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Bawal Clan, Outlaws by Nature 这是被禁止的喔!

August 22, 2018 2018年8月22日
Left to right / 从左到右: Rjay Ty, Funkatalyst, OJ River, Ankhten Brown, Yung Bawal, DZ SVG

After a brief, torrential downpour, the sun has come out in force and a few members of Bawal Clan linger in a convenience store parking lot in Metro Manila. They’re waiting for some friends to join them for a skateboarding session before the release party later tonight for their debut album, Paid in Bawal. The clan is a rap group, but they embrace the breadth of their city’s sprawling creative scene, actively recruiting members from overlapping subcultures, including visual artists and skaters who don’t make music. Of the 13 or so members on the roster, eight are rappers and five make beats.


一场短暂的倾盆大雨过后,热辣辣的太阳再次出现。在马尼拉一个停车场里,Bawal Clan 乐队的几位成员正在等朋友。在今晚的专辑发布派对之前,他们要先和朋友玩一下滑板。Bawal Clan 是一支说唱团体,他们对这座城市里的各种创意文化都张开手臂欢迎,甚至还会从各种亚文化圈中招募乐队成员,包括并不做音乐的视觉艺术家和滑板玩家。在目前团队的十几名成员中,有 8 名说唱歌手和 5 名 beatmaker(节奏师)。现在,他们推出了团队的首张专辑《Paid in Bawal》

Listen to select tracks from Bawal Clan below / 点击即可试听 Bawal Clan 的几首歌曲

The convenience store we’re standing in front of is in Poblacion, a red-light district that’s the latest destination for creatives and night owls. Streetwalkers proposition passersby and dealers offer fake Viagra just outside the city’s liveliest bars. Tonight the party’s at Boogie, a new venue opened by the owners of the forward-looking clubs Black Market, 20:20, and B-Side. It’s a smaller space, covered in graffiti by a local artist named Chase and plastered with classic photos of old-school markers and 1990s-era rap albums.


他们正在一家便利店前聊天。酒吧关门后,他们就会来到这里继续喝酒。这里是当地的红灯区Poblacion,但也已成为了创意文化和夜生活的中心。站街女不断挑逗着过往的男人,小贩兜售着假伟哥,而旁边就是几家马尼拉最热闹的俱乐部,Boogie。今晚的专辑发布派对正在这里举办。

新开的 Boogie 是由马尼拉的 Black Market、20:20 和 B-Side 等最前卫的俱乐部老板共同创办的。这家新俱乐部的空间不大,里面有许多由当地艺术家 Chase 创作的涂鸦作品,贴满了各种 old-school markers 的经典照片标志,以及上世纪 90 年代时期的说唱专辑。

Left to right / 从左到右: Ankhten Brown, Babarn, Solo Pogi

Ankhten Brown, a Filipino-Jamaican member of the Bawal Clan who grew up between New York and Manila, skates around the parking lot. He jumps onto an aircon box and tries to stall on a window ledge, much to the annoyance of the employees watching from the steps. “You gotta be creative as a skater here, because there’s just no space. Make use of every little thing possible,” he explains with a wide grin on his tattooed face. 


Bawal Clan 中的菲律宾裔牙买加成员 Ankhten Brown,从小在纽约和马尼拉两地长大,他在停车场四周玩滑板,跳上空调盒,又试图在窗台上练习 Stall 的动作,这很大程度上惹来停车场工作人员的不满,他们一直徘徊在台阶上,紧盯着我们。“在这里,要玩滑板就得发挥创意,因为根本没有空间给你滑。所以,你要去充分利用每一件小物件。” 他解释道,有着刺青的脸上露出大大的笑容。

 

无法观看?前往优酷

Once it’s clear none of the other members of the group will show up this early, they give up on the lazy skate session and drift over to a Japanese-inspired food stall hidden down a nearby side street. Apparently the staff are friends of theirs, and the new album can be heard blaring from the kitchen. The team order some shots of lambanog, a strong local spirit, and before downing them everyone yells, “Bawal!”


当他们发现其他的成员都不会这么早出现后,他们就结束了短暂的滑板练习,去到附近巷子里一间充满日本风格的小食摊位。显然,员工是他们的朋友,因为他们的新专辑正在厨房大声地播放着。他们点了几杯菲律宾椰酒(Lambanog),这是当地的一种烈酒。所有人一起喊道: “Bawal!”,然后将酒一饮而尽。

Left to right / 从左到右: Solo Pogi, Babarn RJ Moscardon

Nearly the entire crew is Filipino, but many of them have spent a long time in the US. They gravitated to each other a few years ago, while they were each working on their own projects, and eventually they decided to form a group. Their name started out as an inside joke: the word bawal means “taboo,” and they’d often call out the phrase yung bawal—“that’s forbidden”—when hanging out together. Then their main beatmaker, playing on the “Young” prefix that rappers often add to their names, adopted Yung Bawal as his moniker. When they formally became a collective two years ago, they chose Bawal Clan to make the casual breaking of taboos their ethos.


而这个 “Bawal” 的意思,是“禁忌”。这其实是源于他们的一个内部笑话——在一起玩的时候,他们会经常大声喊 “Yung bawal!”(意为“这是被禁止的喔!”)。虽然团体里几乎所有成员都是菲律宾人,但很多人其实都曾在美国生活过很长一段时间。过去几年里,他们开始互相合作,越走越近,最终决定组成一支说唱团体。随后,团体的主要 beatmaker 将说唱歌手很喜欢拿来做名字前缀的 “Young”,变成了自己的名字 “Yung Bawal”。两年前,团队正式成立,他们选择了 Bawal Clan 这个名字,旨在将“打破禁忌”作为他们的理念。

 

无法观看?前往优酷

Even now, two years on, the crew still inserts “bawal” references whenever possible, and every time, it boosts their energy up a notch. “People like our music because we say whatever we want to say,” says MNL$ (pronounced Manila Money), one of the crew’s rappers who grew up in California and had a successful music career in Korea before moving here. “We’re all really rebellious. We stand by our individuality.”


即使是几年后的今天,他们依然会在音乐中尽可能引用 “Bawal”,每一次,它都能提升团队的士气。“人们喜欢我们的音乐,因为我们在音乐中可以畅所欲言。” MNL$(读作 “Manila Money”)说道。他自小在加州长大,搬到这里之前还曾在韩国有着成功的音乐事业。“我们都很叛逆,坚守自己的个性。”

Funkatalyst, Yung Bawal

By now we’re standing in front of the Boogie, waiting for the party to start. Someone blasts the album from a parked truck, offering a taste of the music that will be played later that night. The tracks range from angry and abrasive mosh pit music to sleek, thoughtful expressions of love to classic boom bap. On the Street Fighter-inspired “Yoga Flame,” cartoony bleeps are paired with a “Shabba“-type hook that works as playful club music. The gothic trap of “GTFO” is grounded by distorted bass and chamber music keys and even features a verse in Spanish by Ankhten. “My mom is Spanish-Filipina, but I also picked up a lot of Spanish in New York,” he explains. Despite the variety of moods the tracks capture, it’s a solidly rap and R&B album.

 


现在,我们正站在 Boogie 前,等待派对开始。旁边一辆停着的卡车里大声播放着他们的专辑,预告着当天晚上要推出的音乐。专辑里的音乐有愤怒、粗放的 Mosh pit 音乐,也有表达爱情的流畅曲调和经典 Boom bap。以《街头霸王》游戏为灵感创作的《Yoga Flame》用游戏中的哔哔声声效,搭配 Shabba 式俱乐部音乐风格的副歌。哥特式风格的 trap《GTFO》在扭曲的低音和室内乐(chamber music)之上,加入了 Ankhten 的一段西班牙语说唱。“我妈妈是西班牙裔菲律宾人,但我后来在纽约的时候也学了不少西班牙语。” 他解释说。专辑里所传递出的情绪十分丰富,但它确实是一张不折不扣的说唱和 R&B 专辑。

With the diversity of their members and styles, it’s hard to pin down what Bawal Clan is about entirely. On one track someone will be rapping about violence, and another artist will be talking about burning sage to ward off negative energy. With such a large roster, they cover a lot of ground. Occasionally, seven rappers will make it onto one track, but the average is more like five or six per song.


因有着多元化的成员与曲风,很难简单地来定义 Bawal Clan。在同一首歌中,有人在说唱关于暴力的问题,有人则可能会在谈论燃烧鼠尾草来抵御负能量。有了这样风格多元的成员,他们的音乐自然能够涵盖更丰富的内容。偶尔,7 位说唱成员会一起来创作一首音乐,但更多时候,可能一首歌只是由其中 5、6 名说唱成员完成。

Rjay Ty

Bawal Clan’s members come from a variety of creative backgrounds, some with careers outside of music. DZ SVG (pronounced “Dizzy Savage”) is a screen actor who’s bounced back and forth between Manila and Las Vegas for half of his life. A few of the members have even spent years living in Europe. “I think our international outlook gives us an advantage,” says DZ. There’s also Lex Luthoor, who’s Nigerian and grew up in Spain before moving to the Philippines in high school. “We consider Alex just as Filipino as everyone else in the crew,” MNL$ chimes in. “My boys have my back,” agrees Lex, who speaks fluent Tagalog. While Filipinos themselves can be very diverse, there aren’t many white or black people in the country so they stand out, and Lex has faced a lot of discrimination. “But these guys are like my family,” he says without pause. “I wouldn’t want to be anywhere else.”


