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Kamali 滑板吧!妈妈

June 19, 2019 2019年6月19日

 

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To the burgeoning communities of women skaters in India, skateboarding has become more than a just sport. It represents empowerment and independence, a subversion of the country’s outdated gender norms. When director Sasha Rainbow traveled to India to document these female skateboarders for Wild Beasts’ “Alpha Female” music video in 2016, she met Suganthi, a single mother working to build a better future for her then seven-year-old daughter Kamali, a charismatic little girl in love with skateboarding.


在印度,对正在兴起的女滑板爱好者来说,滑板已经不仅仅是一项普通的运动了。它代表着赋权和独立,是对过时的国家性别规范的颠复。2016年,当导演 Sasha Rainbow 前往印度为“野兽乐队”(Wild Beasts)的《女首领》(Alpha Famale)音乐 MV 拍摄滑板女郎时,她遇到了 Suganthi——这位单身母亲,正试图为自己热爱滑板、充满朝气的 7 岁女儿 Kamali 打造一个更美好的未来。

Suganthi and her daughter Kamali are from Mahabalipuram, a small fishing village in southern India. It’s a place where people hold fast to their traditional ways and beliefs, especially when it comes to gender roles, and Kamali’s tomboyish hobby of skateboarding is often met with disapproving glances. But Suganthi, whose own life has been hemmed in by these notions of what a woman should or shouldn’t do, refuses to let her daughter fall into the same trap.

Rainbow’s new documentary, Kamali, captures their story, celebrating Suganthi’s heroism as a mother, Kamali’s passion for skateboarding, and how seemingly minor actions of a few individuals can inspire big changes in a community.


Suganthi 和她的女儿 Kamali 来自印度南部的一个小渔村 Mahabalipuram。这个地方的人们,坚持传统和信仰,特别是当涉及到性别角色时,Kamali 那种男孩子气的滑板爱好经常会遭到反对的目光。但是身为母亲的 Suganthi 觉得,自己的生活已经被这些“女人应该或不应该做什么的”观念束缚住了,所以她拒绝让女儿落入同样的境遇。

这部长达 23 分钟的纪录片《Kamali》,就向人们阐述了她们的故事、彰显了 Suganthi 身为人母的英勇气概、表现了 Kamali 对滑板的热衷,并展现了通过少数几个人的小作为就可以激发整片社区的大变化。

Kamali recently qualified for the 2020 Oscars, but Rainbow’s aspirations go beyond simply sharing Kamali and her mother’s story on the big screen. Money earned from the documentary will go toward Kamali’s future education and toward bringing more skateboards to the area to provide similar opportunities for other young girls in the region. To find out more, visit the film’s official site.


影片《Kamali》最近荣登 2020 年奥斯卡的候选名单,但导演 Sasha 的抱负,绝非仅仅是简单地在大屏幕上分享 Kamali 和她母亲的故事。这部纪录片的获利,将用于 Kamali 未来的教育,并将更多滑板引入该地区,为其他年轻女孩提供这样的机会。如想了解更多信息,可移步电影的官方网站

Kamali will next be screened at the Academy Award qualifying ShortFest 2019.

 

Address:
Camelot Theatres (PS Cultural Center)
2300 E. Baristo Rd
Palm Springs, California
United States

Screening Time:
June 20th, 2019
1:00 PM

 

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Website: www.kamali-film.com
Instagram: @kamalifilm
Facebook: ~/kamalifilm

 

Contributor: David Yen


影片《Kamali》接下来将于 2019 年美国加州棕榈泉国际短片电影节上展映。

 

地址:
美国
加利福尼亚州,棕榈泉市
Camelot 剧院 (棕榈泉文化中心)
E. Baristo 路 2300 号

放映时间:
2019年6月20日
下午1点

 

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网站: www.kamali-film.com
Instagram: @kamalifilm
脸书: ~/kamalifilm

 

供稿人: David Yen

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Embroidering Political Aesthetics 被抹去面孔的亚洲女人

June 17, 2019 2019年6月17日

In her series Girl, artist Jessica So Ren Tang embroiders beautiful patterns onto and around feminine figures, overlaying their skin with flora and fauna. The series began as a response to paintings by Ikenaga Yasunari that feature women set before patterned backgrounds. Tang chose to flip this approach and cover the women themselves, fully or in part.

Tang begins by collecting images of women and patterns; she then tries to combine them in different ways to see what looks the best. “I choose the pose first, which affects the pattern, depending on how much surface area there is to cover,” she says. She chooses her subjects based on how striking their pose looks as a silhouette, which dictates the flow of the pattern.


艺术家 Jessica So Ren Tang 在她的《女孩》(Girl)系列中,通过刺绣,打造出身上布满美丽图案的女性形象,将植物与动物图案与女孩的肌肤融合为一。一开始创作这个系列,是因为受到了池永康晟(Ikenaga Yasunari)那些将女性置于精美背景图案前的画作启发Jessica 反其道而行,直接将图案部分或全部叠加于女性身上。

开始,Jessica 会收集一些女性和图案照片;然后尝试以不同的方式组合,寻找最佳的搭配。我会先确定人物的姿势,决定有多少面积可以放上图案。她说。她会根据人物姿势的轮廓来选择创作对象,而这也决定了图案的走向。

Tang, who was raised in San Francisco by parents from Guangdong, chooses the patterns based on scraps of visuals that resonate with the Asian side of growing up Asian-American. These are typically flowers, fruits, and animals that are common motifs in East Asian imagery. Although she says she often chooses patterns by gut feeling, this still yields a cohesive look that binds her work together. In particular, “flowers and fruits have become more of a focus in my work,” she says. “So I’m hoping this way, I can include more symbolic flora from a wider Asian context.”

Once she finds a match between a photo and a pattern, she begins stitching her pieces by hand. “I do not know how to use a sewing machine,” she confesses. She notes that embroidery has a rich history but is often undervalued as “women’s work.”

This makes it an intriguing medium for a series depicting only women, one that underlines the political side of the pieces. For the images of women, Tang uses photo references pulled from magazines, typically of Asian models striking suggestive poses and showing skin. The piece that best displays Tang’s sense of socially charged irony is based on an old Playboy cover, and includes the vibrant red Playboy logo, as well as the magazine’s tagline: “entertainment for men.”


Jessica 从小在旧金山长大,父母是来自广东的移民。作为一名亚裔美国人,她对图案的选择主要围绕亚洲文化意象的视觉元素,都是东亚文化中常见的花卉、水果和动物。虽然她说自己通常都是凭直觉来挑选图案,但最终的作品依然体现着一种整体性。她特别指出:花卉和水果已经成为我作品中的主要元素。所以,我希望可以通过这种方式,从更广泛的亚洲文化内搜集更多有象征意义的植物。

一旦她找到合适的照片和图案搭配,就开始手工缝制作品。我不会用缝纫机。她坦白道。她说,刺绣是一门有着悠久历史的工艺,却常常被低估为一种女红

对于一个仅描绘女性的系列,刺绣是一种特别有意思的媒介,也有助强调作品的政治意义。对于女性的形象,Jessica 会参考杂志里的照片,通常是摆着撩人姿势、裸露着肌肤的亚洲模特。最能展现 Jessica 讽刺意味的作品是一幅根据花花公子旧版封面创作的作品,上面绣有鲜红的花花公子标志,以及杂志的标语:“entertainment for men”(男人的娱乐)。

By covering women in embroidery patterns, Tang plays with the Western stereotype that all Asians look alike. She weaves a vague, generic “Asian-ness” into her subjects’ skin, intentionally blurring their features and offering a visual illustration of how stereotypes deny people of their individuality. “I’m not necessarily trying to ‘fix’ this idea, more to respond to it,” she explains.

Focusing on “Asian” imagery also reflects her frustration with not being perceived as American because of her appearance. Some people have even assumed she’s not a native English speaker. “I had a freelancer at my office ask where I was from because my English was so good,” she recalls. “Even with a California accent, I’m still considered a foreigner in my hometown.”


通过以刺绣图案覆盖女性身体,Jessica 揭露出西方社会的刻板印象:所有亚洲人看起来都一个样。在她所创作的女性形象上,她编织出一个朦胧、泛化的亚洲人形象,故意模糊她们的个人特征,通过视觉的创作,说明刻板印象会否定人们的个性。我不是在试图纠正这些想法,只是在作出回应。她解释道。

着眼于亚洲的文化意象,也反映出她因为外表而总是被误以为非美国人的沮丧。甚至常常有人以为她的母语不是英语。在公司,曾经有一位自由职业者问我来自哪里,因为我的英语说得非常好。她回忆道,即使我的英语带着加州口音,即使我在自己的老家,我仍然会被误以为是外国人。

The Girl series thus operates at the intersection between Western perceptions of Asians and men’s ideas of women. Even growing up in ethnically diverse California, Tang’s classmates would sometimes comment on her behavior when she didn’t fit the docile stereotype they seemed to expect of an Asian woman. The series suggests that her classmates’ ignorance comes partly from media representations of Asian women. Tang starts with images that cater to the male, Western viewer by presenting Asian women who look sensual, vulnerable, and available. The overlap between these stereotypical versions of femininity and Asian-ness in turn reflect the male and Western imagination that has directed many media narratives Tang grew up with.


