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No Man’s Land 废墟上的狂欢

June 26, 2020 2020年6月26日

You veer off a busy street and walk through an empty parking lot littered with debris. The noise of traffic disappears as you step deeper into a dark alleyway. You knock on a nondescript metal door and a doorman emerges to check for your name on a list. Behind him, music thumps from within. He lets you enter, and turning the corner, you’re immediately hit with aggressive barrages of electronic dance music. In the dead center of one room, a ceiling is partially caved in and the cascade of rainwater falling through almost looks like an art installation. Projections flutter on walls in glitchy black, white, and red, while lasers plaster intricate patterns on the walls full of gaping holes; and Egyptian-themed artwork leftover from the space’s former life as a commercial nightclub can still be found throughout. This is No Man’s Land, a rave organized by Jakarta’s Slowdeath Mobile crew.


从喧闹的街道转身步入满是杂物的荒废停车场,穿过一条昏暗的小巷,汽车噪音在耳边渐渐消失。一扇不起眼的金属门立在面前,听到敲门声的守卫打开大门,在他身后,传来了砰砰作响的低音。进门前需要在名单上确认你的名字,转眼间,你会被气势汹涌的电子舞曲所包围。在房间的正中位置,部分天花板稍稍塌陷,滴落的雨水让整个空间看上去像是一个大型的装置艺术。投影仪的光束拍打在坑洼不平的墙面上,用黑、白、红投放着近乎故障的复杂视觉效果。四处看看,你还会看到埃及主题艺术品,它们是曾经商业俱乐部遗留下来摆设。这里是 “No Man’s Land”,是由雅加达 Slowdeath Mobile 团队组织的一场电子音乐派对。


Ofri at No Man's Land

“When we were finished setting up in the space, it reminded me of a zombie; technically still dead, but risen to serve a greater purpose,” laughs the founder of Slowdeath Mobile, a mysterious individual who prefers to go by Monkey Man. There were about 100 people of all types in attendance, ranging from punks dressed in leather, to prep kids in smart-casual wear, to more daring, fashion-conscious types. Any type of electronic music is welcome, but they tend to stick to sounds shunned by mainstream clubs such as experimental, breakcore, gabber, and techno. For the past year and a half, Slowdeath has hosted half a dozen of these illicit raves, popping up in spaces like shuttered clubs and empty restaurants. The team, which consists of six people, finely curates music, art, visuals, and the crowd for a holistic experience. They also frequently partner with Convert Textured and Blanco Benz Atelier, two art collectives who handle event visuals and art exhibitions.


“布置完整个空间后,这个地方让我想人死而复生的传说;其实原本已经荒废,现在却又重新站了起来,有了新的用途。” Slowdeath Mobile 创始人笑着说道,一个自称为 Monkey Man 的神秘人。来参加派对有上百人,他们形形色色,有身穿皮革套装的朋克仔、有一身醒目休闲服的年轻人、也有造型大胆的新新人类。这里欢迎任何类型的电子音乐,但更倾向于不同于主流俱乐部的地下音乐,比如实验(Experimental)、碎拍核(Breakcore)、超速舞曲(Gabber) 和铁克诺(Techno)音乐。在过去的一年半中,Slowdeath 曾举办过六场这样的地下电子音乐派对,每次活动会在一些废弃俱乐部或餐馆里举办。该团队由六人组成,他们为舞客们精心策划音乐、艺术以及视觉效果,可谓一套全方位的派对体验。

Xin Lie at No Man's Land

The illegal rave scene can be traced back to the 1980s and have been central to the development of several electronic music scenes. Detroit techno was born in the abandoned warehouses left behind by fleeing industry; German techno blossomed in the empty East Berlin homes newly accessible by the collapse of the Berlin Wall; and in England, acid-house parties marked the Second Summer of Love, which then developed into raves that sprawled across the rural hinterlands—many even practiced Anarchist ideas of social organization like the temporary autonomous zone.

Slowdeath is directly inspired by this rich history and applies it to the unique circumstances of their country. “In a place like Indonesia, you’ve got religious fundamentalism at one extreme and the fatigue of paralyzing work hours in the name of vast consumerism at another,” says the founder. “Established venues are capitalist ventures whose sole purpose is to make as much profit as possible, commodifying artists and exploiting newness in pursuit of a fat income stream. They’re relentlessly targeting youth with various new products in the rampant pursuit of profit.”


地下电子音乐派对最早可以追溯到 1980 年代的芝加哥浩室(Chicago House)和底特律铁科诺(Detroit Techno)音乐,那段时期对电子音乐的发展至今都仍有非常重要影响。而底特律铁科诺(Detroit Techno)本身就诞生于当地工业撤走后留下的废弃仓库中。当酸性浩室(Acid House)漂洋过海来到英国,焕发了当地 “爱的第二个夏天(Second Summer of Love)”,引发了数场对抗政府、爱与和平的 “锐舞”(Rave)派对;而柏林墙倒塌后,人们得以进入那些闲置的东柏林房屋尽情摇摆,德国铁科诺、出神(Trance)由此蓬勃发展。这些历史成为了 Slowdeath 的灵感启发,并被他们应用于本地的电音发展。Monkey Man 说:“在印度尼西亚这样的地方,一方面是激进的宗教原教旨主义,另一方面是普遍的消费主义导致的无休止的营业。好的商业场所都是资本主义企业,他们的唯一目标就是获取尽可能多的利润,将艺术家商品化,为了赚钱,一味追求新奇,不断向年轻人推出各种新产品,只为了疯狂赚取利润。”

Rully Shabara at No Man's Land

In the face of all this, Slowdeath asked themselves this: why not underground raves? Why not a liberated zone? Why not a free party? Slowdeath is meant to harbor outcasts and nurture alternative ideas. “We’re creating a different reality where the possibility of a pure and new idea could be born in the not so distant future,” says Monkey Man. “We want to discover what’s possible in the absence of a transactional environment.” In the rave, anything they imagine is brought to life, if only for a night. “It’s a participatory act between the performer and the audience where they craft their own reality.”


面对这一切,Monkey Man 心想为什么自己不能举办地下的电音派对呢?为什么不能开设一个完全开放的空间,供大家免费跳舞?Slowdeath 的宗旨是接纳社会上的各类人群,为独特的想法提供平台。他说:“我们提供了现实的另一种可能,为那些蓄势待发的创意提供一个孵化的场地。想看看,没有商业交易的环境会带来怎样的可能性。”在派对中,他们想尽办法将想法变为现实,即便只有一个晚上的时间来发挥。“这是表演者和观众的共同参与的活动,由他们打造属于自己的时空。”

Kuntari at No Man's Land

The physical realities of hyper-dense Southeast Asian cities pose their own challenges that are distinct from the West where the illegal rave was born. “In Indonesia, especially big cities like Jakarta, there’s no place that’s really abandoned,” Monkey Man says. “There’s always someone keeping an eye on the place. But they’re not formal security guards, they’re often more like territorial thugs. We call them preman, and an organized group of them are called ormas.”

To throw their events, the Slowdeath team needs to earn the trust of whichever premans are guarding the space they’re eyeing. they actually relish this part of the process, saying that it forces them to interact with people beyond the art world. “As artists, we tend to be so focused on ourselves that we slowly grow detached from real people. We’re so good at crafting art but so dull when it comes to dealing with real people. We’ve become elitist, placing art above people.” 


不同于欧美那些地下派对的起源地,高人口密度的东南亚城市面临着截然不同的挑战。Monkey Man 说:在印尼,尤其是像雅加达这样的大城市,很难找到完全荒废的场所,每个地方都会有人看守。很多时间,这些人并不是什么保安人员,而是一些抢占地盘的黑帮混混,我们称他们为 ‘preman’,有组织者的黑帮团体叫做 ‘ormas’

要举办活动,Slowdeath 团队就要获得这些看守地盘的黑帮的信任。Monkey Man 实际上很喜欢这个过程,因为这迫使他们与艺术圈以外的人互动。“艺术家常常过于专注于自我,以至于逐渐脱离现实世界中的其他人。我们擅长艺术创作,但与其他人打交道时却很笨拙。这样的艺术家已经变成社会的精英人士,将艺术置于人们之上。”

The ability to sidestep commercial and social restraints to independently curate ideas, aesthetics, and values is one of the most liberating aspects about these types of scenes and events. But there are real risks in the pursuit of this freedom, and it’s impossible to sidestep reality entirely. The police pose a very serious risk. And if organizers are not careful, lives are at risk as well. In California, dozens died in the Ghost Ship fire, and in Brooklyn, it turned out a warehouse was contaminated by toxic waste. It’s not to be taken lightly. 

