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Magazine B 一本读出色彩的杂志

July 18, 2018 2018年7月18日
Issue No. 46 "Pantone"

“Colors can be read.” This was my stunned takeaway from reading “PANTONE,” the 46th issue of B magazine.

That a simple print publication could so thoroughly alter my perception, comprehension, and attitude towards a subject—a brand, no less—astounded me. Long an admirer of Pantone, I came away with an even deeper appreciation of it. But even readers unfamiliar with Pantone, or any other brand featured in an issue of B, will be left inspired and hungry for more.

B is an independent, ad-free publication produced in South Korea. In each issue, it offers insightful stories on a specific brand, but it abides by a strict editorial policy and receives no financial compensation in return. Recently we caught up with editor-in-chief Eunsung Park to learn more about his vision for this one-of-a-kind magazine, and about his thoughts on the future of print media.


“我竟然能读出色彩。”这是我第一次读到《B》杂志第 46 期的感受,那一期的主题是“潘通色卡”。这个看似普通的出版物,却神奇地影响了我对一个品牌的认知、理解和态度。加之原本就对此感兴趣的心态,再去探索杂志内容背后的意义,我会对它越爱越深;而哪怕是原本不熟悉它的人,在看完整本杂志后,我相信你们也会更想要了解它的故事。

《B》杂志是一本无广告的、独立出版的月刊杂志。它用其独有的调性为读者介绍全球值得推荐的品牌和它们的故事。独特的选题标准,独特的撰写角度以及独特的视角,组成了这本独一无二的杂志。

Issue No. 44 "Vans"
Issue No. 13 "Lego"

Neocha: Your official criteria for featuring a brand are price, practicality, beauty, and philosophy. What do these mean to you?

Park: Our publisher, Suyong Joh, created those criteria in the initial planning stages of the magazine. But that doesn’t mean we use price, practicality, beauty, and philosophy as metrics to evaluate the brands we choose. Instead, we believe a good brand can’t rely only a single factor, whether that’s its price point, its usefulness, its design, or its ethos. All these factors must combine to form a balance that fits the brand. What we want to convey is that each brand has its own way of achieving that balance—just as every beautiful person has their own balance of different charms.


Neocha:你们对于品牌的筛选标准是价格、实用性、美学和品牌理念。这些标准对你来说代表什么?

Park:这些标准是杂志创始人 Suyong Joh 在筹办杂志的初始阶段所订立的。但是,这并不意味着我们在选择品牌时会将美学、价格、实用、品牌理念作为评价品牌的指标。相反,我们相信,一个好的品牌不能依赖单一的指标,不管是价格、实用性、设计或是品牌精神。所有这些因素都必须结合起来,达至适合该品牌的平衡。我们要传达的理念是,每个品牌都有自己独特的方式来达到这种平衡,正如每个人的美丽都是各种魅力组成的平衡。

Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"

Neocha: What’s your best-selling issue? Do you have a personal favorite?

Park: “Lego” and “Muji” are our best-selling issues. Our newer issues like “Acne Studios” and “Monocle” have had a good amount of sales. Our city issues always do well. If I were to choose an issue from that pool, it would be “Monocle.” It was a meaningful experience to cover a fellow media brand, and we got positive energy simply by following their journey and observing their achievements.


Neocha:你们最畅销的杂志是哪一期?你个人最喜欢哪一期?

Park:“乐高”和“无印良品”是我们最畅销的两期杂志。我们最近推出的杂志,如 “Acne Studios” 和  “Monocle” 销量也很好。我们的城市主题杂志也卖得不错。如果一定要选一本个人最爱,可能是 “Monocle” 这一期。以一个同行媒体品牌为主题是一次挺有意义的经验,我们在了解他们的发展历史和成就这个过程中也获得了满满的正能量。

Issue No. 44 "Vans"

Neocha: How much time do you spend researching a brand when starting a new issue?

Park: We always approach the brand as if we knew nothing about it. If we think we already know it well, we run the risk of falling into boxed thinking, but if we keep an open mind, we discover new perspectives. That’s why we try not to overstudy the brand beforehand. We believe that rich stories should come out of the people we meet, and we try to keep a keen eye for observation by limiting our own voice.


Neocha: 筹办新一期杂志前,你们一般要花多少时间来研究一个品牌?

Park:我们始终坚持以“一无所知”的态度去了解品牌。如果我们认为自己已经很了解这个品牌,很容易就会掉入固定的思维,但如果能够保持开放的心态,就有可能有新的发现。这也是为什么我们尽量不事先过度深入研究品牌。丰富的故事应该来自于我们遇到的人,同时,我们会努力限制我们自己的声音,以保持敏锐的观察。

Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"

NeochaB is perfect for aspiring entrepreneurs, people in search of unbiased information, or anyone interested in brand marketing and management. But not all readers may be equally familiar with every brand. How do you appeal to a diverse audience?

Park: The point is not how well readers know the brand, but rather how well we, as creators of the magazine, refrain from taking a know-it-all attitude. Instead of providing answers, we hope to help people pay attention to what’s happening. I believe you can do that regardless of your depth of knowledge.


Neocha:《B》杂志非常适合有抱负的企业家,那些想寻找有关品牌客观信息的人,或是任何对品牌营销和管理有兴趣的人。但并非所有的读者都熟悉每一个品牌。你们要如何吸引如此广泛的读者群?

Park:问题的关键不在于读者要多了解一个品牌,而是我们作为杂志的创造者如何避免采取一种“已知”的态度。我们希望能帮助读者去注意当下,而不是提供答案。我相信不管你懂多少都是可以做到这一点的。

Issue No. 61 "Acne Studios"

Neocha: You’ve done countless interviews. Which would you say is the most memorable?

Park: We’ve done too many memorable interviews. But if I were to choose one from the past year, it would be the interview with architect Andreas Fornell in the “Acne Studios” issue. He worked at Acne Studios in the past and now manages his own firm. As someone with experience from both the inside and the outside, he could look on the brand with affection and provide a pointed assessment all at once.


Neocha: 你们做过非常多的采访。哪一次对你来说是最难忘的?

Park: 我们做过太多令人难忘的采访。但如果要我从去年的采访中选一个,那应该是在 “Acne Studios” 那一期里与建筑师 Andreas Fornell 的采访。他曾在 Acne Studios 工作,现在在经营自己的公司。作为一个有来自内部和外部经验的人,他可以对这个品牌提供充满感情又一针见血的评价。

Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"

Neocha: Since its launch in 2011, B has released more than 60 issues. What sort of challenges has it faced along the way?

Park: We face different difficulties with every issue. We may have published 66 books, built up a sales record, and made a name for ourselves, but that doesn’t mean the process has become any steadier or more peaceful. And it will continue to be a challenge in the future. Creating a brand, especially sustaining a media brand, is like a battle. Fighting through unexpected issues and seeking solutions gives us an outlet for our creativity.


Neocha: 自2011年推出,《B》至今已经发行了 60 多期杂志。在这个过程中,杂志面临过什么样的挑战?

Park: 我们办每一期杂志都会面临不同的困难。即便我们可能已经出版了 66 期杂志,有了不错的销售记录,也有了一定的知名度,但这并不意味每期杂志的筹办就能变得更顺利或简单。在未来,我们依然要面临各种的挑战。创造一个品牌,尤其是维持一个媒体品牌,就像是一场战役。在应对各种意想不到的问题、寻求解决方案的过程中,我们也是在发挥创意。

Issue No. 46 "Pantone"
Issue No. 46 "Pantone"

Neocha: “Independent” is a label that’s thrown around a lot nowadays. What qualities do you think make a magazine truly independent?

Park: In my opinion, independent magazines don’t rely on typical advertising models the way legacy media do. Instead, their creators take more risks taking a freer and bolder approach to content planning and creation.


Neocha: “独立”是现在常用的一个标签。你认为一本杂志应该有哪些品质才能真正称得上独立?

Park: 在我看来,独立杂志不应像传统媒体那样依赖广告。相反,他们的创办者要勇于承担更大的风险,在内容策划和创意方面会采取更自由、更大胆的做法。

Issue No. 46 "Pantone"

Neocha: Where do you see print media headed in Asia?

