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Shaving in the Dark 胡子拉碴,乱七八糟

November 23, 2018 2018年11月23日

A short essay on the first page of Shaving in the Dark’s inaugural issue satirizes the comics quarterly’s own central ethos: “Why did I agree to write for this magazine?!!” it starts, and ends with the answer: “Because I said ‘no way, this is where I draw the line’ and these morons actually gave me some paper to do so!!!!”

SITD started as an indie comics art collective in Shanghai, planning a single thin publication so the founders would have a platform on which to publish their own comics. Their objective was to encourage themselves to create more, with no pressure to create something “good,” at least not by any standard other than that creating anything at all is good.


漫画季刊《胡子拉碴》(Shaving in the Dark,简称SITD)创刊号首页的一篇短文就以杂志的创刊理念为梗进行自嘲,开篇提出“为什么我要答应给这本杂志写稿!?”,在结尾奉上答案:“就因为我说‘不可能,这就是我的底线’,这些白痴竟然真的给我纸,让我画出来!!”

“胡子拉碴”最初是上海一个独立的漫画艺术团体,他们策划了一本薄薄的刊物,用来发表团体的漫画作品,目标只是想鼓励自己去不断创作更多作品,没有任何创作“杰作”的压力,因为“创作”本身就已经很出色,除此之外没有任何标准。

The publication borrows part of its aesthetic from “zines,” informal publications often made on photocopiers for a gritty or amateurish visual aesthetic. Outwardly sleek and colorful, the interior of each issue is an organized mess of black-and-white comics, sometimes one page, sometimes many, by artists of all levels, backgrounds, and interests.

In the words of Jay Mark Caplan, one of the original founders, “It’s about having a beginner’s mindset. To not be afraid of not knowing what you’re doing, to not let that keep you from doing it, and to create.” The very name of the publication comes from another co-founder’s grandfather’s expression: “shaving in the dark” describes a situation where you don’t really know what you’re doing.


这本刊物借用了部分独立杂志 Zine 的美学。作为一种非正式出版物,Zine 通常用复印机制作,以营造一种噪点颗粒感或业余的视觉审美。《胡子拉碴》的封面设计色彩缤纷,内部却是一系列乱中有序的黑白色漫画作品,既有单页也有多页的作品,由不同水平、背景和风格兴趣的艺术家创作。

用创始人之一 Jay Mark Caplan 的话来说:“关键是保持初学者的心态。不要担心不知道自己在做什么,不要让这种想法阻止你去行动、创作。”杂志名字来自其中一位创始人的祖父的话:“胡子拉碴”,乱七八糟,指的是完全不知道自己在做什么的情况。

Though Shaving in the Dark only started in 2017, they quickly grew into a quarterly, and perhaps even more quickly, grew an attached community. “There were a lot of people out there who felt the same as us, who wanted art and comics to play a bigger role in their lives.” Now it operates more like an organization, hosting monthly drink-and-draw events, collaborating with other Shanghai arts organizations such as the Shanghai Literary Review and Unravel, and recently, even working with brands.


虽然“胡子拉碴”成立于 2017 年,但已经迅速发展成一本季刊,甚至很早就已经是一个关系紧密的社区。“其实有很多和我们一样的人,他们都希望让艺术和漫画在他们的生活中能占据更多的份量。”现在,他们更像是一个组织,每月举办喝酒画画的活动,还与《上海文艺评论》和故事分享组织 Unravel 等其它上海艺术组织合作,最近甚至开始与品牌合作。

They’re also starting to see themselves more as publishers. Besides the quarterly, SITD has also released Peach Fuzz—”the teenage zine for zine-age teens”—which features only art by local high school students. They also produce “shaving kits,” which are smaller cartoon booklets featuring art by individual underground artists, which they hope will make it easier for more Chinese artists to collaborate with them.

This last in particular is a way to engage more with a local Chinese audience. To this end, besides the shaving kits, issues have included a smattering of bilingual comics, recently shifting in the direction of leaving Chinese works untranslated so as not to privilege an English-speaking audience.

Also part of this drive is the most recent issue, Mute. Each issue has had a different theme on which contributing artists base their work; past themes have been (in order of release) Shave, Pets, Apocalypse, Metamorphosis, and Trip. Zovi Weng, another co-founder, notes, “The themes are there to be interpreted, misinterpreted, overinterpreted, whatever. It’s very loose.” The sixth issue, Mute, was slightly stricter—as another effort at inclusion, it experiments solely with textless comics.


他们也开始更多地把自己看作出版商。除了季刊外,“胡子拉碴”还出版了《小桃子》(Peach Fuzz),一本青少年独立漫画杂志,专门展示当地高中生的艺术作品。他们还推出“胡子别册”(shaving kits)——由个别地下艺术家创作的卡通小册子,希望这能让更多的中国艺术家与他们合作。

与中国艺术家的合作也是为了可以吸引更多中国读者。为此,除了“胡子别册”外,最近每期杂志会保留一小部分双语漫画,并开始不再翻译中文漫画作品,以免显得在偏袒英语读者。

此外,最新一期的杂志“静音”(Mute)也是以此为理念。每期的杂志都会有不同的主题,投稿艺术家根据主题来创作。之前的主题(按发布顺序)分别为“刮胡”(Shave)、“宠物”(Pets)、“启示录”(Apocalypse)、“变形”(Metamorphosis)和“旅行”(Trip)。另一位创始人 Zovi Weng 指出:“主题可以用来解释、曲解、过分解释等等,反正就非常随意。”《胡子拉碴》的第六期,“静音”的要求可能稍微严格一点,因为它要求全部为无文本漫画,旨在提倡包容的精神。

“I think the themes that we pick usually come from an inspiration we had at that moment,” says Zovi. “I want it to be something that resonates with what you were thinking at the moment, or seeing around.” She attributes this to the French satirical political magazines she grew up with, which reacted very specifically to events on the average person’s mind. Notably, both Jay and Zovi mentioned comics publishers that encouraged artists to move away from larger publishers. Jay brought up Image Comics, a company formed in 1992 by disgruntled artists leaving Marvel and DC in order to retain ownership of their ideas; Zovi referenced L’Association, founded by seven cartoonists struggling to find a mainstream outlet for their work. But both admitted being drawn specifically to publishers that aged with their audience; both agreed that a lot of comics they grew up with “didn’t go through puberty, thematically.”


Zovi 说: “我们选择的主题通常来自于自己当时的灵感。我希望主题能与自己当下的想法或周围的情况产生共鸣。”她说这种理念主要受到了她从小看的法国讽刺政治杂志的影响,即各人对个体事件的观点和看法,会鲜明地在作品里反映出来。

值得注意的是,Jay 和 Zovi 都提到了鼓励艺术家远离大型出版商的漫画出版商。Jay 提及了 Image Comics 公司,这家公司最初由一些不满漫威(Marvel)和 DC 的艺术家于 1992 年成立,他们为了坚持自己的想法而离开这两家公司;Zovi 提到了法国的 L’association,这家出版商由七位努力为自己的作品寻找主流出路的漫画家创立。但两人都承认,他们对与观众一起成长的出版商尤其感兴趣。他们都觉得,自己小时候看的很多漫画“在主题上像是从未有过青春期”。

This certainly can’t be said of the content of Shaving in the Dark. There is a wide range of themes, plenty of mature language, occasional nudity, and references to drugs and alcohol. “We don’t want to censor our artists,” Jay shrugged. In fact, Shaving in the Dark has only turned away a couple of pieces in their whole history; one for being 22 pages long and a couple for containing racist elements. Besides that, their harshest editorial work (starting with Issue 5) has been asking artists to redraw sections or cutting pages out of a submission.

“On one level, it has this amateur quality because we want to encourage people to contribute,” says Jay. But along with the growing community comes higher-quality art. “Even very professional artists have the same desire as us for an outlet without pressure, to do whatever they want.”


当然,《胡子拉碴》的内容也并非仅限于此。里面有各种各样的主题,有成人用语,偶尔会有裸露的画面,也会提到毒品和酒精。Jay 耸耸肩说:“我们不想去审查我们的艺术家。”事实上,《胡子拉碴》成立至今只拒绝过几份作品,一次是因为作品有22页太长,有几次是因为内容有种族歧视的内容。除此之外, 他们最严厉的编辑要求(从第 5 期开始)也不过是让艺术家重绘作品的部分片段,或是从提交的作品中减少一些画面。

Jay说:“一方面来说,我们保留了一种业余的品质,因为我们想鼓励大家投稿。”但随着社群发展,作品的水平也越来越高。“即使是非常专业的艺术家也会像我们一样,想找一个没有压力的平台作为出口,让自己可以自由地创作。”

Moving forward, they admit they’ll have to start being a little pickier as more submissions come in. I asked if they saw any conflict between this possibility and the magazine’s drive for inclusivity and encouraging amateurs. Zovi immediately replied in the negative. “’Do it anyways’ is a thing you can do all the time–I think the drink-and-draw events really reflect that—but then at some point, critique will make you better. So for me, those things aren’t in conflict . . . I think it’s essential to that spirit of ‘go out and do it,’ but be ready to get it back in your face.”