“People risk themselves to be a part of this because it’s profound, there’s a reward beyond profit,” says the founder. “There’s a deeper personal meaning here and a growing sense of community”


对于这些地下派对和活动来说,最自由的地方在于规避商业和社会的限制,独立策划各种创意、美学和价值观。但是追求这种自由也伴随着一定的风险,且不可能完全脱离现实。譬如一个很大的威胁就是警察。另外,如果组织者不够谨慎,也可能导致人身安全的问题。在加利福尼亚, “幽灵船”(Ghost Ship)活动现场曾有数十人在大火中丧生;在布鲁克林,有一个仓库曾被有毒废物污染,不少人为此付出代价。所以绝对不能掉以轻心。

Ayudhia 说:“人们之所以冒着危险来参加我们的派对,是因为这些派对他们来说具有非凡的意义,他们可以获得金钱以外的收获。有更多人在这里找到属于他们的意义,同时一股愈发强烈的社区感正在进一步蔓延。”

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Website: www.slowdeathmobile.com
Instagram
@slowdeathmobile

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li
Images Courtesy of Slowdeath Mobile


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

网站: www.slowdeathmobile.com
Instagram
@slowdeathmobile

 

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

Spray It, Don’t Say It 在墙上喷个名字给你看看!

June 19, 2020 2020年6月19日

In an empty lot littered with piles of crumbling concrete, the name Zeins pops out with blazing colors and a jolt of motion. Based in Indonesia, the seasoned graffiti writer cavorts around his hometown of Yogyakarta, leaving behind his name and brightening dull walls with a graffiti style that changes from spot to spot. Sometimes, he might paint angry, 90s influenced burners; other times, pieces are more light-hearted, drawn in rubbery lines with a carefree energy.


在堆满了混凝土碎石块的空地上,巨大的彩色涂鸦拔地而起,炫然的色彩与强烈的动态感,让 “Zeins” 的字样十分抢眼。Zeins 就是创作这幅涂鸦的人,这些年来,这位才华横溢的涂鸦印尼艺术家四处游走在家乡日惹 (Yogyakarta),留下风格不尽相同的涂鸦签名,为灰蒙的墙壁上增添一抹明快。他的作品有时带着愤怒,像是受到 90 年代影响的 Burner(超劲作品,带着几分精细,需要耗费大量时间完成);有时画风一转,变成无忧无虑的线条,如同橡皮筋一样跳跃在墙壁上。

Zeins says he never felt inclined to follow graffiti’s pivot into street art, which saw the rise of more illustrated characters and abstract designs. His focus on lettering is simply what he enjoys. “Graffiti feels freer to me,” he explains. “Maybe it’s just because graffiti is what I started with. I still like to find  new ways of bringing letters to life.” When he’s not shaking a spray can, his typographic works also extends to canvases and digital designs.


Zeins 说自己从不刻意追随街头艺术的潮流,譬如最近越来越流行的人物插画和抽象风格;相比于前者,他更专注于字母涂鸦的创作。Zeins 解释说:“涂鸦对我来说更自由些,也许只是因为我最早接触的艺术形式就是涂鸦吧。到现在我还会享受创作新字体的过程。” 这份对字体艺术的热爱也逐渐延伸至 Zeins 涂鸦以外的创作上。除了使用五花八门的喷漆罐以外,他还会参与到设计和布面画的工作中。

“When I was in middle school, I was a delinquent,” Zeins laughs, recalling how he got his start in 2008. “It was just for fun at first. My parents were not happy. There were already writers here and some of my friends got me into it. Writers from Europe and the US were a big inspiration, too.”


回忆起在 2008 年刚接触涂鸦,Zeins 笑着说:“我读初中时是一个不良少年。最开始只是为了好玩,父母也不喜欢我涂鸦。当时身边朋友已经有一些涂鸦艺术家,是他们带我上的道儿。早期那会儿,欧美涂鸦艺术家对我们影响很大。”

Although Jakarta got an earlier start than the rest of Indonesia and the graffiti scene there remains the most developed in the country, Yogyakarta has always had a strong reputation for visual art. “There were already so many artists here, it’s not surprising we ended up with a strong graffiti scene,” he says. “It’s pretty chill here. It’s easy to find spots to paint and the writers tend to respect each other. Lots of teenagers are getting interested, too, so it’s still growing.”


在印尼,雅加达是涂鸦艺术起步最早也是最成熟的城市,但日惹的视觉艺术一向享有很高的声誉。他说:“这里本来就有很大的艺术家群体,所以这儿的涂鸦圈子能发展到现在这样一点也不奇怪。在这里,大家对涂鸦都比较包容,很容易找到创作的场地。现在,有越来越多青少年的加入,涂鸦艺术家之间也相互尊重,所以这个圈子还在不断壮大中。”

Tags and throw-ups are a common sight in the city nowadays and more kids are getting into it, but  Zeins is no longer interested in sneaking around at night to bomb walls. “Getting permits isn’t hard at all. Sometimes we don’t even need to ask for permission and can just paint freely in the afternoon.”

Since graffiti is still relatively new in the city, everyday people don’t have hard-set opinions on it. “Some people actually feel like it’s meaningful and think it cheers things up,” he says “But that’s definitely not true for everyone.”


如今,Tag(艺术家签名)和 Throw-Up(泡泡字)在城市里随处可见,有越来越多小孩对这种艺术渐渐产生好奇。Zeins 说自己已经完全没有必要再趁夜晚偷偷摸摸地去涂鸦,“申请涂鸦许可证一点都不难,有时候我们甚至都不需要去申请许可,也可以整个下午在墙上涂鸦。”

Zeins 说,由于涂鸦在当地仍然算是新兴的艺术,大部分人都对涂鸦没什么大意见。他说:“一些人确实觉得涂鸦是一件令人振奋、很有意义的事情,但并不是所有人都这样想。”

Like our stories? Follow us on Facebook and Instagram.

 

Instagram@zeinsone

 

Contributor: Mike Steyels
Photographer: Amino Birahmatillah

Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Instagram@zeinsone

 

供稿人: Mike Steyels
摄影师: Amino Birahmatillah

英译中: Olivia Li

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Happy Kawaii Friends 快乐水下大观园

April 8, 2020 2020年4月8日

It’s not often that you see a starfish vengefully spanking the exposed butt of another, but in the universe of Happy Kawaii Friends, anything is possible. This animated matrix of alcoholic and sexually suggestive sea creatures comes from the mind of Taiwanese animator Mao Mao, a former commercial animator who’s brought a bawdy aquatic world to life.


快看,一颗苦大仇深的海星正拍打着同伴的屁股。这样的场景或许并不常见,但在动画 《Happy Kawaii Friends》的世界里,任何事都有可能发生。这片纸醉金迷的海洋大观园来自台湾动画师毛毛的手笔,而作为一位前商业动画的从业者,他现在正要向你展示一个荒淫无度的水下生物世界。

In his short cartoons, a gang of pastel-and-neon characters parades around against a soundtrack of overly cheerful, canned electronic music. There’s a unicorn named Xiansen who ejaculates rainbows from his horn, which droops flaccidly when he’s scared or nervous. There’s Happy Limb, the third leg of an alien who became sentient after being surgically removed. And there’s Xiongdi, the bully starfish covered in scars and tattoos. Welcome to Happy Kawaii Friends time!


在他制作的卡通短片中,一帮娇皮粉嫩的海底生物在欢快的电子配乐下招摇过市。其中有一只名叫先森的独角兽,它头顶上的角能喷射出彩虹,但也会因为惊吓或紧张而变得萎蔫;快樂肢” 则是一种奇怪的外星生物,它的第三支腿在切割之后获得了感知能力;海星是当之无愧的恶霸,它浑身布满了伤疤和纹身,你可以管它叫兄ㄉㄧˋ(台湾方言,意为兄弟)。与这帮嗔怪可人的家伙们为伴,共度美好时光!

 

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Mao Mao got the idea for Happy Kawaii Friends while working at an advertising agency. Given free rein to create an ad for an adventurous client, he dreamed up a psychedelic, sexually charged cartoon featuring bees with stingers poking out from their exposed bottoms, queuing up to drink the nectar-blood of a naked man in a flower bonnet. The ad was a hit, and a flood of positive feedback from fans and colleagues motivated him to start an Instagram account to upload his work. As his following grew, he began receiving more and more commercial work, which eventually led him to quit his job and focus solely on Happy Kawaii Friends.