也正因如此,《女孩》系列作品交织了西方社会对亚洲人、男性对女性的偏见。即使是在多元文化的加州,Jessica 在学校的同学有时也会对她的行为指指点点,只是因为她不像他们以为的亚洲女性那样温顺。这一系列也表明,她的同学的无知部分原因在于媒体对亚洲女性的刻板描画。Jessica 先是挑选出那些迎合男性和西方观众的亚洲女性形象,一些看上去性感、脆弱、易于摆布的女性。反过来,女性和亚裔的各种刻板印象相重叠,以这种男性和西方社会的想象引导着许多媒体的描画,而 Jessica 的成长过程中充斥着这种种。

Tang’s point also seems to be that Asian women have historically often had to conform to these stereotypes in order to appear in the media at all. At best, these images are still tokenizations of diversity; at worst, they are purposefully eroticized images that reinforce the notion that Asian women are, in Tang’s words, “docile, submissive, exotic.”

Tang doesn’t just respond to sexualized media stereotypes, she also takes action. In a reclamation of sorts, she removes most or all of the details that form the women’s actual appearance, making them less available to the male gaze.


Jessica 还认为,似乎亚洲女性必须符合这些刻板印象,才有机会出现在媒体上。往好的方面说,这些图像是多样性的标志;往坏的方面说,它们是一种充满性欲化图像,强化了亚洲女性听话、顺从、充满异国情调的形象。

对于媒体这些性欲化的刻板印象,Jessica 不只是作出回应,也有实际的行动。她重新修改了作品,删除了所创作的女性大部分或全部的五官细节,以降低这些女性形象的“男性凝视“(male gaze,一种把女性定位于被看者,置于男性凝视主控操纵的现象,译注)价值。

On the other hand, Tang occasionally feels boxed in by being an Asian woman making “Asian and feminine art.” She says, “I have concerns that while exploring my identity in my work, it’s become somewhat of an expectation of me versus making something else, like abstract painting, or something more Western perhaps.” She compares this to other artists who do not limit themselves to imagery or media rooted in their own cultures.

But ultimately, one of the main reasons that Tang continues to create art centered on her identity is because she hopes to encourage other Asian-Americans to do the same, to challenge the idea that Asians shouldn’t do art just because it’s impractical. “It’s too common that I hear about other Asian-American kids being pressured by family into high-paying careers rather than pursuing their passion in the arts,” she says. In this way, her works serve to embolden aspiring Asian-Americans artists, reminding them to take ownership of their own lives and pursue their creative desires without guilt.


另一方面,作为一名亚洲女性,Jessica 偶尔会感到自己被禁锢了“亚洲和女性艺术”之中。她说:“我的顾虑是,在我的作品中探索我的身份时,我对自己的期待已经变成了更西方的东西,而不是创作抽象的绘画。”拿自己与其他并不局限于自己文化的艺术家相比后,Jessica 如是说。

但最终 Jessica 以她的身份为中心创作艺术的主要原因之一是,她希望鼓励其他亚裔美国人也这样做,以挑战“艺术太过不务实,亚裔不会从事此行业”的观念。她说:“我经常听说其他亚裔孩子在家庭的压力下从事高薪职业,而不是追求自己对艺术的热情,这种情况实在是太普遍了。”在这个方面,她的作品给有抱负的亚裔艺术家开了先路,以提醒他们要掌握自己的生活,追求自己的创作之欲。

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Website: www.jessicasorentang.com
Instagram: @jessicasorentang

 

Contributor: Kiril Bolotnikov


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网站: www.jessicasorentang.com
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供稿人: Kiril Bolotnikov

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Real or Digital? 真实与虚拟之间的暧昧地带

June 14, 2019 2019年6月14日

Every day, the line between IRL and URL gets a little more blurred, and one of the frontiers in this new digital landscape is the virtual avatar, a digital image used to represent someone on screen. Variations have been around for decades, from AIM Buddy Icons to early avatars in the online game Second Life, but only now are they good enough to pass as living things, breathing 0s and 1s instead of O2. Some people even prefer to use digital characters for their Instagrams rather than posting real selfies and portraits. And avatar accounts are sometimes more popular than real people’s, raking in endorsements and cash.

Chan Kayu, a digital artist in Hong Kong who works under the name Ruby Gloom, makes some of the most visible avatars on the web. Her personal and commercial work ranges from graphic art to 3D illustration to augmented reality. You can find her work in high-end fashion campaigns or viral social media posts.


每天,现实生活和数字世界之间的界限都在越变越模糊,而处于这个新数字世界前沿之一的,正是荧幕上的“虚拟人像”。从即时通讯软件 MSN 的头像到早期游戏“第二人生”的人物形象,虚拟人像早已经历数十年的演变。但直至今日,它才达到以假乱真的程度,可与真人相比拟。只是它们赖以生存的不是氧气,而是 0 1 的数字。而在 Instagram上,有人宁愿发表虚拟人像的图片,而不是真实的自拍和肖像照片。而这些账户有时候甚至比真人账户更受欢迎,吸引着源源不断的代言机会,带来丰厚的收入。

香港 3D 艺术家 Ruby Gloom 原名 Chan Kayu,她所创作的虚拟人像是当下网络上一些最受追捧的虚拟化身。她的个人和商业作品范围很广泛,既有平面艺术,也有 3D 插图和增强现实,在高端时尚活动或热门社交媒体帖子中常常能看到她的作品。

It might take a moment after visiting Chan’s Instagram to realize the photos aren’t entirely real. Her personal avatar is an exaggerated version of herself, a way of blending the real and the imaginary. She’s created many other avatars, sometimes for others, sometimes for herself. They’re not exactly idealized humans, though, and they all have their own individual differences and flaws.


第一次打开 Ruby Instagram,你可能需要一会儿才意识到照片并非完全是真实的人物。她的个人头像是对自己夸大描绘,算是一种现实与想象的融合。她创作了许多虚拟人像,有时是给别人画,有时是给自己画。但是,这些人像并非是纯粹理想化的人物,相反,各个都有其不同和缺陷之处。

“Humans already have very fixed beauty standards already, so with avatars I want to create more diversity for them,” Chan says, while clicking through a gallery of previews on the computer in her studio, surrounded by an explosion of color and kawaii. “I give them flaws, wrinkles, freckles, and skin conditions. I do different skin colors. I used to do some green skin and alien styles, but I’m more focused on realistic stuff now.”  


人类社会已经有非常固定的审美标准了,所以在虚拟人像的造型上,我希望能创造丰富多样性。”Ruby 边说边预览着她工作室电脑上的作品,四周是缤纷的色彩和满眼卡娃伊”元素。她说:我会给他们加上瑕疵、皱纹、雀斑和不同的肤质。我也会制作不同的肤色。我以前曾创作过一些绿皮肤和外星人风格的形象,但现在更专注于现实风格的作品。

Her entry point into the creative world was as a Tumblr blogger in 2012, mainly posting her outfits of the day. She was a proto-influencer, with a devoted following before Instagram influencers were even a thing. The blogging went viral and her followers kept asking where she got her clothes, so she decided to create a label called WeeGirlsClub. People from all over the world outside Hong Kong were buying her pieces, mainly from the US. She never lost money but she stopped enjoying it because of the time spent on design, manufacturing, production, marketing, and customer service, all of which she handled herself.

Since she’d already been exploring digital art for a while, she decided that would be her next move: “I knew blogging wasn’t a long term career. I wanted to do something I loved, but I knew I had to make money so I could quit working. So first I taught myself clothing and then digital art.” Her career has been about staying ahead of the curve, spotting trends in the digital universe and navigating them as they change and die. “I used to be obsessed with influencers because you get money, attention, and all the products you want. But they used to be someone who was good at something. Now it’s just people faking talents to become an influencer. I don’t think it’ll last very long.”


她踏入创意世界的切入点是在 2012 年成为 Tumblr 博主,那时候,她主要是在博客上贴自己每日的服装造型。她可以说是现在网红的鼻祖,在 Instagram 网红出现之前就已经深受欢迎。她的博客爆红后,粉丝不断追问在哪里可以买到她的衣服,于是她决定创立自己的品牌 WeeGirlsClub。来自世界各地的人们纷纷前来购买她的作品,主要以美国为主。她是不缺钱了,但她也不太快乐。因为要花费大量时间在设计、制作、生产、市场推广和客户服务上,而所有这一切工作都由她一人承担。

由于当时的她已经探索数字艺术有一段时间,她决定将这种艺术作为自己的下一步:我知道博主不是一份长久的职业。我想做自己喜欢的事情,但我知道我必须赚钱,这样才能辞职。所以一开始我先自学了做衣服,然后是制作数字艺术。她的工作要求她一直走在时代的前端,发现数字世界的趋势,把握潮流的变化和更迭。我曾经沉迷于成为网红,因为可以获得金钱、关注,以及你想要的所有产品。在以前,网红都是擅长某样事情的人,但现在很多网红只是装作很有才华。我觉得这些网红不会持续很长时间。

While Chan is adept at profiting from the web, she doesn’t gloss over its downsides. “Companies like avatars because they can take full control of someone to represent their brand. People might not be able to relate to them after a while, so their influence could wane,” she says.

For now, Chan finds commercial work creatively satisfying, but in the future, she hopes to focus more on personal projects. Always looking ahead, she says her next goal is to create a 3-D printout of her avatar and travel around the world with it, posing with it in the street. And not just for a photo: she plans to stay with it for entire days at a time, like a street performer. This time, she wants to bring her digital creations into the real world.  