但是,展望未来,他们也承认,选稿的标准会变得“挑剔”一点点,毕竟投稿越来越多。我问他们,这种做法会不会与杂志包容和鼓励业余爱好者的初衷产生矛盾。Zovi 马上否定,说道:“没有限制的创作是随时都可以做的,我们的喝酒画画活动就是很好的例子,但到了一定时候,一些批评的声音会让你变得更好。所以对我来说,这些事情并不矛盾……我认为这种‘放胆去做’的精神是至关重要的,但也要准备好接受批评。”

Shaving in the Dark still seems to be looking for its place in the world. The team is expanding the business side of things, selling more products like mugs, postcards, bags, and t-shirts, and recently locking down a more permanent space for everything at Subland Quarter (51 Runan Jie, near Jumen Lu). With furious energy, they paint murals, host comics workshops, coordinate classes for everything from screen printing to live drawing and much more. They’re still in their early days yet, and the organization’s expansive nature belies its actual youth. If this is what they’re doing in the dark, we can surely look forward to the things they’ll accomplish once they turn on the lights.

Shaving in the Dark‘s sixth issue, Mute, and a limited-edition risograph print are now available in the Neocha Shop.


《胡子拉碴》似乎还在摸索自己的定位,团队也正在扩大业务方面,推出更多商品,譬如杯子、明信片、手袋和 T 恤,并且最近在 Subland Quarter(汝南街 51 号,近局门路)落定了一个更永久的空间。这是一支充满蓬勃能量的团队,除了办杂志,他们还创作涂鸦墙绘、主持漫画研讨会、提供丝网印刷到现场绘画等课程。

但他们还处于早期成长阶段,在它不断伸展与扩张的羽翼之下,隐藏着一颗年轻的心。如果说现在还算是他们在黑暗中的摸索期,那么,等点亮灯盏之后的一切,一定更值得我们期待。

目前《胡子拉碴》第六期“静音”(Mute)及限量复印版海报,已经在 Neocha Shop 上线。

Website: www.shavinginthedark.com
Instagram: @shavinginthedark
Facebook: ~/shavinginthedark
WeChat: shavinginthedark

 

Contributor: Kiril Bolotnikov


网站: www.shavinginthedark.com
Instagram: @shavinginthedark
脸书: ~/shavinginthedark
微信: shavinginthedark

 

供稿人: Kiril Bolotnikov

Floating Field 《浮田》道出你的人生和死亡

November 2, 2018 2018年11月2日

 

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Taiwanese designer Wu Yi-Hsien understands that uncertainty is the only certainty in life. While initially troubled by this realization, her apprehension soon gave way to a newfound clarity: we’re all in the same boat. Or, as her animated short Floating Field has it, we’re all in our own fish boats. Her unconventional video, selected as a Design Mark winner in the Golden Pin Concept Design Awards, explores how each of us floats through life in search of meaning and purpose.


台湾设计师吴怡娴深信着 “不确定性是生命中唯一的确定性” 。虽然最初受到这种认知的困扰,但很快地,她的担忧即被一种全新的见解取代:我们的处境都是一样的,我们都在自己的船上。或者说,如她的动画短片《浮田》所表达,我们都在自己的 “鱼型船” 上。她极具创意的视频入围了 “2018 金点概念设计奖” 年度最佳设计奖,探讨了我们每个人如何漂流在人生里寻找着意义和目的。

The animation takes place in a mysterious world where a series of amorphous blob characters each live inside or atop a floating fish. The story’s main character is a humble farmer who’s diligently at work planting seeds in hopes of a better tomorrow. As he drifts from scene to scene, he encounters characters of different backgrounds, all of whom are pursuing their own fulfillment. From a rich fish whose inhabitant is bathing in gold coins to a busy fish whose resident is running in place on a hamster wheel, every character is self-absorbed with their own interests and goals.


动画的故事发生在一个神秘的世界。在这个世界里,一些不定形的团状小人居住在 “飘浮鱼” 的内部或上方。故事的主角是一位谦逊的农民,他正在努力耕作,种下种子,期许一个更美好的明天。当他穿梭在不同的场景,来来去去,他也遇到了来自不同背景的人物,这些人的共同点是他们都在汲汲营营于追求自己的成就。从坐拥无数财富的人、到在仓鼠轮子上没日没夜行走的人,每一个角色都有自己的兴趣和目标。

As time passes, the protagonist’s fish starts to age. His work seems to be all for naught as he descends beneath the clouds and is eventually swallowed by a murky black sea in what seems like the film’s ending. But a quote from Lord of the Rings reframes the context of the grim conclusion, reminding viewers that death isn’t necessarily the end. Through death—the death of our old selves, death of our fears, and the death of our insecurities—a new life begins. Moments later, the fish’s inhabitant re-emerges from the currents and steps ashore. He treads onwards, into new, uncharted lands that await exploration. As terrifying as it might be to face the unknown, only when we accept that it’s an inevitable part of existence, can we truly begin to experience all that life has to offer.


随着时间的推移,主人公的鱼开始老化了。当他失去力气下降到云层下方,他发现到他先前辛苦的工作都是徒劳,最终都会被一片阴暗的黑海吞噬。故事看似已来到结局,但此时,引自电影《指环王》的语句出现在画面里,原本令人沮丧的结局被改写了,提醒观众死亡并不一定代表结束。死亡——象征着我们的旧我、恐惧、和不安全感的死去——而新的生命即将展开。片刻之后,原本住在鱼里的小人重新踏上岸,向前走,进入了无人涉足过的新领域,一切都等待着他去探索。尽管面对未知的事物可能令人畏惧,但只有当我们接受它是人生中不可避免的一部分时,我们才能真正地开始去体会生活,和随之而来的一切际遇。

Contributor: David Yen


供稿人: David Yen

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Sediments & Sentiments 我在日本的那21天

October 18, 2018 2018年10月18日

After working as a graphic designer for two years, Justine Wong made the bold decision to quit her job in Toronto to move to Tokyo. The trip became a year-long sabbatical for cultivating her own voice as an artist. “I decided if I was going to try anything, then now was the time,” she recalls. “So much of the illustration work in North America is limited to magazines, but in Asia opportunities for illustration are endless.”


在做了两年的平面设计师之后,Justine Wong 做出了一个大胆的决定:辞去多伦多的工作,搬到东京。

这趟行程最终成为她为期一整年的休整,因为她决意真正以艺术家的身份立足。我决定,如果我想尝试什么,那么现在是时候了。她回忆道,北美的插画工作大多局限于杂志,但在亚洲,画插画的机会一抓一大把。

Before moving to Tokyo, Wong took a three-week solo journey through Japan and created a series of watercolors entitled 21 Days in Japan. In this series, Wong painted her meals, as well as scenes of restaurant stalls, vending machines, and yakitori food trucks. Wong funded the project on Kickstarter, where it found massive success.


在搬到东京之前,Justine Wong 花了三周的时间在日本独自旅行,并创作了一系列水彩作品,名为《21天在日本》(《21 Days in Japan》)。在这个系列中,Justine Wong 画下了她每天的伙食、餐厅的摊位、自动售货机,和 Yakitori 美食卡车的画面。Justine Wong 把这个项目放到 Kickstarter 上进行众筹,最终取得了巨大的成功。

“In Toronto we get a lot of ramen, sushi, and sashimi, but I had so many other food experiences during my trip that were precious, from eating the home cooking of someone at my hostel to eating at a place that just sells to locals,” she says. “I wanted to select foods that people don’t normally experience in the West.”


在多伦多,我们也有很多拉面、寿司和生鱼片。但我在日本的旅行期间,吃到了很多其他地方食物。这些经历很宝贵,从我在旅店吃到人们自己做的家常菜,还有在一个仅对当地人开放的地方吃饭。她说,我想选择那些在西方人们通常不会体验到的食物(来画)。

What did she like best? “Tsukemen, which are like ramen noodles but dipped in a thick broth with all the toppings. Also basashi, which is horse sashimi, which would never exist or be presented in such a respectful way in the West. It’s the cleanest meat I’ve ever had.” Wong adds she also loved ginnan, or gingko nuts.


