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Streetside Comics 漫画里跑出来“一面墙”

December 9, 2019 2019年12月9日

Fivust‘s paintings look like they were pulled straight from a comic book. The Indonesian graffiti writer and street artist takes the dense intricacy of traditional burners and adds colorful characters and backgrounds. Many of his works are divided into panels, peppered with the “wham! pow!”-style onomatopoeias of superhero comics in layered graffiti lettering.


印尼涂鸦师和街头艺术家 Fivust 的绘画作品看起来就像直接从漫画里跑出来的,他在传统涂鸦 burner(指精制壁画)的基础上,添加色彩缤纷的人物和背景。他的作品往往像连环画一样画在方格里,还经常会加上“砰!啪!”那些来自超级英雄漫画中的拟声词和分层加粗的字体。

Fivust got started at a young age. Back in junior high school, when he first saw a classmate sketching tags in a notepad, he was fascinated. Already familiar with illustration and acrylic paint—his musically inclined parents had encouraged his passion for art—he turned his attention to graffiti, and quickly began experimenting with styles and honing his skills.


Fivust 读初中的时候,无意间看到同学在笔记本里画的涂鸦作品,让他很是着迷。当时他已经能熟悉地创作插图和运用丙烯颜料之类的工具——他父母对音乐的爱好激发了他对艺术的热情——他把注意力转到了涂鸦,并开始探索不同的创作风格,磨练自己的技术。

Fivust was raised in the city of Bogor, about 60 kilometers outside Jakarta. In high school he found his hometown’s graffiti scene limited, so initially he looked abroad for inspiration, particularly to the US and Europe. He pored over photos online, exploring different artists and styles. “We also looked up to local artists as well, especially since we could see the techniques and tricks up close,” he’s quick to add. “But the community was really small back then. When we started, we were doing half-legal and half-illegal stuff. But we were always bombing the same wall, so eventually, we just asked for permission and they let us paint there.”


Fivust 自小在距离印尼首都雅加达 60 公里开外的茂物(Bogor)长大,高中时,他觉得当地的涂鸦文化太狭窄了,因此会去看国外的艺术家,特别是美国和英国的涂鸦师找灵感。他经常到网上去搜索图片,了解不同的艺术家和风格。“我们也会去看本地艺术家的作品。”他很快补充道,“因为我们可以近距离看到他们所用的技术和技巧。但是,那时候的圈子还很小。刚开始的时候,涂鸦还是半合法半非法的事情,所以我们一直都在同一幅墙上画,所以最后我们争取了许可,他们就让我们画了。”

Getting materials took effort in those early days, and Fivust had to order them online or make the trip to Jakarta. But within a couple of years, spray paint and other supplies started to appear in Bogor. In fact, Fivust was partly responsible for the change. “I opened a studio in 2015 with my friends,” he says. “I was aiming to create a basecamp and graffiti store for artists in Bogor. I also wanted to establish an illustration and graphic design studio.”

That studio stayed open only two years, yet it gave him and his crew a launch pad. His work with spray paint helped him get design clients, and his design work paid for his spray paint.


在早期,要获取涂鸦的工具非常困难,他们要么就上网订购,要么就要到雅加达去买。直到几年之后,茂物才开始有更多的涂鸦用品出售。关于这一点,Fivust 的功劳不小。“2015 年我和朋友合伙开了一间工作室。我的目标是在茂物打造一个艺术家大本营和涂鸦用品店。同时也想成立一间插图和平面设计工作室。”说道。

虽然工作室只持续了两年时间,但这个经历对他和团队来说是一个很好的起点。他的涂鸦作品帮助他吸引了一些设计客户,而他的设计作品又能帮他获得收入,购买涂鸦喷漆。

The scene in Jakarta, where Fivust has recently moved, is much more varied: “It’s growing pretty fast here because of the workshops and events conducted by the community, like graffiti supply shop Garduhouse and their Street Dealin’ festival. There are different age groups that are into graffiti right now, including young kids who were inspired by watching us paint.” Although for now he mostly works at street level, he’s got larger ambitions. “I’m planning a five-story piece now,” he says. “It’ll be my biggest yet.”