Park:  I think it’s important to see print media outside a regional context—to see it as its own thing. In countries where English isn’t the main language, people might think language is a barrier. Yet if we leverage the power of the content itself, that limitation becomes meaningless. As for the future, we should focus on what print media can do best, instead of doing the same things as digital media. I believe in the lasting strength of the printed word, the flow and pace of stories told on paper.


Neocha: 你觉得亚洲纸媒的未来如何?

Park: 很重要的一点是要抛开区域来思考纸媒,把它单独地来看待。在非英语国家,人们可能会认为语言是一个障碍。然而,如果我们利用内容本身的力量,这种限制将不再存在。至于未来,我们应该专注于纸媒的优势之处,而不是与数字媒体做同样的事情。我相信印刷出来的文字,以及纸媒呈现的故事节奏感是有着持久性力量的。

“Lego” is now available on the Neocha Shop in limited supply. The “Star Wars,” “Vans,” “Acne Studios,” and “Pantone” issues will be made available soon!

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现在,“Lego” 专刊在 Neocha 商店中限量贩售。另外,“Star Wars”、“Vans”、“Acne Studios” 和 “Pantone” 也即将面世!

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《B》第 13 期 “Lego”

¥130

立刻购买

Product Details:

  • Year of Publication: 2013
  • Number of Pages: 160
  • Dimensions: 17 cm x 24 cm
  • Price: 19 USD

详情

  • 出版年份:2013
  • 页数:160
  • 尺寸: 17 x 24 厘米
  • 价格:130 RMB

Website: magazine-b.com

 

Contributor: Handowin Ho
Photographer: David Yen


网站: magazine-b.com

 

供稿人: Handowin Ho
摄影师: David Yen

Taking It Easy with Kuoyi 原来生活还“可以”这样

July 11, 2018 2018年7月11日
Kuoyi, Issue #1 / 《可以》第一期

People in Chengdu, an old saying goes, don’t know the meaning of the word hurry. No matter how dire the situation, they never lose their calm. Maybe it’s the constant humidity of the Sichuan Basin that keeps them so unruffled, or maybe it’s the fragrant Sichuan rice they eat every night, its delicate sweetness seeping into their pores.


有人说成都人似乎不明白匆忙生活的意义,遇到任何麻烦事成都人总能温柔以待。或许是巴蜀盆地久久不散的湿气让成都人变得平和,不沉沦也不热烈,“平和之气” 伴随着每晚川米软糯的香味,渗透到成都人的骨头里。


A Celebration of Life in Chengdu

 

“In the Chengdu dialect, kuoyi signifies an attitude of contentment. It’s about taking things as they come. It’s a laid-back lifestyle—a simple, everyday happiness. That’s why we decided to use it for the name of our magazine,” says Zhang Jianlan, the co-founder, publisher, and editor-in-chief of Kuoyi.

If you whisper the word kuoyi, you can almost feel your entire body loosening up. That’s the feeling Zhang Jianlan and her co-founder Xue Rong want to bring readers. It’s an experience that extends beyond the articles themselves.

There’s value in seeking excellence in something you love, as Zhang and Xue show. With calm and perseverance, they’ve done something other people might consider crazy: they’ve started an independent magazine about the city they live in and love. They stroll down the city’s avenues and alleyways to find the most kuoyi treasures, and they’ve put that attitude of contentment and generosity between two covers.


它关于成都,关于生活态度

 

在成都话里,“可以” 这个词语被寄托了一种知足常乐的心态,是随遇而安的心境,是舒适悠闲的生活,是简单平常的快乐。所以我们的书取名为《可以 KUOYI》。——《可以》创始人、出品人、主编:张简蓝

如果你小声低吟一句 “Kuoyi”,整个人会立刻感觉松了起来。这就是《可以》创始人张简蓝和薛蓉,想带给读者们超越文字本身更多的意义。

“把自己热爱的事情做到极致便有了它的价值。” 这句话是这两个女生最佳的佐证。她们平静而坚定地去做了一件别人看来也许很疯狂的事——自己办了一本独立杂志,主题即是她们生活并且热爱的家乡成都。她们走过成都大街小巷,发掘出其中最 “可以” 的人事物,每一个文字、每一张照片都透露出这座城独有的知足与豁达。

Kuoyi is a magazine for ordinary people, without pretentious words or a flashy layout. Zhang and Xue decided that a minimal, no-frills approach would be the most honest way to tell the stories of ordinary people. “We wanted it to be down-to-earth, real, and inspirational,” Zhang says. It’s a magazine for office workers stuck in the nine-to-five rat race, for dreamers reluctant to take the leap of faith, for travelers in search of undiscovered sights, for everyone interested in experiencing the kuoyi attitude and lifestyle.


《可以》是一本属于百姓的书,没有太多浮华的辞藻,也没有复杂的排版,她们选择了一种最简单淳朴的表达方式,去真实述说 “老百姓” 的生活。“它是接地气的、真诚的、励志的。”  具像而言,是为了那些朝九晚五的人能接触到工作之外的生活,原来还 “可以” 这样;让还在犹豫是否要去追求梦想的人,增添一丝 “可以” 的勇气;让喜欢旅游的人,寻找到另一条 “可以” 的旅行路线;让更多人体会到这样 “可以” 的生活方式和态度。


Kuoyi, Issue #4 / 《可以》第四期

Faith in the Printed Word

 

Faith can make people throw caution to the wind. It all began in 2013, when Zhang quit a comfortable office job in Beijing to return to her hometown of Chengdu, a move that required no small dose of courage. Her motivation was simple: to create an independent magazine celebrating local Chengdu culture.

Asked about the inspiration for the magazine’s title, Zhang tells a story: she and her friends were out one day, crossing the street while discussing where they should go to eat. She suggested they get congee. One of her friends responded, “kuoyi, kuoyi“—roughly,”sounds good, sounds good.” An idea flashed in Zhang’s mind: they’d call the magazine they were about to launch Kuoyi. The friend who had said those words was none other than Xue, the magazine’s co-founder.

In March 2014, they started to prepare their inaugural issue. At first, they lacked both resources and content—all they had was a simple concept and their own dedication. Eventually, through friends, they met some like-minded people and gathered together a group of young people who not only became good collaborators but had also a knack for discovering the stories that every good issue needs. In Zhang’s view, a good issue requires good people and good stories. “Looking back to how we got started, it was all really very simple.”


它关于纸媒人的一份信仰

 

信仰的力量可以让勇气疯长。一切的开始是2013年张简蓝从北京辞职了,放弃一份安稳的工作去闯荡,是极需勇气的。重回家乡的她决定做一本立足于本土文化的独立杂志。

说起这本杂志的诞生,据说还有这样一个小故事:有一次和朋友在聚餐的路上,大家一边过马路一边讨论着待会要去吃哪家餐馆。张简蓝随口问了一句 “要不喝粥?”,一个朋友回答道 “可以可以”。 于是一个想法突然就冒了出来,她们决定将这本即将诞生的杂志就取名为《可以》。而那位回答 “可以可以” 的朋友,就是和张简蓝一起创办这本杂志的薛蓉。

2014年3月,她们正式开始筹备《可以》首刊。一开始她们没有任何资源与内容取材,只有一个简单概念和想做一本杂志的心。后来通过朋友介绍,认识更多有着相似信仰的朋友,就这样一群年轻人聚集在一起,不仅成了工作上的好伙伴,也得到了书中需要的好故事。对于简蓝而言,一本好的书是需要好的人与好故事集结在一起才能实现的。“现在想起当时的初衷,真的是好简单。”


Kuoyi, Issue #4 / 《可以》第四期

A Story of Perseverance

 

Listening to how Kuoyi came to be, I noticed a common theme of perseverance. A perseverance for creating print, a perseverance for providing a suitable reading experience, and a perseverance for promoting the stories and culture of Sichuan and Chengdu.

In magazine publishing, there are no shortcuts. What does it really take to put out an issue? When they started out, Zhang and Xue had no idea. In the early days, when they operated with limited funds, the two oversaw and handled everything themselves, from picking the topics, to writing the articles, to designing the layout, to printing and binding the copies. The inaugural issue came about thanks to their enormous perseverance.