Justine Wong 本人最喜欢吃什么呢?日本拉面(Tsukemen),就像普通的拉面一样,但它浸在浓浓的肉汤里,上面撒上配料马西生鱼片(Basashi),在西方国家没有,有也不会以如此隆重的方式呈现。这是我吃过的最干净的肉。她还说,她也喜欢白果,也就是银杏果。

When she later moved to Tokyo, Wong found it more difficult than she expected. “It was a big challenge, especially in the first six months, because I felt homesick and lonely. Tokyo can feel overwhelming, even if you know a lot of people.”

To assuage these feelings, Wong began taking weekend trips to the coast. “I started off in Kamakura, which was my introduction to Japan’s coastline,” she explains. “It changed everything about my relationship with the country. I went so often that it became a second home for me.” From there, Wong ventured further down the coast to the Izu Peninsula, drawn by its majestic rock formations.


当她随后搬到东京时,Justine Wong 发现这比她原先预想的要困难得多。“这是个很大的挑战,尤其是在前六个月,我的思乡情结前所未有地严重,觉得很孤独。即便在东京认识很多朋友,这感觉也让人很难承受。”

为了缓和这些情绪,Justine Wong 开始在周末去海边旅行。我从镰仓出发,这这是我对日本海岸线了解的第一步。她解释道,这改变了我和国家之间的一切关系。因为常常去,结果那里就成了我的第二个家。从那开始,Justine Wong 沿着海岸继续向伊豆半岛进发,而那边,有雄伟的岩石群在等着她。

Wong’s art evolved as she experienced more of Japan’s striking beauty: she began exploring the connection between nature and her own emotional identity. Toward the end of her year in Tokyo, Wong presented No Hard Feelings, a solo exhibition showcasing paintings inspired by nature. “I wanted viewers to become aware of their feelings for a place, while also seeing that the place itself is bigger than what they feel about it,” she explains. “Most of the paintings are freehand, and I just painted as I felt.”

The freedom she felt in Japan allowed Wong to reflect on her identity as a Chinese Canadian. Through the paintings, I was able to explore my feelings freely and express them in a visual language,” she explains. “In one, called Too Much, Too Much, there’s a pile or rocks and shells and leaves, and a little woman trying to add the last piece to the painting. For me, it’s all these emotions that build up over your life that you don’t have the language to express. A lot of these feelings are so attached to my Chinese heritage that English doesn’t have words to define them, and giving it a visual form was very empowering.”


随着 Justine Wong 体验到日本更多异乎寻常的美丽面貌,她的艺术也因而进化。她开始探索自己的情感认同与当地自然之间的连结。在即将离开东京的那一年,她展出了《别放在心上》(《No Hard Feelings》),在此一个展之中,所有画作的灵感皆来自于大自然。 “我希望观众能够知道他们对一个地方的想法或感受,同时意识到这个地方,远比他们自身的感受还要宽阔、浩大,” 她解释道。 “大多数的画都是徒手画的,我按照自己的感觉去画画。”

在日本自由自在的生活,让 Justine Wong 开始反思她作为一个华裔加拿大人的身份认同。 “通过绘画,我能够自由地探索自己的感受,并用视觉语言表达出来,” 她解释道。 “在一个名为《太多,太多》(《Too Much, Too Much》)的作品里,有一堆岩石、贝壳和树叶,还有一个小女人试图将最后一块线索添加到画作中。对我来说,正是这些你无法用言语具体表达出来的情绪,点点积累成你的生活。然而,这些感受很多都与我的中国背景相关,我没办法用英语去定义它们,只能以视觉方法来诉说。正是这一点让我感到自己充满力量。”

Wong moved back to Toronto in 2017, but her time in Japan has had a lasting impact on her work. She’s realized she can tackle questions about her past the same way she learned how to live in Tokyo. “If I couldn’t speak my parents’ language very well, I’d just have to study it the way I studied Japanese. If I didn’t know much about Chinese food, I’d just have to experience it as I experienced Japanese food for 21 Days in Japan.”

Wong also wants to build a lasting connection with Japan through collaborations with Japanese writers and artists and cross-cultural exchanges between the people of Toronto and Tokyo. “I hope to keep creating work that can provide a new visual language to bring people closer to themselves and others.”  


Justine Wong 于2017年搬回多伦多,但她在日本的经历对她产生了持久的影响。以前她常常疑惑关于过去的那些问题,她现在意识到可以解决它们,就像解决如何在东京生活一样。 “如果我不能很好地说出父母的语言,我只需要按照我学习日语的方式来学习。 如果我对中国菜不太了解,我只需尝试一下,就像我在《21天在日本》里品尝了日本料理。”

Justine Wong 还希望通过与日本作家和艺术家的合作、以及多伦多和东京人民之间的跨文化交流,能让她与日本建立更持久的联系。 “我希望继续创作更多作品,提供新的视觉语言,让人们更贴近自己和他人。”

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Taipei after Dark with U.TA 收听一首深夜的台北

October 10, 2018 2018年10月10日

 

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Perhaps better known for its diverse food and its New Wave cinema, Taiwan has been quietly establishing its indie music cred in recent years. As the island’s cultural center, pluralistic, polymorphous Taipei has been awash in a range of aural delights, from post-rock, psychedelia and punk, to hip hop, folk, and jazz. Reverb-laden shoegaze and breathy dream pop bands in particular seem to sprout, blossom, and thrive in the capital’s languid, subtropical heat, with native species Manic Sheep, I Mean Us, DoZzz, and TuT offering a kaleidoscope of shapes and colors.

One Taiwanese dream-pop band in particular, U.TA, revels in cross-pollinating styles and genres to produce striking musical hybrids. Formed in 2013, the band includes vocalist Urayn and bassist Garry Lu, along with Garry’s brother John on guitars and their friend Tao on drums. Urayn and Garry started an embryonic version of the band back in 2006 but felt the need to expand their sonic horizons. “Although we started in Taichung when we released our EP as a duo,” Urayn recalls, “we thought that we’d be more complete if we had a full band.”


近年来,在一向以美食和新浪潮电影著称的台湾,一股独立音乐力量正悄然崛起。作为台湾的文化中心,多元化的台北奉上了一场精彩的听觉盛宴,从后摇、迷幻乐和朋克到嘻哈、民谣和爵士乐,包罗万象。其中,Shoegaze(自赏)派音乐和梦幻流行乐队大放异彩,在台湾慵懒温热的亚热带气候中萌芽、开花。Manic Sheep、I Mean Us、DoZzz 和 TuT 等本土乐队带来万花筒般的音乐。

其中令人瞩目的梦幻流行乐队 U.TA 擅长将各式风格与流派的完美融合,打造出令人惊喜的混血音乐。乐队成立于 2013 年,包括主唱 Urayn、贝斯手 Garry Lu,吉他手则是他的兄弟 John,鼓手则为其好友 Tao。2006 年,Urayn 和 Garry 组成最初的双人组合,后来又觉得有必要扩大乐队的音乐视野。“当初在台中一开始推出 EP 时我们只是双人组合。” Urayn 回忆道,“但我们觉得,如果可以有一支完整的乐队,我们的音乐也会更完整。”

While all four share arrangement duties, Urayn writes all the songs herself. She also sees each one visually: “Each time I sing a song, I have a video script in mind. When I have more time and energy in the future, I’d like to transform each song into a video to reveal the conceptual basis behind it.” With such a cinematic outlook, it’s no surprise that the band is drawn to the emotional richness of Hong Kong cinema, and in particular the films of Wong Kar-wai.


Urayn 负责写歌,四位成员各司其职。Urayn 喜欢将每一首歌都视觉化,她说:“每次我唱歌,脑海里都会在构想一些画面。将来如果我有更多的时间和精力,我想把每首歌都做成视频,表达出其背后的概念。”既然有这种对影片创作的向往,也就不难理解,为什么乐队都喜欢情感细腻的香港电影,特别是王家卫的作品。

Their musical DNA includes dream pop pioneers Cocteau Twins, Chinese musical icon Faye Wong (who starred in Wong Kar-wai’s Chungking Express and 2046), and the dark hues of American band Mazzy Star. “Our music is like a constellation. Just as there are twelve types of people [in the Chinese zodiac], shoegaze, for example, is one type of music, but we can mix it with other types like punk or hip-hop to create something unique.” Anyone who’s listened to the band’s 2015 release “Highway Cruising” will recognize its unique combination of styles and influences.