虽然网络世界让 Ruby 获益不少,但对它的缺点,她也直言不讳。很多公司喜欢用虚拟人像,因为这样他们可以完全控制代表品牌的形象。但一段时间后,人们可能无法再与这些虚拟形象产生共鸣,然后它们的影响力就会有所减弱。她说。

现在,Ruby 在商业作品中也能获得足够的创意发挥,但在未来,她希望更专注于个人项目的创作。她的目光始终向前,她说自己的下一个目标是制作 3D 打印的虚拟人像化身,然后带着它周游世界,把它放在大街上拍照。不仅仅是拍照片,她还打算像街头艺人一样,与这个 3D 打印的虚拟人像相处一整天。这一次,她要将自己的数字作品带入现实世界。   

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Instagram: @rubyrubygloom

 

Contributor: Mike Steyels
Photographer: Mart Sarmiento
Chinese Translation: Olivia Li


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Instagram: @rubyrubygloom

 

供稿人: Mike Steyels
摄影师: Mart Sarmiento
英译中: Olivia Li

Working in the Gray 乌云背后的彩色图案

June 7, 2019 2019年6月7日

“Cities can be overwhelmingly gray,” declares Zihee, a tattoo artist, from her perch in a rooftop studio. It’s an odd statement, considering the bustling streets below us, crowded with neon signs and fashionistas sporting the latest colorful trends. She shares the space with two other artists who are currently at work with new clients. Dressed in her usual all black and hair up in a ponytail, Zihee chooses her words carefully, not out of shyness, but out of a desire to express her thoughts as precisely as possible. “I think colorful images can pierce through that grayness, and really draw in people’s gazes,” she says, her voice barely audible over the sound of needles that fills the room.

Zihee is a rising star among tattoo artists in South Korea. In less than five years, her tattoos—marked by bursting blues, deep reds, and forest greens—have attracted such a large following that she has been invited to do guest work in Barcelona, London, Los Angeles, and Hong Kong. 


“城市,总让人有‘黑云压城而欲摧’之感。”在纹身艺术家 Zihee 的屋顶工作室里,她如此说道。对照我们楼下人头攒动的街道,充斥着霓虹招牌和穿着五彩斑斓的时尚达人,这个说法显得有点奇怪。她和另外两位正在跟新顾客交流的文身师分享这个工作室。素日里,Zihee 身着一身黑,头发扎成马尾。她措辞谨慎,不是因为羞怯,而是想尽可能准确地表达自己的想法。我认为色彩丰富的图可以穿透那层乌云,真正吸引人们的目光。在充满房间的针刺声里,Zihee 的声音几乎听不到。

Zihee 是韩国文身艺术家中一名冉冉升起的新秀。在不到五年的时间里,她的文身——以抢眼的蓝色、绛红色和森绿色为标志——吸引了众多粉丝,也让她受邀前往巴塞罗那、伦敦、洛杉矶和香港做嘉宾项目。

Her artistic ambitions can be traced back to her childhood. Fascinated with cartoons as a kid,  she often spent entire days hunched over on the ground drawing instead of going to school. This interest in the moving image led her to major in animation in college. Though tattoos are static, her approach to colors remains heavily influenced by her background in animation: “I’m drawn to color because, just like in animation, I can layer different shades within a clearly defined area,” she says. “I can watch the colors blend without disrupting the unity of the overall work.” She emphasizes that the precision of lines and how neatly color is kept between them is crucial, referring to Edward Hopper as an artist whose work she admires for exemplifying these qualities.


Zihee 对艺术的向往可以追溯到她的童年时代。小时候的她为卡通深深着迷,比起上学念书,她更常常花一整天的时间趴在地上画画。为此,她在大学时也选择了主修动画专业。尽管文身是静态的,但她对色彩的态度仍然受到她动画的影响:我被色彩所吸引,就像在动画中一样,我可以在一个明确定义的区域内给不同的色调分层。也可以在不影响整体作品的统一性的前提下,观察这些颜色的混合。她强调,线条的精确和色彩的干净是至关重要的,她提及了艺术家爱德华·霍普(Edward Hopper),因为很欣赏他的作品体现了这些特质。

The ambiance of her studio is laid back, with a constant background of rock and hip-hop music. Sunlight streams in through the windows, and various art books featuring animals, such as one on dragons from different continents, are strewn across a coffee table for inspiration. Zihee understands the collaborative nature of the business as central to furthering her art, and she frequently brainstorms with her colleagues. Even clients play the role of collaborators. “A lot of my trademark designs have come from clients, and my clients have given me the opportunity to work on designs that I had never tried or thought of before.” Her multicolored snake, now one of her most popular tattoos, was originally inspired by a client who asked for a flower and all the colors of the rainbow in a snake.


Zihee 工作室里的氛围很悠闲,萦绕着摇滚和嘻哈歌曲。阳光透过窗户打进来,各种以动物为主题的艺术书散在咖啡桌上,其中有一本是来自不同大洲的巨龙。Zihee 以此寻求灵感。她知道商业合作的本质也是她拓展艺术创作的核心,她经常与她的同事头脑风暴,甚至有时候顾客也扮演合作者的角色。我的很多设计都来自文身者自己的想法,而他们也给了我机会去设计一些我以前从未尝试过或想过的设计。她现在最流行的文身之一:五彩蛇,最初的灵感就来自一名要求一朵花和所有彩虹颜色集在一条蛇上的顾客。

“When you meet her, you know you have nothing to worry about—you’ll know you are in the hands of a good artist,” a client tells me. He came with only a vague idea of what he wanted for his tattoo—one of Zihee’s snakes—but he hadn’t decided on the size or color. After some discussion, they reached an agreement  and Zihee got to work. “I thought I was going to get two or three colors, but she brought out fifty,” he recalls. “She plans a lot but can also be very flexible. The work was almost evolving as she was going.”


当你见到她,你就知道没什么可担心的——因为你知道你被一个很棒的艺术家‘接手’了。一个来文身的顾客告诉我,他来的时候只有一个模糊的概念,就是希望他的文身包含那条蛇,但他还没有最终决定尺寸和颜色。经过一番讨论后,他们达成一致,Zihee 着手工作。我原以为会有两三种颜色,但她拿出了 50种。”客户回想道,“她有很多计划,但也可以随机应变。作品几乎随着她的想法递进而层层蜕变。”

In describing her art, Zihee returns again and again to the ideas of “precision” and “flawlessness” that give her tattoos an incredibly clean, almost geometric, finish. When asked if this affinity might come from her personality, she laughs. “No, I’m actually not that neat and organized, but my art turns out that way.”


在描述自己的艺术时,Zihee 一次又一次地回归到“精确”和“完美”的理念,这让她的文身呈现出难以置信的干净,几乎呈现出几何学的美感。当被问到这是不是和她个性相同的时候,她笑说:“不,实际上我不是那么整洁和有条理的人,但我的艺术作品是这样的。”

Zihee is hopeful about the younger generation of tattoo artists she is a part of. Tattoos are still illegal in South Korea, but Zihee says people are becoming more receptive to them, seeing body art as part of a larger fashion culture. She also mentions that though many Korean artists are finding success abroad, she hopes that they’ll continue contributing to the local tattoo scene. To this end, she’s currently taking on students interested in the craft, teaching them just as she was mentored not too long ago.


Zihee 对年轻的文身艺术家抱着希望,当然她也正是其中一员。在韩国,文身仍然是非法的,但是 Zihee 说人们对文身的态度越来越包容接纳,他们认为身体艺术是更宏观的时尚文化的一部分。她还提到,尽管许多韩国艺术家在国外获得了成功,但她希望他们能继续为当地的文身艺术做出贡献。为此,她目前正在招收对这门手艺感兴趣的学生,就像她不久前她也是学员一样。

With more than half of her social media followers living abroad, Zihee will continue traveling the world in search of new inspiration. An excitement crawls into her voice as she recalls being surprised by the open expressions of her American clients, or the way clients in Barcelona would chat endlessly with their tattooists. In contrast, she also recalls being surprised by her clients in England, where the culture reminded her a lot her Korean clients, who are generally more quiet and formal. What she’s found to be most rewarding has been the human connection, the opportunity to meet with people from all walks of life. She remembers one client who started crying tears of joy because he was so satisfied with the tattoo. “The thought that I could give someone that kind of emotion gave me goosebumps,” she says.

Now, with a budding community at home and a growing list of clients abroad, Zihee’s colorful tattoos are gradually seeping into streets all around the world—the grayness receding at her touch.


