success will garner interest in the sport among those younger than her. “I think it would be great if more girls did powerlifting,” she chirps. “It’s helped me build my confidence, and I’ve made a lot of new friends.”

虽然 Seon-mi 意识到力量举重在女性中不如其他运动那么受欢迎,但她希望自己的成功能在引起比她年轻的人对这项运动的兴趣。“我认为如果有更多的女孩参加力量举重,那就太好了,”她说道,“它帮助我建立了自信,而且交了很多新朋友。”

Lee’s Olympic aspirations have yet to be settled, but a series of international competitions in 2019 that she is highly favored to win will ultimately determine her place on the 2020 Olympic team. Lee says, “I’d like to attend two Olympic Games and take medals both times.”

She’s already out lifting her closest competitors by over 25 kilos. This, coupled with the cabinet full of gold medals that currently sits in her parent’s living room, suggests that the Korean public will soon be introduced to a star who’ll be forcing the country to reevaluate their notions of femininity.

Seon-mi 的奥运抱负还有待确定,但 2019 年有她非常看好的一系列国际比赛,这也将最终决定她在 2020 年奥运会上的位置。Seon-mi 说:“我想去两次奥运会,两次都拿奖牌。”

她的举重级已经比最接近的对手重了 25 公斤。仅这一点,再加上她父母客厅里摆满了金牌的橱窗,表明韩国公众很快就要知晓这位明星了,而这位明星也将迫使韩国人重新审视自己对女性的固有观念。

Contributor, Photographer & Videographer: Jeremy Meek
Chinese Translation: Chen Yuan

供稿人,图片摄影师与视频摄影师: Jeremy Meek
英译中: Chen Yuan

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Conscientious Storytelling

February 27, 2019 2019年2月27日

It’s a rainy afternoon in Manila, and the few pedestrians who remain in the streets are moving along with hurried steps, desperate to get out of the downpour. Under the cover of a black umbrella, 27-year-old photographer Jilson Tiu is walking along at a much more leisurely pace, seemingly unfazed by the rain; this indifference towards the weather is made more apparent by the uncapped 70-200mm Canon lens on the DSLR loosely slung around his shoulder, gathering droplets of rain with every gust of wind. “Sometimes I wish my camera was as waterproof as me,” he chuckles as he wipes it with a shirt sleeve.

在马尼拉的一个下午,雨正淅淅沥沥地下。街上行人稀少,大都行色匆匆,着急地避开这场大雨。在一把黑色雨伞的庇护之下,27 岁的摄影师 Jilson Tiu 的步伐显得悠闲得多,似乎丝毫未受倾盆大雨的影响。一颗没有掩护的佳能 70-200 mm 镜头和单眼相机就这么挂在脖子上,随风刮来的雨水沿着镜头滴落,更衬托出他对雨天的毫不在意。“有时候,我真希望相机能和我一样防水。”他笑着说,随手用衬衫袖子擦拭相机。

Tiu is a street photographer and photojournalist who’s been covering stories across the Philippines since 2010. He’s worked with media outlets like CNN Philippines, the Financial Times, Esquire, and more. Today, he isn’t on assignment but seems no less purposeful as he makes his way through Tondo, one of the most densely populated parts of Manila. This district houses some of the city’s most derelict slums and is where Tiu was born and raised; it’s also become one of his favorite places to shoot street photography. “There’s so much going on and it’s challenging to frame the scenes around here,” he says, “I feel like my photography gets better every time I visit.”

Jilson Tiu 是一名街头摄影师和摄影记者,从 2010 年开始拍摄菲律宾各地的故事。他曾为多家媒体工作,包括菲律宾 CNN、《金融时报》(Financial Times)、《君子杂志》(Esquire) 等等。他今天没有工作任务在身,但也并非是漫不经心地闲晃在汤都区(Tondo)的街道上。汤都区是马尼拉人口最密集的地区之一,许多被社会所遗弃的贫民窟以此地为家。而这里,正是 Jilson Tiu 出生和成长的地方,最近则成为他最喜爱街拍的地点之一。“这里总是有很多有趣的事情在发生,找寻构图的过程也充满挑战。我觉得每次来这里,我的摄影技术都会进步。”

It’s not just technical skills that make Tiu such a brilliant street photographer, though—he’s been able to avoid a common pitfall of street photography: a lack of authenticity and connection. Although often unintentional, many street photographers falsely represent the individuals they’re capturing. They end up with images that offer a distorted view into the lives of people they know nothing about. And without a real connection between the subject and photographer, the resulting images lack crucial context. This means that the shots only feed into a self-serving narrative the photographer has dreamed up, one that’s completely detached from reality.