Fivust 最近搬到雅加达,当地的涂鸦场景更多元化:“当地的涂鸦社区会举办各种工作坊和活动,例如涂鸦用品店 Garduhouse 和他们的 Street Dealin’ 艺术节,所以这里的涂鸦文化发展得很快。现在,这里可以看到不同年龄段的涂鸦爱好者,有一些小孩因为看到我们涂鸦而喜欢上这种艺术。”虽然现在 Fivust 的作品大多是在街道上,但他有更大的野心。“我现在正在筹划创作一幅五层楼高的作品,这将是我至今最大幅的作品。”他透露道。

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Websitewww.fivust.com
Instagram: @fivust

 

Contributor: Mike Steyels
Photographer: Atet Dwi Pramadia

Chinese Translation: Olivia Li
Additional Images Courtesy of Fivust


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网站www.fivust.com
Instagram: @fivust

 

供稿人: Mike Steyels
摄影师: Atet Dwi Pramadia

英译中: Olivia Li
附加图片由 Fivust 提供

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Ambitions as a Rider 摩托车背上的人生

December 6, 2019 2019年12月6日

 

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The first country people think of when they hear the word “Vespa” is Italy. But imaginative Vespa lovers in Indonesia are laying new claim to the iconic scooter.

Filmmakers Marc Ressang and Daniel Agha-Rafei’s recently released documentary, Rebel Riders, takes viewers inside the island country’s custom scooter scene, where DIY enthusiasts have turned the Italian moped into a symbol of freedom and self-expression. These creations, which look like they belong in the wastelands of Mad Max rather than real life, are known as “extreme Vespas.”


提到 Vespas,大多数人都会想到它的原产地意大利。但在印尼,Vespa 车迷正在对这一标志性的摩托车提出新的主张。

电影人 Marc RessangDaniel Agha-Rafei 最近推出的纪录片《Rebel Riders》(《叛逆骑士》)让我们得以一窥这个岛国里的摩托车改装场景。在那里,摩托车 DIY 改装爱好者把 Vespa 变成了自我表达和自由的象征。这些改装的作品看起来有种超现实主义的风格,更像是来自《疯狂的麦克斯》里的荒原,因此也被称为“extreme Vespas”(意为“极限 Vespas”)。

Considering the extent of the modifications, it may seem dubious to even call these bikes Vespas. But an annual festival celebrating the customized scooters in Kediri, Indonesia—now entering its fourth year—has a clear-cut definition of “extreme Vespa”: the vehicle just has to be powered by a Vespa engine. It doesn’t matter how outlandish the design is. In fact, many riders make a point of being as over the top as possible.

“It’s about being different from others,” says one of the riders interviewed in the video. “No one wants to be outdone. If there’s someone with a big bike, we’ll want to go bigger. If there’s a long bike, we’ll want to make something longer. If there’s one with a lot of wheels, we’ll want one with even more wheels.”


有些作品的改装程度之大,已经让人几乎认不出那是 Vespas 车。但在印尼凯迪里一年一度庆祝改装摩托车的节日(目前已经进入第四个年头)中,对可以定义为“极限 Vespas”的摩托车要求很明确:有 Vespa 发动机就行。不论最终的造型看上去多么奇怪,都没有关系。实际上,越是浮夸的设计就越受欢迎。

“关键是要与其他人不同。”接受采访的车手之一说道,“所有人都想要超过其他人。如果谁的车很大,我们就要想办法把车做得更大;如果谁的车很长,我们就要做出更长的车;如果有人装了很多车轮,我们就设法装更多车轮。”

This competitive spirit means that riders are constantly pushing their creativity to the limit. In the film, one of the most astonishing feats of engineering is a scooter made from a tree—not a vehicle built with wooden parts—an actual tree on wheels. The scooter body is a tree trunk, while the handlebars are branches that have been mounted like antlers.


这种好胜的精神意味着车手要不断推动自己,将创意发挥到极致。在这部纪录片里,最惊人的改装是一辆用树来改装的 Vespas,不仅仅是指车的零件用木制成,车身主体就是用树干做的,而前板和车把则是用树枝制成。

This unique manifestation DIY culture was eye-opening for Ressang, but what truly made his time in Indonesia such an enjoyable experience were the people he met. “A lot of these guys can look pretty intimidating, with their face tattoos, piercings, and their copious drinking and smoking, but once we made our intentions clear, they were extremely hospitable and enthused about showing off their creations,” he recalls with a laughs. “I’d like to go back to make a feature-length film around one of the crews and their life on the road.”