早在毛毛还在广告公司上班的时候,他就有了创作Happy Kawaii Friends》系列的念头。一次机会,毛毛接手了一个勇于冒险的客户,于是他充分发挥想象力完成了一篇广告。动画中的蜜蜂被赋予了一种性感的存在,它们光着屁股露出蛰针,整齐地排在花帽子裸男的面前,痛饮男人的鲜血。

广告推出后很受欢迎,粉丝和同事们好评如潮。之后,毛毛决定开设一个 Instagram 账号,专门上传他自己的作品。随着关乎人数的上升,他收到的商业合作项目也越来越多,这让他不得不辞去广告公司工作,一门心思放在 Happy Kawaii Friends 账号上面。

Mao Mao’s immediate goals are modest: he simply hopes to keep earning money doing something he enjoys. But eventually, he’d like the project to become more meaningful and touch on contemporary issues. “Gender issues are something I’m very interested in,” he says. “I support feminism and hope to explore the issue more in my animation.”

He’s already begun tackling topical issues, as in a clip supporting same-sex marriage. “It’s uplifting to see Taiwan pass the marriage equality law,” Mao Mao says. “Even though there are a lot of people against gay marriage, especially the more conservative, older generation, I believe that as time goes on, more and more people will begin to understand the importance of respecting the beliefs and lifestyles of minority groups.”


毛毛当下的目标是忠恳的:能用自己喜欢做的事情来赚些钱。但后来,他更希望为作品赋予内涵,触及当代社会议题,他说:“性别,其实就是我个人一直在关注的主题之一。我是女性主义的支持者,如果未来有合适的方式,我也可以透过《Happy Kawaii Friends》向大家传递我所关注的观点与看法。”

其实,他的作品已经开始了对社会议题的探讨,例如作品中支持同性婚姻的片段,他说:“台湾能够通保障同志人权的法律,我感到非常荣幸。虽然台湾仍然有不少人反对同志婚姻(尤其是较保守的长辈),但我相信随着时间的推移,在未来他们还是能够理解到维护少数人群的必要性。”

 

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The Happy Kawaii Friends are more than a little homoerotic, but Mao Mao says that’s not exactly his intention. “The characters I draw are pretty much only male, so I can understand why the art may seem gay. Most of my creatures, in some way or another, are jokes about masculinity and the male anatomy. But I welcome the LGBTQ+ community to interpret my works in their own way.”


尽管《Happy Kawaii Friends》看起来很有同性的意味,但毛毛说那并不是他的本意。他说:“可能是因为我画的角色都以看似男性的生物为主,也或多或少都有些关于男性特征的玩笑隐喻,所以在某种程度上会联想联想到同志主题。但我支持 LGBTQ+ 群体,也欢迎他们用自己喜欢的方式来解读我的作品。”

For all its unabashed sexuality, Mao Mao’s series is less about eroticism than the joy of all things internet-related. Memes are a big inspiration, and Mao Mao points to the Yaranaika and Piper Perri memes and ahegao expressions as prime examples. “Even though some of these were originally meant to be pornographic, once filtered through the internet, they morphed into something different,” he says. “I find it interesting that through dissemination, they lost their erotic associations and became something more mischievous. It’s something that I want to replicate in my work.”

Intentional or not, the sexual overtones of Mao Mao’s animated clips are undeniable. But the Happy Kawaii Friends Instagram account has yet to be reported for explicit content. “I think it’s because my goal is to share my interpretation of kawaii with people,” he says. “Sometimes I’m a little sad that it hasn’t happened yet.”


而对于那些不加掩饰的性元素而言,网络中天花乱坠的乐趣似乎是毛毛更关注的方面。网上各种段子和表情包都是毛毛最大的灵感来源,他指出网络上的段子 Yaranaika Piper Perri 以及表情 Ahegao 就是首当其冲的范例。

“Yaranaika” 出自日本 1987 年同志漫画《瞎搅和的技术》中人物 Takakazu Abe 的口头禅,如今 Yaranaika 已经成为日本网络上同志的代号;“Piper Perri“ 是一位成年影片的女主人公的名字,在某部影片中,坐在沙发中的她被身后五位黑人男性演员团团围住,而后被网络恶搞,表示压倒性问题到来之时故作镇定;“Ahegao” 是日本情色作品中的术语,通常指女性在性交时的呻吟和夸张的面部表情。

毛毛说:“这些段子和表情虽然本身由色情而来,但当他们成为网络语言后便被赋予了另一层含义。网友们并不会因为词语原本的意思(情色方面)而去分享它们。我觉得这种明明是由情色而来的东西,到最后却失去了它原本的意涵变成纯粹的恶趣味,其实是一件很有趣的事。我希望把这些内容移植到我的作品当中。

不管是有意还是无意,毛毛动画中关于性的色彩是不可否认的。但 Happy Kawaii Friends 至今也依然没有被任何人举报。他说:“作品的目的还是希望为大家诠释我对 “可爱(Kawaii)” 的理解。居然到现在还没被人举报,我也觉得有点纳闷儿。”

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Instagram: @happykawaiifriends

 

Contributor: Mike Steyels
Chinese Translation: Pete Zhang


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供稿人: Mike Steyels
英译中: Pete Zhang

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8 a.m. 卡车背上的人生

April 1, 2020 2020年4月1日

Thamarong Wanarithikul leaves his house at eight in the morning to take the Bangkok Skytrain to work. One day, while crossing a pedestrian bridge, he saw a group of men sleeping in the back of a truck that passed right below him. He took a picture with his phone and continued on his way.

That was the first image of 8 a.m., a series of more than 3000 photographs of people commuting to work on the backs of pickup trucks taken from the same pedestrian bridge. Wanarithikul would stick his head out and point his camera downwards, capturing his subjects from above. The striking result is a cross between candid photography and social documentary, exposing the harsh lives of Bangkok’s workers.


Thamarong Wanarithikul 每天早上八点从家出门,然后搭乘曼谷的架空列车上班。某天,正当他穿过人行天桥时,发现一辆载满人的卡车从桥下通过,那些人正在卡车的货架上睡觉。他用手机随手拍下这一幕,转头继续前行。

这是《8 a.m》的第一张照片,而整个系列共有 3000 多张照片。Thamarong 用镜头定格住工人坐在皮卡车后面上下班的景象,所有照片都拍摄于同一座人行天桥上。拍照时,Thamarong 探出身子,将相机瞄准下方,按下快门。这些令人印象深刻的照片即是抓拍,同时带有一定社会纪实性,是曼谷工人生活的真实写照。

In his photos, only a few of the pickup trucks have protective bars or improvised benches. Usually workers sit on the floor, crowded against each other and trying to sleep. When there’s room, they stretch out on the floor, and when there’s not, they get unavoidably entangled in each other’s arms and legs. They often also share space with all kinds of tools—the clearest indication of who they are.

“Based on these clues, I can only assume, but many of them seem to work in construction, as you can see from the helmets and toolboxes,” Wanarithikul says. “You also see things that could relate to plumbing, catering services, delivery services, or similar things.”


照片中的皮卡车,只有少数几两装配有安全防护栏和简易长凳。大多时候,工人只能席地而坐,相互靠在一起勉强入睡。人不多的时候,他们还能平躺下来;但只要人一多,必然会摩肩接踵。工人的旁边还常常摆满各种工具,让他们的身份看起来一目了然。

“我只能根据这些线索来推测,从头盔和工具箱来看,他们大多数人应该都在工地上班。”Thamarong说,“还有一些看起来像是从事管道、餐饮、送货或其他工作。”

He believes that many of them are Burmese migrants who have crossed the border to work in Thailand. Most likely they hold residency permits, because the government is making efforts to formalize their status. But the trucks belong to the companies they work for, and it’s illegal for them to commute this way. “The government turns a blind eye, but if there’s an accident, these people will fly out of the trucks.”

With the high costs of living in central Bangkok, these workers probably travel from outside the city, from places with no access to public transportation. This is a sobering thought: it means they’ve already had a long journey from their homes.


他认为,照片中许多人都是来泰国工作的缅甸移民。他们中大多数可能持有居留证,因为政府正在努力合法化他们的身份。但是卡车属于公司,以这种方式上下班显然是非法的。“政府对此视而不见,一旦发生事故,这些人可能会从卡车上摔下来。”

由于曼谷市中心的生活成本高昂,这些工人很可能都住在市区外面,那里并没有可以乘搭的公共交通。也就是说,他们从离开家出发到拍摄的时间点,已经坐了很久的皮卡。

After going back to that same bridge repeatedly over the course of a few months, Wanarithikul began approaching local galleries with his photos. For a long time, he received no answer, until one day, he heard from Manit Sriwanichpoom, a well known local photographer and the owner of the prestigious Kathmandu Photo Gallery.