Zihee 的社交媒体上的粉丝,有一大半生活在国外,她也将以此为契机,继续周游世界,寻找新的灵感。她回忆起一名美国顾客对她公开表达的惊讶之情,巴塞罗那的顾客不停地和文身师聊天时,她的声音激动地颤抖。对比之下,她也记得让她倍感惊喜的英国文身者,那里的文化让她想起了韩国人,这些文身者通常都比较安静和严肃。Zihee 发现,最有价值的是人与人的交往、与各行各业的人会面的机会。Zihee 记得有位顾客因为对文身太满意而流下了眼泪。一想到我能给人那样的情感,我就会激动得起鸡皮疙瘩。她说。

现在,这个在韩国境内正在萌芽的文身社区和其越来越多的外国爱好者,Zihee 的色彩文身正逐渐渗透到世界各地——那压抑在城市上方的黑云,在她的影响下,也在慢慢消失。

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Instagram: @zihee_tattoo
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Contributors: Eugene Lee, Joe Park
Chinese Translation: Chen Yuan

Images Courtesy of Zihee


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Instagram: @zihee_tattoo
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供稿人: Eugene Lee, Joe Park
英译中: Chen Yuan

图片由 Zihee 提供

Underground & On the Air 诞生于画廊的独立“夜店”

June 5, 2019 2019年6月5日

A tiny elevator plastered in stickers struggles its way up to the 12th floor of a Hong Kong apartment building. When it arrives I step out to find myself in a miniature shop crammed with an eclectic assortment of toys, vinyl racks, cassette tapes, and even a stack of vintage VHS porn. This is the unlikely headquarters of Absurd Trax, Hong Kong’s most prominent crew of DJs and producers dedicated to experimental club music. No one seems to mind the shoebox-sized space—in fact, they treasure it. In a city with astronomical rents and a constantly dwindling choice of music venues, they rally around the space they consider home.


一幢香港公寓楼里,贴满贴纸的小电梯摇晃着地往上攀升,一直到 12 楼停下。走出电梯,我发现自己身处一间狭小的商店里,里面堆满各种各样的玩具、唱片架、盒式磁带,甚至还有一堆复古的家用录像(VHS)色情片。这里就是 Absurd Trax 的工作室,让人有点意外。对于这群专注于实验俱乐部音乐的 DJ 和制作人,逼仄的空间并无大碍,事实上,他们很珍惜这个空间。在香港这个租金高昂、音乐场所不断减少的城市,他们聚集在这个小小的空间中,把这里称之为家。

Absurd Trax defies categorization. The music they produce is based on established club genres, but it quickly departs from the formula to incorporate unconventional beats and instrumentation. Six members make up the crew: the founder Gavin Wong (aka T0C1S), Kelvin T, Tsalal, ASJ, Alexmalism, and shealwaysappears. Another member, ANNA, passed away earlier this year. In addition to their record label, they also run a blog, the aforementioned shop, and a radio station called Hong Kong Community Radio, or HKCR—all out of their cramped 12th-floor office.


Absurd Trax 的音乐很难分类。他们基于传统俱乐部流派创作电子音乐,又脱离其经典公式,不拘一格融入了非传统的节奏和乐器。团队共有六名成员:创始人 Gavin Wong(又名 T0C1S)、Kelvin TTsalalASJAlexmalism和 shealwaysappears。另一位成员 ANNA 今年早些时候去世。除了他们的音乐厂牌外,Absurd Trax 还经营着一个博客、一家商店以及一个名为香港社区广播(Hong Kong Community Radio,简称 HKCR)的电台——所有这些都在这个位于 12 楼的狭窄工作室内完成。

TOC1S
Tsalal
shealwaysappears
From left to right: Kelvin T, Alexmalism, ASJ 左到右:Kelvin T, Alexmalism, ASJ

Listen to to some of our favorite tracks from Absurd Trax below:


点击即可试听几首 Absurd Trax 成员的歌曲:

With space at a premium, competition is fierce, and underground scenes are difficult to sustain. In the nightlife district Lan Kwai Fong, most bars and clubs play mainstream music with commercial appeal, leaving little room for experimentation. It’s a common problem in Hong Kong: there aren’t many outlets for niche tastes like Absurd Trax, and the few remaining independent outlets keep shuttering.


由于空间有限,竞争激烈,地下音乐越来越难以为继。在夜生活中心的兰桂坊,大多数酒吧和夜店都会播放更具商业魅力的主流音乐,实验音乐几乎没有生存的空间。 这是香港的一个常见问题:能容纳像 Absurd Trax 这样的小众音乐的场所不多,剩下的少数独立音乐场所也在逐一倒闭。

One venue that stood out as an exception was XXX Gallery, an important meeting point for the city’s creative outcasts. That’s where the Absurd Trax crew first got together. “We all met online originally,” Alexmalism says, setting down his electric violin. “But XXX was where we really started everything and became friends in real life. We did shows, had record clubs, and hosted workshops there.” Sadly, the space closed its doors in 2018, leaving a vacuum in the creative community.


在这些小众的音乐场所中,最著名的是 XXX 画廊,这个香港小众创意文化的重要交汇点,也是 Absurd Trax 成员第一次见面的地点。“我们最初都是在网上认识的。” Alexmalism 边说着,边放下了他刚演奏过的电子小提琴。“但是,在 XXX 画廊碰面后,我们才在现实生活中成为朋友,真正开始这一切。我们在那里做过节目、办过唱片俱乐部和工作坊。”遗憾的是,画廊去年关门了,整个创意社区仿佛失去了重心。

In its absence, Absurd Trax floats between whatever venues they can find, often random bars and semi-legal raves in discreet warehouses. There are festivals like Sónar and Clockenflap, but they only come around once a year. One veteran from XXX, James Acey, now works as the music director of the Eaton Hotel, where he’s been using his position to create more spaces for the scene, but they’re still limited. The speaker system from XXX ended up at HKCR, and now even their tiny office has become a makeshift performance space.

“HKCR is the club now!” ASJ chirps, only half-joking. The only reason they have their current space is because their building, Foo Tak, on Hennessy Road, the main commercial strip of the Wan Chai neighborhood, is a “vertical arts village” whose landlord offers heavily discounted rents to artists and community groups.


画廊关门后,Absurd Trax 来回于他们所能找到的各种场所,比如随机挑选的酒吧、在隐蔽仓库举行的半合法聚会等等。香港也有会举办各种音乐活动,譬如 SónarClockenflap 音乐节,但这些活动一年只举办一次。来自 XXX 画廊的 James Acey 现在是逸东酒店的音乐总监,他现在会尽量利用自己的职位,为小众音乐提供表演场所,但成败参半。XXX 画廊的音响系统如今留在了 HKCR,而 Absurd Trax 狭窄的工作室也成为了一个表演空间。

“HKCR 现在也是一家夜店了!” ASJ 半开玩笑说道。他们的这个工作室位于湾仔的主要商业街轩尼诗道上,之所以能保留现在这个工作室,唯一的原因是因为他们所在的富德楼是一个“垂直艺术之乡”,业主为艺术家和社区团体提供了大幅度的租金优惠。

“Our music is very niche here. You need a physical space as a platform to develop your artistry,” says Kelvin T, between jokes. But he accepts their position in the city. “People don’t always go to popular clubs for the music anyway—it’s often just a place to party.” Instead, they often throw private parties just for themselves.

“When only a couple people show up for my performance, they’re the ones who are really into music,” says Alexmalism. “Those people are so precious to me. Sometimes you have a larger crowd, but they don’t always care about what you’re doing.”


玩笑之余,Kelvin T 说:“我们的音乐在这里算是非常小众的。”但他接受团队的音乐在这座城市的地位,“我们需要一个实体空间作为平台来磨炼自己的技术。”“而那些热闹的夜店,去的人往往也不是为了听音乐的,大多时候,人们只是想去蹦个迪。”相反,他们常常会举办属于自己的私人派对。

Alexmalism 说:“我表演时,可能只有廖廖几位听众,但他们是真正喜欢音乐的人。对我来说,那些人才是最珍贵的。有时候即使听众多,也不一定说明他们对你的创作感兴趣。”

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Bandcampabsurdtrax.bandcamp.com
Instagram@absurdtrax
Facebook~/absurdtrax

 

Contributor: Mike Steyels
Photographer: Tang Kam Hong Kenneth
Chinese Translation: Olivia Li


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Bandcampabsurdtrax.bandcamp.com
Instagram@absurdtrax
脸书~/absurdtrax

 

供稿人: Mike Steyels
摄影师: Tang Kam Hong Kenneth
英译中: Olivia Li

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City Poetry 城市诗歌

May 29, 2019 2019年5月29日
心心: Emotion Shift心心: Emotion Shift

Since moving to Hong Kong in 2011, photographer Romain Jacquet-Lagrèze has been captivated by the beauty of Chinese characters. In his latest series, City Poetry, his longstanding interest has made its way into his work. Like his previous photo series The Blue Moment and Concrete Stories, which we’ve featured before, Jacquet-Lagrèze puts a fresh spin on an over-photographed cliché of Hong Kong: its iconic signs.

Rather than the rows of neon billboards and sign-cluttered streets that are ubiquitous on Instagram, Jacquet-Lagrèze takes a close-up look at Hong Kong’s signage. His photos isolate individual characters from their original context and highlight how prolonged exposure to time and the elements have worn them down. Yet despite the peeling paint and cracked veneers, the characters—even when they’ve completely fallen off—remain legible. “People designed them to be informative and attractive,” Jacquet-Lagrèze says, “But I think the erosion transforms them into something more, something deeper.”

City Poetry goes beyond mere documentation though. With help from his Hong Kong-born wife, Jacquet-Lagrèze has taken this collection of characters and assembled them into various idioms and phrases, imbuing them with new meaning beyond their original context and paying tribute to Cantonese culture.