Bawal Clan 的成员来自不同的创意背景,其中一些成员甚至做着与音乐无关的职业。DZ SVG(发音为 “Dizzy Savage”)是一位演员,大部分时间,他就生活在马尼拉和拉斯维加斯两地。另外还有一些成员在欧洲生活了几年时间。DZ 说:“我们的国际视野是我们的优势。”成员中还有尼日利亚裔的 Lex Luthoor,他自小在西班牙长大,高中时候才移民到菲律宾。“在我们眼中,Alex 和我们所有人一样,都是菲律宾人。” MNL$说道。

“这些家伙像都是我坚实的后盾。” Lex 操着一口流利的菲律宾语说道。虽然菲律宾本身就是一个多元的国家,但在这里,你不会看到太多白人或黑人,所以他们在人群中格外引人注目,Lex 在生活中也遇到过诸多歧视。“但这些家伙就像我的家人一样。我只想跟他们待在一起。”

Left to right / 从左到右: Funkatalyst, MNL$, DZ SVG, Yung Bawal
Left to right / 从左到右: MNL$, DZ SVG, Yung Bawal, OJ RIver, Ankhten Brown, Funkatalyst, Rjay Ty

Their different views jostle side-by-side within their verses. Whatever comes to mind, if they like it, they go for it. They don’t let anyone tell them what to do. One word they regularly use to describe themselves and their story—in addition to “bawal”—is “organic.” It’s how they came together as a team, how they create music, how they learn. It’s about going with the flow and seizing opportunities as they come. They don’t just rhyme in freestyle, they freestyle their lives. They’ll get to where they’re going however they see fit. Just don’t stand in their way.


他们的不同想法往往在说唱中一起出现。不管想到什么,只要他们喜欢,就直接做了。他们不让任何人告诉他们该怎么做。除了 “Bawal”,他们经常用来描述自己和团队故事的词是 “Organic”(自然的、有机的)。这是他们团队最初成立的方式,也是他们创作音乐、学习的方式。顺其自然,在机会出现时抓紧机会。他们既在音乐中 freestyle,也让自己的生活 freestyle。无论是哪里,只要感觉合适,他们就会去那里,没有人能阻挡他们。

Facebook: ~/BawalClan
Instagram: @bawalclan

 

Contributor: Mike Steyels
Photographer: Iya Forbes


脸书: ~/BawalClan
Instagram: @bawalclan

 

供稿人: Mike Steyels
摄影师: Iya Forbes

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Concrete Stories 世界尽头,爬楼相会

August 13, 2018 2018年8月13日

When you hear the phrase rooftop photography, what usually comes to mind are epic cityscapes captured from dizzying vantages or images of daredevils hanging off of precarious ledges. But for Romain Jacquet-Lagrèze, a French photographer based in Hong Kong whose series The Blue Moment we’ve featured before, “rooftopping” means something else entirely.

Shot from a birds-eye perspective, Jacquet-Lagrèze’s latest series, Concrete Stories, is a bracing departure from the cliché aerial photos of Hong Kong. Rather than the city’s architecture, he focuses on the human element. From a man adjusting satellite antennas to girls playing jump rope, each image is a charming glimpse at life on the rooftops of Hong Kong. Alone, each image in the series works as a vignette of quiet moments amid the chaos of the city, while together they form a larger narrative around the adaptive spirit of humans in this fast-changing urban environment.


提到爬楼摄影,人们想到的通常是那些从高空拍摄的壮观城市画面,或是冒着生命危险跃上悬崖突岩拍摄的照片。但对于来自法国的香港摄影师 Romain Jacquet-Lagrèze 来说,爬楼摄影完全是另一回事。

我们曾经介绍过他的The Blue Moment系列作品。在最新作品《Concrete Stories》(《混凝土故事》)中,Jacquet-Lagrèze 同样以鸟瞰的角度来看香港,却没有遵从一贯以来的高空摄影风格,反而呈现了一组令人耳目一新的作品。城市的密集建筑不再是摄影的主角,而是更专注在 “人” 的身上——从调整卫星天线的男人,到玩跳绳的女孩,每张照片都是香港屋顶生活的迷人一瞥,在这座城市的喧闹混乱中,定格住安静的一刻。每张照片都是独立的画面,却又彼此共同编织出更宏观的叙述,讲述着在香港这座快速变化的城市中,人们那种努力适应生活的精神。

Sun-dried
Young Reporter
Job Done
Morning Fix
Toddler on Bike
Concrete Canyon
Pushing Up
Altitude Nap
Bonsai Master
Collecting Laundry
Badminton Lesson
Life in Grey and Pink
Carjacking

Website: romainjl.com
Instagram: @romainjacquetlagreze

 

Contributor: David Yen


网站: romainjl.com
Instagram: @romainjacquetlagreze

 

供稿人: David Yen

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The Boys of Sangkhla Buri 那些纵身跳入水中的少年

August 9, 2018 2018年8月9日

Sangkhla Buri, a small town in the western Thai province of Kanchanaburi, has recently become a popular destination for local and foreign tourists. Its iconic Uttamanusorn Bridge lays claim to being the longest wooden bridge in Thailand, and it draws crowds for the groups of young boys who take turns diving into the water below.


Sangkhla Buri 是位于泰国西部省份北碧府的一个小镇,最近,这里成为了一个吸引众多当地和外国游客的热门旅游目的地。这里有一座著名的地标 Uttamanusorn 大桥,据说是泰国最长的木桥,成群结队的年轻男孩为此而来,进行着跳水表演。

Divers are between eight and fifteen, and they typically work the bridge in small groups. One boy might beckon tourists, while another performs the actual dives. They don’t explicitly ask for money, but there’s an unspoken expectation that some baht will change hands. Tourists snap pictures of the dive, and sometimes even ask the boys to jump over and over again until they get a perfect shot.


这些跳水的男孩年龄大都落在 8 岁到 15 岁之间,他们通常是以团体形式一起工作。一名男孩负责招来游客,另一名男孩则负责跳水。他们不会明确地向游客要钱,但却怀抱着心照不宣的期望,希望游客多少能留下一点小费。游客们在一旁拍下男孩跳水的照片,有时候甚至会要求男孩一遍又一遍地跳水,直到他们拍到满意的照片为止。

Ye Te Su is a 13-year-old who spends his weekends making money as a diver. He’s been performing on the bridge since he was 10, having learned from his older friends. Despite a lack of professional training or safety equipment, Ye has fortunately never suffered any injuries diving.


13岁的 Ye Te Su 会在周末专门表演跳水来挣钱。他从10岁就开始在桥上表演,跟着年长一些的朋友学习跳水。尽管缺乏专业训练或安全设备,幸运的是,他从来没有受过伤。

Ye lives with his grandmother and his five siblings in a simple wooden house with a sheet metal roof. It offers minimal protection from the elements, and since it’s not officially registered, it lacks proper plumbing. Water for cooking and drinking has to be fetched every few days from a nearby fountain alongside the river.

Ye’s grandmother works full-time, so he often has to take care of his siblings after school. His parents work in the city and send what money they can every month, but it’s not much. Faced with these harsh realities, Ye sets aside part of the money he makes on weekends to help feed his family.


现在,Ye Te Su 和奶奶、五个兄弟姐妹一起住在一间简陃的木屋里,房顶只是一块简单的金属板。这间木屋只能为他们提供最基本的庇护,并且因为房子没有被正式地登记,屋里也没有安装必要的管路系统。每隔几天,他们就必须到附近的河边喷泉去取做饭和喝水用的水。

他的父母进了城里工作,每个月都尽量给他们寄钱回来。他的祖母也在全职工作,所以 Ye 放学后经常要负责照顾他的弟弟妹妹。面对这些严酷的现实,他周末所努力挣来的钱,一部分也要用来养活他的家人。

Popular as the diving is, local authorities are strongly opposed to it. They point out that the activity is dangerous, and that paying the young divers encourages them to drop out of school to earn money. Besides, they argue, it’s wrong to use children as a tourist attraction. Signs on the bridge warn people not to give them money.

But for Ye, it’s not so simple. He still goes to class in a school nearby, but weekend diving is an important source of income. There are others like him, young boys facing adult pressures. And as long as the tourists keep coming to Sangkhla Buri, the divers will continue to weigh the risks, and continue to take the leap.