But then they faced new challenges: How do you distribute to bookstores around the country? Outside of Sichuan, the first store they set their sights on was Beijing’s Fashion Lounge Bookstore. Over and over they contacted the store, and each time they were rejected. But they never gave up, and eventually they won the owners over. With that same kuoyi perseverance, they went on to secure shelf space in stores across China, from Chengdu’s Fangsuo, to Hangzhou’s Fenglin Books, to Xiamen’s Bu Zai Bookstore.


它关于一种叫做 “可以” 的坚持

 

在《可以》这本杂志里,我看到了三种坚持——坚持做书、坚持适合的阅读方式、坚持推广四川、成都文化。

出版杂志没有捷径,在一本杂志正式出版前究竟要经历多少努力?这个问题对于当时的张简蓝和薛蓉而言是无法估计的。由于初期资金有限,从选题、撰稿、排版、印刷、到装帧,全由她俩亲自监督完成。创刊号终究在她们强大的坚持下诞生了。

可是又该如何让杂志推向全国书店?省外的第一个目标锁定在北京的时尚廊书店,天知道她们尝试了多少种方法和书店沟通,一次又一次的拒绝并没有让她们放弃,最后时尚廊终于被她们打动。接下来她们持续用独特的 “可以” 式坚持,将杂志成功推广到成都的方所、杭州的枫林晚书店、厦门的不在书店等城市文化地标。

Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期

How can print publications adapt to new reading habits? “We hope our future formats will change by paying close attention to how people’s lifestyles are changing. People don’t necessarily create to survive. Sometimes they create to live a better life,” Zhang says.

That’s the thinking behind Kuoyi‘s fifth issue, “Zazhi,” a pun on the word for magazine that might literally be translated as “snippets” or “paper scraps.” Each story in the issue is printed on a single piece of paper, in five different classic formats, sizes, and folds. The issue is split into snippets that can be read in either one minute, five minutes, 10 minutes, 25 minutes, or 40 minutes. Readers can choose what they’re interested in, making reading a way to fill their idle moments. Kuoyi is constantly experimenting and innovating to adapt to modern reading habits.


而怎么样的纸质阅读方式,才最适合当下及未来人的阅读习惯? “我们希望未来的阅读方式,是亲切地考虑到人的生活习惯的变化而改变。人类创造事物不一定是为了生存而造,有时候是为了更好的生活。” 张简蓝说道。

于是有了《可以5:杂纸》(piece)。这本 “杂纸” 的形式很特别,只用 “一张纸” 就承载所有内容,而每一个内容都单独成页。共设计五种开本大小,分别适合长短不一的碎片化阅读时间。读者可以在细碎的生活片刻里,轻松的选择自己想看的内容,让阅读变成一种填补空闲的习以为常。寻找到最适合现代人的阅读方式,是《可以》坚持创新探讨和突破的原因。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

After five issues documenting the different  facets of Chengdu, some readers might wonder if Kuoyi will run out of material. “I’ve lived in Chengdu for almost 30 years, and I still don’t know enough about it,” Zhang answers.

Her dedication to preserving and promoting traditional Sichuanese culture is admirable. “Young people today are into Western music, or music from Hong Kong and Taiwan—pop, rock, jazz, folk, and more recently hip-hop. How many of them know about Sichuan opera? Qing yin? Jin qian ban? Or other forms of Sichuanese folk music? ” she asks. “We want to tell the stories of older artists and younger artists, to help more people discover them. The Yuelai Teahouse puts on authentic Sichuan opera performances, and the few times we’ve gone there for interviews, the audience was made up entirely of old folks and foreigners. So we made a silent vow that we’d devote ourselves to celebrating Sichuanese culture. We want younger people to visit the tea house, to have more people fall in love with Sichuan Opera and other folk performances. That’s the essence of what we want to accomplish.”


至今,《可以》已经出到第五期,读者心中难免会猜想,记录了那么多面向的成都,会不会最后这座城都被 “挖空” 了呢?  “我生活在成都快30年了,但我还是不够了解它。” 这是张简蓝给我们的答案。

而更令人敬佩的是她专注于保存传统,坚持推广 “川文化” 的心意。“当下的年轻人都在追逐欧美、港台、流行乐、摇滚、爵士、民谣或最近火爆的嘻哈,有多少人知道川剧、清音、金钱板等都是四川曲艺的代表呢? 我们希望通过真实的描述还坚守在曲艺岗位的老艺术家和年轻艺术家的背后故事,让更多人了解他们。在成都的悦来茶楼可以看到正宗的川剧表演,我们几次去做采访看到观众席中几乎全是老人和外国人,我们也默默地对自己说,我们一定要坚持推广川文化,有一天悦来茶楼里会坐有更多年轻人。让更多人尊重和喜欢上川剧和其他曲艺表演,这就是我们想做的。”

“All I know is, I want to keep going,” Zhang smiles.

Anyone dedicated to print media deserves admiration. Infotainment and listicles and have diluted the value of reading itself, and more and more people are abandoning print for the convenience and affordability of digital. Yet even today independent publications like Kuoyi continue to pop up, with independent editors like Zhang and Xue supporting them.

No matter your age, gender, or location, if you appreciate the world around us, then Kuoyi might be the magazine for you.

Issue 5 of Kuoyi is now available on the Neocha Shop.


“我只知道这件事我要一直做下去。” 张简蓝向我们说。每一个选择纸媒的人都是值得敬佩的,各种娱乐方式和碎片化信息在冲淡读书本身的价值,有越来越多人因为方便或价钱纷纷放弃了纸本。然而现今你仍旧能不断看到像《可以》这样的独立杂志出现,看到像张简蓝这样的独立人对于纸媒的坚持。

如果你是个热爱生活的人,不限地域、年龄、性别,我们都希望你能感受到这一座 “可以” 的城市,和这一本 “可以” 的独立杂志。

《可以》第五期现已于 Neocha商店发售。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

To pay with PayPal or an international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店

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《可以》第五期 “杂纸”

¥158

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Additional Recommendations from Kuoyi’s Editor-in-Chief

I’d like to recommend some great independent Chinese magazines, such as Gou Yong Jiu Hao (“Good Enough”), Salt, Though, Solo, Fish, Ben Di (“Local”), San (“Three”), publications by DreamCo, releases from One Villain and 49 Horses, and so on. Why? Guess you’ll have to buy one and find out.


主编推荐:

我要推荐国内很棒的的独立杂志,比如:《够用就好》、《盐巴》、《though》、《solo》、《Fish》、《本地》、《叁》、梦办出品、联邦走马出品的等等。至于为什么?买一本看了就知道了。

Contributor: Handowin Ho
Images Courtesy of Kuoyi


供稿人: Handowin Ho
Images Courtesy of Kuoyi

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When Attitude Meets Tradition 头戴斗笠 跳上滑板

July 10, 2018 2018年7月10日

Vietnamese illustrator Dương Giáp finds inspiration from a wide range of influences. His initial interest in visual art dates back to his childhood, when Japanese anime like Doraemon and Naruto left a deep imprint. As he outgrew these shows, a fascination with skateboarding and hip-hop culture took over, eventually steering him into the world of street art. During this time, serendipitous friendships with prominent Vietnamese street artists like LIARBEN and Zunk helped him develop his own artistic sensibilities. Today, while Dương is best known for his illustrations, he still enjoys spending his free time creating murals around his hometown of Haiphong, in Northern Vietnam.


越南插画家 Duong Giap 创作灵感的来源十分广泛。他对视觉艺术的兴趣源自童年,小时候看的《机器猫》和《火影忍者》等日本动漫给他留下了深刻的印象。然而,随着年纪渐长,过了看卡通片的年纪后,慢慢他迷恋上滑板和嘻哈文化,并最终踏入了街头艺术的世界。在此期间,偶然结识 LIARBEN 和 ZUNK 等越南著名街头艺术家,更是让他逐渐发展出自己的艺术情感。现在,Giap 凭借自己的插画作品而为人熟知,但他依然喜欢趁空闲时间,在他的家乡——越南北部的海防市创作壁画。

In 2017, Dương was invited to take part in The Singularity Plan, a fledgling art platform in Guangzhou, China. The initiative, founded by Chinese illustrator Tony Cheung, invites emerging artists from all over Asia and presents an opportunity for them to showcase their work.