这些独特的创意和 DIY 文化确实让 Marc 大开眼界,但对他来说,沿途遇到的人才是这部纪录片最特别之处。Marc 笑着说:“这些家伙中很多人看起来都很凶,脸上有纹身、穿洞,也喝酒抽烟,但是一旦我们说明来意,他们就会变得非常热情好客,急切地想要向我们炫耀他们的作品。我希望以后有机会回去印尼,围绕车队和他们在路上的生活拍摄一部专题影片。”

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Website: marcressang.com | danrafei.com
Instagram: @marcressang | @theurbanpersian

 

Contributor: David Yen
Chinese Translation: Olivia Li


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网站: marcressang.com | danrafei.com
Instagram: @marcressang | @theurbanpersian

 

供稿人: David Yen
英译中: Olivia Li

Futureproof Geisha 机器人艺伎和她的 320 年

December 2, 2019 2019年12月2日

The year is 2192. In a sterile Tokyo lab, we witness the birth of a cyborg. Batteries, pistons, and sensors are meticulously assembled by other robots. Its eyes are potent cameras, and its head is covered by soft silicone, revealing the delicate features of a geisha—Kiyomi Kobayashi.

The story of a geisha frozen in time and awakened three centuries later as a cyborg spy is an ambitious project for any solo filmmaker. Yet Chinese digital artist Axl Le decided to tell it in a trilogy of short animation films under the title Kiyomi Kobayashi: Sword and Fire, The Mask, and The End of the Love.


2192 年,东京的一间无菌实验室里,一个生化机器人即将诞生。一帮机器人们围绕在她身边,正有条不紊地将电池、活塞和传感器组装在一起。这个生化机器人以强大的摄像头为眼,头部正逐渐被柔软的硅胶材质覆盖,显现出一位眉清目秀的艺伎模样,她的名字叫小林清美。

这部影片讲述了一位日本艺伎在沉睡三个世纪后被唤醒,化身为高科技打造为间谍机器人的故事。对任何电影制作人来说,单枪匹马地完成这件作品都非常需要野心。但中国数字艺术家乐毅(Axl Le)决定把这个短片做出来。他将这个故事制成了动画短片《小林清美》三部曲,其分别是《剑与火》、《面具》和《爱之终结》。

“I couldn’t produce a long-form movie at the time,” Le says. “So the solution was to make preludes and give people at least a hint of the story I had in mind.” The first two films took the form of title sequences, and the latter, of a video clip.

The narrative germinated in Le’s mind after his first visit to Kyoto. One night, on his way back to his hotel, far away from the geisha district, Le was surprised to see a lady in a pink kimono calmly making her way through the ultramodern streets. He was captivated by the contrast between this delicate character and the hypermodernity of her surroundings.


“目前,我还不能制作长篇影片,所以最开始会想做几部短片作为前奏,给观众们带来一些我脑海里的故事线索。”乐毅说。在他创作的三部曲中,前两部短片以片头的形式呈现,最后一部则更像是一段视频节选。

起初,这个故事的萌芽与乐毅第一次造访京都的经历有关。某晚乐毅正在回酒店的途中,在远离热闹的寺庙商圈之外,他意外地看到身穿粉色和服的女孩从容地穿行于现代的街道上,柔美的身影与女孩周围充满未来主义的建筑形成鲜明对比,让乐毅深深着迷。

 

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Sword and Fire is set in Kyoto in 1872, amidst the scenery of a fictional war. Le recreates the features of Japanese architecture with the same zeal that he sets the mood by manipulating light and color. There’s an underlying sense of conspiracy and mystery around the geisha, as well as hints of a tragic romance with a blood-spattered love letter alongside a soldier’s photograph.


第一部《剑与火》以 1872 年战争纷乱的京都为背景。乐毅再现了富有日本特色的建筑,通过对光影与色彩的调整,营造出影片的氛围。艺伎的身上笼罩着浓浓的不测和神秘感,一封溅满血迹的情书和旁边军人的照片,暗示着一段浪漫的悲剧故事。

 

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In The Mask, we flash forward 320 years to that harrowing Tokyo lab where Kobayashi is resurrected and transformed into an instrument of espionage. As the skin-colored silicone mask covers the animatronic structure of her head, we see her face for the first time. In this film, Le’s stylistic influences are apparent, and the opening scene looks like a hybrid of Akira and Blade Runner, with a retro-futuristic cyberpunk aesthetic.


而《面具》则把时间推进到 320 年后,在一个冰冷的东京实验室里,小林清美从沉睡中苏醒,成为一名受人摆布的间谍。软硅制成的肤色面具覆于她仿人类结构的头上,第一次展露出她的真实面貌。在这部短片中,乐毅在设计上的风格影响显而易见,开场画面如同《阿基拉》(Akira)和《银翼杀手》(Blade Runner)的混合体,呈现出带着怀旧感的未来主义赛博朋克美学。

 

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Following the suggestive title, The End of the Love has a drearier mood. Kobayashi wakes up with a bewildered look and falls defeated into her new existence. She calmly walks through the modern streets of Tokyo disguised in full geisha costume: kimono, umbrella, and straw hat. Her amazement at the cityscape shows her remaining traces of humanity.