尽量这样的跳水表演很受欢迎,但地方当局对此强烈反对。他们认为这项活动不仅危险,还是在鼓励年轻跳水员辍学赚钱。况且,利用儿童作为观光目的也不太妥当。因此他们在桥上放了一个标志,警告人们不要付钱给这些男孩。

但对 Ye 来说,事情并没有那么简单。他现在正在一所当地学校上课,周末跳水表演那点微薄的收入成为了他家里一项重要的收入来源。而他的情况并非个案,就像许多其他年轻男孩同样面临到这样的困境。但是,只要还有络绎不绝的游客来到 Sangkhla Buri,这些跳水表演员就会继续冒着风险,纵身跃入河中。

Contributor & Photographer: Will Wiangchai


供稿人与摄影师: Will Wiangchai

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City Fragments 明日世界

August 7, 2018 2018年8月7日

How are our lives shaped by a rapidly changing urban environment? Korean artist Min Joonhong‘s multimedia works seek to answer this question.

His assemblages, which have been shown in London, Seoul, and Milan, are often large enough to fill entire galleries. With such size, it comes as something of a surprise that his central London studio, housed in a nondescript office building, is so small. “Here I work on scaled-down versions of my concepts, so I can familiarize myself with how they’ll be pieced together,” he explains. “This helps me work quickly once I’m in the actual space.” Each sculpture is created on location and customized according to the amount of space available.


日新月异的城市环境,究竟是如何塑造我们的生活的?对此,韩国艺术家 Min Joonhong 通过自己的作品以进行探讨,目前已经在伦敦、首尔和米兰展出。

组合艺术作品往往有着非常可观的体积,常常会占满整个画廊。但 Joonhong 的工作室却位于伦敦市中心里一栋普通办公楼里的小房间,实在让人意外。Joonhong 说,“我会先在这里将概念做成缩小版本的作品,熟悉一下各部分是如何拼凑在一起的。这有助于我到了实际场地时能更快完成作品。”每件作品都是他在展出场地上完成的,依据可用空间大小进行定制创作。

Efficiency and discipline are fundamental to Min’s creative process. He sticks to a rigid work schedule he sets for himself every day. Even outside his working hours, he says he spends much of his free time thinking about how to improve his art.

This incessant self-reflection carries over to the thematics of his works. Min looks to “uncomfortable memories” for inspiration and says that the best way to harness the anxiety and alienation of modern urban life is to channel them toward art. By reimagining the city environment, Min explores what’s left out in contemporary urban society.


Joonhong 创作的基础,源于效率和自律。他严格遵循自己订下的工作日程,在工作时间之外,也用很多时间以琢磨改进自己的艺术创作。

这种不断的自我反省,同样反映在他的作品主题上。Joonhong 说自己会从那些“不愉快的记忆”里寻找灵感,在他看来,驾驭现代城市生活中的焦虑和孤立感,最好的方式就是在艺术中寻找出口。从城市的角度来看,他正在建构一个如今城市化社会其遗漏部分的叙述作品。

Min’s vertical sculptures are designed to resemble a futuristic skyline. Yet his interest in the urban environment is also visible in his choice of materials. From broken furniture to discarded packaging, he scavenges random objects from London’s streets, reassembling them to create model high rises and skyscrapers.

Finding new uses for these left-behind items is his way of engaging with the past, just as building elaborate cityscapes is his way of embracing the future. As cities around the world continue to reinvent themselves, Min’s work invites us to consider how yesterday’s discarded junk can help us imagine the world of tomorrow.


Joonhong 对城市环境的兴趣,也体现在他所选择的材料中。他从破碎的家具到被丢弃的包装,他将自己从伦敦的街道上搜罗到的物品,重新组装成高楼和摩天大楼的模型,这样的垂直雕塑模拟着城市的天际线。

如果说,为这些被人们所遗弃的物品寻找新的用途是他与过去打交道的方式,那么,组装精致的城市建筑模型则是他拥抱未来的方式。随着城市向着“明日世界”这个目标不断建设,Joonhong 的作品恰恰是在邀请观众思考:属于昨日的物品究竟是如何被不断丢弃和回收的呢?

Websiteminjoonhong.com

 

Contributor: Juliet Fang


网站minjoonhong.com

 

供稿人: Juliet Fang

Bitchy Fashion by Hao Lingyu 我的怪异跟你一样普通

August 6, 2018 2018年8月6日
Common People

“L’s designs all look bitchy.”

I quickly put away my phone when I see my friend’s message. In front of me sits Hao Lingyu, a recent graduate of Donghua University who has red hair and a knack for designing bitchy clothing. In her bedroom, she keeps a shy hedgehog as a pet, along with a collection of cute stuffed animals and shojo manga.

“When I was little, I actually wanted to be a comic artist, but I eventually realized I couldn’t quite cut it,” she confides.

Coming from a family of architects, she likes to approach things from a holistic angle. That’s how she chose fashion design: she wasn’t entirely following her dreams or hobbies. In fact, she’s also curious about what her life would be like if she’d listened to her mother and chosen engineering.


“ L 的东西看上去婊婊的。”

看完这条朋友的评价,我放下手机继续跟眼前的郝凌宇本人闲聊,这个顶着一头红发、作品婊婊的服装设计师今年才刚从东华大学毕业。她的房间里有一只非常内向的刺猬,还充满了各种可爱的动物布偶和梦幻的少女漫画,“其实我小时候有想要当一个漫画家,后来发现自己的水平好像没法出道。”

建筑家庭出身的她,喜欢综合一切因素去考虑问题,就像她选择服装设计,并不完全出于梦想啊、爱好啊之类的理由。事实上,她同样好奇如果当时听妈妈的话选择工科,现在的自己会是怎么样。

Sketches for Temporary Templates
Sketches for Common People

The emerging designer incorporates all sorts of different elements into her works. “In my life, I’m bombarded with information, and when I make something I often throw a bunch of random things together,” she says. “By the time I’ve reorganized them, sometimes the designs don’t even look like they’re mine.”

Her three new collections, Temporary TemplateCommon People, and Artificial God, touch on issues from religion and fertility rites to everyday life to thangkas made from human skin. Within these wildly divergent themes, her design details are equally varied. Artificial God, for example, shows her thoughts about traditional Tibetan Buddhist culture, but she opted to present the collection in the form of a virtual game.


她的作品涵盖的元素丰富多样,“我的生活常会接收大量信息,做东西时似乎经常把一些有的没的东西揉和在一起,重组过后,有时候甚至会觉得这些作品不像是我的。”

最新的三个系列《Temporary Template》、《Common People》、《Artificial God》分别讲述了宗教与生殖崇拜、普通人以及人皮唐卡三个命题,南辕北辙的主题里同样包含着形色各异的细节,比如《Artificial God》的概念来自藏传佛教文化, 但她却选择以虚拟游戏的视角去呈现这个系列。

Artifical God

In both their use of materials and their final appearance, Hao’s designs are very much in step with subculture trends. But she insists she’s drawn to these ideas naturally and doesn’t make a point of trying to stand out. In fact, what she’s become aware of, not only in her own designs but also in the current environment, is how ordinary she is.

“Kids today all think they’re special,” she says. “I wish everyone would wake up.”


无论是对材料的运用还是最终的视觉呈现,这些作品似乎都正中了当下的亚文化风潮。但 L 认为自己只是自然而然的选择这些命题,而非刻意地去表现特立独行。相反地,结合当下环境她从自己的作品中意识到更多的是自己的普通,“现在小孩都觉得自己特殊,希望大家醒醒。”

Common People
Common People
Common People
Common People
Temporary Template
Temporary Template
Temporary Template
Temporary Template

Contributor: Shou Xing
Photographers: Kimon Liang & Crown Wang


供稿人: Shou Xing
摄影师: Kimon Liang & Crown Wang

Painting with MS Paint 你还在“画图”吗?

August 1, 2018 2018年8月1日

Many people’s first experience with a digital creative tool was with MS Paint. The iconic program—pre-installed on every computer running a Windows operating system—was simple, lightweight, and perhaps most important of all, free. Today, with the prevalence of Photoshop, Illustrator, and the other multitudes of feature-packed graphics software, MS Paint has become a relic of the past. But in 2017, Microsoft’s decision to no longer support future development of MS Paint was, quite surprisingly, met with widespread outrage. Does the dated software truly have any value beyond nostalgia? Lin Xingyu, an 18-year-old illustrator from Guangzhou, China, believes it does.