“Manit noticed that some of my photos were of the same truck, and with the same people. I had realized that before, but it was never my selling point. It was he who told me to tell the story of these people, day after day,” he says.

With a new focus, Wanarithikul began to stand on the bridge for more than 45 minutes every day on his way to work. Because traffic is particularly bad at this hour, he could work on his framing and make interesting observations.


连续拍摄了几个月后,Thamarong 带着这些照片,联系了当地画廊。很长一段时间,他没有得到任何回应,直到一天,他收到 Manit Sriwanichpoom 发来的讯息。Manit 是当地一名著名的摄影师,也是 Kathmandu 画廊的老板。

“Manit 发现我的一些照片拍摄的是同一辆卡车上同样的人。我以前也留意到这一点,但从来没有以此作为拍摄的重点。他建议我可以拍摄下同一辆卡车日复一日的照片,讲述这些人的故事。”Thamarong 解释道。

带着新的拍摄角度,Thamarong 回到天桥上拍摄,常常停留超过45 分钟。由于正值上班高峰,曼谷的交通特别拥挤,这让他可以有时间研究构图,捕捉有趣的画面。

“I couldn’t be late—trucks come more or less at specific times. One comes at eight o’clock, another at eight-fifteen, then eight-twenty, and so on,” he says.”But I would see some trucks three or four times, and then they would never come again. It’s incredibly difficult to take a large number of pictures of the same truck.”

Wanarithkul kept track of the different trucks by their bodywork, markings, and other vehicle details. He divided the series into 15 collections and arranged the images in chronological order.


“我不能迟到,这些卡车每天基本都会在特定时间出现。一辆在八点出现,另一辆在八点十五,然后是八点二十,依此类推。”他说,“但有些卡车我看到三到四次后就不再出现了。要拍摄同一辆卡车的大量照片并非易事。”

Thamarong 一般通过车身、标记和其他细节来辨别不同的卡车。他将整个摄影系列分为 15 组,按照时间顺序排列每一组照片。

In one collection of 12 pictures, a young man always sits at the same corner of the truck. At first, his hair is entirely dyed. But as the pictures progress, the color moves through his hair. In the last shot, in which he’s resting his head on the wheel case, only a few hair strands are still dyed. It took Wanarithikul over two months to complete this collection.

Another photoset starts with a boy sleeping in a semi-fetal position. He appears in many of the images alone, but later, two other older men join him, and then, suddenly, he disappears. “This boy is not going to school, he’s going to work,” Wanarithikul says. “He is sleeping under the sun on the back of a truck, and you can tell he has a difficult life.”


其中一组由 12 张照片组成的系列中,一个年轻男孩总是坐在卡车的同一角落。起初,他有一头金色染发,但是随着时间推移,头发的颜色慢慢褪去。在最后一张照片中,他将头靠在车轮保护罩上,隐约只剩下几撮金色的头发。Thamarong 耗时两个多月才完成了整个系列的拍摄。

另一组照片中,一个男孩总是蜷缩地睡在车后架。刚开始,车上只有他一个人,直到两个更年长的男人加入。再后来的某一天,男孩突然不再那辆卡车上出现。Thamarong 说:“这个男孩没有去上学,而选择了工作。他躺在卡车后面,在烈日下睡觉,生活应该挺不容易的。”

They tend to sit in the same places every day. They try to sleep or use their phones to pass the time. Most protect their faces from the scalding sun with a piece of cloth, and they all rest uncomfortably on the uneven pickup truck bed. They look drawn and tired—but their day has only just begun.


卡车上的人大多每天都坐在同样的位置,要么睡觉,要么玩手机打发时间。为了不被太阳晒伤,他们用布遮住了脸。在凹凸不平的皮卡车上,他们就这样凑活着;他们看上去如此疲惫,但是对他们来说,新的一天才刚刚开始。

8 a.m. says a lot about Bangkok. I take the Skytrain to go to work. It has air conditioning, and it’s fast. But these workers wake up much earlier to sit under the sun for a very long time. We see this every day, and we ignore it,” Wanarithikul says. His series is a stunning visual reminder to anyone oblivious to the abiding inequity of life.

Wanarithikul’s first and only show, held at Kathmandu Gallery in early 2019, opened to wide acclaim. What started as a single snapshot evolved into a study of social conditions and an empathizing portrait of people caught between worlds.


“关于曼谷,《8 a.m》讲述了很多。我每天坐高架铁上班,里面即有空调,又快速方便。但是这些工人每天要起早贪黑,在烈日下暴晒很长的时间。我们每天都会看到这些景象,但我们对此视而不见。”Thamarong说道。他希望通过这些摄影作品,提醒人们不要遗忘生活里那些不平等的现象。

Thamarong 的首场展览(也是至今唯一一场展览),于 2019 年年初在Kathmandu 画廊举行,并受到了广泛好评。从一张手机快照开始,演变成对社会现实的探讨,这些照片以充满同情的态度,展示了那些身处世界夹缝的人们。

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Contributor: Tomas Pinheiro
Chinese Translation: Olivia Li


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供稿人: Tomas Pinheiro
英译中: Olivia Li

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Phosphorescent Beasts 荧光色的野兽

March 30, 2020 2020年3月30日

Creating art can often be a private affair, with an artist dedicating themselves to their work in the solitude of their own home or studio. Mural art, on the other hand, forces them into the public eye, where they need to interact with others face to face. This social element of street art was conflicting for ANHZ, the pseudonym of Chinese-Australian artist Anny Chong. It posed a hurdle when she first started, but as she’s grown more accomplished in the scene, it has motivated her to continue.

“When I was still studying in Melbourne, I met a lot of street artists and my friends asked me to go paint murals with them,” ANHZ says. “But I was too shy. It wasn’t until a few years later, after I moved to Hong Kong, that I made the jump. You can’t really hide while painting in public, so it forces you to open yourself up.”


大多数情况下,艺术创作是一件私人的事情,艺术家独自在家中或工作室里,专注投入到作品的创作中。但墙绘创作却截然相反。艺术家要进入公众的视野,与他人面对面互动。街头艺术的这一种社交元素对于澳籍华裔艺术家 Anny Chong(又名 ANHZ)是一种挑战,尤其是刚开始的时候。但是,随着她在墙绘创作方面越来越成熟,这反倒成为了激发她不断前进的动力。

我在墨尔本上学的时候,遇到了很多街头艺术家,一些朋友会邀请我和他们一起去创作墙画。”ANHZ  说道,但是我比较害羞,直到几年后,我移居香港,才鼓足了勇气。在公共场合画画没办法躲躲藏藏,所以就会逼着自己放开去画。

ANHZ was born and partially raised in Macau, where she lived until she was 13. At the time, Australia was making an attempt to draw immigrants to the country in order to grow their workforce, so her mother moved them to Melbourne. “I’ve been drawing since I was little,” she recalls of her early years. “My mom used to take me to a lot of museums and art galleries and has a lot of artist friends. She used to dream of becoming an artist, so I’m living her dream!” 


ANHZ 在澳门出生和成长,直到 13 岁移居澳大利亚。当时澳大利亚正试图吸引更多的移民,增加当地的劳动力,于是她的母亲带着他们搬到了墨尔本。 回忆起早年的生活,ANHZ 说:我从小就开始画画。我妈以前常带我去博物馆和美术馆,还认识很多艺术家朋友。她以前梦想成为一名艺术家,现在我替她做到了!

With the encouragement of her friends in Hong Kong, she and her partner Few started experimenting with street art in 2014, but they wouldn’t begin taking it seriously until 2016. The learning curve was a challenge: “Murals were tough at first because it’s a totally different thing,” she says. “You’re not in an air-conditioned room. You’re outside working in the Hong Kong heat. Learning to use the spray can took patience to reach a level where I felt comfortable. There were many times I got frustrated. My goal was to get half as good as the artists I looked up to.”

In the beginning, she sought out abandoned spots where she wouldn’t be disturbed by authorities or random stragglers and painted on a small scale. Now she prefers highly visible spots, goes big as possible, and is very deliberate with the walls she picks, seeking out interesting textures.