Le’s trilogy blurs the line between fiction and reality and uses cyberpunk to allude to contemporary issues like surveillance and the control of information. “I see the future as an escape. It hasn’t happened yet, so it’s not real. But it can be used to represent reality,” he says.


到三步曲终章《爱的终结》,影片的氛围正如片名,显得尤为沉重。小林清美醒来,睁开困惑的双眼,坠落到新的世界。她身着整套艺妓服饰:和服、伞、草帽,镇定自若地漫步在现代的东京街头。周围的城市景象让她露出吃惊的表情,展现出她内心所残留的人性。

乐毅的三部短片模糊了虚构与现实之间的界线,并藉由赛博朋克来暗示一些当代社会的话题,例如监视和信息控制。“未来对我来说是一种逃离。它还没有发生,所以不是真实的。但却可以用来代表现实。”乐毅解释道。

Studying architecture in college honed Le’s eye for detail and taught him how to use 3D-rendering software. A job working as an assistant to Chinese photographer Maleonn provided further aesthetic inspiration: “I learned from Maleonn how to make new stuff look old: you have to leave marks on it; it gives it a realness, like fingerprints and scratches. This is an invaluable lesson.”

The 3D-modeling process Le uses combines the digital equivalents of sculpture, painting, and photography: sculpture, because you have to start by molding something that looks like a digital clay ball; painting, because you need to set its texture, color, and opacity; and photography, because you need to set the light.


大学期间主修建筑专业的经历,养成了乐毅在创作上严谨细致的习惯,以及 3D 渲染软件的精通。而他为中国摄影师马良担任助理的经历也进一步激发了他的美学灵感:“我从马良身上学会了如何让新的事物有一种老旧的感觉:就是要在物体表面留下痕迹,譬如指纹和划痕,这样能让物体看上去更真实。这都是很宝贵的经验。”

乐毅的 3D 建模过程结合了雕塑、绘画和摄影等手段。之所以包含了雕塑,是因为整个过程必须首先从“外形”开始,这就像是在制作数字化的粘土球;而绘画则需要调整作品的质地、颜色和透明度;至于摄影,则讲究对整体光线的把控。

Kiyomi Kobayashi was a creative breakthrough for Le, and he hopes that it can eventually develop into a feature-length film. It’s already attracted the attention of a major art institution, the Shanghai Museum of Contemporary Art, which is currently showing the trilogy as the centerpiece of the group exhibition Do You Copy?

Do You Copy? continues at MoCA Shanghai until January 5, 2020. Tickets are available online.

 

Exhibition:
Do You Copy?

Dates:
Aug. 26th, 2019 ~ Jan. 5th, 2020

Address:
Museum of Contemporary Art Shanghai
231 Nanjing West Road (Inside People’s Park)
Huangpu District, Shanghai
People’s Republic of China


除了音效部分,乐毅几乎一人包揽了短片大部分的制作,他的 3D 创作与深刻的电影摄影艺术出色糅合,让人刮目相看。对乐毅来说,《小林清美》是一次创作上的突破,他也希望最终可以由此延展出一部长篇影片。这部作品也成功引起了一些大型艺术机构的关注:在上海当代艺术馆目前举办的群展“塔台呼唤”中,《小林清美》成为了主要的展览作品。

“塔台呼唤”将于上海当代艺术馆持续开放至 2020 年 1 月 5 日。前往 MoCA 微店即可购票。

 

展览:
塔台呼唤

展期:
2019 年 8 月 26 日 ~ 2020 年 1 月 5 日

地址:
上海当代艺术馆
上海市黄浦区
南京西路 231 号(人民公园内)
中国

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Vimeo: ~/leyi
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Zcool: ~/leyi

 

Contributor: Tomas Pinheiro
Chinese Translation: Olivia Li


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供稿人: Tomas Pinheiro
中译英: Olivia Li

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Certain Uncertainties 唯一能确定的就是不确定性

November 25, 2019 2019年11月25日

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

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

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


俗话说得好,生活中唯一能确定的就是不确定性。

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

对于那些熟悉朴庆根之前作品的人来说,或许你会因为一位知名视频导演现身在玻璃博物馆内而感到奇怪,这也恰恰是退火的主旨所在。项目的艺术总监李力邀请了来自不同背景的艺术家,并希望他们能够运用玻璃与创意,来突破各自的极限。她坚信这样的碰撞能带来最好的艺术形式,而今年朴庆根的出色贡献,就很好地兑现了这一理念。