2017 年,Duong Giap 受邀参加了奇点计划,这是一个在中国广州刚刚起步的艺术平台。该活动由中国插画家张朝阳创立,邀请了来自亚洲各地的新艺术家,并为他们展示自己的作品提供了机会。

What makes Dương’s work stand out among his many talented peers is the way he plays with the contrasts in modern society. Throughout his work, he seems to tease at the friction between an encroaching globalization and the traditions that remain strong in Vietnam.

“I love joining street culture with Vietnamese folk culture, because they’re essentially totally different things,” he explains. “One has attitude and a strong personality, while the other is traditional and polite. Bringing street culture attitudes to Vietnamese imagery creates a contrast.”


在奇点计划中,Giap 的作品从众多才华横溢的艺术家中脱颖而出,这一点可以归功于他对现代社会的关注。他在作品中调侃着全球化观念的侵入与越南传统观念之间的冲突。

“我喜欢将街头文化和越南民间文化融合在一起,因为它们本质上是完全不同的东西。”他解释道,“前者很有态度、个性很强,而后者则是传统的、谦恭有礼的。将街头文化的态度融入越南传统意象时,就能产生化学反应。”

Despite the positive reception of his exhibition at The Singularity Plan, Dương remains critical of his own works, especially his earlier illustration. While he invested a great deal of thought and time into his earlier pieces, much of the work was tainted by negativity.

“I used to be a negative person a year ago,” he says. “And I always found inspiration in negative ideas in the society around me, because I was struggling with my life. By now I’ve grown a lot. I’ve started living my life with more balance and trying to be a better person than before.”


尽管作品在奇点计划的展览上大获好评,但 Giap 仍会不断反思,特别对是他之前的插图。虽然在自己早期作品中也投入了大量的思考和时间,但在他看来,大部分的作品都被他在生活中所经历的一些负能量所污染了。

他说:“一年前的我曾经是一个消极的人,总是会从社会中发生的负面事件中找灵感,因为那时我自己的生活也处于一个低谷时期。现在,我已经长大了很多,开始真正地生活,努力成为一个更好的人。”

Some of Dương’s works have prompted criticism, while others have earned him mixed reactions. One piece depicting a school shooting was both lauded and attacked on social media. Compared to his more defining works like Let Yourself Go, this piece was much darker, as if it were an indictment of violence in society.

Concerned about spreading negativity to young fans, he eventually deleted the image from his social media.

“I was getting a lot of attention for making negative illustrations, so I kept making them, getting deep in it,” he says. “But then recently I had a chance to spend two months in Saigon. My experience there helped me change and made me want to be a better person. Since then, in this new phase of my life, I want to create more positive, light-hearted art that can hopefully inspire the next generation.”


对于他过去一些有争议性的作品,则招来了褒贬不一的评价。譬如其中一幅描绘校园枪击案的作品,在社交媒体上,既有人点赞也有人抨击。和《Let Yourself Go》(《放飞自我》)以及他的其它代表性的作品一样,这幅作品的风格更黑暗,就像是对现代社会的控诉。

最后,因为担心这幅插画会给年轻粉丝传播负能量以及他对未来的悲观主义,他最终将这幅画从自己的社交媒体中删除了。

“因为这些负能量的插画,我获得了很多关注,于是就越画越多,甚至有点陷了进去。”他说,“直到四个月前,我去西贡生活了两个月。在那里的经历改变了我,让我想成为一个更好的人。从那时起,在我人生的这个新阶段,我想创造出更多积极、轻松的艺术,希望能激励下一代人。”

Behance: ~/duonggiap
Instagram: @lon_non

 

Contributor: Bryan Grogan


Behance: ~/duonggiap
Instagram: @lon_non

 

供稿人: Bryan Grogan

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Cyclops Skaters & Odd Animals 从独眼巨人到爬行的鱼

July 6, 2018 2018年7月6日

Felix_Shaozi, the winner of the 2017 Vans Asia Custom Culture Competition, is a Beijing-based creative whose diverse body of work includes graphic design, illustrations, murals, comics, fashion design, and much more. This versatility is what keeps his work fresh and unpredictable, and lets him weave concepts and techniques from one medium to another.


2017 年亚洲区 Vans Custom Culture 鞋履设计比赛的冠军 Felix_勺子,是一位来自北京的创作人。他的作品涉猎广泛而多元,包括图形设计、插图、墙绘、漫画、时装设计等等。这种多样性使他的作品永保新鲜,且难以捉摸,让他在各种的艺术媒介中自由穿插着概念与技术。

Shaozi doesn’t believe in waiting around for inspiration to strike. As a curious and self-driven individual, he relies on experimentation and hard work to bring new ideas to fruition. Even if not every idea pans out, he thinks putting in the effort to express himself is still valuable. “Everyone has something they want to say,” he tells us. “For me, art and design are ways of speaking. I create because I have something to say.”


勺子不赞成对灵感持“守株待兔”的心态。作为一个充满好奇心和自驱力的人,他依靠不断的尝试和努力工作来实现新点子。即使不能都成真,他依然觉得努力表达自己很有价值。“每个人都会有想说的话吧。”他告诉我们,“对我来说,设计和创作,其实是一种‘说’的方式。我创作,是因为我有想说的‘话’。”

From a skateboarding cyclops to an amphibious fish walking on all fours, Shaozi’s illustrations are doused in a sense of mischief that highlights two of his most beloved subjects: skate culture and animals.


从一个滑板独眼巨人到一条四足爬行的两栖鱼,勺子的作品充满着滑稽搞怪的色彩,也凸显出他最爱的两个主题:滑板文化和动物。

“I think animals are much more beautiful than humans,” he admits.

This belief is made evident in his artworks. Many of the characters appearing in his illustrations – even anthropomorphic ones – are based on animal forms. This fondness for wildlife is also rooted in a bit of nostalgia: drawing animals stirs up childhood memories of visiting the zoo with his family and spending countless hours watching Animal Planet and the Discovery Channel.


“我认为动物比人类更美丽。”他坦言,在他的插图中,出现的许多人物——甚至是拟人化的形象——都是以动物的形态为基础的。这种对野生动物的喜爱源于儿时的怀旧记忆:小时候的他常和家人一起参观动物园,花费无数个小时观看《动物世界》和 “Discovery 探索频道”。

For the 2017 Vans Custom Culture Asia Competition, Shaozi brought his love of animals and skateboarding together in his winning entry – an impish alligator designed in a vibrant green-and-red colorway on a pair of Vans’ iconic skate shoes. His interpretation of “Off the Wall”—the theme for 2017—stood out from the patterned and collage-style sketches submitted by many of the other talented participants. Nine months in the making, his shoe has now hit the shelves and is available on Vans.com.cn , shop.vans.co.kr, and at the Vans Hong Kong LCX Store.


在 2017 年亚洲区 Vans Custom Culture 鞋履设计比赛中,勺子将他对动物和滑板两者的热爱结合在了一起,创造出一只顽皮的鳄鱼,在一双 Vans 标志性的滑板鞋上,鳄鱼的红绿对比色分外鲜明。勺子对 2017 年的主题 “Off the Wall” 的诠释,在其他同样有才的竞赛者及他们提交的拼贴风设计稿中,脱颖而出,最终赢得桂冠。9 个月之后,他的鞋子已经在Vans.com.cn , shop.vans.co.kr、与香港的 Vans LCX 上架销售。

You can vote for your favorite designs for year’s Vans Custom Culture Asia True White Slip-On now. See some of the inspiring designs from this year below or click here to learn more!


今年的亚洲 Vans Custom Culture 定制鞋大赛,为你心中最爱的的 Slip-on 真鞋设计投票吧。点击此处,了解更多!

Weibo: ~/deutschshaozi247
Behance~/felix_shaozi
Instagram: @felix_shaozi

 

Contributor: David Yen
Photographer: Li Zi


微博: ~/deutschshaozi247
Behance~/felix_shaozi
Instagram: @felix_shaozi

 

供稿人: David Yen
摄影师: Li Zi

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In the Studio with Hongdam 在韩国,成为一名纹身师

July 2, 2018 2018年7月2日

Ilwol Hongdam is one of South Korea’s most famous tattoo artists. He estimates that over the past four years he’s inked over 3,000 tattoos, and he’s recently begun traveling internationally to reach clients in Shanghai, Hong Kong, New York, and Paris.