许多人第一次接触数码创作工具时,用的是绘图软件──画图(Microsoft Paint)。这个具代表性的程序预先被安装在每部使用微软操作系统的电脑里,简单、无足轻重,最重要的是免费。随着 Photoshop、Illustrator 和许多其他搭载各式功能的绘图软件变得普遍,画图软件已成为昨日黄花。然而,当微软于 2017 年决定不再支援开发画图,却意外地引起众怒。这个过时的软件真的有怀旧以外的价值?来自广州 18 岁的插画家 Lin Xingyu 确信如此。

Lin masterfully wields MS Paint as his medium of choice, creating tranquil illustrations that showcase the beautiful mundanities of his daily life. While he began playing around with the program when he was 11 years old, only five years later, at the age of 16, did he begin to see the program as a tool for creating art. “I watched some painting tutorials online, but I didn’t have any actual paint,” he recalls. “So I just followed along in MS Paint instead.”


Lin Xingyu 熟练地使用画图软件当他的创作媒介,画出带有平静氛围的插画,展示美好平凡的日常生活。Xingyu 11 岁就开始玩画图软件,但一直要到五年后,他 16 岁时,他才开始将画图软件看作创作工具。“我在网络上看过一些绘画教学,但是我那时没有真正的绘画颜料。” 他回忆道,“所以我就用画图软件替代。”

While other modern image-editing software offers more flexibility and functionality, the challenge of creating beautiful effects using the simple tools of MS Paint is a large part of the allure for Lin. This affinity for simplicity also lives at the core of his art.

“Small things like sunlight catching dust particles or refracting from a scratched glass window used to mesmerize me,” he says. “As I started drawing more, I started taking note of all these little things I found beautiful and looked for them in different places. Once you start looking, you can find a lot of beauty everywhere. I feel like these ordinary scenes have a special kind of beauty that a lot of people can relate to.”


虽然其他的图像编辑软件具有更多弹性和功能,但利用画图这类简单的工具创造出美丽的效果,对 Lin Xingyu 来说更有吸引力。这种单纯的喜爱是他的创作核心。

“在阳光下看微尘翻飞,或者透过满是刮痕的玻璃折射出来,这类小事很令我着迷。” Lin Xingyu 说,“当我画得越多,我就开始四处寻找那些令我觉得很美的小事,然后记下来。日常生活场景有种特殊美感,会让许多人觉得有共鸣。一旦你开始观察,天地之间都是美。”

Lin’s illustrations focus on ephemerality, or rather a desire to preserve fleeting moments of beauty. One commonality across his illustrations is that they tend to show the twilight hours between sunset and night. Using shades of oranges and purples, he depicts this daily moment of beauty with stunning vibrancy. In other works, the receding sunlight is depicted more subtly, indicated only by a tinge of pink on the horizon or by skyscrapers slowly lighting up in anticipation of the coming night.


Lin Xingyu 的插画着重在无常的事物,或是试图留住转瞬即逝的美。他的插画作品有个共通点,经常展现日落和夜晚之间的薄暮。他用鲜艳的橘色、紫色系描绘日常之美。在他其他的作品里,他仅用的粉色调来妆点地平线,或让摩天大楼在夜幕降临时慢慢点亮,以此来更巧妙地描绘出渐隐的日色。

“The end of the day is when people feel the best. It’s the time when we’re coming home from work or school, or already at home, making dinner for the night,” he explains. “I want to recreate these stress-free feelings in my illustrations and share them with people.”

Perhaps that’s what makes his works so charming, almost meditative: beyond their outward beauty, they’re a reminder that human experience is about more than the stresses of daily life. It’s worth taking a moment to stop and appreciate the beauty of the world around us.


“人们在白天结束的时候,感觉最好。大家从工作岗位或学校返家,或者已经在家做着晚饭。” 他解释道,“我想在插画里重现这种舒适无压力的感觉,然后分享给大家。”

他作品如此迷人,几乎让人开始沉思:或许在其呈现的外在美之外,它更是一种提醒,告诉人们生活不只是充满压力的日常。找个时间停下脚步,去欣赏周遭世界之美,何乐而不为呢。

Instagram: @cro.ss.ing
Tumblr: elevatedcross-ing.tumblr.com

 

Contributor: David Yen


Instagram: @cro.ss.ing
Tumblr: elevatedcross-ing.tumblr.com

 

供稿人: David Yen

Fashion from the Dirt 出于污泥的时尚

July 31, 2018 2018年7月31日

This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more of MAEKAN’s content on Neocha, click here.

Even before I met Christopher Hancy, the 31-year-old Australian fashion designer behind BEAUGAN, I could understand why he’d choose to make his home in Tokyo. Each time I visit, I start making plans to move there. To an outsider like me, the city has vast creative depths and seems to encourage exploring them.


本篇文章来自 Neocha 媒体合作伙伴 MAEKAN 的内容交换。在 Neocha 上阅读更多 MAEKAN 的文章,请 点击此处

在与 Christopher Hancy,这位31岁、澳大利亚籍的 BEAUGAN 品牌设计师见面之前,我已经能理解为何他会选择在日本东京定居。每次当我造访此地,我就开始计划要搬到这里。对于我这样的外来者来说,这座城市具有足够的创意文化深度,像是在鼓励着人们去深入探索。

Hancy’s family arrived in Australia at the start of the nineteenth century, aboard one of the first ships from Europe. But Hancy looks nothing like the prototypical light-skinned blonde Aussie surfer, and when growing up, he was often asked where he was from. “That’s where my identity problem comes from, I guess,” he laughs. For him, his inability to fit in as a kid partially explains his interest in  how individuals define themselves through fashion, art, and music.


19 世纪初,Christopher 的家人成为第一批乘船登陆澳大利亚的移民。成长的过程中,Christopher 经常被问是哪里人,因为他看上去一点也不像浅肤色、金发碧眼的澳大利亚人。“这可能就是我的身份认同问题的由来吧。” 对他来说,少年时无法融入社会的困扰让他开始热衷于创造文化,通过时尚、艺术和音乐去定义自我。

In high school, Hancy wanted to become a doctor but failed the necessary exam. His backup plan was to become a lawyer, but he found solving other people’s disputes boring. He then tried his hand at something completely different by studying fine art at a school taught completely by practicing artists. At the time, however, he thought life as an artist would be full of struggle and unhappiness. Eventually he happened on modeling, which introduced him to the fashion world. “There’s this commercial aspect where everything is deadlines and crunch times to make some kind of product which then they want to sell,” he says,“but at the same time they’re creating a fantasy, so it has the same aspirations as art.” After ten years of experience in fashion, Hancy remains drawn to creating both quality products and beautiful things, but not mere fantasies.


高中的时候 Christopher 想成为一名医生,但并没有考上。他的备案是成为一名律师,但他发现要一直给其他人处理事故和金钱纠纷,是挺无聊的。之后,他又尝试了完全不同的领域:进入一家由在职艺术家教学的学校修读美术专业,但是当时的他认为艺术家生活只能是充满挣扎与不快乐。

后来他偶然成为了模特儿,开始踏入时尚界。Christopher 之所以对时尚感兴趣是因为其中的商业性,“所有事情都关乎最后期限,在紧凑的时间中制造出某种你想销售的产品。这也是在创造一种幻想,从这一点上来说,时尚与艺术共享着相同的渴望。” 从事时尚行业十多年后,Christopher 对于创造质感和美丽兼具的事物依然热情不减。

“There are so many young brands and everyone is trying to outdo each other, smashing out over-the-top stuff,” says Hancy. He concedes that there’s a place for spectacle-like work, but he wants no part of over-the-top style. “It’s boring to be doing that. For me, that’s the easy route. That’s the easy way to go, creating this extravagant showpiece stuff because that’s my background.”

Contemporary fashion is intent on “selling a fantasy, selling a dream that doesn’t exist,” he says.“I want to do something more difficult, which is showing beautiful things in everyday life.” That’s why, in early 2017, Hancy created BEAUGAN. He seeks to reveal the existing beauty of the natural world and everyday life, and wants to share this concept with other designers and creative people.


Christopher 告诉我:“现在有非常多年轻的品牌,每个人都想要超越别人,不断推出一些浮夸的作品。” 他承认,自己也是一位年轻的设计师,而浮夸的作品确实有其市场,但他完全不想参与这种竞争,也不喜欢这种纯粹夺取注意的噱头式设计风格。“这种做法其实很无聊。对我来说那只是一种捷径,是最轻松的路,因为这是我之前学的东西。”

在他看来,当代时尚界是以 “出卖幻想和不存在的梦想” 为目标的。“但我想展示出更难得的东西,那就是日常生活中的美。” 他补充道,这也成为了 Christopher 在 2017 年年初创立品牌 BEAUGAN 的初衷。他希望能展示出自然界和日常生活中既有的美,也希望这个理念能得到推广,传达给其他设计师和创意人。

“I want to do something more difficult, which is showing beautiful things in everyday life.”