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

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


展览中的第一件作品是朴庆根作为导演身份擅长的部分视频装置。全片没有对话,讲述了一对孪生双胞胎徘徊在镜子迷宫之间。当从数面镜子间穿过时,她们会被镜中反射的自己迷住,但整个过程令两位双胞胎都很不安,看上去她们好像并不认识镜中的自己。

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

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

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


个展的第二部分,朴庆根将不确定性赋予在了一系列玻璃和钢铁制成的雕塑上,用来展示人性的无常。每支作品都由数个三角形玻璃框构成,它们围绕在钢柱上,并由发电机供电,不停地翻转着。当变换出不同的外形时,它们在天花板和墙壁上也会反射出不同的几何光图。雕塑的细微变化与它们在房间内部的反射,仿佛告诉了我们一些道理:尽管我们可能没有注意到,但我们作为个体总是在变化,这些变化会直接影响我们周围的世界,或者至少我们对它的感知。

在这次多媒体展览中,朴庆根希望缓解我们对不确定和改变的集体恐惧。当我们意识到改变是不可避免的,我们就会选择去接受它。我们要做的,就是停止对不可抗力因素的焦虑,坦然并真挚地活在当下。

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

 

Exhibitions:
Double Mirror & Frontier Part II

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

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

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


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

 

展览:
“我是我的镜子” 与 “塞上(下集)”

展览时间:
2019 年 11 月 5 日 ~ 2020 年 3 月 29 日

开放时间:
周二至周五,下午一点至晚上五点
周末及节假日,早上十一点至晚上五点

Address:
上海玻璃博物馆
中国上海市宝山区
长江西路 685 号

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Website: kelvinkyungkunpark.com
Instagram: @kelvinkyungkunpark

 

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


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网站: kelvinkyungkunpark.com
Instagram: @kelvinkyungkunpark

 

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

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Cities of Solitude 田岛大介:宏伟的孤独

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

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


日本艺术家田岛大介的黑白水墨画有一种催眠的力量,令人为之深深吸引。细看田岛笔下错综复杂的城市景观,很容易迷失其中——重复且高耸的图形,构成了无尽的山谷和难以想象的山峰。夸张的透视线让人目光驻留,而无穷的细节描绘,则能让观者收获不少细枝末节的惊喜。

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

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


田岛一直是一个内向的人,而这样的性格恰恰对应着人们所期望的:他从事着痴迷精确的工作。在学校里,性格孤僻的他常被同学认为是个怪人,但在成年后,这种孤独却被证明是一种美德。他说:“我似乎总是打扰别人。比如在学校集体运动时,我就是最差的队友。我开始意识到自己在社会上会变得多尴尬。”慢慢地,他在不知不觉中退回到艺术的怀抱里,虽然孤立地做艺术常常会感到孤独,但总好过与不理解他的人进行不舒服的交流。

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

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


但随着田岛最近几年的作品开始引起人们的注意,他认识了越来越多志同道合的朋友,让他可以做自己。“因为艺术,我觉得我已经找到了与其他人之间的联系。我接触到了我这个小社区以外的人,甚至海外的人。”田岛在奈良长大,与东京和大坂相比,这里依然是一个艺术家和艺术爱好者稀少的城市。“通常我甚至不会遇到和我年龄相仿的人,因为大多数年轻人都离开了。在这里我只能和我的老邻居和妈妈交谈。虽然很无聊,可我能专注于我的艺术。”他窝在家里,在他的房子旁边设计和建造了一个黑色的木制车库工作室,他大部分时间都在那里度过。

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

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

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


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

通过艺术,田岛开始旅行,看到亚洲各地的城市,这也激发着他的艺术创作。但他总是回到他的家乡,在那里,他可以直面内心,专注于向内挖掘的艺术创作。

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

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Website: www.taransan.web.fc2.com
Instagram: @tienda006
Twitter: ~/tin4dou2

 

Contributor: Mike Steyels
Chinese Translation: Chen Yuan


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网站: www.taransan.web.fc2.com
Instagram: @tienda006
Twitter: ~/tin4dou2

 

供稿人: Mike Steyels
英译中: Chen Yuan

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Unconventional Aesthetics 把街趣穿在身上

November 18, 2019 2019年11月18日

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


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

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


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

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

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


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

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

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


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

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


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

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

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


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

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

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Website: jeffshen.net
Instagram: @ye_.s
Behance: ~/SHenmou

 

Contributor: Mike Steyels
Chinese Translation: Pete Zhang


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网站: jeffshen.net
Instagram: @ye_.s
Behance: ~/SHenmou

 

供稿人: Mike Steyels
英译中: Pete Zhang

West Bund Art & Design 2019 一年一度,咱们西岸见!