Such a career was unimaginable in Hongdam’s youth: providing tattoos is illegal in Korea. Growing up, Hongdam steered clear of tattoos, which were associated with gangs. Only after graduating from college did he discover there was less of a stigma in foreign countries. He recalls being shocked by online images of doctors, police officers, and members of other respectable professions with tattoos. That it could be natural for a teacher to write on a blackboard with a tattoo exposed shattered his preconceptions at a time when he was having difficulty finding a career.


Ilwol Hongdam 是韩国最著名的纹身艺术家之一。他估算了一下,过去四年来他的纹身作品已经累积3000多件。最近,他开始环游世界,在上海、香港、纽约和巴黎等城市留下自己的纹身作品。

这样的职业在 Hongdam 年轻时是不可想象的,因为在韩国,纹身依然违法。人们总是将纹身与帮派联系在一起,从小到大 Hongdam 都尽量避免与纹身扯上关系。直到大学毕业后,他才发现原来在外国纹身并非是不良身份的象征。当他第一次在网上看到医生、警官或其他受人尊敬的职业工作人员竟然也有纹身时,感到十分震惊。一名在黑板上写着板书的老师,手上的纹身就这样坦然地暴露出来,原来这只是再普通不过的事情。当他为找工作而烦恼的时候,这个发现彻底颠覆了他的想法。

Hongdam’s background is in traditional Korean art, and from the delicate flower petals and gentle animals that abound in his work, one might expect this to have always been his interest. However, Hongdam says he originally wanted to pursue fashion, and was devastated when he was rejected from the department. Reluctantly, he enrolled in Korean Art and had a low opinion of it until he went to an exhibition by one of his upper classmates. “He wasn’t famous or anything, but his work—a large painting of a woman on silk—was so different from what I had thought of as Asian art.” Hongdam recalls thinking it only meant ink drawings on hanji (traditional Korean paper), so he was surprised by the mix of materials such as oil and acrylic. “It seemed like the division between Asian and Western art was breaking down, and I was shocked that Asian art could do so much, that it could represent things in new ways.”


Hongdam 学的是韩国传统艺术,在他的作品中,常常能看到那些精致细腻的花瓣和温和的动物。人们可能会想纹身就是他的兴趣所在,然而 Hongdam 说他最初想学的其实是时尚专业,当他被学校拒绝时感到十分挫败。最后,他不太情愿地进入了韩国艺术专业,一直以来他对这个专业都兴趣乏乏,直到他去参加一个高年级校友的展览。“他不是什么著名艺术家,但有一幅作品是在丝绸上画的巨幅女性画像,这完全颠覆了我印象中的亚洲艺术。” Hongdam 回忆说。他一直以为亚洲艺术就是在韩纸上的水墨画,所以他对于这种混合不同材料,譬如油画颜料和丙烯颜料,来创作的方式感到很震惊。“这打破了我心中关于亚洲艺术和西方艺术之间的疆界,原来亚洲艺术也可以有这样丰富的表现形式,我真的很意外。”

After working for a time as an art teacher, Hongdam turned to tattoos, both out of curiosity and as a way to keep drawing. Given his traditional training, this turn is both natural and unusual. Unlike irezumi (Japanese tattoos), which are characterized by thick lines that cover large portions of the body, Hongdam’s tattoos resemble the lighter, minimalist style of more traditional ink-wash paintings. One characteristic of traditional Korean art, he says, is that “the canvas is not filled but uses the beauty of blank space, the emptiness.”


在作为一名艺术教师工作了一段时间后,Hongdam 开始纹身的工作,一方面是出于好奇,另一方面也算是他用来继续画画的一种方式。既然他接受的是传统艺术教育,这一转变可以说是既自然、又非比寻常。不像 Irezumi(日式纹身)的线条粗厚,往往覆盖身体很大部分,Hongdam 的纹身则更精细、简约,就如同传统的水墨绘画,“ 传统韩国艺术是画布不会被填满,而是充分利用留白的一种艺术。” 他说。

Hongdam also sees similarities between traditional Korean art and tattoo as a medium. Most of the material and sense of color comes from nature, such as muk (Korean ink), which comes from charcoal trees, and hanji, which comes from mulberry trees. Skin, too, is a natural medium, and Hongdam finds fascination in working with various skin tones, which bring out or tone down his art. He observes one more common feature: “You can’t fix mistakes in traditional ink paintings. You can paint over a mistake in oil, but in once you make a mark with ink, that’s it. That’s why traditional ink artists tend to work in constraint and under high pressure.”


Hongdam 认为,传统韩国艺术和纹身之间的共同点在于 “媒介”。大部分的材料和色彩灵感都来自大自然,譬如他所用的韩国墨水(muk)就是来自木炭,而韩纸则是来自桑树。皮肤也是一种天然媒介,在各种肤色上创作对他来说是一件充满魅力的事情,因为不同的肤色会突显或是柔和他的艺术。他还观察到这两种艺术间的另一个相同点: “在传统水墨画中,一旦画错了是没有办法去弥补的。这和油画不同,因为在油画中你可以直接在画错的地方上继续画,遮掉错误。但一旦你用墨水画多了一点,也就无可挽回了。这就是为什么传统的水墨画艺术家总是在紧张与高压的状态下工作。”

The pressure is even greater for tattoo artists, whose canvas is after all a client’s body. In this, Hongdam sees enormous responsibility. “You know how listening to an old song brings up memories of when you first heard it, like how it was snowing that day or how you were with your first girlfriend? Tattoos are the same. When you look at a tattoo you think back to the artist, and how you felt when you got it,” Hongdam says. “A tattoo you get in a bad environment becomes a scar. I keep this in mind because it’s really important, though it’s hard if the client is rude.”

Asked if he has any particularly memorable clients, Hongdam is quick to reply: “I remember so many of them.” Once he spent three days giving a tattoo to a dermatologist from Paris who specialized in tattoo removal. He’s even given tattoos to celebrities, though because he lacks a television in his office, he sometimes fails to recognize them.

Sometimes he still feels nervous, despite his years of experience in the business. “One time a client kept crying through the process. At first, I thought it was because of the pain, but he told me the tattoo was of his mother’s words, and she had just passed away.” Of course, many people get tattoos for much lighter reasons. “One foreigner said the first thing they drank in Korea was banana milk – which comes in a very distinctive can – and said they wanted it tattooed because it was their image of Korea.”


这样看来,纹身艺术家的压力甚至更大,毕竟他们的“画布”是客户的身体。也正因如此,Hongdam 觉得自己有着很大的责任。“你应该也知道,听一首老歌,你脑海里就会浮现一些回忆,想起你第一次听到它的时候,想起那天下雪,想起你和第一任女朋友在一起的时候。纹身也是这样。当你看到一个纹身时,你会回想起这名纹身师,想起你纹身当时的感觉。” Hongdam 说,“如果你是在恶劣的环境中得到这个纹身,那它就会变成一道疤痕。我一直提醒自己这一点,因为它非常重要。当然要做到这一点并不容易,特别是遇到不礼貌的客户时。”

当他被问及是否有什么特别难忘的客户,Hongdam马上说:“非常多。” 有一次,他花了三天时间给一个专业去除纹身的巴黎皮肤科医生纹身。他也曾经给名人纹身,但因为他的办公室里没有电视机,所以有时候就算是名人他也会认不出来。

尽管已经有多年经验,他有时候仍然会感到紧张。“曾经有一位客户在我为他纹身时一直哭。一开始我以为是因为痛,但他告诉我这个纹身是他母亲曾经说过的话,而她刚刚去世了。” 当然,很多人纹身只是出于更简单的原因。“曾经有一位外国人说,他在韩国喝的第一瓶饮料是香蕉牛奶,他觉得这种牛奶的瓶子形状很特别,纹这个图案也是因为它代表了自己对韩国的印象。”

Even though Korea isn’t the first country that come to mind when one thinks of tattoos, Hongdam says the tattoo scene there is developing quickly. His age puts him somewhere between an older generation that still views tattoos negatively and a more open-minded younger generation, and this fact informs his work.

“Some people think of me as a tattoo artist and not an artist, which is surprising. To me, they are very much the same. Tattoo artists are artists. Some people work with wood or rocks—I’m just someone who works with skin. Why should people who do tattoos only do tattoos, or why should people who paint on canvas be restricted to that medium? I want tattoos to become a natural part of art and society.”