他们的音乐灵感包括梦幻流行音乐的先锋 Cocteau Twins、王菲以及风格阴柔凄美的美国乐队 Mazzy Star。“我们的音乐就像一个星座,或是中国的十二生肖,例如 Shoegaze 就是一种类型,但我们可以将它和其它类型的音乐混合,譬如朋克或嘻哈,创造出独特的音乐。”如果你听过他们在 2015 推出的《缓飙公路》,你一定能从他们独特的音乐中听出各种不同流派与风格的融合。

Unlike many bands, U.TA is equally at home on stage and in the studio, which they see as two sides of the same coin. “If you don’t create complex lyrical arrangements in the studio, then the live performance won’t be solid either,” they say. Studio work allows them to refine their sound until it matches their emotional register, while live performances offer a more immediate connection with their audiences. Fans in Taiwan, Japan, mainland China, or Hong Kong might respond in slightly different ways, and concerts offer instant feedback that can’t be replicated in the studio.


与许多乐队不同的是,对 U.TA 来说,他们喜欢舞台上的现场演奏,也喜欢在录音室的工作。这两种不同的形式犹如一枚硬币的两面——“如果你不能够在工作室里创作出复杂的歌曲编排,那么你的现场表演也不会很好。”录音室可以让他们不断地调整音乐,直到它符合他们想要的感觉;而现场表演又为他们提供了一个与观众更直接联系的平台。虽然由于文化倾向的不同,台湾、日本、中国大陆或香港的粉丝可能会有不同的反应,但现场表演能让他们获得即时的反馈,那种自发性是无法在录音室中获得的。

What do they think about Taipei itself? “We live in a city brimming with inspiration,” says Urayn. “From the beauty of traditional Chinese characters, to the ways people connect with each other, to the flavors of the city, it all deeply influences our work.” The energy of Taiwan’s capital has spawned various musical events along with a growing roster of clubs and record labels to support them. “Taipei is absolutely heading towards becoming a city of music, and I’m so excited about it.”


而他们对台北本身,看法又如何呢?Urayn 的评价是:“这是一个充满灵感的城市。无论是美丽的传统汉字,人们之间的互动,或是城市的风味。所有这一切都深深地影响我们的创作。”作为台湾首府,这座城市的蓬勃生命力催生了丰富的音乐活动,同时还有越来越多的俱乐部和唱片公司作为后盾。“台北正朝着音乐之都的方向发展,这一点让我很期待。”

Currently at work on a new album, the band reveals they’re exploring urban elements such as “fog” and “fragrance” but will maintain their trademark shoegaze sound. As Urayn enthuses, “What I’m most looking forward to this time is that we’ve invited many musicians from different countries to create new songs together.” Global in outlook, defined by the sights and sounds of Taipei streets, U.TA represents the best of Taiwan’s musical cosmopolitanism. Their openness to experimentation is helping to put their city on the indie music map.


目前,乐队正在筹备一张新专辑,他们透露,乐队正在探索与城市相关的元素,譬如“雾霾”和 “香水”,但乐队的标志性 Shoegaze 风格不会改变。Urayn 兴奋地说道:“这张专辑最让我期待的是,这一次我们邀请了来自不同国家的音乐家一起创作新歌。”立足全球的视野,又始终坚守源于台北街道的风景与声音,U.TA(屋塔)代表了台湾最具创意的音乐世界主义,他们开放性的实验态度正推动着台北独立音乐力量的发展。

Bandcamputaband.bandcamp.com
Facebook: ~/uta25
Instagram: @utaband_tw

 

Contributor: Brian Haman
Photographer & Videographer: Anaïs Siab
Audio Courtesy of U.TA


Bandcamputaband.bandcamp.com
脸书: ~/uta25
Instagram: @utaband_tw

 

供稿人: Brian Haman
图片与视频摄影师: Anaïs Siab
音频由 U.TA 提供

What If? 如果你的人生有 “如果”

October 9, 2018 2018年10月9日
"What if rainbows sprouted from the ground?"

If you could make the “what ifs” in your life come true, what would you wish for?

That’s the question posed by Chinese illustrator Zhai Yanjun, better known by his pen name, Xiaomin Lao’er. In his What If comics, which he draws late each night, a bald, bearded man with thick-framed glasses and an anxious look on his face explores every conceivable situation, making up for the shortcomings of real life.


如果你的人生有 “如果”,你最想要哪种结果?

在插画师小民老二(本名翟砚军)每个深夜描绘出的这些《如果》里,一个带着黑框眼镜、一脸浓密络腮胡、头顶透露一丝中年焦虑的男人游走于各种可能里,弥补着来自现实的缺角。

"What if you could breathe underwater?"
"What if you had amnesia?"

As a child, Zhai often accompanied his parents to work, where he’d draw to help pass the time. Little did he know, art would become a life calling.

Nowadays, much of his time is spent drawing, reading, and taking quiet walks. While he enjoys socializing and mingling with others, his attitude is more that of an observer than a participant. “For everyday scenes, I just need an idea, an impression, and my mind will naturally react. My imagination does the rest, and it might end up becoming a drawing.”


从小跟着大人上班的经历 ,让小民老二为了打发时间而拿起画笔,从此便一发不可收拾。日常的他会静静画画、看书,没事的时候出去散散步。他乐于参与那些街巷烟火,不刻意与人群保持距离,但他的生活态度更倾向是一个观察者,而非参与者,“对于这些世俗景象,有了概念和印象就够了,内心自然会有反应。剩下的交给想像力,最后有可能会变成画。”

"What if you could turn invisible?"
"What if you didn't need sleep?"
"What if you had a USB slot for your brain?"
"What if you could start your life over?"

Zhai has spent much of his life in Kunming, the City of Eternal Spring. People there are seldom busy, know how to enjoy themselves, and always seem to have time and money to spare. “It’s a good place to retire,” he laughs. Even though he’s in his 30s, the slow pace makes him feel more like he belongs to his parents’ generation. Maybe the source of his gentle style lies in the fact that he has no illusions and accepts the world as it is. “The What If comics are like a series of hypotheticals for myself,” he explains. “Mostly I draw things I wish I could change, things that float above my everyday life. It’s an outlet for impossible fantasies, like being invisible or flying. Everyone has those.”


长期生活在昆明这个四季如春的城市里,人们不是很忙,喜欢吃喝玩乐,而且总有闲工夫和闲钱,他笑称这是一个 “适合养老的地方”,这种慢节奏的生活状态也常常让 80 后的小民老二觉得自己属于爸妈那一辈,更像一个 60 年代的人。 也许他作品中的那份平和正来自这里,对现实了然于心、却也坦然接受。“《如果》就像我对自己的假设,很多都是遗憾,它们浮在日常生活之上,是个胡思乱想的出口。就好像现实中我不可能隐身,也不会飞,每个人都是这样。”

What if you had supernatural powers?
"What if you were in the triad?"
"What if you were serving a life sentence?"
"What if you met an alien?"

Weibo: ~/小民老二
Douban~/小民老二

 

Contributor: Shou Xing


微博: ~/小民老二
豆瓣~/小民老二

 

供稿人: Shou Xing

Picturing Loneliness in Japan 生而为人,谁不孤独

October 8, 2018 2018年10月8日

Even though everyone experiences it in their lives, loneliness remains stigmatized. Acknowledging it can feel shameful, like an admission of weakness or vulnerability. But thinking about loneliness in a different light, and fully embracing it, can be liberating. Photographer Gili Benita recently traveled to Japan, where a glimpse into the country’s solitary life transformed his negative outlook: he realized he wasn’t alone in his loneliness—and he could even grow to enjoy it.


所有人都曾经历过孤独。可人们却觉得孤独是可耻的,承认孤独,就等同于承认自己的弱点或缺陷。不如,换一种角度来思考孤独呢?拥抱孤独,也是在解放自己。摄影师 Gili Benita 最近前往日本,在那里,他所瞥见的各种孤独生活,改变了他对孤独的负面想法:他意识到,孤独者并非他一个,他甚至学会去享受孤独。

Benita’s newfound understanding inspired his photo series Kodoku (Japanese for “loneliness”).  While the series is filled with snapshots of strangers, the project was a way for Benita to look inward and understand himself. Each passerby represents Benita’s own solitude: a single figure in the distance strolling along sandy dunes with the vast ocean spreading out before him; a man enjoying the pleasant weather, reading and lounging in the park by himself; a single beam of light illuminating the face of a woman with her eyes closed, as if savoring the shadows that seem to be swallowing her. In each image, Benita removes the melancholy associations of being alone, substituting a sense of freedom, serenity, and empowerment.