在香港的朋友鼓励下,她和搭档 Few 在 2014 年开始尝试街头艺术,但直到 2016 年,他们才开始认真投入到街头艺术创作中去。学习创作的过程是一个挑战:“刚开始墙上作画都很难,因为那是完全不同的领域——不是呆在空调房里创作,而要在香港炎热的户外画画。学习使用喷漆也花了我很长的时间,才有了游刃有余的感觉。有很多次我都感到很沮丧。我的目标是自己的作品能达到我敬佩的艺术家水平的一半就好了。”

一开始,她会特意找一些偏僻的角落,避开警察或路人,画的作品也比较小幅。而现在,她更喜欢在显眼的位置创作,画幅越大越好,也会精心挑选墙壁,寻找一些有趣的纹理。

Phosphorescent-colored animals, whose features are folded into layers of texture like crumpled pieces of paper, have become a signature element of her murals. These works are a way for her to reflect on our relationship with the natural world.  “I paint a lot of animals because I’m drawn to their forms; I’m attracted to curves which human subjects sometimes lack,” ANHZ says. “It’s also about a connection to nature. We’re living in a very urban setting and we tend to forget about the natural world. ”


萤光色动物图案,像是用摺皱的纸折叠而成,这是她作品的标志性元素。这些作品体现了她对人类与自然关系的思考。我喜欢画动物,因为我喜欢它们的轮廓曲线,尤其是一些人类所没有的轮廓。另外也想表达人与自然的联系。我们生活在城市中,往往会忘记还有自然世界。

Aside from this fascination with animals and the natural world, her artistic growth has also been influenced by her cross-cultural experiences. Growing up in so many places was a challenge for AHNZ. “I went through an identity crisis. To put it bluntly, Australia isn’t the most tolerant country when it comes to minorities,” she explains. “I went through a phase where I wished I wasn’t Chinese or Asian. Like when I ate lunch at school I wanted a sandwich, not a rice dish. Even in Macau they gave preference to the Portuguese. So I wanted to be as Western as possible. But when I went to university, I finally learned to appreciate my roots.”

In Hong Kong, AHNZ met many others with cross-cultural backgrounds like herself, something she had never experienced before. While there’s a lot to identify with there, she sometimes still struggles to feel at home. “There’s always a clash going on, where some of the values from one side of my experiences are in conflict with the other,” she says. “Part of me feels separate from the culture here. Then I go to the West and I feel out of place in the other way.”


在她作为艺术家的成长过程中,除了对动物和自然界的着迷,她的跨文化经历也扮演了重要的角色。对于 AHNZ 来说,在不同城市生活和成长是一种挑战。我经历过身份认同的问题。坦白讲,澳大利亚的社会对少数族裔并不是那么包容。她解释说,我曾经有一段时间希望自己不是中国人或亚洲人。譬如在学校吃午餐的时候,我会点三明治,而不是米饭。即使在澳门,葡萄牙裔也有着各种优待,所以我一直都想成为外国人。直到我上了大学,我才终于学会了接受自己的血脉。

在香港,AHNZ 遇到了许多像她这样具有跨文化背景的人,这是她以前从未经历过的。虽然在这里有很多她所熟悉的生活,但她有时仍会有一种局外者的感觉。她说:常常会有一些观念上的冲突,我遇到的一些价值观会与我曾经遇到的经历相互抵触。我感觉有一部分的自己与这里的文化格格不入,但是当我去到欧美国家,又会有另一种格格不入的感觉。

In both AHNZ’s solo works and her collaborative murals with Few (whose parents are from Hong Kong and Costa Rica), they often give nod to their multicultural backgrounds, though it’s done in subtle ways: “We’re trying to turn our artwork into a melting pot like we are ourselves,” says AHNZ. “We’ll introduce something like a Chinese story but told with our own style, which isn’t really Asian. And then we’ll also incorporate techniques that we’ve learned from our friends here, which adds another localized touch.”


无论是 AHNZ 的个人作品,或是她与 Few(他的父母分别来自香港和哥斯达黎加)的合作墙绘壁画,经常会运用到多元化的文化背景,但却是以一种微妙的方式出现。我们尝试将自己的作品变成一个文化的大熔炉,正如我们自己一样。” AHNZ说,我们想介绍一些关于中国的故事,不过是以我们这些不地道的亚洲人的角度来讲述。除此之外,我们还会结合从朋友那里学到的技巧,从而融入一些本地的元素。

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

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No Commercial Value 帮我把艺术打包带走!

March 27, 2020 2020年3月27日
I'm Not a Low Brow but I Rock a Little Know-How 《I'm Not a Low Brow but I Rock a Little Know-How》

In modern times, the distinction between a product and a work of art can be blurry. The commodification of art and its increase in accessibility in recent years have played a large part in this shift. With the proliferation of terms like “wearable art” and “art collectibles”, how should art be treated as a product? In Hilmy Pratama Soepadmo’s works, the two are one and the same.

“Why do you like to shop? Why do we like to buy things?” Soepadmo asks. These are the questions foundational to the Indonesian artist’s works, which often feature logos, markings, and products from renowned fashion labels, positioned to be just barely noticeable. These elements give nod to Soepadmo’s own tastes while inviting reflection on today’s consumerist culture. “The visual markers in my works act as an entry point,” he explains. “Once the viewer perceives something they recognize, they will be more receptive towards the entirety of the work.”


在当代,商品和艺术品之间的界限变得很模糊,这种转变在很大程度上可以归咎于近年来艺术的商品化和普及化。随着 穿戴式艺术艺术收藏品这些词语的频繁出现,人们开始思考应该如何将艺术转化为商品。在印尼艺术家 Hilmy Pratama Soepadmo 的作品中,艺术与商品被视为一物。

“你为什么喜欢购物?人们为什么不停地买买买?”Hilmy 问道。这些问题为他提供了创作根基,品牌标志、标签以及知名时尚品牌商品都是他作品中常见的元素,并且毫无保留地出现在作品中。既体现了 Hilmy 自己的味口,同时也引发人们对现今消费文化的反思。“视觉和包装是我的切入点。他解释说。一旦观众认出作品中有自己熟悉的元素,他们会更容易接受整个作品。

Comprehensive Arrangement B 《Comprehensive Arrangement B》
Comprehensive Arrangement A 《Comprehensive Arrangement A》

Asked whether his works are a critique of consumerism, he insists they’re not, and he’s well aware of his position as a consumer. “Our relationship with capitalism is much more complex than just saying ‘Buying things is bad. Abstaining from consumerism is good,’” he says. “It’s not that black and white. Yet at the same time, I want to raise some questions about our pattern of consumption. Why do we buy so much stuff? Are we informed enough about the things we are consuming?” Rather than simply criticizing or celebrating consumerism, he offers a nuanced take on being a conscious consumer. He questions whether we buy things out of necessity or if other factors are at play. Furthermore, he revealed that he has no idea whether people bother to understand the products they have—as simple as washing clothes according to its instructions—or if they buy things just for the sake of consuming. His works express what it means to be an artist in the midst of commerce and commodification.


当被问及他的作品是否是对消费主义的批判时,他坚决地否认了,并清楚地表明自己也是一名普通的消费者。我们与资本主义的关系其实很复杂,不能单纯地否认购物,亦不能认为杜绝消费就是好事。他说,这不是非黑即白的问题。但同时,我也会对人们的消费方式提出一些质疑。我们为什么要买这么多东西?我们是否真正了解我们所消费的事物?

没有一味地批评或鼓励消费主义,Hilmy 通过巧妙的方式提醒人们做一个有意识的消费者。他希望通过作品能让人们思考,我们究竟是出于必要而购物,还是由其他因素引起。此外,他还好奇,人们在购物时,会不会花心思去了解所购买的产品(最简单的例子就是按照衣服标签的洗涤说明来洗衣服),抑或是纯粹为了消费而购物。他的作品体现了一位艺术家身处商业社会和商品化时代的思辨。

Detail of Its Neither Artwork, Nor Commodification 《Its Neither Artwork, Nor Commodification》细节图
Detail of Its Neither Artwork, Nor Commodification 《Its Neither Artwork, Nor Commodification》细节图
Its Neither Artwork, Nor Commodification 《Its Neither Artwork, Nor Commodification》
Detail of Its Neither Artwork, Nor Commodification 《Its Neither Artwork, Nor Commodification》细节图
Detail of Its Neither Artwork, Nor Commodification 《Its Neither Artwork, Nor Commodification》细节图

The consumption of fashion is of particular interest to Soepadmo. While clothing is a basic need, it serves more purpose than acting as a barrier between our skin and surroundings. Beyond its aesthetic value, clothing has a social meaning: people showcase their identity, value, and tastes through what they wear. This duality between practical and decorative is akin to how art is being perceived by its audience: does art exist solely for artistic appreciation or should it have derivative functions with greater societal values? 

In the conception of his works, Soepadmo positioned himself as a consumer first, questioning what he expected from a product. His approach in fulfilling those expectations comes from another side of his professional work; graphic design. His works are as much of a product as it is an artwork to him since he incorporated the same treatments to his projects the same way a designer would to a product.