“我想要做更难一点的事,也就是展示出日常生活中的美。”

BEAUGAN is Hancy’s vision of “clothing that’s very normal.” To him, “normal” does not mean simple, either in terms of concept or manufacturing. The first collection, Fall/Winter 2017, consisted of 42 separate brown and black variants of 22 designs. Each article’s unique color is produced through dorozome, a mud-dying technique from Japan’s Amami island. The art has remained largely unchanged for 1,300-years, thanks to the island’s distance from the mainland and the Amami artisans’ dedication to sustainability. Tree bark, dried coral, mud, and clay found on the island are used in the different steps of the dying process. Much like denim, Hancy’s dorozome clothing will develop character over time, changing in color and patina depending on the wearer.


BEAUGAN 代表了 Christopher 的愿景——创作 “正常的服装”。对 Christopher 来说,“正常”并不意味着简单,无论是在理念或是制作方面。他的首个作品 2017 秋冬系列共有 22 款设计,分别以棕色和黑色演绎成 42 件独立的作品。每件作品的色彩都是独一无二的,采用了源自日本奄美大岛(Amami)特有的“泥染”技术 (dorozome) 。因为奄美大岛与日本本岛隔绝,加上当地工匠致力于永续发展,使得这种已有 1300 年历史的染色工艺得以完整传承。这种独特的染色工序中会运用到的原料包括岛上的树皮、干珊瑚、泥土和粘土等等。和牛仔布一样,Christopher 的泥染服装也会随时间推移,在颜色上发生变化,随着穿者呈现不同的褪色效果,从而展现不同的个性。

Dorozome artisans labor over their materials and garments by hand, and the process has a built-in timeline that cannot be rushed. Hancy wants BEAUGAN to represent an alternative to the fast-paced cycles of flashy contemporary fashion introduced to him during his studies at the Royal Academy of Fine Arts in Antwerp. His graduate collection in 2012 consisted of dramatic streetwear-inspired pieces with big silhouettes. It was so well received that each item from the collection was snatched up by a different name in the fashion industry.

When he launched BEAUGAN, these same supporters were confused. “When you compare it to my previous work, it’s much more toned down,” he explains. After graduating, Hancy became disillusioned by the excessive way fashion designers create and the excessive way people consume. He decided to take a step back and rethink what he wanted to achieve. “I didn’t want to become a particular kind of person. I knew how to make all these showpieces, but I didn’t know how to make clothing. I knew fashion, but I didn’t know what goes into fashion.”


泥染工匠必须手工处理各种材料和服装,整个染色过程自有一套严格的流程,不能操之过急。在比利时的安特卫普皇家美术学院(Royal Academy of Fine Arts)就读期间,Christopher 接受的是讲求快节奏、浮华的当代时尚文化,但他希望 BEAUGAN 能成为这种时尚文化的对立面。他在 2012 年的毕业作品是以街头时尚为灵感设计的戏剧性大廓形服装。 这个系列非常受欢迎,很快就被时尚界人士一抢而空。

当他推出 BEAUGAN 时,这些曾经的买家都深感困惑。“因为和我以前的作品相比,它(BEAUGAN)的色调更柔和、更和谐。”毕业后,Christopher 对时装设计师夸张的创作风格、与人们过度的消费方式感到失望。他需要暂停一下,重新思考他想要的目标。“我不想成为特定的一类人。我虽然懂得如何设计这些浮夸得作品,但其实我不知道如何做衣服。我了解时尚,却不知道时尚的真正意义是什么。

BEAUGAN’s Tokyo studio is located in a small upstairs apartment across from a junior high school on a quiet street in Yoyogi, a district sandwiched between the bustling hubs of Shinjuku and Shibuya. The name BEAUGAN is a portmanteau of ‘beautiful’ and ‘bogan,’ Australian slang for someone who’s rough around the edges—or as Hancy puts it, “an uncouth or unsophisticated person regarded as being of low social status.” The term used to have a stronger negative connotation but has since evolved into a term used light-heartedly between friends.


BEAUGAN 位于东京的工作室坐落在代代木一条安静街道上的公寓楼上,对面是一间中学,夹于热闹繁华的新宿和涩谷之间。BEAUGAN 的名字是英文 “Beautiful”(美丽)和 “Bogan” 的结合。“ Bogan” 是澳大利亚俚语,指一些较为粗糙的人,或者如 Christopher 所说,“粗俗、单纯、社会地位较低的人。”这个词曾经有更强烈的贬义色彩,但后来逐渐演变成可以在朋友之间开玩笑说的话。

One source of inspiration for Hancy is ankoku butoh, a Japanese dance form created by Tatsumi Hijikata in the late 1950s as a reaction to the postwar fascination with Western culture. Hijikata wanted to resurrect the idea behind kabuki theater, which traditionally was entertainment for everyday people and similar to television soap operas. Unlike noh theater, which was for the elite in Japanese society, kabuki was for everyone. “Hijikata wanted to recreate that spirit of the man and woman on the street,” Hancy explains. “He was inspired by his grandmother walking through the mud when she was planting rice, working the rice field hunched over. He saw this kind of movement, this painful, slow, struggling movement, as something that’s beautiful.”

For Hijikata, ankoku butoh was the opposite of the ethereal lightness idealized by ballet. It’s about human struggle on Earth depicted as something beautiful. “It sounds horrible, but the world is a struggle. We have to live through the world somehow, through the struggle. He was being pure to that in a way,” Hancy explains. He’s inspired by its popular roots: “it’s born from the dirt. It comes from people themselves and their ingenuity.”


我想 Christopher 之所以选择 “Bogan” 这个词,可能与他对日本暗黑舞踏 (Ankoku Butoh,又称舞踏) 的兴趣有关。日本在二战战败后,整个国家在意识上再次追随西方社会和现代化(正如 1868 年的明治维新那样)。就舞蹈而言,这意味着芭蕾被视为是最美丽的舞蹈形式。而暗黑舞踏则是由土方巽 (Tatsumi Hijikata) 在 50 年代末期为了抗议人们崇拜欧洲文化多于日本文化而创作的。土方巽希望复兴歌舞伎剧场背后的理念。传统上,歌舞伎剧场的目标是娱乐普通百姓,这一点跟电视上的肥皂剧一样。能剧(Noh)服务日本社会的精英阶层,而歌舞伎则是服务所有人。Christopher 告诉我:“土方巽想要重现街头上平凡男人和女人的精神,激发他创作灵感的是他的祖母在种植水稻时,在泥中行走、弯着腰干活的动作。在他看来,这一种充满痛苦、缓慢的、挣扎的动作也是美丽的。”

对土方而言,暗黑舞踏是芭蕾舞那种理想化的轻盈优雅的对立面。暗黑舞踏讲述的是人们在地球上的斗争,并将之视为一种美。“虽然听上去很可怕,但世界本身就是充满挣扎。我们必须以斗争的方式来在世界上生存。在某种程度上,土方只是纯粹地展现出这一点。” Christopher 说,他之所以觉得土方的想法如此有启发,是因为 “它是从泥土中诞生的。它来自人们自身及其创造力。”

With BEAUGAN, Hancy wants to put something out in the world that’s beautiful and desirable in a way that isn’t gimmicky or excessive. “I want all the design processes to be there for a reason. There’s a reason the shape is cut like this or the pocket is assembled like that. Everything is really thought out,” he says. Like anoku butoh, BEAUGAN is “born from the dirt”: the dorozome process means the garments are literally transformed by mud. All the choices Hancy makes are intentionally focused, as much as possible, on origins. He starts his design process by thinking about the needs and life of the wearer, rather than envisioning a final surreal photo campaign or fashion week presentation. “I really think about the person that’s going to wear it,” he says. “I think that’s something that fashion has kind of lost.”


“出于污泥” 很好地诠释了 BEAUGAN 的品牌理念。Christopher 希望能通过 BEAUGAN,以一种非噱头式的方式,将世界的美呈现出来。“我希望所有的设计过程都是有原因的。为什么要剪出这样的轮廓、为什么要将口袋设计成这样。一切都是经过深思熟虑的。” 正如字面意思,泥染的过程就是让服装在泥土中蜕变,Christopher 在做选择时也会尽可能地有意突显其本意。Christopher 会先去思考穿著者的需求和生活,而不是先去设想如何拍出震撼的广告宣传照、或是如何在时装周上展示,“我会去考虑那些真正会穿上它的人。我觉得这一点是当下时尚界所缺乏的。”

“It sounds horrible, but the world is struggle. We have to live through the world somehow, through the struggle.”

“虽然听上去很可怕,但世界本身就是充满挣扎。我们必须以斗争的方式来在世界上生存。在某种程度上,土方只是纯粹地展现出这一点。”

Hancy takes a philosophical view of clothing. A person’s identity begins with the way they think, he says. Next, if you’re religious, it’s a person’s spirit. After that comes the way we perceive ourselves physically. And the last layer, coming between our physical perception of ourselves and the rest of society, is clothing.