Gili 的新发现激发了他创作《Kodoku》(日语意为“孤独”)摄影系列。虽说系列中他所拍摄的都是陌生人,但这个项目也是 Gili 自我反思与了解自己的一种方式。照片中的每位陌生人都折射出 Gili 自己内心的孤独:一抹剪影,在远处沙丘上漫步,他面前是无垠大海;一个男子,独自在公园里读书和闲逛,享受着宜人天气;黑暗中的一束光,照在一名女子的脸上,而她正闭着眼,像是在细细品味这即将把她吞没的阴影。在这些照片中,Gili 抛弃掉孤独一贯所伴随的忧郁情绪,取而代之呈现出自由、安祥和静默的能量。

“This project is really important for me, because it allowed me to reconcile one of my biggest issues in life,” Benita shares. “These photos allowed me to finally have an honest conversation with myself.”

Rather than avoiding solitude, Benita now welcomes it. He now understands loneliness to be a natural part of human existence and believes that once a person accepts this, they can begin to appreciate its beauty.


“这个项目对我来说非常重要,因为它帮我克服了在生活中面临的一个最大的问题。” Gili 说,“这些照片让我终于能和自己进行了一次坦诚的交谈。”

现在,Gili 不再逃避孤独,转而去拥抱它。他明白,孤独是人类存在的一部分,如果你能坦然接受它,就可以开始欣赏到它的美。

Website: www.gilibenita.com
Instagram: @gilibenita

 

Contributor: David Yen


网站: www.gilibenita.com
Instagram: @gilibenita

 

供稿人: David Yen

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Metal Soul 锻造之魂

September 28, 2018 2018年9月28日

 

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Sĩ Dang stands in the corner of an immense metal workshop in Dĩ An, a village 20 kilometer north of Ho Chi Minh City. The metal bar he’s holding with his bare hands seems to be an extension of his body as he twists it in sync with each strike of the mechanical power hammer.

Sparks fly around the machine, even bouncing off his exposed skin, and the booming echoes can be heard far outside the workshop. But inside Sĩ’s head, it seems quiet—the young blacksmith is completely absorbed by his work and oblivious to anything other than the red-hot end of the metal bar. Only when the metal becomes too cold to forge does Sĩ snap out of his trance momentarily to reheat the metal in the furnace.


在胡志明市以北 20 公里的 Dĩ An 村庄,Sĩ Dang 站在一间大型金属加工车间的角落,徒手握着一根金属棒。随着动力锤每次击打,他灵活地扭转金属棒,仿佛这根金属棒就是他身体的延伸。

火花在机器周围四溅,弹到他裸露的肌肤上,轰隆隆的回声一直传到车间外的远处。 然而,在 Sĩ 的脑袋里,世界是安静的。这名年轻的铁匠完全沉浸在自己的工作中,对火红金属棒以外的事物浑然不知。唯有当金属变冷不能继续锻造时,他才会从这种投入的状态中暂时抽出,将金属重新放到火上烧热。

Watching his effortless movements, you might assume that he’s the son of a long bloodline of blacksmiths, born with a hammer in hand. But this is far from the truth. “I found this job online two years ago,” he says. “I applied without any previous blacksmithing experience. But I was a welder at the time, so I knew I loved metal and fire.” The Vietnam-based French blacksmith who hired him, Sébastian Sicot, has absolutely no regrets: “Sĩ is definitely very talented, and he has a strong work ethic.”


他的动作轻松自如,仿佛这把锤子是他与生具来的一部分,这也许会让人以为他来自于一个铁匠家族,从小耳濡目染。然而,事实远非如此。“两年前我在网上找到这份工作。” 他说,“申请这份工作之前,我没有任何锻造的经验。不过我做过焊工,所以我知道自己喜欢和金属、火有关的工作。” 雇用他的是定居越南的法国铁匠 Sébastian Sicot,对于这个决定,Sébastian 说自己一点也不后悔,“Sĩ 很有才华,而且非常有职业道德。”

The Soul of the Craftsman

When the work with the power hammer is done, Sĩ takes a forging hammer from a wall filled with other miscellaneous tools and starts bending the metal. Of the twenty hammers regularly used in the shop, nearly all of them look exactly like the ones blacksmiths used centuries ago. Sĩ says, “Some tools haven’t really changed over the years, but nowadays, most of us use slightly different forging techniques.”

To Sĩ, the technique, in fact, the whole process of blacksmithing is even more magical than the final objects he makes. Sure, he wants to create beautiful pieces, but he finds most fulfillment in the craft itself. “Good blacksmiths slowly turn a lifeless piece of metal into something with a soul,” he explains. The 24-year-old craftsman is not trying to be poetic: it’s clear he means it.

He believes that blacksmiths have the ability to imbue vitality into a lifeless piece of metal by putting their own soul into it. “But only when they work with their hands,” Sĩ adds. “Shaping metal with factory molds and machines don’t give it a soul”.

Sĩ often works closely together with his fellow craftsmen in the workshop; they all contribute small pieces to a larger whole. “The end result is a melting pot of all our souls,” Sĩ’s eyes sparkle as he says it.


工匠之魂

完成动力锤部分的工作后,Sĩ 从摆满各种工具的墙壁上取出锻锤,开始弯曲金属。几乎所有店里常用到的二十个锤子,看起来都像是几个世纪前的产物。Sĩ 说: “有些工具经过这么多年其实也没有怎么变化,只是大多数现代人的锻造技术稍微不同。”

事实上,对于 Sĩ 来说,锻造的整个过程比他所打造的最终成果更加令人称奇。当然,他想要打造出漂亮的作品,但他发现自己最大的成就感来自这项工艺本身。“好的铁匠能慢慢将一块没有生命的金属,变成一件有灵魂的物体。” 他解释道。这位 24 岁的铁匠并非刻意将其浪漫化,很显然,这是他内心的真实想法。

他相信,铁匠在锻造的过程中,能够将自己的灵魂融入其中,为无生命的金属注入生命力。 “但前提是他们要用自己的双手工作。用工厂模具和机器来塑造金属并不会给它带来灵魂。” Sĩ 补充道。

Sĩ 经常会与车间的其他铁匠合作,一起打造大型的作品。“最终成果是我们所有人的灵魂的熔炉。” Sĩ 说道,眼里闪耀着光芒。

Heritage

That sense of connection with other blacksmiths is even more profound when doing restoration work. Indeed, every forged piece carries the soul of the maker inside, even when that person is gone. Sĩ says, “When you’re touching an old piece, you have to listen to the existing soul in the material.” This doesn’t necessarily mean using the exact same tools, but “you have to respect the soul of the craftsman who made it.”

Restoration work also requires more skill. “For a new piece, we follow the design instructions. Of course it still requires skill, but there aren’t so many surprises in the process. Nothing like the old pieces. When you restore an object, you have to fix every little detail. And you need to be very careful because older material can be more vulnerable.”


传承

在进行修复工作时,与其他铁匠的联系更为深刻。事实上,每一件锻造而成的作品都会带上制作者的灵魂,即使那个人已经不在。 Sĩ 说:“当你触摸到历史悠久的作品时,你必须去聆听金属中既有的灵魂。” 这并不意味你要用完全相同的工具,而是要 “尊重制作这件作品的工匠的灵魂”。

翻新修复的工作也需要更多的技巧。“对于新的作品,我们只需要遵循设计说明就好了。当然,这个过程也需要技巧,但过程不会有太多的惊喜。旧的作品却不一样。当你要修复一件旧的作品时,你要修复每一个细节,同时需要非常小心,因为它的材料由于时间久远,会变得更脆弱。”

While Sĩ discovered this passion mostly by accident, his dedication has set him on track to becoming one of the top blacksmiths of Vietnam. “I’m willing to do the same thing ten times, twenty times even—because it means I’m improving myself,” he tells us. “I’m very patient. That’s just who I am.”


虽然 Sĩ 对于铁匠的热情是偶然的发现,但他已经决心成为越南的顶级铁匠之一。“即使是同样的作品我也愿意做十次,甚至二十次,因为这意味着我在不断提升自己。” 他告诉我们,“我很有耐心,我就是这样的人。”

Contributors: Annigje Jacobs, Brice Godard
Photographer & Videographer: Brice Godard


供稿人: Annigje Jacobs, Brice Godard
图片及视频摄影师: Brice Godard

Rendered Realities 在我的世界里放一把火

September 27, 2018 2018年9月27日

To enter the worlds of Izzzy is to forget time and place. His digital artwork is a product of the internet, with references that point to some imagined future and call a land of ones and zeros home. In this alternate dimension, the Jakartan artist has spawned forth an array of cyborgs and monsters that hint at a larger narrative happening just outside of each frame.