As a Manila native, Tiu has an insider perspective that imbues his work with an unmistakable sincerity and empathy. His images present the city as he knows it, a vibrant and beautiful metropolis teeming with untold stories.

作为街头摄影师,Jilson Tiu 的出色之处并不仅限于他的摄影技术。更重要的是,他成功避开了街头摄影一个常见的问题:缺乏真实性和连结性。很多街头摄影师常常会以错误的角度呈现他们的拍摄对象,以至于最终成果反映出的不过是自己一无所知的陌生人的生活切面。如果摄影师和拍摄对象之间不能产生真正的联系,那么也会使照片缺少重要的背景情境。意味着这样的创作,只是一个以自我为中心的叙事者的个人满足,是完全脱离现实的。

身为土生土长的马尼拉人,Jilson Tiu 能够从当事人的角度出发,这让他的作品充满一种无可比拟的真诚和同理心。他的街头摄影真切地呈现出他所了解的马尼拉,一个充满活力的美丽城市,包容着无数不为人知的故事。

Since Manila isn’t often seen in a positive light, his work is a breath of fresh air. The capital of the Philippines is often associated with trash-strewn streets, derelict slums, and in recent years, Duterte’s bloody, inhumane war on drugs. “There’s no denying that, it’s here,” Tiu says. “But there is so much life in Manila. It’s a place where both the positives and negatives of life intertwine, and I want to bring it all out through my photography. I want to change people’s view of Manila not by removing the true, negative aspects of the city but by showing the smiles and hope that coexist alongside these things.”

考虑到那些常和马尼拉联想在一起的负面形象,他的作品相当令人耳目一新。说起这座菲律宾首都城市,人们总会想到垃圾遍地的街道、废弃的贫民窟,以及近年来,因为杜特尔特所发起那场违背人道的毒品战争而成为的一处血腥战场。“这些都是不可否认的事实,确确实实发生着。”Jilson Tiu 说,“但是,在马尼拉有非常多样的生活,光明和黑暗在这里交织汇合。我希望通过自己的摄影,将这些不同面向都呈现出来。我想改变人们对马尼拉的看法,不是靠抹去那些负面事实,而是将与这些阴暗共存的希望和笑容展示出来。”

While Tiu enjoys capturing the city’s charms, his background in photojournalism means that he believes the good and the bad both deserve equal representation, In fact, capturing the ugly truths is often times of greater importance to him. “No matter if it’s the drug war, the pollution, or the city’s congested streets, there’s something to be learned,” he says. “These documentations can help show us the errors of our ways, and remind people—whether they be individuals, communities, or politicians—that we can do better.”

虽然 Jilson Tiu 喜欢捕捉这座城市的魅力,他的新闻摄影背景也使得他相信好的和坏的事实都应该获得平等的展现。对他而言,揭示丑陋的真相往往更具有显着的意义。“不论是毒品战争、污染、或城市拥挤的街道,都能让人们有所启示。”他说。“这些纪录可以帮助我们认识所犯下的错误,并提醒人们,不论是个人、团体或政治人物,我们都可以做得更好。”

As the day winds down and the rain subsides, Tiu begins packing up his camera. Just a few hours on the streets has filled his CF card with hundreds of images. While he’d be happy if he ended up with a few shots he liked from the day, it’s not a big deal if he doesn’t. Rather than being driven by a need to “get the shot” at all times, he finds that it can be more meaningful to just appreciate moments for what they are. Grinning, he says, “Sometimes the greatest scenes are the ones you see when you don’t have your camera.”

随着狂风逐渐平息,雨水也逐渐消退,Jilson Tiu 收起了他的相机。在街上游荡的几个小时已经让他的相机记忆卡多了数百张图片。如果有拍到让自己满意的照片,当然很值得高兴。但即使没有,也无所谓。他并不是怀着“拍到好照片”的意图在拍摄的,他觉得单纯去感受那些时刻的存在更耐人寻味。他咧嘴笑道:“最好的画面往往出现在你亲眼看到,但手边却没有相机的时候。”

Instagram: @jilson.tiu


Contributor: David Yen
Chinese Translation: Olivia Li

Instagram: @jilson.tiu


供稿人David Yen
英译中: Olivia Li