尽管说起纹身,韩国可能不是你第一个想到的国家,但 Hongdam 认为,纹身文化在韩国正在迅速发展。从年龄上看,他介于视纹身为不良标志的旧一代,与态度开明的年轻一代之间。

“有些人认为我是一个纹身艺术家,但又不是艺术家,这一点挺令人惊讶的。对我来说,这两者是一样的。纹身艺术家就是艺术家。有些艺术家用木材或岩石来创作,而我则是在肌肤上创作。为什么纹身艺术家就只能做纹身,为什么画画的人就只能用画布来创作? 我希望纹身能成为艺术和社会中自然存在的一部分。”

He’s not dogmatic about what tattoos should be, and he remains open to all kinds of inspiration. “I don’t want to be an artist who says tattoos have to be one way, or that ink painting should be another—I don’t really find that exciting or appealing. If we weren’t open to new ideas, we wouldn’t have watercolor tattoos, fine line tattoos, pictorial tattoos, or anything else. Though it’s intimidating to encounter ideas you disagree with, we have to be exposed to them, so we can either accept or reject them and see where to go from there.”


他不打算对纹身订下什么教条,他对各种想法持开放的态度。“我不想成为一个要求纹身必须怎样,或者要求水墨画应该怎样的艺术家,我觉得这样做很无趣。如果我们不接纳新的想法,就不会出现水彩纹身、细线纹身、图案纹身等等。不同的想法可能是一种挑战,但我们必须要先接触到这些不同的想法,才能决定要接受或是拒绝它们,再看看如何进行下一步。”

Hongdam hopes younger people see in him an example. “Other than deciding to be a tattoo artist, I’ve decided very few things for myself. Mostly I’ve followed advice from my parents or teachers. The first thing I decided after thinking about what I was good at and what I wanted to do was to become a tattoo artist,” he says. “So I have no regrets—this is something I’ve chosen. In art or anything else, I think it’s important for people to take ownership of their own decisions.”

“It’s a lot like tattoos,” he adds. “Clients often ask their friends where they should get their tattoo. And if they regret their decision, they blame their friends. I think choosing a path is a lot like choosing where to get a tattoo.”


Hongdam 希望年轻人能以他为鉴。“除了做纹身艺术家这个决定,我自己其实很少决定任何事情。大部分时候我都只是按照父母或老师的意见走。在我认真思考了自己擅长什么和想要做什么后,立即就决定成为一名纹身艺术家。我没有遗憾,因为这是我的选择。不论是艺术,或是其它任何事情,我认为对人们来说,自己的决定要自己做,这一点是很重要的。”

他补充说道:“这一点和纹身很像。一些客户经常会问他们的朋友在哪个部位纹身比较好。如果他们事后后悔,就会去怪朋友。我认为人生选择走哪条路,和选择在哪里纹身是一样的。”

Website: iwolhongdam.com
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Contributor: Eugene Lee, Joe Park


网站: iwolhongdam.com
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Instagram: @ilwolhongdam

 

供稿人: Eugene Lee, Joe Park

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Knick-Knack Daydreams 白日梦想家

June 28, 2018 2018年6月28日

Chengdu in the rain has a lazy charm, perfect for gazing dreamily out the window or dozing off on the couch. If you’re Su Kui, it’s also the perfect weather for exploring the humble, everyday items in your room—the paper clips, rolls of tape, or sponges you usually wouldn’t give a second thought.

With these objects, Su creates images that are absurd and quirky, with a touch of tension. Blurring the line between photography and drawing, her work uses both media and adds an extra dreamlike flair. As in any good dream, it’s hard to tell fantasy from reality when looking at her work, especially the surreal photos that make up her Daydreams series.


刚刚被雨洗过的成都,连街道看起来都是格外婉约的。这样的天气实在太舒服,除了恣意的坐在窗边发呆,或窝在床上发懒睡觉,你也可以像苏葵一样,在这样怡人的天气里,去重新观察身边原本习以为常的小细节。那些静置在桌上的回纹针、胶带、海绵,通过她的奇妙幻想,都能被编写出全新的故事。

通过对这些日常物品的重新演绎,苏葵的作品总是有趣、荒诞、充满张力。影像和绘画的边界被刻意模糊,两种形式巧妙的结合在一起,多了几分梦幻的味道。这种感觉过于奇妙,无法明确的区分是在空想还是在做梦。当超现实主义的思维倾泻而下,便有了这组作品《白日梦》。

Daydreams is a photo series focused on the often overlooked objects in our lives.

“Most of them were in my room, hiding in plain sight for a long time. I was so used to ignoring them. One day while tidying up, I suddenly noticed all these things that I’d purchased a long time ago and forgotten about. I decided it was about time I did something for them—so I started snapping their portraits,” she explains.


《白日梦》主要关注的是那些生活中被忽视的小物件。

“它们大多在我的屋子里默默躺了很久,被我习惯性的无视掉了。某天我在整理杂物时突然看到这些以前我买下的物品,觉得时机到了,是时候我应该为它们做点什么。于是我为它们拍了肖像照。” 苏葵这样讲道。

Su frees these mundane items from their normal settings and contexts, devising striking compositions to explore their visual language and expressive capabilities.

In her work, you’ll recognize familiar household items like combs, rubber bands, or plastic bags—all of which become vehicles for her individual vision. Seemingly trivial, when reimagined by Su these ordinary objects become works of art that pose a  challenge to your optical nerves. Though some critics write her work off as unserious, Su sees no need to pay too much attention to the art media. In her view, self-expression is what matters, since that’s what the language of art is for.


她试图将司空见惯的事物从日常生活的特定环境与惯性中解放出来,通过对其进行创意重构,去探索物品的表现能力与新的摄影语言。

仔细观察她的作品,你会发现梳子、皮筋甚至塑料袋,都可能成为她展现个人思想的载体。那些不起眼的小物件,在她的画框里转变成一个个大胆挑战你视觉神经的艺术品。虽然也曾被人提出质疑,称她的作品为不伦不类,但她认为有的时候不必对媒介过于执着。在她的眼里,自我表达更为重要,这也是艺术语言的本质。

What sets Su apart from many of her contemporaries is her passion for still life compositions, as opposed to portraits or street shots. This passion comes from her curiosity about motionless objects. “Life is essentially boring,” she shrugs. “I want to take what’s ordinary and unearth its extraordinary side.” That’s precisely what she does: she puts her most intriguing side forward in her works.


苏葵和众多摄影师不同的是,比起人像摄影或街拍,她更热爱静物拍摄。这源自于她内心对于一些静止事物的探索欲望。“生活的本质从来都不是有趣的,我希望从中发掘出平常中不平常的一面。” 而她也的确做到了,她把她自己最有趣的那一面,都呈现在作品里。

Su believes pushing ahead to produce new photos is more important than dwelling on her past work. This belief is what drives her to create. “If I linger too long on my previous photos, I might miss an opportunity to grow,” she says.

Much of her work is an attempt to be different, even if that means abandoning a concept once she discovers it’s already been done. Laughing, she concedes that this is stubbornness on her part, but you might also call it a devotion to originality. Besides, if she weren’t so stubborn, she wouldn’t produce such refreshingly inventive work.


在她看来,持续拍摄的创新能力比过去曾经拍了什么更重要。这大概也是推向她一直勇往直前的动力所在。 “抱着过往的作品不放手,会因此失去下一次成长的机会。”

很多时候,苏葵都在力求一种 “与众不同”。如果她想出一个拍摄计划但发现已经有人做过了,她就会选择放弃。这是一种固执,但在我看来,这更像是一种对于原创概念的执着。也正是因为拥有这样的执着,她才能持续创造出更多让人眼睛一亮的作品。

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Contributor: Li Zi


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供稿人: Li Zi

New Cambodian Artists 向未来翩翩起舞

June 27, 2018 2018年6月27日

 

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On a stage reserved for the elegant ceremony of Cambodian classical dance, also known as Apsara, New Cambodian Artists (NCA) create a maelstrom of movement, reflecting the dreams of a country that’s quickly modernizing and shaking off the ghosts of the past.

Contemporary dance is rare in Cambodia, where artistic lineages were severed and nearly stamped out in the late 1970s in the Khmer Rouge’s bloody persecution of artists and intellectuals. The arts were mangled and left for dead.