进入印尼雅加达艺术家 Izzzy (真名 Yudhistira Israel)的世界,你要先将时空的概念抛诸脑后。他的数字艺术作品以网络为灵感,构筑出一个想象的未来,将虚拟的网络世界当作家园。在这个不同维度中,他创作了一系列的机器人和怪物,就像是在更大的叙事背景中的人物角色。

Like many young creatives in Indonesia, Izzzy originally built his following as a Youtuber, creating parodies and cracking jokes about local topics under his VNGNC alias. This all changed when he was tapped by Mardial, a popular local music producer, to direct a music video, which is ultimately what inspired Izzzy to take a new career direction. While he’s thankful of his Youtube fan base, he’s set that identity aside to focus on motion graphics, music videos, and 3D art. “I can’t deny that I started with my Youtube personality,” he says. “But I stopped working on that channel and my Instagram keeps growing. So I think it’s safe to say that people enjoy my visual work.”


和印度尼西亚的许多年轻创意人一样,Izzzy 最初通过 Youtube 来积累粉丝,他以 VNGNC 的名号发布一些模仿和有关当地话题的搞笑视频。直到被当地有名的音乐制作人 Mardial 邀请,并指导拍摄一部音乐MV后,Izzzy 迎来了事业的转机,最终也激发 Izzzy 寻求新的职业发展方向。他很庆幸自己曾拥有的 Youtube 粉丝群,但他已经决定将 Youtuber 的身份放在一边,专注于动画、音乐 MV 和 3D 艺术的创作。“我不能否认自己就是从 Youtube 开始的。”他说:“但我已经停止更新那个 Youtube 频道,而我的 Instagram 依然在不断发展。所以我想人们应该还是挺喜欢我的视觉作品的。”

His work reveals clearly defined inspirations, largely made up of internet culture: Tumblr aesthetics, vaporwave cues, and cyberpunk motifs heavily shaped his artistic sensibilities. “Tumblr influenced me back in college, I used to browse it a lot. It’s a lazy way to keep your creative brain occupied,” laughs Izzzy, whose real name is Yudhistira Israel. “When I wouldn’t feel like doing anything, I’d go on Tumblr and type some keywords and just scroll.”

Izzzy’s imaginary worlds are overflowing with pop culture references, like the Greco-Roman statues and palm plants that are commonly associated with vaporwave. He even goes so far as to create fan art for the likes of Stranger Things and Devilman Crybaby. A deep appreciation for other people’s achievements is plain to see. His personal style is draped over this wealth of inspiration, conveyed through textures, lighting, colors, and storylines that drip with mood and mystery.  


他的创作灵感在作品中显而易见,主要都是互联网文化,Tumblr 美学、蒸汽波艺术(Vaporwave)和赛博朋克(Cyberpunk)元素,都对他的艺术创作有着重要的影响。“大学的时候,Tumblr 对我影响很大,我常常会刷 Tumblr。这算是一种保持大脑创意的比较懒的方式。” Izzzy 笑着说,“当我什么都不想做的时候,我就会去 Tumblr 上,输入一些关键字,开始刷。”

Izzzy 的想象世界里充满了各种流行文化参考,如希腊和罗马的雕像、蒸汽波艺术常出现的棕榈植物等等。他甚至为美剧《怪奇物语》(Stranger Things)和日本动画《恶魔人》(Devilman Crybaby)创作了同人作品。他在作品中清晰展示出自己所借鉴的灵感参考。而在这些丰富的灵感之上,则是他个人风格的铺展,通过纹理、灯光、色彩和故事情节,呈现出充满氛围感和神秘感的画面。

“3D is just one medium,” Izzzy says. “I can’t go outside and set a construction site on fire and then take a picture of it, so I just create it. My diverse artistic background has given me a different perspective about how to use various mediums together.”


“3D 只是一种创作媒介。” Izzzy 说,“我总不能为了拍一张照片,就到外面去放火烧掉一块建筑工地吧?所以我只能自己来创造这种场景。拥有多元化的艺术背景这点,也让我知道该如何将各种媒介融合在一起。”

 

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Elements of his 3D work make appearances in his music videos. Floating cars partially submerged in turbulent water and exploding digital skulls are some of the more obvious recurring themes. Then there’s also his bold use of color. “The colors in my music video treatment is a lot like my 3D works. Teal and purple. Magenta and violet. They’re really natural elements for me.”


他的 3D 作品元素也会出现在他的音乐视频作品中。在淹没在湍流中的汽车、爆炸般的数字头骨都是他在作品中反复出现的主题。此外,还有他对颜色的大胆运用。 “我对 MV 作品的色彩处理和我的 3D 作品很像。深青色和紫色。洋红色和紫罗兰色。这些对我来说都很自然的色彩。”

 

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He also VJs for Dutch EDM duo Yellow Claw and creates a portion of their video content that he performs live when on tour with them. While they have their own aesthetic of cinematic visuals and crisp lines, Izzzy is able to bring his personal touch to those screens as well. His vision is most clear in the music video he made for their track “Do You Like Bass?”, which is a hectic barrage of pretty much every element he’s ever worked on and more. It starts out with a partially tongue-in-cheek warning: “This video has been identified to definitely trigger seizures for people with (or without) photosensitive epilepsy.”

In the end, all Izzzy’s output circles back around to his still 3D art. It’s the most personal of his work and sets the stage for much of the rest of his various outlets. When asked what keeps him going back to 3D illustrations, his reply was plainspoken yet sincere: “I’m just really passionate about it.”


他还给荷兰电音组合 Yellow Claw 担任 VJ,与他们一同巡演,并参与创作了乐队现场表演时的影像内容。在影像原有的电影视觉效果与清晰线条之上,Izzzy 将个人风格融入其中。在他为乐队的曲目《Do You Like Bass?》制作的音乐 MV 中,他的理念最为清晰,这几乎可以说是他曾经创作过的所有元素的结合。片头更是插入了一段诙谐的警告:“这个视频已被确认肯定会给患有(或没有)光敏性者强烈刺激。”

所有 Izzzy 的作品归根到底都是以 3D 静态艺术为核心的。这是他最具个性化的作品,也是他的其它艺术创作的基础。当被问及是什么让他回到 3D 插图创作时,他的回答直接又真诚:“因为这是我的真爱。”

Instagram: @vngnc

 

Contributor: Mike Steyels


Instagram: @vngnc

 

供稿人: Mike Steyels

What a Load of Rubbish 垃圾袋里的秘密

September 21, 2018 2018年9月21日

Open up the garbage bag and rummage through the discarded memories. Piece these crumpled scraps together and you just might discover that it forms the life of a family, with a husband, wife, son, and daughter. A tasty early-morning breakfast, a plate of sliced fruit, discolored family photo albums, the sounds of laughter and quarrels throughout the house – memories of all these sights, sounds, smells, and experiences come together in Rubbish Famzine, a zine made by the Lim family in Singapore.

Starting with its inaugural issue in 2011, Rubbish has been made by the same four-person editorial team: husband-and-wife duo Pann and Claire, along with their son and daughter, Renn and Aira. A seemingly ordinary family, the Lims are crafting family diaries in an extraordinary fashion.


拆开这袋垃圾,摊开那些揉皱的、蜷缩的、被丢弃的回忆,便能拼凑成一个鲜活的家庭印象:四口人,一对夫妻,一对子女,早起饭菜的香味,一盘被瓜分的水果,退了色的家庭相簿,聚集在客厅的争执和欢笑。看到的、听到的、嗅到的、触碰到的,都是它独特的“最”生命力。这就是《Rubbish Famzine》,一本来自新加坡四口之家所打造的家庭志。

从 2011 年第一期开始,《Rubbish Famzine》的团队就由这样四个人组成: Pann 和 Clairie 夫妻俩以及他们的孩子 Renn 和 Aira,这个看似再普通不过的四口之家,却实在地体现着家庭志的定义。

To Pann and Claire, their children aren’t just mischievous little rugrats who occasionally contribute to a discussion. The family’s creative philosophy is that everyone has to contribute their own ideas. Renn and Aira may be young, but their input is respected, and sometimes their imagination can yield surprising results.

Every issue is created in a casual atmosphere, with the entire family brainstorming over snacks, a pot of tea, and pen and paper. Then, through a series of candid conversations about their personal likes and dislikes, a new issue of this independent magazine born.


对于 Pann 和 Claire 而言,Renn 和 Aira 的存在并非只是偶尔参与讨论小捣蛋鬼们。因为这个团队的创意理念就是,每一个成员都必须有自己在想法上的贡献。虽然 Renn 和 Aira 年纪小,但是他们的每一个想法和意见都会被尊重,而且有时候孩子的想象力会惊讶这个世界。

《Rubbish Famzine》的每一期就是在这样的一种气氛下诞生的:一家四口,围坐在一起,一壶茶、一些小零食、笔和纸,彼此间毫无保留的畅谈,喜欢的讨厌的,简单直白的被交流被记录,最终一家人的只言片语变成了一本独立杂志。

The Ziney-est of Zines

Yet maybe “independent magazine” is the wrong word. As its name indicates, it’s really a zine, and this concept is the core of its creation.