“We always actively engage with, ‘Who am I hanging out with? Is this person a good person or a bad person? Am I being a good person? What’s . my relationship? How’s it working out?’ We stress about that,” Hancy says. Clothing is the layer that comes between ourselves and other people. “It’s like an amoeba. This kind of cellular organism has a cell wall that allows things to go in or out. The way we dress ourselves is like how we define that cellular wall.”

BEAUGAN is built around this view. “I feel that if we can be responsible for who we are internally, then we can be responsible for who we are externally. Why don’t we think about clothes in the same way?” he asks


Christopher 对于身份认同问题有过深入的哲学思考。他认为人的身份认同,应该从内心开始,然后向外推进。他告诉我说,身份认同始于一个人的思维方式,接着,如果一个人有宗教信仰,就是其精神世界。之后就是我们对自己身体的认知。最后,在我们对自我身体的认知和社会上其他人之间,所隔着的就是服装。Christopher 指出,个体常常会考虑他们与其他人交流的方式。

“我们经常会思考,‘我身边都是些什么人?是好人还是坏人?我是不是一个好人?我的人际关系怎样?我们相处得如何?’我们会很强调这一点。” 而服装是我们和其他人之间的隔层。“这就像变形虫。这种细胞生物有一面细胞壁,让外物进入或出去。我们的穿着方式正是我们对这个细胞壁所下的定义。”

BEAUGAN 正是他对这一理念的表达。“我觉得,只有当我们可以对自己的内心负责,才能对自己的外表负责。为何不在服装方面也用同样的方式思考?”

His belief that clothing is a part of one’s identity resonates most strongly with people outside but adjacent to the fashion industry: writers, graphic designers, architects, photographers, artists, and small business owners. Hancy wanted to create clothing for a new market not already targeted by the industry. Fashion, as he sees it, has a long history of telling people that they can’t be themselves, and now people are pushing back. “Why can’t I just be me? Why do I have to be a pop star or look like a magazine image? Why is it valuable to be someone else?” He sees choosing clothes as a creative process. “You can really bring the most out of yourself. You can create yourself visually, which is a beautiful thing.”


这种将穿着视为一种自我认同方式的思考,最能与一些邻近时尚的职业,譬如作家、平面设计师、建筑师、摄影师、艺术家以及小企业主产生共鸣。Christopher 想为一群新的消费群体设计服装 ,他瞄准的不是那些已经被时尚行业所瞄准的人群。在他看来,时尚有很长的历史都是在告诉人们 “他们不能成为自己”,而现在人们开始起身反抗。“为什么我就不能是我呢?我为什么要成为这个歌星、或者看起来像这本杂志上的模特?为什么成为别人就那么重要?” 关于时尚到底能为个体带来怎样的作用,他说:“你确实可以通过时尚呈现出自己最好的一面。你可以在视觉上重塑自己,这是一件很美好的事情。”

“Why can’t I just be me? Why do I have to be a pop star or look like a magazine image?”

“为什么我就不能是我呢?我为什么要成为这个歌星或者看起来像这本杂志上的模特?为什么成为别人就那么重要?”

Living in Japan has let Hancy recreate himself. He tells me he could live anywhere but finds Japan’s history and philosophy especially beautiful and interesting. “I’m glad to be in this situation, because it gives me so much fluidity and the possibility to move in different groups. I can be whoever I am. Theres a freedom of not being burdened,” he says.

In Japan, Hancy is figuring himself out first—away from places that would have more expectations on his behavior. “By investigating things historically, here or in Europe or wherever, I can start to work out how to do the same in regard to Australian history, or my own history,” he explains.“I’m trying to learn about myself through learning about others: other cultures, other groups of people, what others are doing.”


到了此时,在日本生活的经验已经重塑了 Christopher。他说自己可以在世界上任何地方生活,但日本这个地方有着深厚历史和哲学思想,特别迷人和有趣。“我的想法是,通过探索日本、欧洲、或是任何其它地方的历史,我可以了解到、或是明白如何去认识澳大利亚历史,或是我自己的历史。这是一种学习,这就是我想做的事情。我想借由了解其它事物、文化、人和其他群体,和他们所做的事情,来了解自己。”

按照 Christopher 的说法,比起生活在那些一举一动都要按照别人期望的地方,移居日本更能让他了解自我。“我很满意现在这种状态。因为它给了我很多的流动性和融入不同群体的可能性。我可以成为任何人。这是一种没有负担的自由。”

Freedom to form an identity independent of the expectations of history is an idea Hancy wants to unite other people under. “It’s building a community, really. Every group that creates some culture, they want that,” he says. “If you don’t have an identity, you want to find your global family.”

He seeks people who think the same way he does, rather than those who look similar or work in the same profession. “Since the beginning, I’ve had a desire to create a global tribe of people who are like-minded and share the same ideas, the same way of thinking. I want to make a base for that. And I really want it to be a space to encourage creativity, encourage collaboration, and have the idea of exchange.”

BEAUGAN’s designs are imbued with the belief individuals have to create their own identity. They also the embodiment of Hancy’s search for beauty in the natural world. In the future, he hopes BEAUGAN will be a community exchanging ideas to create culture in a way they can’t find elsewhere. “I want substance and I want quality,” says Hancy. “I created a brand to achieve that. Hopefully, I’m getting there.”


自由地去塑造自我身份,抛下过去或时尚界的期待,Christopher 想要将怀有这样渴望的人都聚集起来。“说真的,这是在建设一个社区;这是每个人的梦想。每一个创造某种文化的群体都希望这样。如果你缺乏身份认同,你会想找到属于你的大家庭。”

作为一个选择离井别乡的澳大利亚人,和一位厌倦于现状的时装设计师,Christopher 在寻志同道合的人,不仅仅是那些外表相似或在同一行业工作的人。“从一开始,我就有这样的愿望: 建立一个志同道合的全球部落,之中的人有同样的想法和思维方式。我想为此创建一个基地,然后在这基础上将它变成一个鼓励创新、合作与交流想法的平台。”

BEAUGAN 作为一股 “时尚逆流”,其服装蕴含着设计师让人重塑自我身份的意图。同时,它也是一种个人的思维和生活方式,诠释着 Christopher 对于自然之美的追寻。在未来,Christopher 希望让 BEAUGAN 成为一个让人们交换想法的社区,让他们以在其它地方无法实现的方式,共同创造一种文化。在我们的聊天中,Christopher 明确指出他已经抛弃的想法,以及他现在的立场。即使他的最终理念现在也未成形。“我想要言之有物的作品和好的品质。为此,我创立了一个品牌。但愿我能成功。”

Media Partner: MAEKAN

Contributor: Charis Poon
Photographer: Stanley Cheng


媒体合作伙伴: MAEKAN

供稿人: Charis Poon
摄影师: Stanley Cheng

Sketches of a Subculture 次文化的速写

July 30, 2018 2018年7月30日

“Beijing is a city of constant change. It is where anything can happen—the good, the bad, and the ugly.” This is how the third issue of Hole in the Wall Collective’s zine begins. In a colorful illustration next to these words, two people, a young woman in overalls and an elderly man hunched over a cane, watch the demolition of an old brick building amid piles of rubble and a towering construction crane.

It’s a scene familiar to anyone who’s spent time in a Chinese city: the constant cycle of destruction and rebirth in the race to modernize. This issue of Hole in the Wall doesn’t focus on the demolitions themselves but instead documents the disappearing life in Beijing’s hutongs, the traditional alleyway neighborhoods that are increasingly being destroyed to make way for new development.


“北京是一个不断变动的城市。在这里,什么事情都可能发生,不论好坏美丑。” Hole in the Wall Collective 发行的第三本刊物如此开篇,在课文一旁色彩丰富的插画里,一位身穿工作裤的年轻女人和一位驼背拄着拐杖的老头儿,眼看着古老的砖木结构建筑被拆掉,周边是一堆堆瓦砾和一架高耸的起重机。

这样的景象,或许任何曾在中国城市待过的人都不会觉得陌生。城市为了竞逐现代化,陷入拆迁和重建的无限轮回。这期《Hole in the Wall》杂志不把焦点放在拆迁本身,而是记录逐渐消失的北京传统巷弄街坊──胡同。眼下,越来越多的胡同因为城市发展而被拆除了。

Hole in the Wall Collective is made up of two illustrators, Shuilam Wong and Jinna Kaneko. “We record Beijing’s underground music scene, its night life, its street culture, its hutong culture, anything that’s under the radar and not very mainstream,” Wong says.

Wong and Kaneko went to the same high school in Beijing and both moved back after college. Reconnecting, they formed the Hole in the Wall Collective. “I didn’t know Shui had majored in illustration until I found her on Instagram,” says Kaneko. “I sent her a message and told her ‘I want to make a zine with you!’ When we met up, ideas came together and everything started evolving.”