自 2011 年搬到香港以后,摄影师 Romain Jacquet-Lagrèze 一直被汉字之美所吸引。在他的最新系列《City Poetry》(《城市诗歌》)里,他对汉字旷日持久的兴趣也融入其中。与他之前的作品  The Blue Moment 和 Concrete Stories 一样,Romain 的新作让人耳目一新,给香港被过度拍摄的标志性特色注入了新的色彩。

不同于 Instagram 上随处可见的霓虹灯招牌和的街道,Romain 近距离观察香港的标牌。他的照片将单个的汉字与原来的上下文隔离开来,凸显了那些招牌经年累月的痕迹。那些汉字,尽管油漆斑驳、背板开缝——甚至完全剥落——但依然清晰可见。“人们把它们设计成饱含信息量且充满吸引力的样子,但我认为时光的侵蚀使之转化成更充沛、更深刻的东西。”

不过,《City Poetry》并不仅仅局限于此。在香港出生的妻子的帮助下,Romain 把这些字汇集成各种习语和短语,赋予它们原有语境之外的新含义,并致敬粤语文化。

Left: 香港文化 - Hong Kong Culture. Right: 福如東海 - Boundless Happiness左:香港文化 - Hong Kong Culture. 右:福如东海 - Boundless Happiness
Left: 點石成金 - Turning Stone into Gold. Right: 百苦成材 - A Hundred Pains Forge Talent左:點石成金 - Turning Stone into Gold. 右:百苦成材 - A Hundred Pains Forge Talent
園 - Forgotten Garden园 - Forgotten Garden
勵行 - Inspirational Urge励行 - Inspirational Urge
精品 - Objets d'Art精品 - Objets d'Art
愛家 - Love Home爱家 - Love Home
九龍 - The Nine Dragons九龙 - The Nine Dragons

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Website: www.romainjl.com
Instagram@romainjacquetlagreze

Contributor: David Yen
Chinese Translation: Chen Yuan


网站www.romainjl.com
Instagram@romainjacquetlagreze

供稿人: David Yen
英译中: Chen Yuan

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Tokyo Jazz Joints 夜色里的爵士酒馆

May 24, 2019 2019年5月24日

A Japanese salaryman leaves his office late at night, exhausted from the grueling hours. He’s running on very little sleep. The night air is cold, and the train station is not too far away. But he turns in the opposite direction, through the labyrinthine alleyways of Tokyo—he has one stop in mind before heading home. He walks a couple of blocks to a small establishment that one could very easily miss. He opens the door and is embraced by warmth and the steady lull of music on vinyl. The owner greets him, and he takes a seat at the bar. He’ll have the usual, he says. He takes a sip of his beer. The rhythm from the record player eventually takes him away, into a trance he shares with the few other patrons who had also come in to enjoy the magic that is jazz.


一位日本支薪族在深夜时分离开办公室,他精疲力竭,这些日子以来睡眠非常不足。当他踏入夜色,外面的空气很寒冷,车站就在不远处。但他却转往反方向,穿过东京迷宫般的小巷。在回家之前,他还有一个地方要去——他走过几个街区,抵达一个不起眼的小楼。他打开门,除了受到温暖的招呼,还有一阵安定人心的平静音乐传入耳里。老板过来迎接他,他在吧台边坐了下来,示意要一杯“老样子”。他小啜一口啤酒,来自唱机的旋律最终将他带离现实,加入店里其他零星几位顾客的行列,沉浸在这令人神迷的魔力——爵士乐里。

Intro Bar / Shinjuku-ku, Tokyo Intro Bar / 东京市新宿区
Intro Bar / Shinjuku-ku, Tokyo Intro Bar / 东京市新宿区

“Maybe that’s their one moment of freedom,” says Tony Higgins of BBE music in an interview with Philip Arneill, the photographer behind Tokyo Jazz Joints, a project that captures these unique establishments. Arneill, an Irish photographer who lived in Tokyo for 19 years, was not only drawn to the charm of jazz bars, but also worried about their longevity. “The original raison d’être for the project was that jazz joints were disappearing all over the country, due to rising rent, aging owners, and a dwindling customer base,” he says.


“也许这是他们自由的时刻。”音乐厂牌 BBE 的 Tony Higgins 在和一个专门拍摄这些爵士乐场景的项目 Tokyo Jazz Joints 的摄影师 Philip Arneill 采访时说道。Philip Arneill 是一位在东京生活了19年的爱尔兰摄影师,不仅深受爵士酒吧魅力的吸引,还相当关注它们还能存活多久的议题。“该项目最初的存在理由是由于租金上涨、业主老龄化以及客户群逐渐缩小,全国各地的爵士乐场所正在消失。”他说。

Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区

Arneill first discovered this subculture of jazz bars and cafés when he visited Hello Dolly, a jazz bar in Kyoto. He immediately knew he’d found something unique that he needed to document. He called up his friend James Catchpole, a broadcaster and writer based in Yokohama, with the idea for the photo series. At the time, Catchpole ran the Tokyo Jazz Site, a blog indexing every jazz-related establishment in the Tokyo area, which proved indispensable as Arneill plotted his itinerary. The venue that kicked off the project was Pithecanthropus Erectus in Tokyo’s Kamata district, which they photographed back in 2015. Since then, the duo has documented over 160 different establishments throughout the country. Their genuine respect for jazz may be why they’ve never been refused to photograph a bar.

The duo plan on publishing a photography book with the best of the project once they pass the 200 mark. Though Arneill is now based in Dublin, he is planning a few upcoming trips back to Japan to document 50 to 60 more locations.


当 Philip 访问位在京都的爵士酒吧 Hello Dolly 时,他首先发现了这种爵士酒馆和咖啡馆的亚文化,当下他就知道自己找到了必须记录下来的场景。他打电话给朋友 James Catchpole,他是一位住在横滨的广播员和作家,告诉他自己的想法:创作一个摄影系列。当时,James 开办了一个介绍东京各个爵士相关活动的博客 Tokyo Jazz Site,每当 Philip 在策划他的行程时,这个博客扮演了不可或缺的角色。该项目于2015年进行了第一个地点拍摄——东京蒲田区的 Pithecanthropus Erectus。从那时起,这个双人组总共记录了全国160多个场所。他们对于爵士乐的真正尊重,也许正是他们从未被拒绝拍摄的原因。

一旦超越 200 次拍摄的里程碑,他们希望计划出版一本收录其中最好作品的摄影书。虽然 Philip 现在人在都柏林工作,但他正计划一些到日本的旅行,以记录其他 50 到 60 个地点。

Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区
Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区
Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区

Jazz arrived in Japan after the First World Two and was very popular in the 1920s and 1930s, until it was outlawed during the Second World War. After the war, Japan’s occupation by U.S. forces revived the genre. Many jazz bars that opened at the time were even dedicated to specific artists. The most notable may be Basie, named after the legendary American musician William James “Count” Basie. The current owner, Shoji “Swifty” Sugawara, has collected over 10,000 jazz LPs and, countless items of Basie memorabilia. He even became good friends with the man himself—a portrait that Sugawara took of Basie still hangs in the venue today.


爵士乐在第一次世界大战后抵达日本,在上世纪20、30年代时非常受欢迎,直到第二次世界大战期间被明文禁止。战争结束后,占领日本的美军再次振兴了此音乐流派。当时有许多爵士酒吧是特别为了向几位艺术家致敬而创立,其中最值得注意的可能是由菅原正二(Shoji “Swifty” Sugawara)经营的 Basie,以传奇美国音乐家 William James “Count”  Basie 命名。到目前为止,菅原先生已经收集了超过一万张爵士乐唱片和无数样 Basie 的纪念品。他甚至还和这位音乐家成为了好朋友,至今菅原拍摄的 Basie 肖像仍然挂在墙上。

Shoji “Swifty” Sugawara, the owner of Basie / Jishu-machi, Ichinoseki Basie 的老板菅原正二 / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町

“Every jazz joint is different, and that always makes for exciting visits,” says Arneill . “It’s very hard to categorize concisely, but I would say the quintessential jazz bar features are a very high-end sound system with large bespoke handmade speakers, vinyl of course, and a simple menu that consists of coffee and/or alcohol.” He also notes that the sound system is often placed in a central location, which is  an arrangement similar to the structure of most Japanese shrines.


“每个爵士乐场所都是不同的,因此每次拜访总是让我很兴奋。”Philip 说。“实在很难帮它们分类,不过,典型的爵士酒吧会有一个非常高端的音响系统,配有大型订制的手工扬声器,当然还有黑胶唱片,和一个备有咖啡或酒饮的简单菜单。”他还补充说道音箱系统通常会被放置在中央位置,类似于大多数日本神社的结构。

Samurai / Shinjuku, Tokyo Samurai / 东京市新宿区
Samurai / Shinjuku, Tokyo Samurai / 东京市新宿区
Jazz Spot Candy / Inage-ku, Chiba Jazz Spot Candy / 千葉市稲毛区
Club Goodman / Chiyoda-ku, Tokyo Club Goodman / 東京市千代田区
Club Goodman / Chiyoda-ku, Tokyo Club Goodman / 東京市千代田区

Arneill captures the establishments as they are, without flash or additional lighting. This can sometimes be challenging, as many of these places are dark and open only in the evening. He says he’s gotten more confident over time in documenting each location, which requires not only photographic skill but also the ability to make chit-chat with the owners. Through his conversations, he’s come to better understand how these places have aged, how the spaces reflect the owners’ personalities, and how they’re influenced by the surrounding neighborhood: “The bars very much represent a subculture now, as many Japanese are unaware of their existence, or have never visited one.” He notes that there is little incentive for owners’ children to carry on the family businesses because of the odd working hours and minimal profits.