There’s no set distinction between the two, and both zines and independent magazines are outside mainstream media, non-commercial, not for profit, and not bound by social convention. But while independent magazines are still magazines, with numbered issues, a regular publication, and retail distribution, zines tend to be small-scale publications that emphasize their handmade, artisanal quality and their creator’s lively spirit.

As a family-centric publication, the happenings of the family—however mundane or normal—are of course covered from issue to issue. But what makes each story so captivating is linked to the Lim family’s playful packaging and layout designs. 


最 Zine 的独立杂志

与其把它定义为独立杂志(Independent Magazine),我更愿意称它为 Zine,可能正如它自己的名称 “Famzine” 一般,Zine 的概念成为了它的创作理念。

关于独立杂志和 Zine 的区别,其实也从来没有一个特定官方的说法。对于圈内的创作者们而已,两者共有的就是区别于主流传媒的文化产物,拥有非商业化的立足点、非盈利主导的运营模式以及摆脱世俗禁锢的创意性。独立杂志本身还是具备杂志的属性,期刊号、固定发行周期、分销概念等等。而 Zine 则更偏重于小规模印刷的独立出版物,强调手工感和一种鲜活的出版人精神(常常是独立制作)。

作为一个以家庭为中心的出版物,《Rubbish FAMzine》把家庭的琐事——无论多么平凡而日常——在一期又一期的杂志里被细细诠释。但当然了,每期的故事如此迷人的原因,也与 Pann 和 Clairie 一家俏皮包装和布局设计有关。


 

Issue #1: “Google Translating Tokyoto”

Staying true to the magazine’s title, product images for the debut issue were photographed with the magazine inside a generic black trash bag and surrounded by crumpled up paper scraps.


黑色垃圾袋包裹了杂志,里面塞满了揉皱的废纸,就仿佛一个任何家庭都会出现的装满垃圾的垃圾袋。


 

Issue #2: “Till Death Do Us Part”

Adopting the aesthetic of old pamphlets and print material, this issue is comprised of five sub-issues of different sizes, all of which is thread bound. It’s all housed within a scaled-down replica of an old Chinese National Language School folder that inspired the issue.


做旧的小册子,按照不同的尺寸叠放,最后用红绳子扎起来,仿佛一个十字架,也正好照应了本期主题。


 

Issue No. 3: “Forever and a Day”

One of the most playful issues to date. Loose and seemingly random objects—which includes a paper airplane, a twig, cassette tapes, folded sheets of paper, and mini brochures—all packaged inside a tin cookie can make up the issue.


可玩性极高的,纸飞机、树枝、卡带、对折页、小册子,看似不相关的零部件却毫不冲突地放进了一个旧铁盒里。


 

Issue #4: “The Incomplete Herbarium And Other Garden City Exploits”

Two thin sheets of plywood make up the front and back cover of this issue, sandwiching the contents within. The use of wood is an allusion to the issue’s theme of urban gardens.


前后的薄木板设计,把小册子好像三明治一般夹在当中,木头的概念也接近了该期的主题:城市花园。


 

Issue #5: “In the Name of the Father”

An issue of TV Weekly with Taiwanese singer Teresa Tang gracing the cover, a black-and-white family portrait, old publications filled with scribbles and notes, miscellaneous clippings held together with paper clips – this issue celebrates the life of Pann’s father, Lim Tiap Guan.


邓丽君封面的《电视周刊》、黑白的家庭照、做了标签的旧刊物、回形针整理的资料,每张纸都承载着父亲的生活气息。


 

Issue No. 6: “An Emojious Odyssey of the Gluttonous Omnivores”

Designed like restaurant take-out, this issue makes gratuitous use of emojis as a means of expressing the family’s collective love for food. The layered binding makes for a fun journey into a world of all things delicious.


外卖盒的包装,塞满了 Emoji 表情,以此表达出这个家庭对食物的收集热。层层叠叠的装帧为读者展现了一个充满乐趣的美好世界。


 

Issue No. 7: “Flash and Blood”

Featuring repurposed boxes of Kodak Ultramax 400, cyanotype paper, and an assortment of old family Polaroids, this issue is a loving ode to analog photography from the Lims.


主角是改装自柯达 Ultramax 400 的底片盒,配上蓝晒纸和旧的家庭拍立得,组成一集怀旧的书刊——这是他们一家人谱出的诗篇,用以歌颂自己对摄影的热爱。


Authentic, Intimate Content

Pann is often asked a pointed question: is the magazine an invasion of his family’s privacy? His answer is that Rubbish seeks to make appealing content, but it can’t help exposing some rather intimate stories.

He explains that before every issue hits the printers, the family reaches a consensus on the content. So no matter if it’s stories of Pann’s father’s illness or the private love letters of his parents, everyone’s already given their approval. Ultimately, Rubbish is a physical manifestation of the Lim family’s love: their love for each other, their love of travel, and their love of country. More importantly, they hope the zine can encourage, support, and help everyone who reads it.


最真实的无距离内容

曾经问过 Pann 一个很尖锐的问题:这会侵犯家庭隐私吗?他的回答是,《Rubbish Famzine》的确主张做亲和力很高的内容,但同时却或多或少都在向大众去揭露一家人比较隐私的情节或故事。首先,在独立杂志的内容被刊登之前,都会得到家庭成员的支持和认可。因此无论是父亲生病的故事还是他父母间的情书,其实大家都是表示支持的。《Rubbish Famzine》每一期的内容都在诉说这四口之家浓郁而真切的爱,对旅行的热爱,对自己国家的挚爱,对父母的珍爱。最重要的是,他们希望通过杂志的内容,能够激励、鼓舞并帮助到选择《Rubbish Famzine》的各位读者。

When asked about the name Rubbish Famzine, Pann laughs and says that “rubbish” is just something they often say at home instead of “stuff.” This playful means of communication perfectly encapsulates their quirky family dynamics.

“If you choose to pick up a copy of Rubbish and really read it, then for us there’s no greater honor or joy,” Pann says. “We hope every reader can be touched by our stories, laughing in delight or feeling moved to tears.”

As the Lim family’s saga continues, fans eagerly await every new issue. And no wonder—each story is authentic and meaningful, and perhaps by reading them, readers can discover meaning among the clutter of life.


至于杂志名“Rubbish”(垃圾),则来自于他们的口头禅,在 Pann 家,这个词常用以取代 “Stuff”(东西),这种独特的沟通方式,却很能展现了他们家其乐融融的气氛。

“如果你选择了我们的《Rubbish Famzine》并且认真阅读了它,就是我们最大的荣幸和快乐。希望每一个读者都能被我们的故事触动,无论是开心地大笑还是感到动容或悲伤。” Pann 一家的故事还在继续,总让我们禁不住去期待下一期的内容。因为故事里的每一个字都真实而有意义,可以透过它看到杂乱生活中的本质。

Additional Recommendations from Pann Lim:

I like fun, unique magazines with a fresh perspective. What comes to mind are LOST, Staple, Underscore, and Werk. If more print media in Asia can take similar creative approaches, I expect more people will be willing to read them.


主创人之一 Pann Lim 推荐的亚洲独立杂志:

我喜欢新鲜有趣独特的独立杂志,比如《LOST》, 《Staple》, 《Underscore》, 《WERK》. 如果亚洲纸媒能够继续秉持这样的创意态度,相信我们能看到更多的人愿意去阅读。

Facebook: ~/holycrap.sg
Instagram: @holycrap.sg

 

Contributor: Handowin Ho
Images Courtesy of Rubbish Famzine


脸书: ~/holycrap.sg
Instagram: @holycrap.sg

 

供稿人: Handowin Ho
图片由 Rubbish Famzine 提供

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Generation Q 一代酷儿一代人

September 18, 2018 2018年9月18日

As the fight for equality and mainstream acceptance continues for LGBTQ groups, cinema has become an important medium in sharing authentic vignettes of the queer experience. Filmmakers from all over the world are using cinema to invite discourse on the injustices being faced by these sexual minorities. With the second annual Shanghai Queer Film Festival kicking off on September 21st, we take a look at a few of our favorite short films that’ll be shown this year.