Hole in the Wall Collective 由两位插画家组成,分別为 Shuilam Wong 和 Jinna Kaneko。 Shui 解释,“我们纪录任何低调的非主流文化,像是北京的地下音乐现象、夜生活、街头文化和胡同文化。”

Shui 和 Jinna 两人在北京上同一间高中,也都是读完大学后搬回这里。两人再次聚首,成立了 Hole in the Wall Collective。Jinna 说:“我在 Instagram 上找到 Shui 以前,不知道她主修插画。我发消息给她说,‘我要和你创办独立杂志啊!’ 然后在我们碰面时集结了各种想法,一切就开始启动了。”

In 2017, the duo released their zine’s first issue, which consisted mainly of interviews and portraits of people in Beijing’s offbeat artistic neighborhoods, such as Gulou. “Our interviews are very casual. We initially wanted something very structured, but my computer didn’t always work and Jinna’s phone would often run out of battery, so we just drew and wrote down quotes, and that became the structure of our interviews—drawing live,” says Wong.

They note that a live portrait is a unique way to get to know someone because it allows the interviewee to open up for a calm and authentic conversation. “One drawing may take 15-30 minutes, and it’s an excuse to talk to that person. You can sit down and take your time. They’re more willing to talk in depth, rather than just stick to surface-level topics,” Kaneko says.


2017 年她们发行独立杂志创刊号,主要内容为访谈和肖像画,对象都来自鼓楼和北京其他非主流艺术街区。“我们的采访非常随性。 一开始我们要的是很有组织的内容,但是我的电脑时常当机,Jinna 的手机也常没电,我们索性边画边写,记下对话之后变成采访的架构,就好像现场速写一样。” Shui 解释道。

她们指出,人物速写这种独特方式能让她们快速认识一个人,因为受访者更愿意以沉着、坦承的方式展开对话。“一幅速写画可能会花上 15~30 分钟,同时也是和受访者对话的好时机。他们可以好整以暇地坐着,因此更愿意深度倾谈,而非只是谈论肤浅的主题。” Jinna 说。

Wong explains that around the time of the 2008 Beijing Olympics, many hutong neighborhoods became revitalized, as independent shops, restaurants, cafés, bars, and other businesses opened up. “Hutongs are often home to tight-knit communities,” Wong says. “People often sit outside, just chilling, hanging out. Even the bathrooms are communal.”

“Some hutongs, like the ones around Nanluoguxiang, have always been touristy,” Kaneko adds, “but tourists have created their own community and opened up bars. In the future, we hope to cover art spaces, hotels, or cafés that mix traditional and modern architecture.”


Shui 解释,2008 年北京举办奥运之际,许多胡同开始复兴,开起了独立店铺、餐厅、咖啡店、酒吧等商家。 “胡同里的社区,彼此关系很紧密。”她解释道,“大家经常坐在外面消遣,打发时间。甚至连厕所都是共用的。”

“有些胡同,” Jinna 补充道, “例如南锣鼓巷周围一向很多游客,但是他们也创造了自己的社群,开了酒吧。未来我们希望能采访那些融合传统和现代建筑的艺术空间、饭店或是咖啡店。”

As Hole in the Wall’s interviews show, owners of bars and clubs share a resilience and a determined outlook on staying in business in Beijing. “Closings and demolitions have always been happening,” says Wong. “Maybe now the issue’s getting a bit more media attention, but for these bar owners, it’s always been a way of life, especially in the hutong neighborhoods. People find ways to work around it, and they’ve accepted it. I think that’s what makes the city interesting: there’s a lot of energy to find different ways to work around problems. I personally believe that if you’re too comfortable, you won’t create anything interesting.”


如同杂志采访里所呈现,酒吧和俱乐部的经营者都具有强大适应力和坚决态度,打算留在北京做生意。“关店收摊和拆除工程是常有的事,” Shui 说,“或许这类议题在现在获得更多的媒体关注,对于在胡同里开酒吧的经营者而言,这早已是他们的生活方式,大家已经找到方法,接受这种现象。我认为这个城市的意趣正在于此,碰到问题时大家都会全力找出变通办法。我个人认为生活过得太舒适,就无法创造出有趣的东西。”

From zine culture to independent art to punk music, Beijing has a rich environment for Hole in the Wall Collective to draw on. “Compared to all the places I’ve lived in, I see more potential here,” Wong says. “I’ve lived in Singapore, Beijing, and London, and I’ve spent a little bit of time in Japan, and I’ve done far more here than I’ve ever done in any other city.”

Despite their initial focus on Beijing, Wong and Kaneko also want to go on to cover other countries and cities. They’re planning a future issue on Hong Kong and Tokyo. “We’re visual journalists,” Wong says. “Our goal is to record the now, the youth, and the vibrant, urban culture.”


北京拥有丰富环境提供给 Hole in the Wall Collective 利用,从独立杂志、独立艺术到朋克音乐文化。“ 和其他我住过的地方比起来,我在这里看到更多潜力。” Shui 说,“我住过新加坡、北京和伦敦,也在日本待过短暂时间。我在北京做的事远比在其他地方做的事还多。”

即便一开始将焦点放在北京,Shui 和 Jinna 也想继续采访其他国家和城市。她们正在筹划以香港和东京为主题的刊物。“我们是以视觉记录为主的记者。” Shui 总结道,“我们的目标是记录当下、年轻人,以及充满活力的都市文化。”

Once Upon a Time in Jianghu 一个人的嘻哈 一群人的江湖

July 27, 2018 2018年7月27日
Has

Created by photographer Shen Yi, The Ganghood is an ongoing portrait series of notable figures in the Chinese hip-hop scene.

A conversation is what sparked the idea for the project. He and his friends—all diehard hip-hop heads—noted how there weren’t any professional photographers in China who truly understood hip-hop culture. In the US, individuals like Jonathan Mannion, who’s shot countless iconic hip-hop albums, and Chi Modu, whose photojournalistic works documented the golden era of American hip-hop, are both distinguished photographers in the hip-hop scene. So in 2016, full of ideas and ambition, Shen Yi began shooting hip-hop shows, and he’s been continuing the project ever since then.


《江湖》是一个长期的拍摄项目,拍摄的主要对象是活跃在中国 Hip-hop(或可称嘻哈)圈内的人。

这个项目的启发,源于沈易和几个同样喜欢 Hip-hop 文化的朋友的一次聊天。他们觉得那个时候国内十分缺少真正懂得 Hip-hop 的专业摄影人。而在美国,则既有类似 Jonathan Mannion 这样拍了很多出色说唱专辑封面的摄影师,也有类似 Chi Modu 这样用自己镜头记录了一个黄金时代的纪实摄影家。2016 年底,沈易有机会到一些说唱演出的现场进行拍摄,这一愿景终于得偿所愿,并且将一如既往地持续下去。

Bridge
Al Rocco

When I mentioned how much I loved the Chinese title he’d chosen, Jianghu (江湖), Shen’s eyes twinkled with delight. Coming up with a title isn’t particularly difficult, but finding one that’s easy to understand and captures the project’s spirit takes some thought. “Jianghu,” in fantasy martial arts novels, is the underworld of rogues and outlaws that exists on the fringes of society—China’s answer to the Wild West. Nowadays the term can refer to criminal gangs or to any scene or subculture outside the mainstream.

“I thought long and hard about what to name the project. Some titles seemed too plain, while others seemed too pretentious. However, one day when I rewatched Wong Kar-Wai’s The Grandmaster (2013), I had a eureka moment: China’s hip-hop scenes are just like different schools of martial arts! The stars of each faction have their own distinct styles, and they even do “battle” with their music. So why not call it ‘jianghu?'” He then pauses, taking a long drag from his cigarette, but he still can’t contain his excitement.


提起这个项目的名字,沈易平静的眼里突然亮起了光。起名字本不是一件很困难的事情,但若想让这个名字通俗易懂又能贴合主题,却还是要花费一些心思的。

“想了挺多,要么觉得太俗,要么觉得太装,后来有一天复习这部电影的时候,心里突然一阵哆嗦——中国的 Hip-hop 圈子岂不就像是各个武林门派?不同门派的高手都有着自己独一无二的风格特点,甚至有时还会以写歌的形式 “火拼”,所以干脆就叫 《江湖》算了。” 说到这里,沈易深深吸了一口烟,却还是难掩他激动的神情。

Eddie Beatz
Lil Jet
Jahjahway & Fac-D12 of Purple Soul

“In this circle, there’s an old saying: You don’t choose hip-hop. Hip-hop chooses you,” he says.

Shen’s interest in hip-hop began in 2001, the year he turned 11, when he stumbled across the music video for Michael Jackson’s “Jam.” Having listened to Jackson’s music throughout his childhood, one particular moment in the song differentiated it from all of Jackson’s other works. Unannounced, a heavyset man appears in the music video, unleashing a flurry of words and busting moves across the screen. It was the coolest thing Shen had ever seen. He later learned that the man was Heavy D, a Jamaican-born American rapper. This marked the beginning of his relationship with hip-hop. Since then, hip-hop has been a faithful, inseparable companion.