The few dance masters who survived the purges have spent the last three decades trying to revive dance. And while arts funding remains scarce, one could cite NCA’s success as a return to creativity.


在专门为舞姿优雅的仙女舞(Apsara,一种柬埔寨传统舞蹈)表演的舞台上,新柬埔寨艺术舞团(New Cambodian Artists,简称为 NCA)这个舞蹈团体掀起了一场震撼的舞蹈革命,反映出柬埔寨这个国家快速的现代化进程、致力摆脱历史阴影的愿景。

现代舞在柬埔寨并不普遍。 19 世纪 70 年代末,红色高棉政权杀害了许多艺术家和知识分子,当地艺术的传承脉络被狠狠切断,几近是彻底摧毁,导致艺术发展遭受严重破坏,濒临灭亡。

在过去的三年里,少数幸存下来的舞蹈大师们一直试图恢复当地的舞蹈文化,但要筹集足够的艺术基金并不容易。然而,NCA 的出现标志着创意文化的回归。

Founded in 2012 by Dutch artist director Bob Ruijzendaal, NCA is now co-owned by its four female dancers and its director, Srey Neung. It is Cambodia’s first certified contemporary dance company—and such a certification exists only because they spent 2016 lobbying for it at the Ministry of Culture and Fine Art.

Their performances thrive on raw emotionality. Their limbs shake and swerve with the passion of a nation, and their hands unfold like lotus flowers blooming in the mire. It’s a completely new take on contemporary dance: unlike Western styles that grew out of ballet, NCA’s dance is rooted in Apsara.


New Cambodian Artists(NCA)舞团由荷兰艺术总监 Bob Ruijzendaal 创立于2012年,如今由四位女舞蹈家以及总监 Srey Neung 共同经营管理。他们不断向柬埔寨艺术和文化部游说,终于在 2016 年获得认证成为柬埔寨第一家现代舞公司。整个过程最困难的是,柬埔寨当时甚至不存在这种认证。

他们的表演焕发着饱满的原始能量,热烈舞动的四肢宣泄着他们对这个国家的情感,正如同出污泥而不染的莲花灿烂绽放。那是对当代舞蹈的全新演绎,因为与西方那种以芭蕾舞为基础发展的现代舞蹈不同,NCA 的根源深深植于传统的柬埔寨仙女舞。

“Everything is different because of their classical training,” says Ruijzendaal. “In traditional Cambodian dance, the back is hollow. They have grounded toes and their hands are overextended. They do everything they would kill you for in a classical dance class in Europe.”

Khun Sreynoch, one of the dancers, says she’s trained in Cambodian classical dance since childhood. “We still practice the classical movements one or two hours a week to make sure we maintain the correct postures,” she says. “We base all our new movements on the classical style so we don’t forget it.”

“The contemporary style felt new and very crazy at first,” she continued. “We all came from a classical background, so it was uncomfortable at first, but we slowly got used to it. But later on, we ate it all up and we couldn’t stop because it is new and cool.”


“由于她们接受过古典舞蹈的训练,所以一切会非常不同。”  Ruijzendaal 说,“传统柬埔寨舞蹈要求舞者的背要凹起,脚趾紧贴地面,双手尽可能往外伸。这与欧洲的古典舞蹈训练是截然相反的。”

其中一位舞者 Sreynoch 表示,她从小就接受柬埔寨古典舞蹈的训练。她说:“我们每周仍然要花一两个小时练习基本动作以确保姿势正确。毕竟我们所有动作都是以这种传统舞蹈为基础设计的,所以我们不能忘记。”

她补充道:“现代舞的风格一开始会感觉挺新鲜,也有点疯狂。我们跳的一直都是古典舞蹈,所以起初跳现代舞会有点不适应,但慢慢的我们开始习惯了。当我们熟悉之后,我们简直不能停下,因为对我们来说这是一种很酷的全新舞蹈体验。”

Cambodian dance legend Sophiline Cheam Shapiro is credited with giving the first contemporary dance performance in Cambodia in 1999, when she interpreted Shakespeare’s Othello using Apsara dancers. It was meant as a message to the old Khmer Rouge leaders, who were then still alive.

“I lost my dad and two brothers [in the Khmer Rouge years] . . . and my country was devastated,” she says. “Othello had to take responsibility for killing Desdemona . . . I wanted to use that story to say that the head of the house, or the leader of a country in this case, has to be held accountable for their actions and decisions.”

It’s a tragic history, and Sreynoch and NCA are mindful of it. Yet in a country where over half the population is under 30, the current mood is to push forward into new creations. Sreynoch is developing a solo in which she performs classical dance moves in red stilettos, an innovation unlikely to please dance traditionalists.

“The conservatives say we can’t touch traditional moves,” she says. “They will say I am destroying Cambodian culture, but I think I’m developing it and making it fresher and more special.”


相传,柬埔寨舞蹈界的传奇人物 Sophiline Cheam Shapiro 在1999年开创了柬埔寨的现代舞蹈表演。当时,她带领仙女舞者用舞蹈演绎了莎士比亚的四大悲剧之一《奥赛罗》(Othello)。这次的表演其实是要向当时尚在世的红色高棉掌权者传递一个信息。

“(在红色高棉时期)我失去了我的父亲和两个兄弟,我的国家也被彻底摧毁。” 她说,“奥赛罗要对他的妻子迪丝狄蒙娜(Desdemona)的死负责。我想通过这个故事来说明,这个国家的领导人,必须对他们的行动和决定负责任。”

Sreynoch 和 NCA 清楚记得这一段悲惨的历史,但是在一个30岁以下青年占去一半人口的国家,更重要的是创新与前进。目前,她正在创作一个独舞,穿着红色高跟鞋来表演传统舞步,但保守的传统舞者可能不太欢迎这种创新舞蹈。

她说:“保守的人会说我们不应该改变传统的舞步。他们会认为我是在破坏柬埔寨文化。但我认为自己是在发展它,让它变得更有新意、更特别。”

Hab Touch, director-general of intangible heritage at the Ministry of Culture and Fine Art, is tasked with protecting and promoting traditional Cambodian art. He says it’s tough to find common ground between conservative elements and those who want to innovate.

“We want to offer modern styles, so we are trying to work with our partners and ask, ‘what is Cambodian contemporary art?’” he says. “It’s a good process and we hope to increase the presence of contemporary art.”

At NCA’s studio in Siem Reap, rehearsals go on well into the evening. Sreynoch is working on her solo, striking poses in her stilettos. Suddenly she discards the shoes and whirls, barefoot, in a series of gymnastic pirouettes and backbends.

She says the performance is about the development of a person’s character. “I use the Apsara movements to show that I am a Cambodian lady,” she says. “I put on the red shoes to show that I can be strong, but then I start to think, Why do I even need the shoes? I am strong enough. So I throw them away.”


文化与艺术部部长 Hab Touch 的职责在于保护和促进柬埔寨传统艺术。他说,要在保守人士和那些想要创新的人之间寻求共同点,并非易事。

“我们想要呈现现代的舞蹈风格,所以正努力与合作伙伴一起探讨这个问题: 什么是柬埔寨当代艺术?这是一个很好的过程,我们当然希望能进一步推广(这里的)当代艺术场景。”

在 NCA 位于暹粒的工作室里,彩排持续到了晚上。Sreynoch 还在排练着她的独舞表演,踩着高跟鞋翩翩起舞。突然,她脱掉了鞋子,赤着脚,就像一名专业的体操运动员旋转趾尖、后仰弯腰。

他们说,这个舞蹈讲述的是一个人性格发展的过程。她说: “我用仙女舞的舞步来说明我来自柬埔寨。我穿上红色的高跟鞋,来展示内心的坚强。但后来我想,既然我已经足够坚强,为什么还需要这双鞋来证明?所以最后我把它们脱掉了。”

Facebook: ~/NewCambodianArtists

 

Contributor: Nathan Thompson
Photographer & Videographer: Enric Catala Contreras


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供稿人: Nathan Thompson
图片与视频摄影师: Enric Catala Contreras

Animal Regulation 暂时脱离日常的琐碎

June 26, 2018 2018年6月26日

Put on the soundtrack to Annihilation, whose eerie tracks can jolt you out of your habitual frame of mind. Immersed in that otherworldly soundscape, you can understand the images Liu Di presents.