Philip 会按照这些场所最真实的样子去拍摄,没有闪光灯或额外的照明。有时候这极具挑战性,因为很多这些地方都很黑暗,只在晚上开放。随着时间过去,每一次经历都让他获得更多信心,这不仅仅需要摄影技术,还要具备和老板闲聊的技巧。通过谈话,他会更好地了解这些地方如何变迁、空间如何反映老板的个性、以及它们如何受到周围社区的影响:“酒吧现在非常代表亚文化,许多日本人都不知道它们的存在,或者从来没有去过。”他指出,由于不寻常的工作时间、利润微薄,老板的孩子通常没有意愿接手家族企业。

The owner of Marshmallow / Naka-ku, Yamashitacho Marshmallow 的老板 / 横浜市中区
The husband-and-wife duo behind Coltrane Coltrane / Higashi-machi, Tosu Coltrane Coltrane 夫妻双档 / 鸟栖市东町
The owner of Rindo Jazz Cafe / Maehara, Honjo Rindo Jazz Cafe 的老板 / 本庄市前原
The owner of Birdland / Adachi-ku, Tokyo Birdland 的老板 / 东京市足立区

Japanese jazz bar owners would be more keen to pass on their businesses to another generation if they knew how incredibly rare their spaces are. Arneill says that owners are often surprised when he tells them that in their particular form such places exist only in Japan. “It’s ironic that so many of these places are vanishing, as there now seems to be a trend in other countries for vinyl-centered listening bars, many of which take the whole look and style from Japanese bars.” He mentions Spiritland in London and Rhinoceros in Berlin as examples.


如果日本爵士酒馆的老板们知道自己的空间有多么珍贵,他们会更热衷于把它传承给下一代人。Philip 说,当他告诉他们这样特定的地方只存在在日本时,他们的反应都非常惊讶。“讽刺的是,很多这些地方都在消失,因为现在其他国家似乎都流行着以黑胶为重点的酒吧趋势,其中许多却都采用了日本酒吧的外观和风格。”他举了伦敦的 Spiritland、柏林的 Rhinoceros 为例。

Miles / Setagaya-ku, Tokyo Miles / 东京市世田谷区

Not long after the Second World War, a fledgling pianist found herself in Chigusa, a famous jazz bar in Yokohama. At first she detested the genre, but after a record collector played Teddy Wilson’s “Sweet Lorraine” for her, she changed her mind. She sought out the only place she could listen to more, returning again and again, asking the owner to replay a particular section from her favorite albums or recommend new music. Toshiko Akiyoshi’s love for jazz deepened, and she went on to become one of the most influential jazz pianists of all time.

In the years to come, the only trace of what salarymen or aspiring musicians felt in these niche establishments may be relegated to photos like Arneill’s. The chatter of drunken conversation and the communal experience of listening to your favorite records in a room filled with like-minded jazz lovers is impossible to replicate in a still image, but as more of these bars and cafes begin shutting their doors, Arneill’s photography serves as a time capsule of sorts, preserving their memories.

A selection of prints from the project will be on exhibition at the Rhinoçéros jazz bar in Berlin from June 7th to June 29th.


第二次世界大战结束不久后,在横滨著名的爵士酒吧 Chigusa 有一位初出茅庐的钢琴家的身影。在这之前,她并不喜欢爵士乐。但在一位唱片收藏家的引导之下,她找到了唯一一个可以听到更多这种音乐类型的地方。她一次又一次地回来,要求老板从她最喜欢的专辑中重复播放一个段落、或是推荐新的音乐。秋吉敏子对爵士乐的热爱加深了,尔后她成为了有史以来最具影响力的爵士乐钢琴家之一。

在未来的岁月里,无论是支薪族或是有抱负的音乐家——人们在这些狭小空间里感受到的种种,可能只能在 Philip 的照片中找到残存的痕迹了。虽然这些酒酣耳热的交谈、和志同道合的爵士爱好者一起享受音乐的体验,是无法在照片中重现出来的,但在这些场所真正消失之前,Philip 的作品就像一只储存时光的胶囊,将专属于这些空间的回忆和意义流传下去。

该项目的部分照片,将于6月7日至29日在柏林的 Rhinoçéros 爵士酒吧展出。

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Website: www.tokyojazzjoints.com
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Contributor: Eugene Lee


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供稿人: Eugene Lee

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Art for Everyone 共享一面墙

May 20, 2019 2019年5月20日
Artist: Jaba / Photographer: Daniel Murray 艺术家: Jaba / 摄影师: Daniel Murray

Hong Kong’s Morris Hill neighborhood, dominated by government buildings and schools, is usually sleepy on weekends. Today, the gray, overcast sky adds to the stillness of the quiet Sunday morning, but the freshly painted walls are riotous and colorful, bursting with dynamic energy. Recently the city welcomed over 40 artists to participate in the week-long street art festival HKWalls, which is now in its 6th year. The paintings range from multi-story murals on major streets to human-scale paintings in side alleys. Some are abstract, some are hyperrealistic, some feature wallpaper-like floral patterns, and one even has a crocheted design woven into a chain-link fence.


香港的摩理臣山街区遍布政府大楼和学校,因而在周末往往显得静谧安祥。今天,灰蒙蒙的天空增添了星期天早晨的宁静,但新粉刷的墙壁五彩缤纷,充满了活力。最近,香港邀请了 40 多位艺术家参加为期一周的街头艺术节“HKWalls”,这已经是它走过的第六个年头了。这些画从大街上的墙绘到小巷中的人像画,应有尽有。抽象的、具象的、像墙纸一样的大花的,都有,还有一个甚至有编织成栅栏样的钩编设计。

Artist: Dezio / Photographer: Daniel Murray 艺术家: Dezio / 摄影师: Daniel Murray
Artist: Fluke / Photographer: Daniel Murray 艺术家: Fluke / 摄影师: Daniel Murray
Artist: Make and Do / Photographer: Ren Wei 艺术家: Make and Do / 摄影师: Ren Wei

The festival coincides every year with Art Basel Hong Kong, the Asian-edition of one of the world’s most famous art festivals. Street art and graffiti have long been a mainstay of Miami’s Art Basel, but until recently they were entirely unrepresented here. And that gap provided an opening for three enterprising people to create HKWalls.


香港艺术节每年都与巴塞尔艺术节同时举行,巴塞尔艺术节是世上最著名的艺术节之一。街头艺术和涂鸦长期以来一直是迈阿密巴塞尔艺术节的主要内容,但它们在这里完全没有表现。而这正好为三个有志之士创造了“HKWalls”的机会。

Artist: Wing Chow / Photographer: Daniel Murray 艺术家: Wing Chow / 摄影师: Daniel Murray
Artist: Wing Chow / Photographer: Ren Wei 艺术家: Wing Chow / 摄影师: Ren Wei
Artist: Wing Chow / Photographer: Daniel Murray 艺术家: Wing Chow / 摄影师: Daniel Murray

“One day while drinking at a local bar, I was bitching about the kind of events street artists were being asked to do,” says Jason Dembski, who runs HKWalls along with his wife Maria Wong and partner Stan Wu. “It was like these people would hear graffiti or street art was cool and that it would make their party cool. They didn’t care about the art at all. So me and Stan were like, why not just start our own event? We decided it had to be around the time of Art Basel, or Art HK as it was called then. That’s when all the art is happening, and there’s nothing graffiti- or street art-related, so we saw a gap. And the parties are all about being on the list and VIP access, so we wanted to throw something anyone could come to.”

They went ahead and put together a small first event, collecting in-kind donations like some clothing, a few dozen cans of spray paint for the artists, and some beer—just enough to make it happen without spending too much money. And while only about a dozen artists participated in that first iteration and mainly worked on street-level pieces, it got a lot of attention because of how novel it was.


Jason Dembski 和妻子 Maria Wong 及搭档 Stan Wu 一起经营着 HKWalls,“有一天我在当地的酒吧里喝酒,正好在抱怨街头艺术家被请去参加的活动形式,就好像是人们觉得听到涂鸦和街头艺术很酷,所以请他们现身会让他们的派对更酷。那些活动举办方的人们一点也不关心艺术。所以我和 Stan 就想,为什么不开始我们自己的活动呢?我们决定它必须是大约在香港巴塞尔艺术展的时候,当时还叫 Art HK。那时候,所有的艺术形式都在发生,却没有涂鸦或街头艺术相关的,我们因此看到了一个缺口。而且派对都是关于邀请媒体和重要人物的访问,所以我们想提出一些任何人都可以参加的东西。”

他们着手操办并举行了首场小型活动,收集捐赠比如衣服这类的东西,并为艺术家们准备了几十罐喷漆,还有一些啤酒——这都并不需要花太多钱就能完成。虽然只有大约十几位艺术家参与了第一次活动,主要也是小型作品,但由于它形式非常新颖,吸引了很多人的注意。

Artists: Katol & Man Luk (Left), Neil Wang & Wong Ting Fung (Right) / Photographer: Daniel Murray 艺术家: KKatol & Man Luk (左边), Neil Wang & Wong Ting Fun (右边) / 摄影师: Daniel Murray
Artists: Katol & Man Luk / Photographer: Daniel Murray 艺术家: Katol & Man Luk / 摄影师: Daniel Murray
Artists: Neil Wang & Wong Ting Fung / Photographer: Daniel Murray 艺术家: Neil Wang & Wong Ting Fun / 摄影师: Ren Wei

HKWalls has since exploded in size and notoriety, but Dembski, Wong, and Wu still make cultivating local talent a priority. One-third of the artists are always locally based, another third are from around Asia, and the rest are from overseas. They also try to encourage Hong Kong artists who haven’t explored mural painting to give it a shot, since the scene is so small. Dembski estimates that there are about 40 people actively doing illegal street art or graffiti in the city, and another 20 to 50 artists who frequently work on sanctioned murals. Each year they try and move the festival around to different neighborhoods in order not to paint over too many pieces from previous years.