时尚领域消费也是 Hilmy 特别关注的主题。虽然衣服是一项人们基本的需求,其除了为皮肤提供与外界环境隔离的屏障之外,衣服还有更多其他的用途。超越美学价值,服装更具有一定的社会意义:人们通过服装展示身份、价值和品味,因而同时兼备了实用性与装饰性。这种双重性也映射着人们对艺术的看法:艺术品除了供人们欣赏之外,是不是还应该具有一些衍生的社会价值?

在构思作品时,Hilmy 首先将自己定位为消费者,思考对一件产品的期望;然后,运用自己的平面设计专业,将这些 “期望” 兑现。他按照设计师打造商品的方式来创作自己的作品。对他而言,他的作品既是艺术品,也是商品。

No Commercial Value 《No Commercial Value》
No Commercial Value 《No Commercial Value》
No Commercial Value 《No Commercial Value》

For an artist who views his works as both a product and an artwork, he’s careful to not fully veer into commercial territory. “Merchandising is in a whole different level of commodification,” he says. “Today in Indonesia, art exists on so many different levels, from high art to low-brow, and they’re all valid in their own right—but directly slapping a photo of an artwork to a tote bag or a t-shirt is just derivative. Merchandise does provide accessibility, and that’s great, but for me it needs to be clear that it serves a distinct purpose from the work itself.” His sentiment comes from the phenomenon of people displaying art merchandise as if it’s the actual art piece. To him, merchandise with precise functions, such as wearables, should be used as it’s intended, not be placed in lieu of the original piece. This stance reflects Soepadmo’s appreciation for everyday products.


虽然将自己的作品视为商品和艺术的融合,但 Hilmy 并不想让自己的作品完全被商业侵蚀。他说:商品化与商业化是完全不同的。现在的印度尼西亚,艺术存在于不同的层面,从高雅到低俗,这些艺术本身都有各自的意义。但是直接将艺术品的照片简单粗暴地印到手袋或 T 恤上,这种衍生品的做法实在太缺乏创意了。商品化拉近了人们与艺术的距离,这很好,但对我来说,需要明确的是,商品与艺术品有着截然不同的目的。” 而之所以有这样的想法,是因为他发现,人们正逐渐将艺术商品当作真正的艺术品来展示。在他看来,那些有着明确功能性的商品,比如衣服,本来就是用来穿戴的,其并不能代替原创的艺术品。这样的观点也反映出 Hilmy 对日常商品的重视。

Detail of Counterfeit 《Counterfeit》细节图
Detail of Counterfeit 《Counterfeit》细节图
Counterfeit 《Counterfeit》
Detail of Counterfeit 《Counterfeit》细节图

Packaging design can elevate a product’s value. In Soepadmo’s works, the packaging is an inseparable part of the art. “To take the product analogy further, galleries function as a storefront for artworks,” he says. It’s only appropriate to utilize the concept of packaging in this perspective.” Through the use of packaging, Soepadmo presented his artworks just like a product. The packaging fulfills its fundamental function—it presents factual specifications of the artwork along with its handling and displaying instructions. This unusual element impacts the viewers’ perception of the artwork as a whole, as they convey that art is also a commodity. Rather than being supplementary to its “product”, the packaging in Soepadmo’s works is of equal, if not greater,  importance as the paintings inside them

Sealed within vacuum bags or encased in perspex, he intentionally separates his paintings from the viewer Typographic elements detail the specifications of the piece: materials, dimensions, and handling directions, among other details. His choice of materials also factors in durability, a key criterion of a high-quality product. “I wanted to subvert the notion that works of contemporary art are fragile and delicate,” he remarks..


包装设计可以提升产品价值。在 Hilmy 的作品中,包装也作为艺术品不可分割的一部分。他说:如果把艺术品归类为商品,那画廊就是艺术品的店面。从这种角度来看,为艺术品加上包装再合理不过。他将自己的艺术作品加上包装,像商品一样被陈列出来。和普通商品包装的处理方式一样,艺术作品的包装上都注明了每件艺术品的基本信息,包括实际规格、创作和陈列说明。这种不同寻常的设计会影响观众对艺术品的整体看法,并传达出一个直接的信息:艺术品也是商品。

对于普通商品而言,包装只作为产品的补充。而 Hilmy 却将包装与内容放在同等重要的位置。他会有意地将画作与观看者分开,作品往往被密封的真空袋或有机玻璃包装,上面用别出心裁的排版描述着作品的规格、材料和尺寸等等说明。同时,他在创作材料的选择上也考虑到耐用性,因为这也是衡量商品品质高低的重要标准之一。Hilmy 说:人们认为当代艺术作品都是精致脆弱的,我想用我的作品挑战这种观念。

Exessive Yet Overwhelming Methods to Present Art Object 《Exessive Yet Overwhelming Methods to Present Art Object》
Exessive Yet Overwhelming Methods to Present Art Object 《Exessive Yet Overwhelming Methods to Present Art Object》
Exessive Yet Overwhelming Methods to Present Art Object 《Exessive Yet Overwhelming Methods to Present Art Object》
Exessive Yet Overwhelming Methods to Present Art Object 《Exessive Yet Overwhelming Methods to Present Art Object》

Soepadmo’s works also come in a proper bundle, complete with a certificate of authenticity, a manual book, and small instruments to display the artwork—specially selected screws, nylon plugs, and nylon strings being some of them. Through comprehensive information and tools, Soepadmo makes it easier for galleries and collectors to display the pieces as he envisioned.

He is aware that his approach is very much informed by his perspective as a designer, and even more so as a consumer. “I feel it’s confining to approach your work by only one perspective,” he says. “The barriers between what we do is disappearing, and to embrace all its shift and duality is much more interesting.”


有时,Hilmy 的作品还会被打包在一起,里面附带着正品证明、实用手册和一些用于展示艺术品的小工具,包括螺钉、尼龙塞和尼龙绳。有了这些全面的信息和工具,画廊和收藏家可以按照 Hilmy 的设想更轻松地将作品展示而出。

Hilmy 认识到,自己的作品是需要同时站在设计师和消费者的角度来进行创作的。他说:“如果单从一个角度来构思作品太有局限性,商品和艺术品之间的界限正在逐渐消失,接受这种转变和双重性也许会更有意思。

Compressed Object of Commodification 《Compressed Object of Commodification》
Compressed Object of Commodification 《Compressed Object of Commodification》

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Website: hpsoepadmo.pb.studio
Instagram
@hpsoepadmo

 

Contributor: Almer Mikhail
Chinese Translation: Olivia Li


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网站: hpsoepadmo.pb.studio
Instagram
@hpsoepadmo

 

供稿人: Almer Mikhail
英译中: Olivia Li

Dahlia‘s Virtual World 大丽花游戏杀

March 23, 2020 2020年3月23日

In the dead of night, empty streets glow under magenta street lights while secrets hide within cyan-tinged shadows. The paintings of Keb Cerda‘s Dahlia resemble little of Metro Manila, where the Filpino artist calls home and where the streets are always filled with activity, regardless of the late hour. But the quiet depicted in these acrylic paintings is deceptive—viewed through an augmented reality app, the works come to life, overrun by digital characters running amok.


夜深人静,紫红色的路灯照亮空荡荡的街道,而暗绿色的阴影中,像是藏着不为人知的秘密。菲律宾艺术家 Keb Cerda 的《Dahlia》系列绘画作品和现实中的马尼拉大都会区并不太相似,因为这里的街道即便到了深夜也依旧热闹非凡。但是,这些丙烯画实际上却并非像其画面所描绘的那样平静 透过一个增强现实应用程序观看,这些作品突然生动起来,虚拟的人群来来往往,川流不息。

Keb’s father, Toti Cerda, is an accomplished painter, but the traditional medium was of little interest to Keb while growing up. He was far more interested in video games and puzzles. “I only went inside my father’s studio for stuff like tape and pencils so I could create mazes and games for my friends,” he recalls with a laugh. “That was all I thought about. I remember not showing up to soccer tryouts because my father bought me a PS1.”