“In my young, rebellious years, hip-hop culture was a pillar of support. If my love life was in shambles or if I was having a rough time in school, it had my back,” he says, pausing for a moment in thought. “Hip-hop is like a mirror. It reflects all my rough edges. And the world you see in the mirror is really just your own reflection.”


“这个圈里老说一句话,不是你选择了 Hip-hop,而是它选择了你。”沈易说。

2001 年的沈易,刚过十一岁。喜欢迈克尔・杰克逊的他一天正在观看《Jam》的 MV,只见唱着唱着,画面里突然跑进来一个胖哥们儿,嘴里叨叨叨叨,身体龙飞凤舞。当时的沈易觉得这哥们真是太酷了,一来二去,就知道了这胖哥们儿是已故的牙买加裔美国说唱歌手 Heavy D。从此,Hip-hop 便开始不离不弃的陪伴着他,直到现在。

“Hip-hop 文化曾一度是我少年叛逆期时目中无物好高骛远的精神支柱,也曾是学业无成感情失败时的绝对依靠。她就像一面镜子,映射着我的所有棱角。你在镜子中看到的世界,其实就是自己的影子。”沉默了半晌,沈易缓缓说道。

Boom
Melo
Pharaoh
DJ Wordy
WARZ

The “hustle” mentality of hip-hop culture is what resonates the most with Shen today. “You can interpret the word as battling against hardship or as simply a way of getting money. Hustle is when the kid who grew up in a harsh environment gives it all he’s got to shake off poverty, to shake off people’s condescension. Hustle means never giving in, never accepting defeat, giving it all you’ve got.”

Shen’s own work ethos embodies the spirit of the hustle, and he’s stuck with the project despite running into his share of naysayers. Just as his series was getting off the ground, the reality show Rap of China turned hip-hop into a nationwide fad. Suddenly, haters came out of the woodwork, saying he was just jumping on the bandwagon and that certain rappers he shot weren’t “true” hip-hop artists.

To these accusations, he simply answers, “Trends are temporary, but the spirit of hip-hop endures.”

Shen’s response is simple, but I can tell it’s genuine.


现在的沈易,似乎更喜欢 Hip-hop 文化中的那种 “Hustle” 精神。“你可以理解为奋斗,也可以理解为挣钱。就像一个孩子生在一个不如人意的环境里,然后他拼了命地努力摆脱贫困,摆脱被人瞧不起的境遇。这个不服输不认命,靠自己打拼的过程,就是 Hustle。”

沈易自己的作品就结合了这种 “Hustle” 精神。在这个项目遭到质疑时,他选择与之直面。项目刚有起色的时候,正好赶上国内的一档综艺节目《中国有嘻哈》上线。一时间,冒出了一些的 Diss(轻视、不尊重)他的人,说他蹭热度、拍的某某饶舌歌手不够真,不算是 Hip-hop。

“热度是只是一时的,而 Hip-hop 内在的精神却是经久不衰的。”

沈易只是轻描淡写的答复了一句,但我已从这句话中感受到了分量。

门派之间有帮派,黑社会有地下党,但江湖就是江湖。刀光剑影,儿女情长,江湖豪迈,热血沸腾。

Blow Fever
C-Block
Young Dragon

In recent times, hip-hop has spread across China, and a new wave of talented musicians have emerged. As the quality of production, lyrics, and live performances continues to improve, Chinese hip-hop continues to reach new heights.

Asked how Chinese and U.S. hip-hop differ, Shen says they’re “brothers from another mother.” The essence of the culture is the same, but the local context is different, and that means that hip-hop in China has developed in a radically different direction. Replicating American rap styles doesn’t quite cut it for today’s savvy listeners. As a result, more and more unique hip-hop music relevant to Chinese listeners is being produced.

As hip-hop’s popularity in China continues to grow, listeners and artists alike are still trying to figure out its place. It’s a thrilling time, with all the excitement of a martial arts novel. And Shen is here with his camera, capturing the hip-hop jianghu.


问及中美 Hip-hop 文化有何差异,他的回答是:“同一个妈生的,不同的爹养大。”其实本质上说来,嘻哈文化都是相同的,不同的只在于国情和制度,但正因这些不同,却导致文化发展的方向和深度有着天壤之别。越来越多人意识到,照搬美国地区的那套在中国行不通。同时,也有越来越多代表我们特色的优秀作品应运而生。

近几年的中国,Hip-hop 也在遍地开花,从而也诞生了许多厉害的歌手。不论是歌曲的制作、歌词的深度、现场的张力,都将华语说唱提升到了一个全新的高度。虽然大家还在摸着石头过河,有时候难免会要停一停,但长风破浪,总有来时。

Cloudy Tunnel

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Contributor: Li Zi


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供稿人: Li Zi

Poy Sang Long 不一样的成年礼

July 19, 2018 2018年7月19日

When the Shan people fled Myanmar’s civil war to seek refuge in neighboring Thailand—itself already home to a large Shan community—they brought with them their Buddhist faith and their unique traditions, including the ceremony known as Poy Sang Long. One of the largest and most important Buddhist ceremonies in Shan culture, Poy Sang Long is a rite of passage for Shan boys, who as early as age seven are ordained as novice monks and introduced to the study of Buddhism. We visited Mae Hong Son province, the northern Thai province that’s home to one of the largest populations of Shan people, to learn more.


当掸族人为了逃离缅甸内战,逃到原本就有许多掸族人口定居的邻国—泰国时,他们也将佛教信仰和独特的传统文化带往当地,其中包含名为 “波伊桑隆” 的仪式。波伊桑隆节是掸族文化里,规模最大、最重要的佛教庆典,也是掸族男孩的成年礼仪式。掸族男孩最早会在七岁时就出家成为沙弥,学习佛教教义。为了深入了解,我们拜访了位于泰国北方的湄宏顺省,这里是掸族人口最多的省份之一。


Preparing for the Journey

 

One day before the ceremony begins, the boys have their heads shaved in turn by their parents, their relatives, and Buddhist monks. They are then bathed in water, and yellow thanaka powder is applied to their heads and bodies.


为旅程做准备

 

波伊桑隆仪式前一天,男孩的父母、亲戚和佛教僧侣会将男孩的头发剃掉。接着他们泡在水里,头和身体会涂上黄色的 thanaka 粉(一种草药粉)。


A New Life Begins

 

On the first official day of the ceremony, the boys don a traditional costume and have their faces painted with a heavy makeup. These lavish adornments are intended to make each boy look like a prince, like Buddha before he began his ascetic life. Once ordained, the boys, or sang long, are considered sacred, and their feet may not touch the ground, and they are carried by a servant, or ta pae sang long, anywhere they need to go. Riding atop the servants’ shoulders, the boys visit important community figures and nearby elderly relatives to ask forgiveness for their sins.


开始一段新生命

 

仪式开始第一天,男孩们会穿上传统服装,脸上画浓妆。他们身上穿的华丽服饰是为了要让每个男孩看起来像王子一样,如同踏上苦修道路之前的佛陀。这些男孩,也可称为 “桑隆”(sang long),一旦出家就会被视为神圣的,因此双脚不能触地,仆人(ta pae)会背他们到要去的任何地方。这些男孩跨坐在仆人的肩上,拜访社区里重要人物和附近的年长亲戚,请求他们宽恕自己的罪恶。


The Celebration Parade

 

The sang long parade occurs all around the town to celebrate this rite of passage. It’s a loud and joyous affair that lasts throughout the day. Following the parade, the boys are blessed in a ceremony called the hong kwan. They then eat a special meal of 12 dishes that have been prepared by their parents. This is the final night of their sacred status.


庆祝游行

 

“桑隆” 会在城里各处游行,庆祝这场成年礼仪式。游行会喧嚣欢腾一整天,男孩们跟着游行队伍,在 hong kwan 仪式里接受祝福。接着他们会吃由父母准备的十二道菜肴。此时是他们神圣身份的最后一晚。


The Transition

 

On the last day of the festival, the sang long intone a special psalm to accept their new status as novice monks. Next they shed their colorful garb in exchange for a humble monk’s robe. This is when they officially join the temple, leaving behind the status of sang long as they dedicate themselves to studying Buddhist teachings. With the conclusion of the ceremony, most of the boys will stay at the monastery for a minimum of a week, but some may stay longer, even upwards of several years.


转变时刻

 

庆典最后一天,“桑隆” 会吟咏一种特殊的经文,代表自己接受了沙弥的新身份。隔天,他们会退去五颜六色的服装,换成朴素的僧侣袍。此时他们正式成为沙弥,丧失 “桑隆” 身份。接下来的几周或几个月,他们将在寺庙里研读佛教教义。庆典结束,大多数男孩则会至少在寺庙里待上一周,而有些则更长,甚至会待上几年。

Contributor & Photographer: Will Wiangchai


供稿人与摄影师: Will Wiangchai