自那时起,HKWalls 在规模和知名度上都出现了爆炸式增长,但 Jason 和妻子 Maria 及 Stan Wu 仍然把培养本地人才作为首要任务。三分之一的艺术家总是在当地工作,另外三分之一来自亚洲,其余的来自海外。他们还试图鼓励那些没有探索墙绘涂鸦的香港艺术家们去尝试一下,因为这个圈子太小了。Jason 估计,在这座城市里,大约有 40 人在积极地从事非法街头艺术或涂鸦,另外有 20 至 50 名艺术家被允许可以在墙面上涂鸦。每年,他们都会尝试着把这个节日搬到不同的区域,这样就不会和前几年的墙绘重叠。

Artist: Zmogk / Photographer: Ren Wei艺术家: Zmogk / 摄影师: Ren Wei
Artist: Melancholy / Photographer: Ren Wei艺术家: Melancholy / 摄影师: Ren Wei
Artist: Yopey / Photographer: Ren Wei 艺术家: Yopey / 摄影师: Ren Wei
Artists: Kringe, Anhz, & Portls / Photographer: Daniel Murray 艺术家: Kringe, Anhz, & Portls / 摄影师: Daniel Murray
Artist: Jasmine Mansbridge / Photographer: Ren Wei 艺术家: Jasmine Mansbridge / 摄影师: Ren Wei

These days, HKWalls attracts brand sponsorships from around the world and the festival is able to fly artists in, put them up in hotels, give them hundreds of cans of paint, and provide the heavy equipment needed for large scale works. This year they even rented a three-story building where they hosted parties, workshops, and art shows.

HKwalls is a nonprofit organization, and while it’s a full time job for the three for a few months out of the year, they don’t make any money from it. But they’ve started a for-profit business to handle all the event requests they get asked to do as a result of their growing notoriety. And the connections they make through these side events are in turn relied on for HKwalls later, so each side of the business reinforces the other.


这些天来,HKWalls 吸引了来自世界各地的品牌赞助,也开始请艺术家们从各地飞来,并且给他们提供几百罐油漆,为大规模的作品提供所需的设备。今年,他们甚至租了一栋三层高的建筑,在那里举办聚会、讲习班和艺术展览。

HKWalls 是个非盈利组织,虽然他们三个人一年中的好几个月在全职工作,但他们并没有从中赚钱。如今他们已经开始了以营利为目的的公司,来处理那些声名鹊起后找上门来的生意。而他们通过这些随着 HKWalls 建立的联系,也加强了对 HKWalls 本身的名气,两者互惠互利。

Artist: Priscilla Yu / Photographer: Ren Wei 艺术家: Priscilla Yu / 摄影师: Ren Wei
Artist: UUendy / Photographer: Daniel Murray 艺术家: UUendy / 摄影师: Daniel Murray
Artist: Kwan Clan / Photographer: Daniel Murray 艺术家: Kwan Clan / 摄影师: Daniel Murray
Artist: Jaba / Photographer: Ren Wei 艺术家: Jaba / 摄影师: Ren Wei

HKWalls even partnered with the government this year, which allowed them to paint on institutional buildings. “The Hong Kong Design Center approached us, because they’re pushing certain areas as design districts, and they asked us to do our festival in Wan Chai. They were instrumental in helping us find walls and get equipment,” Dembski says. But there were also some downsides to government-sponsored art. “It worked very well, but there was some censorship, and bureaucracy occasionally got in the way. We definitely see the value in what they bring, though, and want to work with them again.”

Such issues are common in Hong Kong, and not just in government partnerships. “People can be quite conservative here, so content that might not be controversial in other places ends up being problematic here,” says Dembski, who moved here from the US ten years ago. “We’ve turned down walls because they wouldn’t accept what we wanted to give them. It’s always a give and take, and we’re always pushing for more freedom. So the walls where they say, ‘do whatever you want,’ those are what we really like. But they’re difficult to find.”

Plan out your route to check out this year’s stunning murals with the HKWalls Painting Map.


今年,HKWalls 甚至和政府合作,在公共建筑上作画成为可能。“香港设计中心找我们,因为他们把某些地区作为设计区来推销,他们要求我们在湾仔举办节日。他们在帮助我们寻找墙壁和获取设备方面发挥了重要作用。” Jason 说。但政府赞助的艺术也有一些不利之处。“它运作得很好,但有一些审查制度,有时官僚作风也会妨碍创作。但我们确实看到了他们带来的价值,并希望再次与他们合作。”

这些问题不仅仅是在政府的合作关系中,在香港也很普遍。“这里的人们可能相当保守,在其他地方可能不会引起争议的内容,在这里却会有。” Jason 说,他是十年前从美国搬到这里的。“假如一些愿意提供墙的人不同意我们的创作方向,我们会拒绝画墙。这是相互的过程,我们一直都在争取更多创意上的自由。如果有人愿意提供墙壁,并让我们自由发挥的话,这是我们最喜欢的,但这种机会很难找到。”

如果你想在今年亲眼看看香港的墙绘盛况,可以点击进入 HKWalls Painting Map 查看和计划你的行程。

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Website: hkwalls.org
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Contributor: Mike Steyels
Images Courtesy of HKWalls, Ren Wei & Daniel Murray


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Website: hkwalls.org
Instagram: @hkwalls
Facebook: ~/hongkongwalls

 

供稿人: Mike Steyels
图片由 HKWalls、Ren Wei 与 Daniel Murray 提供

Ride or Die 疾速下的自由

May 15, 2019 2019年5月15日

It’s common for a photographer to devote themselves to a few specific genres of photography. Some may choose to focus on architecture or landscapes while others may prefer portraiture or street photography. But Hou Zitong, a 23-year-old Beijing native, has decided to point his lens at a niche subject matter: bicycles, or specifically, fixed-gear bikes.


通常,每个摄影师都会有自己专精的摄影类型或主题,有人侧重拍摄建筑或风景,也有人喜欢专门拍摄肖像或街头摄影。而 23 岁的北京摄影师侯子通则把镜头对准一个比较小众的主题:自行车,或者再具体一点,死飞自行车(Fixed Gear)。

Fixed-gear bicycles are bikes named for the fixed cog fitted on the rear wheel. This setup means that, unlike regular bikes with a freewheel mechanism, if the wheels are moving, the pedals are moving too, making coasting impossible. While it can be tiring to ride, a fixie’s appeal lies in its simplicity. With fewer moving parts, they’re lighter and sleeker than traditional bikes. Some riders even forgo brakes, which also frees them to perform maneuvers that otherwise wouldn’t be possible. (Brakeless bicycles are illegal in many areas, though some enthusiasts insist they’re safe.) In China the popularity of fixies has waned since its peak in 2013, though dedicated communities of riders still exist,


死飞以安装在后轮上的固定齿轮命名。这意味着不同于一般自行车的飞轮构造,如果死飞的车轮在移动,踏板也会跟着移动,使得它无法在踏板静止状态下保持滑行。虽然骑起来比较累,但死飞的魅力在于它结构的简洁。由于移动部件较少,它们比传统自行车更轻、更顺畅。有些车手甚至会选择不安装刹车,以获得更多操控上的自由,做到更多之前做不了的动作。(无刹车自行车在很多地方都是非法的,即使有些爱好者坚持它们是安全的。)在中国,死飞的热潮在 2013 年达到了顶峰。虽然现在热度有所下降,但仍然存在着许多活跃的死飞车手团体。

Hou is one of these devoted riders. He’s loved both photography and fixies for as long as he can remember. During high school, he was already cruising the streets and shooting whatever caught his eye. Surprisingly, though, the idea of aiming his camera at the cycling culture he loved didn’t come about until much later.

In his early days as a freelance photographer, financial uncertainties were a constant. On one particularly bad month without any jobs, he considered the unthinkable—selling his beloved fixie. “My income at the time all came from photography jobs, but freelancing as a photographer, opportunities were sparse,” he says. “I remember I only had 300 RMB in my bank account, and I had no idea what I’d do after that was gone, but I didn’t want my family to think photography wasn’t a viable profession. So I thought about selling my bike. But I wanted to remember it, so I decided to try to get some cool snaps of it. They turned out rad as fuck, and that’s how it all began for me. I actually didn’t even end up selling my bike. Looking back now, it’s hard to imagine that I even considered it. Maybe it was some sort of divine intervention that was guiding me.”