Keb 的父亲 Toti Cerda 是一位颇负盛名的画家,但 Keb 小的时候对画画这种传统的艺术创作并不感兴趣,相反,他对电子游戏和拼图更感兴趣。我小时候进父亲的工作室里也只是为了拿胶带和铅笔这些东西,因为我要用来和朋友玩迷宫和做游戏。他笑着回忆说,我当时满脑子都想着这些东西。我记得有一次要参加足球选拔赛,我都没有去,就是因为我父亲给我买了一台 PS1

He jokes that his dad “tricked” him into taking fine arts in college, but that’s where he fell in love with painting. Despite this newfound passion, his love for video games and technology never left him. In 2015, Cerda began experimenting with ways of combining augmented reality and traditional painting. Alongside his fiancee and a developer named Alvin Uy, Cerda created an app to alter artworks without damaging them, which he called the Omniscope. “Without committing a crime, I could collaborate with Da Vinci, Chuck Close, and Banksy.” Every painting series he’s created since then has used Omniscope in some form.


他开玩笑说自己是在父亲诱骗下才进了大学的美术专业,但在大学期间,他爱上了绘画,但他对视频游戏和科技的热爱也不会因此减少。2015 年,Keb 开始尝试将增强现实与传统绘画相结合。他的未婚妻 Alvin Uy 是一名程序开发员,两人一起开发了一个 App,在不破坏艺术品的情况下改造作品,他将这个 App 取名为 Omniscope(直译为:全息镜)我不用去盗画或做其它犯法的事情,也可以和达芬奇、查克·克罗斯Chuck Close)和班克西合作了。从那以后,他创作的每幅绘画作品或多或少都会用到 Omniscope

Dahlia, Cerda’s most recent project, is split into two parts: a series of silent nightscapes and a collection painted in a graphic-novel style.  The series’ titular main character, Dahlia, lives in a world secretly ruled by alien robots. They distract their human subjects through VR headsets that project illusions of a bright, happy world. A glitch in Dahlia’s headset exposes her to reality.

Opening Omniscope transforms these empty scenes into platform games. Each level is populated with 8-bit characters equipped with laser cannons; the controllable character, Dahlia, runs around blowing shit up and fights off the invaders.

While the project is playful and fun, it contains veiled social commentary: “It’s about our dependence on technology,” Cerda says. “But clearly I’m just as dependent—I’m using AR technology to prove my point.”


Keb 的最新作品《Dahlia》分为两个部分:宁静的夜景和绘画故事作品。该系列的同名主人公 Dahlia 生活在一个被外星机器人秘密统治的世界中。他们通过 VR 耳机,投射出一个明亮、快乐的世界,让人类活在这个幻象之中,直至某一天 Dahlia 的耳机出现故障后,她才恍然醒悟。

打开 Omniscope 后,空空如也的场景转换为平台游戏,每个关卡都有装备激光炮的 8-bit 人物;而可控主角 Dahlia 四处奔走射击,击爆入侵者。

在充满趣味的表面之下,这个项目也隐晦地传递着对社会的批判——“这个项目旨在揭示人们对科技的依赖。” Keb 说,显然我自己也有这种依赖性,但我现在不正是用 AR 技术来证明这个观点吗?

Download Omniscope and scroll back up to experience Keb Cerda’s paintings in full. For iOS devices, please visit the Apple App Store. For Android users, visit the Google Play Store.


快来下载 Omniscope 全方位体验 Keb Cerda 绘画中的场景吧!iOS 设备请访问苹果应用商店;Android 用户,请访问谷歌 Play 商店

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Website: www.kebcerda.com
Instagram
: @kebcerda

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


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网站: www.kebcerda.com
Instagram
: @kebcerda

 

供稿人: Mike Steyels
英译中: Olivia Li

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Rise of the Vietnamese Robots 藏宝地始于垃圾堆

March 20, 2020 2020年3月20日

Saigon-based art studio Design by Reborn believes in the reanimating powers of art. The studio, founded by Kumkum Fernando (whom we’ve featured in the past), creates conceptual works that breathe new life into objects and stories that have been forgotten. Using only materials destined for landfills, Fernando and his team have produced an impressive œuvre of upcycled art since the studio launched in 2017.


来自越南西贡的艺术工作室 Design by Reborn 认为,艺术拥有复活再生的力量。该工作室由Kumkum Fernando(我们过去曾报道过)创立,通过创作的概念作品,让将被人们遗忘的物体和故事焕发新的生命。工作室以人们抛弃的废料为原材,打造出令人印象深刻的再生艺术作品。自 2017年工作室成立以来,Kumkum 和他的团队仅用哪些被埋葬的废弃物,就创造了令人印象深刻的艺术品。

In Toys with History, the studio built functional toy cars out of discarded furniture. Pieces of the salvaged wood were used as vehicle bodies. Outfitted with new axles and wheels, the toys retained their worn coats of paint and jagged corners, a nod to the object’s original form.  A similar creative philosophy prevailed in Knock Knock, a line of stationery products—including notebooks, rulers, and even fridge magnets—made from old door panels.


在《Toys with History》中,工作室的艺术家们将废弃家具改造成可以开的玩具车。车身装有新的车轴和车轮,但保留了原本斑驳的油漆与参差不齐的边角,以此致敬所用材料的“前生”。这一创作理念在《Knock Knock》上得到了延续,这个文具产品系列包括了笔记本、尺子,甚至还有冰箱磁铁,全部都是用旧门板制成的。

Rise of the Vietnamese Robots, the studio’s latest creation, is a collection of limited-edition robots that celebrates an unlikely visual detail of Saigon’s past: its windows.

For this project, the team at Design by Reborn began by photographing window grills around the city. They then brought this archive of images to life in the form of 22 figurines. Each sculpture is made up of wood blocks silkscreened with colors and patterns from their favorite windows. By presenting these traditional designs in a new context, they bring a modern sensibility to the overlooked architecture of old Saigon.


工作室的最新创意之作《越南机器人的崛起》Rise of the Vietnamese Robots),通过一系列限量版“机器人”,展现令人意想不到的西贡元素:窗户。

在这个项目中,Design by Reborn 的团队记录了这座城市各地的窗户,并制成了 22 个木偶机器人。每个木偶都由单独的木块制成。通过丝网印刷,在木块上印刻他们喜欢的窗户颜色和图案。以新的形式,展示传统设计,让已被人们忘记的西贡旧建筑,重现现代气息。

The project is also meant to be interactive: each robot comes with assembly instructions and a list of addresses that detail the location of each window design, encouraging people to explore the city and discover the origins of their robot companions.


此外,这个项目也充满了互动理念:每个机器人都附带组装说明,以及启发其设计的每个窗户的地址,鼓励人们去探索这座城市,寻找这些木偶机器人的起源。

Through these conceptual works, Design by Reborn aims to demonstrate that objects that seem to have outlived their usefulness can still hold value. These creations also suggest that we shouldn’t stay complacent with the status quo of our wasteful consumption habits. If we live a little more mindfully and apply some ingenuity in our everyday lives, even junkyards and dilapidated buildings can be treasure-troves of beauty and inspiration.


通过这些概念作品,Design by Reborn 旨在证明那些看似无用的物品仍有价值。这些作品也是在提醒人们,不要将浪费的消费习惯视为理所当然。如果我们在平日生活多多留意,加以一些创新,那么即使垃圾废墟也能成为变身为奇妙的藏宝地。

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Website: reborn.design
Facebook: ~/designbyreborn
Instagram: @designbyreborn

 

Contributor: David Yen
Chinese Translation: Olivia Li
Images Courtesy of Design by Reborn


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

网站: reborn.design
脸书: ~/designbyreborn
Instagram: @designbyreborn

 

供稿人: David Yen
英译中: Olivia Li
图片由 Design by Reborn 提供

A Delicate Touch 一种精美的罪行:文身

March 13, 2020 2020年3月13日

Dressed in a comfortable sweater with cartoon animal prints, Yeaji Lim sets to work tattooing her first customer of the day, inking tiny mermaid scales into her arm. The Korean tattooist sees customers by appointment only in a cozy studio filled with cheery collectibles that she shares with her sister and a friend. Lim’s tattoos feature thin black linework with restrained splashes of bright color and a revolving cast of cats and manga-style schoolgirls.


韩国文身师 Yeaji Lim 穿着舒适的卡通动物图案毛衣,准备给今天的第一位顾客文身,在她的手臂上文上精致的美人鱼图案。Yeaji 只在工作室里与预约好的顾客碰面,这间工作室是她和姐姐、朋友一起开的,里面摆满了各种有趣的收藏品。她的文身是黑色细线勾勒的图案,偶尔点缀几抹明亮色彩,猫和漫画风格的女学生都是会经常出现的角色。

Lim was raised in a creative household—one parent was an art teacher and the other a comic book store manager—so she’s been drawing for most of her life and as a child read manga every day. Tattoos were an unexpected passion. After a friend of hers started inking, Lim was drawn into the world, eventually tattooing her first piece onto a stranger in 2017. Despite the stigma that tattoos have with older generations in Korea, her family is supportive. “My parents trust me because I’ve got a job that I really like.” She’s even inspired her older sister to follow in her footsteps.