November 8, 2019 2019年11月8日

A decade ago, it would have been hard to imagine that a disused industrial zone on the banks of the Huangpu River could become Shanghai’s premier art hub. But in 2011, an urban regeneration project funded by the municipal government, the West Bund Cultural Corridor Initiative, set out to make just such a transformation a reality. Over the last eight years, the stretch of waterfront has been transformed into a thriving center for contemporary art that rivals New York’s Museum Mile and London’s South Bank.

Today, factories and warehouses still stand as a testament to the West Bund’s past life, though now they’ve been repurposed as hip spaces that every weekend draw crowds of art-goers and selfie enthusiasts. The West Bund Long Museum occupies the site of a coal-processing facility, the Yuz Museum is housed in a former aircraft hangar, and Tank Shanghai, which opened earlier this year, has turned five massive oil silos into exhibition spaces. Such institutions have made promenade the city’s new artistic center of gravity. Yet credit for this transformation also goes to the annual West Bund Art & Design fair, which has played a central role in raising the city’s profile on the international art scene.


十年前,谁也不会想到黄浦江畔的废弃工业地带会成为如今上海屈指可数的艺术港湾。早在 2011 年,上海市政府颁布了重改计划,“西岸文化走廊” 正式启动,让一切转变为现实。随着八年的不断孵化,这片沿岸区域现已成为当代艺术领域里繁荣的中心地带,可以与纽约“艺术馆大道”、伦敦“南岸”同日而语。

现如今由仓库和工厂重新改造而成的前卫空间,每周都会会吸引大量艺术和自拍爱好者。那里承载着西岸的过去与现在。龙美术馆的所在场地,之前被用来进行煤炭加工;余德耀美术馆坐落在以前的飞机仓库里;而今年早些时候开放的油罐艺术中心,则是由五个巨大的石油储备仓改造而成。这些场馆与主办单位,是掀起整座城市新艺术的造浪者。与此同时,一年一度的西岸艺术与设计博览会(West Bund Art & Design)也为这场转变留下了深刻印记,其在打造上海市冉冉升起的国际艺术形象的环节中扮演着中心角色。

West Bund Art & Design is an annual art extravaganza first held in 2014. In its earlier years, it was a much more understated affair, hosting a small selection of international galleries at its riverfront site. But as more and more international galleries have sought to tap into the Chinese art market, the fair has grown dramatically. In 2018, since the refurbished factory workshop that initially hosted the event could no longer accommodate all the galleries and visitors, a new exhibition hall, comprised of three interconnected pavilions, was built across the street. In its sixth edition, which kicked off today, the fair will welcome over 100 world-class galleries from 18 countries in its two exhibition halls, showcasing works from over 800 artists.

With so much to see and so little time, West Bund Art & Design can feel daunting. So, to help our readers navigate the two exhibition spaces, we’ve put together a list of our favorite Asia-based galleries taking part in this year’s festivities.


自 2014 年起,西岸艺术与设计博览会每年都会为我们带来美不胜收的艺术作品。展览创立的早期会精选一些少量来自世界范围内画廊的作品,不过随着越来越多国际艺术画廊尝试进入中国市场,西岸艺博会取得了翻天覆地的变化。2018 年,最初翻修过的工厂车间已经容纳不下所有的画廊和参观者,一个由三个相互连接的展厅在马路对面打造完成,一同承接整场博览会。从开创至今,西岸艺术与设计博览会已举办六届。今年的博览会,两个展厅共收纳了来自 18 个国家中 109 个世界级画廊的作品,展出艺术家超过 800 位。

时间少、作品多,西岸艺博会可能会令人望而生畏。为了帮大家在两大展馆四个展厅内找到方向,我们列出了一份以亚洲地区画廊为主的心头好,来共同迎接这一年一度的盛宴。


INK Studio


墨斋

True to its name and mission, Beijing-based gallery INK Studio has curated a stunning collection of avant-garde works that showcase the versatility and complexity of Chinese ink. This year’s showcase includes an intricate landscape painted on multi-paneled folding screens by Peng Kanglong, a trypophobia-inducing composition by Jeong Gwang Hee, artistic manipulations of language by the acclaimed Xu Bing, and much more.