侯子通本身就是一位狂热的死飞车手。他从小就热爱摄影和死飞自行车。早在高中时期他就很喜欢上街溜达,拍摄一切让自己感兴趣的事物。尽管如此,他却是到很久之后才萌生拍摄自行车文化的想法。

早期担任自由摄影师的时候,侯子通的经济收入很不稳定。在情况特别不好的月份里,他甚至连一份工作都没有。他不得已开始考虑那些难以想像的出路,例如卖掉自己心爱的死飞。“我当时完全靠摄影谋生,但实在没什么活儿。我清楚记得银行卡里只剩 300 人民币,我不知道花完这些钱后该怎么办。我不想向家里拿钱,让家人觉得摄影这个行业不可行,所以我只好考虑卖掉我的死飞。”他说,“为了留念,我想为它拍一张帅点儿的照片,结果拍完发现实在他妈太帅了。一切就从这里一发不可收拾,当然最后车也没卖。回想起来,我到现在也没法理解为什么那天会有卖掉死飞的想法。可能是暗中有某种力量在指引我走上拍摄死飞这条路。嗯,我想是这样的。”

Despite how niche fixies are in the world of sports photography, Hou’s decision to follow his heart has paid off. In recent years, he’s landed opportunities to work with cycling brands around the world, including Taiwan’s nabiis and Spain’s Dos Noventa. These opportunities have given him the chance to visit—and more importantly, ride in—cities he’s never been to before. “Shooting fixies has been a bridge of sorts for me,” he says. “It’s allowed me to go to different places and meet a lot of other riders.”


尽管死飞在体育摄影行业里非常小众,但侯子通始终坚持听从自己内心的声音,在最艰难的时候也没有放弃,最终他的坚持有了回报。近年来,他获得了和世界各地自行车品牌合作的机会,包括台湾的 nabiis 和西班牙的 Dos Noventa。这些机会也让他到访——或是更重要的——骑行在多个不同城市中。“拍摄死飞对我来说就像搭起一座桥。”他说,“它带我去到很多不同地方,认识很多车手。”

While the focus on cycling culture is a hallmark of Hou’s work, what makes his photography truly stand out is the sense of unfettered freedom that’s captured in every frame. His snapshots of riders weaving through traffic, towing themselves on moving trams, and bombing down steep hills encapsulate both the dynamic energy of cities in motion and the thrill of moving with the ebb and flow of that energy. It’s the same energy that he relishes every time he’s out riding, and the same energy that’s kept him infatuated with the sport for over a decade.

“You get to enjoy the city in different ways depending on when you ride,” he says. “In the daytime, with traffic and pedestrians, it’s like a constant tussle between you the city, but at night, you can enjoy the calm. Without cars, it’s just you, your music, and the rhythm of your peddling. But no matter the time of day, the best thing about fixies is the sense of freedom when you ride. It makes me feel like I own the city. Believe me, it’s something everyone should experience.”


虽然专注拍摄自行车文化是侯子通的一大特色,但真正让他的摄影脱颖而出的是,每一张照片中捕捉到的那种无拘无束的自由。在他的作品中,车手穿梭在繁忙的交通车流里,随着电车牵引骑行,疾速冲下陡峭的山坡,既呈现了城市中蓬勃的动态能量,也展现出跟随这股动能自在起伏移动的快感。这样的快感让他很享受每一次骑行,也因此在十多年间一直不减对这项运动的热爱。

“在不同时候骑行,你就能享受到不一样的感觉。”他说,“白天拥挤的时候,我觉得我在和这充满框架线条的城市作对;深夜骑的话,就能享受到完全的宁静。没有车,只有音乐和你踩动踏板的韵律。无论什么时候,对我来说骑死飞最大的乐趣就是让我感到自由。骑上死飞,就好像骑上了整座城市。相信我,你也会想体验一下这种感受。”

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Contributor: David Yen


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网站: www.houzitong.me
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供稿人: David Yen

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Darkness Upon Darkness 众妙之门

April 29, 2019 2019年4月29日

From far away, the imposing darkness of Hu Liu’s works is mesmerizing. You feel you’re standing before a jet-black wall: everywhere your eyes reach is somber and grave.


 

远远看胡柳的作品,你很容易为那样铺天盖地的黑色而吸引,就好像迎面一座黑墙,目力所及,皆是肃穆。

Wave (2016) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《浪》(2016) 110 x 260 厘米 / 纸本铅笔

But this Beijing artist says her works aren’t black, they’re xuán. The word can mean “dark” or “mysterious,” and it evokes the philosophy of Laozi and Zhuangzi. “Xuán is remote, and it also means ‘hidden,'” she explains. She then quotes from the Dao De Jing: “‘Darkness upon darkness: the gateway to wonders.'”


但胡柳说,这不是黑,而是“玄”。玄,有老庄哲学的意味,“老子说,玄而又玄,众妙之门。‘玄’,幽远也。又有‘隐’的意思。”

Close up of Sea (2013)《海》(2013) 局部
Close up of Sea (2013)《海》(2013) 局部
Sea (2013) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《海》(2013) 110 x 260 厘米 / 纸本铅笔

In this world drawn in xuán, Hu hides her works in the folds of time, but they reveal themselves with the changing light. “This isn’t a world that any color can depict,” she says.


而在“玄”所描绘的世界里,胡柳仿佛就让作品藏身于时光之中,随着时间和光线的变化在隐中自显,“这不是任何一种颜色可以囊括的世界。”她说。

Close up of Wave (2015)《浪》(2015) 局部
Close up of Wave (2015)《浪》(2015) 局部
Wave (2015) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《浪》(2015) 110 x 260 厘米 / 纸本铅笔

Xuán is not black—or rather, it’s not only black.

By design, elements on Hu’s canvases seem to appear and disappear. The entire surface is drawn stroke by stroke in pencil—every plant, every petal, every seascape—line by line, overlapping endlessly. The dense streaks of graphite call you closer, beckoning your eyes to trace the light and shadows, to move point by point and envision its compositional structure. Only when you’re close enough can you perceive the visual intricacy you expect to find in a painting.

Millions upon millions of pencil strokes: to outside observers, this creative process looks almost like a work of religious devotion. For Hu, a drawing isn’t finished just because it looks finished—it often stretches out even more boundlessly. “It’s like crossing the river to the farther shore: it’s hard to judge how long it will take. You have to discover whether the water is shallow or deep, warm or cold.”


 

玄不是黑,或者说,绝不仅仅是黑。

这似乎是胡柳故意设计的一场“显与隐”的游戏,它邀请你一步步向前,邀请你的眼睛跟随光影,一点一点移,再试图在脑海中构建它的模样——原来这一面颜色,全都是用铅笔一笔一笔绘成,一株植物,一枚花瓣,一片海,所有的笔触层层交叠,未知止尽。你必须足够接近才能构建出一幅画想象中应有的视觉图像。

千万次铅笔的涂抹,这种创作的过程在旁人看来,几近修道。对胡柳而言,作品亦非在看似结束的时候就结束了,而开始更为绵延不绝,“更像是渡河至彼岸,所需时间很难度量,水深水浅冷暖自知”。

Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成

Staring at Hu’s works, you feel you’re plunging into the black depths of the canvas, subject to the swell and ripple of every stroke. When you’re overwhelmed and look up again, wholeness and clarity appear. Only then do you see why Hu calls this color xuán: the picture is still jet black, but all of the details flash through your mind, and what you see becomes what you think.

“If I’m trying to convey something, the only way to see it is to observe the work up close, face to face. The viewer has eyes, the viewer doesn’t need answers, the viewer can discover them on her own,” she says. “Beckett wrote, ‘The artistic tendency is not expansive, but a contraction, and art is the apotheosis of solitude.’ To me, that rings true.”


 

极尽细致地观看,就像一个猛子扎进胡柳笔下的黑色浪潮里去,体验每一笔的波澜。等某一刻疲惫了,再一抬头,那种全面和了然就出现了。这时候,方才大抵明白为什么胡柳把它叫做“玄”——画面还是玄黑一片,然而所有的细节都映入内心,所见即所思。

“如果说我试图在传达什么,那么和作品面对面靠近作品本身,观看是唯一的途径。观众有自己的眼睛,观众不需要答案,观众自己会去发现。”胡柳说:“‘艺术的倾向不是外露,而是一种收缩。艺术是孤独的入圣加冕。’这是贝克特的话,我非常有同感。

Perhaps the real language of an artist is their work. Only when standing before a work of art can a viewer find resonance or contact with its creator. “Through observation, a work of art allows us to feel the intangible,” Hu says. “The most powerful way to be heard isn’t to babble incessantly but to be silent. It’s much more effective than any words.”

To keep up to date with upcoming exhibitions or works from Hu Liu, visit her ShanghART Gallery page.


或许对创作者而言,真正的语言永远是作品,人们只有直面作品,才能与艺术家产生交流和共鸣。“绘画,通过观看这一途径使我们触及不可见,它的方式比一切话语都更加有效得多。”毕竟,胡柳说,“最有效的发声不是滔滔不绝而是沉默,”

想持续关注胡柳的展览和作品信息,可点击浏览香格纳画廊官网

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Contributor: Chen Yuan
English Translation: Allen Young
Photographer: David Yen
Additional Images Courtesy of Hu Liu


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供稿人: Chen Yuan
中译英: Allen Young
摄影师: David Yen
附加图片由胡柳提供

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