随着 LGBTQ 群体(同性恋、双性恋、跨性别者和酷儿)争取平等和主流认同等运动的持续推进,电影,也成为了分享同性恋经历真实片段的重要媒介。来自世界各地的导演及电影人,正试图以电影来引起人们对这些性少数群体所面临的、不平等也不公正的境遇进行讨论。在第二届上海酷儿影展开幕之际,我们选取了几部将会于现场展映的短片电影,以一窥在亚洲地区 LGBTQ 群体的生活。


 

Slingshot Prince / 《拿弹弓的王子》

 

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The story takes place in 1995 in a small southern China village.

At the center of the film is a 12-year-old tomboy who’s been ostracized by her community for being unfeminine. Loathed by neighbors and family’s alike, the misunderstood protagonist feels cornered by the village’s archaic views on gender. Boys her age pick on her and shame her for being different. Her family, embarrassed by her “eccentric behavior,” is equally unsupportive, shunning her while they coddle her younger brother.


那是在 1995 年中国南方的一座小村。

12 岁的女主人翁是个中性打扮的假小子,言行举止与传统温良贤淑的小姑娘差别迥异。但在传统思想的禁锢中,这个特立独行的姑娘并没有得到来自家人和邻里的理解和尊重,大家眼里的她并非个性,而是怪异——家人感觉脸上无光,对她的弟弟更宠爱有加;而同龄的男孩子,却因她的不同而百般不爽,借机羞辱了她一番。

Slingshot Prince by Lin Sixin
Slingshot Prince by Lin Sixin

Slingshot Prince isn’t completely fictional. Director Lin Sixing based the film on real-life experiences—a blend of childhood memories and fictional plot elements. Arriving at the filming location, a village seemingly stuck in the 90s, Lin says all of his memories from his youth came flooding back to him: “The location, colors, lighting, and even sounds really brought me back to my childhood and reminded me of how I viewed the world back then.”

At the turn of the century, China’s economy and society underwent massive changes, and the village where Lin was born wasn’t exempt from the effects of modernization. “In a radically shifting society, self-doubt not only comes from within. It stems from a misbalance of societal validation with self-affirmation,” Lin states. “And those indoctrinated by the Confucian Ideal of Great Harmony repress their desires to express their individualism.”

By the end of the film, the tides turn for the protagonist—she stands up for herself, getting her revenge by picking off each of the boys who humiliated her with her slingshot.


这《拿弹弓的王子》(Slingshot Prince)的故事绝非“纯属虚构”。对导演林思新来说,这部电影来源于他的少年经历,真实的过往和虚构的电影情节交杂。而影片背景设置在 90 年代的村镇,则“真正还原”了导演对那个年代的记忆——“不论是拍摄场地,色彩,光线,或者是声音,全部都如实地还原了我少年时对这个世界最初的认知。

在这个世纪之交时,中国的经济和社会面貌发生了遽变,而导演所生所长的村庄也面临着城镇与外来文化的冲击。“在这样的一个社会巨变的环境下,人心的矛盾不仅仅来自于自我认同上,也来自自身被社会的认同和自我认同的不平衡上,而大多数这种被儒家大同思想深深影响的普遍社会价值观,造成了对个人自我表达欲望的压抑。”

所幸的是在影片最后,她站起身来,用自己弹弓狠狠反击那些欺凌她的男孩子,让他们付出了应有的代价。

Slingshot Prince by Lin Sixin

 

Sorry for the Inconvenience /《抱歉打扰了》

 

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In rural towns and villages where queer culture hasn’t quite been accepted, it’s not uncommon to see discrimination or even acts of violence against LGBTQ individuals. This is especially common in Asia-Pacific and Africa, where, statistically, sexual minorities have been the most marginalized groups in society.

These experiences are brought to light in Filipino director Carl Chavez’s Sorry for the InconvenienceThe short film is centered around Joshua, a timid teenager who’s bullied by classmates for not being masculine enough. In a fit of rage, he exacts revenge on them but things don’t go as planned. Desperate, he turns to his father, a local policeman, for help.


身处同志文化未能波及的小村镇,而因此囿于性别认同且饱受压抑的性少数人群,偏见、歧视、凌辱,对他们而言都太过寻常——据统计,在亚太(包含中国)和非洲地区,性少数人群往往是社会中最为边缘、最为弱势的群体之一。而在多样性接纳度较小的村镇地区,则显然更为严重。

无独有偶,来自菲律宾的导演 Carl Chavez 也在影片《抱歉打扰了》(Sorry For The Inconvenience)中叙述了类似的经历。在他的影片里,害羞胆怯的少年 Joshua 被同学霸凌,尽管复仇的火焰一经萌生就再难浇灭,但实际操作起来却有重重阻碍。无奈之下,他只能寻求自己当警察的父亲的帮助……

Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez

 

Pink Pill /《粉色药丸》

 

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No matter if its gender identity or sexual orientation, anyone who deviates from the norm can easily find themselves shamed and vilified.

The film Pink Pill takes place in a small riverside town in Sichuan. Zhang Ke, the main character of the film, is a high school sophomore whose secret relationship with Chen Xue, a female classmate, is outed after her diary is read out loud in front of the class. As a result, Zhang is maliciously bullied day after day.


在固化的性别观念里,非但多元的性别身份成为了受攻击的靶子,那同性二人之间萌发的暧昧情愫,也会成为众人诽谤和侮辱的对象。

《粉色药丸》(Pink Pill)发生在四川一个江边小城,高二女孩张鹤的日记被人发现,旋即被堂而皇之地念了出来。她与另一个陈雪之间的暧昧关系,从此昭告天下。随之而来的,是无尽的恶意。

Pink Pill by Xie Xiaoshan
Pink Pill by Xie Xiaoshan

Li Bo is one of Zhang Ke’s classmates with a long-time crush on her. He’s heartbroken seeing her bullied daily. Even though he’s normally timid and passive, he steps up, getting into fights to protect her. As the two grow closer, Li starts imagining that maybe his love can change her. What if sexual orientation was like a typo, something that can be easily corrected?

As the film progresses, Li’s frustration reaches a boiling point. His originally good-willed intentions transform into a selfish desire to change her. He yells at Zhang, denouncing her sexual orientation and calling it an illness. The story leaves viewers pondering just how much intolerance and bigotry exists in this world, hiding in plain sight.


而一直暗恋张鹤的男同桌李波,既觉得心疼,又想要改变——为了张鹤,懦弱的李波甚至跟人打架。随着二人的关系慢慢亲近,李波亦开始想象,或许自己的爱可以改变她呢?或许性向是就像错别字一样,可以被修正呢?

影片中,李波还是没忍住对心仪的姑娘叫喊“有病的是你”。但凭一己私心,妄图改正他人的性向或身份认同,这又是正确的吗?而像上述那些反对、歧视、欺凌性少数人群的“大多数”,又有多少呢?

Pink Pill by Xie Xiaoshan

For this year’s Shanghai Queer Film Festival short film competition, the featured films explore different LGBTQ perspectives from all over the world. Together, these vignettes paint a larger narrative around the state of modern society and how LGBTQ culture has been molded by the countless hurdles and obstacles faced by individuals along the way.


在本次“上海酷儿影展 SHQFF”中的亚洲短片竞赛单元里,我们会看到更多发生在亚洲的性少数人群的故事,以及他们所代表的 LGBTQ 文化,究竟是如何在一次次反抗和碰撞中显形的。

Photographer / 摄影师: Cao Feng

As gender identity and sexual orientation becomes increasingly blurry in modern times, the meaning of queerness equally demands greater diversity. Through cinema, SHQFF hopes to not only portray the reality of the LGBTQ experience, but it aspires to bring about much-needed change in the world.

This year, the second annual SHQFF will take place between September 21st and September 26th. Themed around the concept of “Generation Q,” the featured films looks to offer a well-rounded perspective of queer culture in modern times. Apart from the screenings, panels and various discussions will also be held during the event.


在这个时代,当性别身份与性取向已愈加模糊,有关“酷儿”(Queer)身份的定义也愈加丰富多元。我们希望这些电影不但能够呈现现实,也能具有改变现实的力量。

今年,第二届上海酷儿影展将于今年 月 21 日至26日隆重回归。本届影展决定将眼光放至更多元的维度,以“Generation·Q·世代为主题,和观众一起通过来自不同文化的精彩酷儿影片,见证光影中的酷儿迭代。而在影片放映之外,第二届上海酷儿影展还将为大家带来精彩纷呈的映后讨论及论坛。

Website: www.shqff.org
WeChat: SHQueerFilmFestival

 

Contributor: Chen Yuan
Images & Videos Courtesy of SHQFF 


网站: www.shqff.org
微信: SHQueerFilmFestival

 

供稿人: Chen Yuan
图片与视频由 上海酷儿影展 提供