来自北京的墨斋秉承着它的名字和使命,策划了一系列前卫的作品,展示了中国水墨的多样性和复杂性。这次艺博会墨斋带来了彭康隆在多屏屏风上绘制的复杂景观、首次亮相的冰逸的新抽象作品,以及郑光熙创作的、很可能引发密集恐惧症的作品等等。


Kukje Gallery


Kukje 画廊

Kukje Gallery has been a leading name in the Korean art scene since it first opened in 1982. While its long been committed to championing Korean artistic talent, the gallery’s showing at this year’s West Bund Art & Design also includes world-class artists from outside of Asia, such as Julian Opie and Jean Michel-Othoniel


自 1982 年开业以来,Kukje 画廊一直是韩国艺术界的领军者。尽管一直致力于支持韩国艺术人才,但画廊今年在西岸艺术与设计展上也展出了来自韩国以外地区的蓝筹艺术家的精选作品。


Canton Gallery


广州画廊

Displaying only a single work by artist He Chi at their booth, Canton Gallery’s less-is-more approach demonstrates a curatorial confidence that’s hard to not be impressed by. The showcased piece, Goodle, is a visually arresting installation comprised of flawed ceramic creations that exemplify the concept of wabi-sabi, a Japanese philosophy centered on embracing the beauty of imperfection.


广州画廊本次的展位秉持“少即是多”的理念,在展台上只展示了一件作品,令人耳目一新。由中国艺术家何迟创作的装置作品“古瓦(gū)者瓦(dū)”,视觉上非常有冲击力,它由艺术家本人收藏的古代烧制失败的陶瓷制品构成。“古瓦(gū)者瓦(dū)”是日本“wabi-sabi”(意为“侘寂”)哲学的典型代表,其核心理念正是拥抱不完美之美。


Ota Fine Arts


大田秀则画廊

Situated directly inside the main entrance of Hall A, Ota Fine Arts presents an eclectic showcase that feels comfortably out of place from the sterile white environment of the surrounding booths. With its collection of graffiti-covered paintings and disfigured sculptures placed front and center, the Japanese gallery seems keen to continue pushing the boundaries of contemporary art, just as it has done for the past 16 years.


位于主馆A厅一进门处的大田秀则画廊,像是个特立独行的陈列柜,与四面白墙的环境相映成趣。这家日本画廊收藏的涂鸦画作和抽象雕塑摆在最前方的正中位置,就像它过去 16 年所做的那样,大田秀则画廊持续不断地输出当代艺术的最前沿风潮。


ROH Projects


ROH Projects

Jakarta-based gallery ROH Projects returns to this year’s West Bund Art & Design with another impressive showcase of works from a powerhouse roster of Indonesian artists, including an electronic sculpture by Bagus Pandega, conceptual works by Aditya Novali, paintings by Arin Dwihartanto Sunaryo, and more.


位于雅加达的画廊 ROH Projects 今年重返西岸艺博会,提供了强大的印尼艺术家群作,包括 Bagus Pandega 的电子雕塑,Aditya Novali 的概念作品和 Arin Dwihartanto Sunaryo 的绘画作品等。


Galerie Dumonteil


杜梦堂

With locations in Paris, New York, and Shanghai, Galerie Dumonteil is a gallery that’s long committed to bridging the gap between the East and the West through art. This year’s booth has been dedicated to French artist Tess Dumon’s solo exhibition A Thing of Beauty is a Joy Forever. The exhibition, with works spanning across a gamut of mediums, blends together elements and concepts from Buddhism, Taoism, and Chinese folklore to form a deeply personal narrative.


在巴黎、纽约和上海都设有空间的杜梦堂,长期致力于通过艺术弥合东西方之间的隔阂。在本届艺博会,杜梦堂呈现了法国艺术家苔丝·杜蒙的个展“美是永恒的喜悦”,艺术家将佛教、道教和中国民间传说中的元素和概念融合在一起,形成了深刻的个人化叙事。


Star Gallery & Line Gallery


星空间 & 玉兰堂

At the booth co-curated by Beijing-based art institutes Star Gallery and Line Gallery, description placards for each piece of art are nowhere to be found. Instead, artist names and working titles have been hastily scribbled in pencil on the walls. This same sense of youthful whimsy underpins the collection of art on display, which includes works from comics artist Yan Cong, painter Gao Yu, and more.