Yeaji 自小在充满创意的家庭长大,她的父母分别是艺术老师和漫画书店经理,所以她很早就开始画画,小时候每天都会看漫画。喜欢上文身也是出于偶然。她的一个朋友开始文身后,Yeaji 也对开始产生了兴趣,2017 年,她第一次为陌生文身。尽管大多数老一辈的韩国人对文身还持有偏见,但的家人却很支持。我父母信任我,因为我做着自己真正喜欢的工作。如此影响下,她姐姐也加入了文身的工作。

Lim’s tattoos are all custom-made. When customers approach her, she asks them what type of design they’re looking for, and together they discuss options. She sets about drawing, and three days before their booking, she shows them a sketch for their approval and adjusts the design as necessary.


Yeaji 文身都是自己定制设计的,当客户找上门,她会先了解他们想要哪种风格的设计,然后一起讨论各种方案。之后就开始画设计草图,在预约文身的前三天,给客户看设计草图,在必要时调整设计。

Like many of her peers in the country, Lim specializes in smaller tattoos, something that Korea is globally renowned for. “Most Korean tattoo artists have delicate hands,” she laughs, trying to explain why they’re so popular. She adds that the style is fitting for female tattooists, who are very prominent in the scene. “Korean women have talented fairy hands, so they’re suitable for tattooing!” she says.“I also think female emotions are very strong and complicated. When I work, I’m always inspired by my feelings.” Her delicate lines and cute style appeal mainly to women, who make up 90 percent of her clients. Fellow artists like Zihwa think these effeminate pieces can help break the stigma against tattoos.


和许多当地同行一样,Yeaji 比较擅长精致小巧的文身,这也是韩国最受欢迎的文身风格。在解释为什么这种风格的文身这么红时,她笑着说:大多数韩国文身师都有一双细腻的手。她补充道,这种风格比较适合女性文身师,而她们是当地文身行业很重要的一个群体。韩国女性双手比较灵巧,所以很适合文身!她说,除此之外,女性的情感一般比较强烈而复杂。譬如我在工作时,总是会受到内心情感的触动。她细腻的线条和可爱的风格比较吸引女性客户,她 90% 的客户也都是女性。另一名韩国文身师 Zihwa 就认为,这些充满活力的作品可以帮助打破人们对文身的偏见。

Despite Korea’s growing reputation for talented tattoo artists, tattooing is still illegal there. Many of the country’s top celebrities have plenty of tattoos but still cover them when appearing on television. Song Gang-seop, head of the Korea Tattoo Association, says that enforcement is arbitrary, and you can never tell when police will crackdown. After his shop was shuttered by authorities last year, he started the Instagram campaign “Does this look illegal?” to advocate changing the law. Hundreds of Korean tattoo artists joined in.


尽管韩国有越来越多才华横溢的文身艺术家,但文身在当地仍然是非法的。许多韩国名人都有文身,但一上电视就要将其遮掉。韩国文身协会的负责人 Song Gang-seop 表示这方面的执法也很随意你永远无法知道警方什么时候会进行严厉打击。去年,他的工作室被警察关闭后,他发起了一场 Instagram 活动 “Does this look illegal?”这看上去像犯罪吗?),倡导修改有关法律,数百名的韩国文身师也加入了这场运动。

Luckily, neither Lim nor any of her friends have encountered any legal troubles yet, but they keep their guard up just in case. “I’m always worried I might be arrested,” Lim says. “It’s a big problem in my life, because it’s constant. Every tattoo artist is treated as a potential criminal. It’s sad.”


幸运的是,Yeaji 和她的朋友目前还没有遇到过法律上的问题,但他们也要时刻保持警惕,以防万一。说:我总是担心自己会被逮捕。这是我生活中的一个大问题,因为这个问题是一直存在的。每个文身艺术家都被当成潜在的罪犯看待。这是很可悲的事实。

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Instagram: @yeagee_tattoo

Contributor: Mike Steyels
Photographer: Chris da Canha
Chinese Translation: Olivia Li
Additional Images Courtesy of Yeaji Lim


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Instagram: @yeagee_tattoo

 

供稿人: Mike Steyels
摄影师: Chris da Canha
英译中: Olivia Li
附加图片由 Yeaji Lim 提供

 

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Men in Pixel 旋转的性幻想

March 11, 2020 2020年3月11日

Ever wish you could step inside a drawing, or see a flat picture from all sides?

Hong Kong-based artist Tea’s MENinPIXEL allows viewers to do just that. The project, which began as his experimental foray into voxel art, tells a series of salacious stories. Each scene features a slightly different set of brawny, bearded men engaged in a variety of titillating acts and putting their innermost desires on display in literal 360-degree fashion. In his pixelated world, the lewd is transformed into something comical.


你想过进到那些喜爱的图像的每个角落里一探究竟吗?《MENinPIXEL》系列绝对可以满足你全方位的窥探。

MENinPIXEL》是现居香港的艺术家Tea偶然尝试的一个创作系列,起始于对像素的迷恋。作品中每个场景都仿佛在讲述一个引人遐思的故事,内里的人物形色各异,却大多性感撩人,他们被360度毫无保留的展示着,而这些大尺度的肢体动作经过像素这层滤镜,却反而显得新鲜幽默起来。

Most of Tea’s art features BDSM props, like whips, leather bodysuits, or suspended bondage ropes. This isn’t by chance: Tea works as a designer of adult toys, and this unusual occupation helps get his creative juices flowing. He says his limited free time is actually a boon.  “Since I have so little time to work on my art, I’m training myself to set priorities. Most of my ideas are flashes of inspiration, and I jot them down and think later about which ones are worth developing. At the production stage, too, you have to make choices and refine your work.”


Tea 的作品中包含的 BDSM 的元素,比如挥动的皮鞭、全身的皮革装备,或者半空中精致的捆绑,究其原因。他笑称自己是搭乘着工作之便,因为作为一名职业设计师,他设计的并不是普通产品,而是成人用具,工作环境中也就顺理成章充满了他需要的创作素材。工作之余的闲暇不多,却也恰恰提升了Tea的作品,个人创作时间的挤压,在训练我做舍弃,因为大部分都是一闪而过的念头,但我会记下来再考虑哪些值得深化,包括制作时也要取舍,以求精炼。

For inspiration, Tea asks friends and acquaintances about their wildest sexual fantasies, but most of the scenes spring from his imagination. Ideas come naturally to him, a result of his profession and personal interests. “Maybe it’s the experience accumulated from years of being so into manga and theater,” he shrugs. “For really specific scenes, though, like pole dancing or tango, I have to look up the proper movements. I’m not much of a dancer.”


为了创作《MENinPIXEL》,Tea 也会试着了解相熟好友们最疯狂的性幻想,但大多数时候,他画下的都是自己凭空想象出来的场景,因为以往的阅历,他可以像打印机一样直接把这些画面从大脑里摘取出来,可能是我一直对漫画和戏剧有很大兴趣,从而积累了意识,除非是像钢管舞或探戈这样专业度更高的画面,我会需要找素材参考标准动作,毕竟我不会跳。

As a child, Tea wanted to be a comics artist, and that’s still his dream today. He was inspired by Tsukasa Hojo’s mangas in his younger years, and later by cartoonist Milo Manara and illustrator Paolo Eleuteri Serpieri. For a while, he was obsessed with drawing in a realistic style. Gradually, he realized that the streamlined forms of cartoons posed an even greater design challenge, and that’s when he really began to learn. For Tea, MENinPIXEL is still something new, an experiment that’s given him a 360-degree view of himself—images are flat, but people are multi-dimensional, and perhaps with a new perspective, we’d see a different side of ourselves.


Tea 从小就想成为一个漫画家,至今他也保留着这个梦想。北条司是他幼年的启蒙,至今对他影响最大的是 Milo Manara  Paolo Eleuteri Serpieri 这两位情色漫画大师,Tea也有一段仅迷恋写实风格的时期,但慢慢地他发现卡通的精简形象其实更难设计,于是开始兼收并蓄。《MENinPIXEL》对于 Tea 而言更像一次全新的尝试,也让他以 360 度的方式去了解自己。画面虽是 2D 每个人却是 3D4D 或者 5D,也许转到另一个维度,我们都有不一样的风景。

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Website: www.meninpixel.com
Instagram@meninpixels

 

Contributor: Shou Xing
English Translation: David Yen


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网站www.meninpixel.com
Instagram@meninpixels

 

供稿人: Shou Xing
中译英: David Yen

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