在北京的艺术机构星空间玉兰堂共同策划的展位上,每一件艺术品的描述标牌都不见了。取而代之的是,艺术家的名字和着作的标题被匆忙地用铅笔写在墙上。这种年轻的、异想天开的氛围,支撑着展出的艺术收藏品,其中包括漫画家烟囱、画家高瑀等人的作品。


TKG+


TKG+

Some of the most standout pieces presented by Taipei-based gallery TKG+ are the works of Mit Jai Inn. By applying layers upon layers of paint to a variety of canvas surfaces, the Thai artist creates kaleidoscopic textures and patterns that captivate the imagination.


台北 TKG+ 画廊展位最抢眼的作品是来自 Mit Jai Inn。通过在各种不同的画布表面上涂一层又一层的颜料,这位泰国艺术家创造了千变万化的纹理和图案,供人们展现无穷的想象力。


MadeIn Gallery


没顶画廊

Shanghai’s MadeIn Gallery hits all the right notes with its quirky collection of contemporary art. The works include a sculpture depicting the iconic silhouette of Mickey Mouse; a fictional love story printed on A4 paper and held by a pair of robotic hands protruding from the wall; a cluster of grapes with human facial features, seemingly lost in blissful ecstacy; and more.


上海的没顶画廊带来了一组充满趣味的当代艺术作品:一个呈现米老鼠标志性轮廓的雕塑;地球上最后两个人类之间虚构的爱情故事;一组有着人类面部特征的葡萄,似乎迷失在喜悦的狂喜之中;以及更多。


Gajah Gallery


象画廊

Attending West Bund Art & Design for the first time, Gajah Gallery has brought along a sizeable collection of works by artists from all over Southeast Asia, including never-before-seen artworks from Singaporean sculptor Suzann Victor, Indonesian painter Erizal As, and much more.


作为首次参加西岸艺术与设计博览会的象画廊,本次带来了来自东南亚各地艺术家的大量作品,包括新加坡雕塑家 Suzann Victor 的作品和印度尼西亚画家 Erizal As 的作品等。


West Bund Art & Design is happening between now and November 10th. Tickets are available at the door and online via Zoqi and Maoyan.

Address:

West Bund Art Center
2555 Long Teng Avenue,
Xuhui District, Shanghai
China

Hours:

Friday, November 8th, 12pm ~ 7pm
Saturday, November 9th, 10am ~ 7pm
Sunday, November 10th, 10am ~ 7pm


西岸艺术与设计博览会正在进行,即日起到11月10日,可以登陆“走起”和“猫眼”进行购票

地址:

西岸艺术中心
龙腾大道2555号
上海徐汇区
中国

参观时间:

周五,11 月 8 日,中午十二点至晚上七点
周六,11 月 9 日,早上十点至晚上七点
周日,11 月 10 日,早上十点至晚上七点

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Website: www.westbundshanghai.com
Instagram: @westbundartfair

 

Contributor: Chen Yuan, David Yen
Photographer: David Yen
Chinese Translation: Pete Zhang


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Weibo: www.westbundshanghai.com
Instagram: @westbundartfair

 

供稿人: Chen Yuan, David Yen
摄影师: David Yen
英译中: Pete Zhang

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Unity in Diversity 当我们拥抱他人的不同

October 29, 2019 2019年10月29日

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


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

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


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

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


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

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


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

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


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

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Website: www.kim-kim-kim.com
Instagram: @kimkimkimxx

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


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Weibo: www.kim-kim-kim.com
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供稿人: Mike Steyels
英译中: Olivia Li

Fou Gallery 否画廊:生活和艺术互为补充

October 21, 2019 2019年10月21日

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

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


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

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

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

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


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

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

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

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

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


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

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

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


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

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


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

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


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

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

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

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


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

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

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


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

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

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

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


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

Address:

410 Jefferson Avenue #1
Brooklyn, New York
United States of America

Hours:

Closed Sunday through Monday
Saturday, 11am ~ 6pm (or appointment by e-mail)


地址:

美国
纽约布鲁克林区
Jefferson 大道 410 号 #1

营业时间:

周日至周一不对外开放
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Contributor: Johanna Costigan
Photographer: Anrong Xu
Chinese Translation: Olivia Li
Additional Images Courtesy of Fou Gallery


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

 

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

Young Blood 百货商城中的我才算真实

October 18, 2019 2019年10月18日

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

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


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

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

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

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


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

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

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


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

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

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


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

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

Listen to some of our favorite tracks from Tohji below:


点击即可试听几首 Tohji 的作品:

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

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


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

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

 

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


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

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


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Instagram: @_tohji_
Soundcloud: ~/11_tohji_11

 

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

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