A graduate of Beijing’s prestigious Central Academy of Art, Chinese visual artist Liu Di creates works that reveal a meditation on the tediousness of life, from the second you lay eyes on them they capture your attention. From a massive animal sitting amidst a sprawl of slum housing to a giant man with a hyperrealistic face that nevertheless seems to be more plastic than flesh, jarring contrasts are often used to great effect in establishing the sense of surrealism in his work.


这段文字起始前我打开了《Annihilation》的电影原声带,听着这样超脱现实的音乐隔离了我的仪式感,更可以去思考柳迪作品里所传达的东西。

毕业于中央美术学院的视觉艺术家柳迪,虽然作品中透露出对于冗长生命的深刻思考,仍然能在第一秒钟就刺激到你的视觉。不论是在随处可见的破败房屋群落里坐着的巨大动物,还是具有塑胶质感却依然彷真到几近真实的老人面孔,都在演示这种矛盾带来的超现实感。

As a child, Liu dreamed of becoming a doctor one day, but when he would page through medical books, it was the illustrations that piqued his interest. He eventually realized that his true interests lay in art. In 2010, he won the coveted Lacoste Elysée Prize for photography, and today, he’s become an established name in the Chinese art scene.

Despite his success, Liu continually defies the label of “photographer” with works that are a departure from traditional documentary-style photography. More often than not, an elaborate post-production process is required to realize his vision.


小时候的柳迪曾经想成为一个医生,当他尝试打开阅读医科书籍,吸引到他目光的却是那些书里的插图,此后他渐渐明白了艺术是他的真正兴趣所在。至今他已是一位小有建树的艺术家,曾经在2010年荣获 Lacoste 爱丽舍摄影奖一等奖。虽然平常被称为一位摄影师,但比起传统意义上的纪录拍摄,柳迪更倾向于用后期制作的手法,来实现他脑海里的视觉想象。

In Animal Regulation, Liu reevaluates the relationship between civilization and nature by placing gargantuan animals in unexpected urban settings. “To tell the truth, I’m not looking to change much with my work,” he shrugs. “I believe art’s social meaning is limited because the message is indirect. But this is not to say that the meaning of art itself is limited. On the contrary, art’s meaning goes beyond its social meaning. Art can soothe and give a voice to human emotion. My work is just a proclamation – it’s trying to convey something akin to ‘How can we lead lives like these?’” Unlike the combative radicalism seen everywhere in contemporary art, Liu’s work feels much more reserved and rational.


在《动物法则》系列中,柳迪将庞大的动物放置在一些意想不到的城市场景里,灵感出发自他对于人类社会进步与自然之间关系的思考,而这样的思考更多是倾向于自我表达,不是要刻意去打破些什么,“我其实不想通过作品改变什么,我认为艺术的社会意义是很有限的,因为它并不直接。但这不是说艺术本身的意义有限,相反的,艺术的意义是超越社会意义的,对人来说,艺术是具有抒发和治愈人心效果的。我想透过作品表达的像是一种对于生命的感叹,类似于 “我们怎么是这样的一种存在?” 之类的疑问。” 这种由理性思考散发出的含蓄气质,使得他的作品并不具备当下当代艺术普遍存在那种激进的攻击性。

Liu’s latest project is planned as a three-part video series, with each video being a visual interpretation of a particular idea. Currently, two videos are complete: The Weight of Oneself and A Stubbornly Persistent Illusion. He calls this series “three sentences with the same grammatical structure.”

The Weight of Oneself is inspired by a philosophical insight from Witold Gombrowicz: the weight of each of our selves, Gombrowicz mused, depends on the size of the population on the planet. If humanity’s weight is constant, then each individual’s weight is equal to one divided by the number of people living at that time. A Stubbornly Persistent Illusion, on the other hand, is his personal interpretation of Albert Einstein’s quote: “The distinction between past, present, and future is only a stubbornly persistent illusion.”


他的最新作品计画由三段视觉影像组成,其中两个是《自我的重量》与《顽固而持久的幻觉》。他称这个系列为 “同一个语法结构的三次造句”。

《自我的重量》的灵感来源于贡布罗维奇(Witold Gombrowicz)的一个哲学思考:“我们每个人自我的重量取决于地球上人口的数量——人类的自我重量的总和是一个不变的恒量,而每个人自我的重量约等于那个时代人口数量分之一。” 而《顽固而持久的幻觉》的题目则来源于爱因斯坦(Albert Einstein)写下的一句话:“过去、现在和未来之间的分别不过是顽固而持久的幻觉。”

 

无法观看?前往优酷


 

无法观看?前往优酷

Ultimately, Liu Di hopes for his work to serve as an oasis from the monotony of our daily lives. One noteworthy detail in The Weight of Oneself is the number of frames dedicated to the dense jungle setting. As the camera pans upward, a gigantic figure comes into view, towering above the canopy; the camera pans back down, and then repeats its climb, again showing the giant. Yet after a few cycles—not visible in the shortened preview above—as the viewer expects to see the giant, he is nowhere to be found, gone between camera movements. Liu Di seems to be playing with our expectations and habits in everyday life. 


柳迪希望他的作品能让人暂时脱离日常的琐碎。在《自我的重量》里,你会发现一个有意思的细节(需至完整版观看,以上仅为预告):影像中大部分呈现的是一片树林,镜头缓慢上移,你会看见身处于树林深处的巨人,几次往复的循环,当你开始预设巨人的出现时,他突然消失在某一次镜头移动中。这看起来就像,柳迪跟我们的经验式日常生活开了一个小小的玩笑。

Weibo:~/柳迪
Instagram: @liudi_a

 

Contributor: Shou Xing


微博~/柳迪
Instagram: @liudi_a

 

供稿人: Shou Xing

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Mist Encounter 供雾所

June 25, 2018 2018年6月25日

 

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In the outdoor plaza in front of Taipei Fine Arts Museum, a structure of scaffolding and mesh beckons passersby within the folds of its flowing fabric and swirling mist. Mist Encounter is an installation project designed by Serendipity Studio and Kuan-Wei Chen Architects, created with the goal of showing people how invisible air currents constantly interact with our bodies and movements.

Using a water mist system, the installation gives unseen airflow visible shape. As the mist drifts through and around the draped textiles, unrestricted by the boundaries of the square aluminum frame, it’s difficult to discern where the installation ends and begins. The free-flowing mist continuously takes on new forms – transforming based on the sun’s position and the wind’s intensity – to create different experiences for visitors throughout the day.

Mist Encounter is one of the many inspiring participants that blur the line between art and design in the 2018 Golden Pin Design Award. This year’s call for entries will end on June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


在台北市立美术馆门前的广场上,一个由鹰架和白色织网搭建的临时建筑装置吸引着路人踏入其飘逸的织网与薄雾旋流中。《供雾所》(Mist Encounter)是由偶然设计(Serendipity Studio)与陈冠玮建筑师事务所共同打造的一个装置项目,希望令观众意识到平时隐形的空气是如何与我们的身体和动作互动的。

通过使用水雾系统,将人们周围原本看不见的空气流动变得可见。薄雾在悬垂的织网周围浮动,不受方形铝框架边界的限制,令人难于辨别起点与终点。设计师将台北的天气情况纳入考虑,让自由流动的薄雾与太阳的位置和风的强度相互作用,让观众在一天中不同的时间能有不同的体验。

《供雾所》是 2018金点设计奖参赛作品之一,和许多精彩的参赛作品一样,它模糊了艺术与设计的界线。今年大奖报名时间将于 6 月 28 日(GMT+8)下午 5 点截止。浏览金点设计奖官网,了解更多详情。

Websites:
serendipitystudio.design
kwchenatelier.com

Facebook: ~/MistEncounter

 

Contributor: David Yen
Images Courtesy of Serendipity Studio & Ethan Lee


网站:
serendipitystudio.design
kwchenatelier.com

脸书: ~/MistEncounter

 

供稿人: David Yen
图片由偶然设计
 Ethan Lee 提供

Under 1.0 活在C里的八百种动物

June 21, 2018 2018年6月21日

One of the most important purposes of design is to solve problems, to make people’s lives – and our world as a whole – a better, more beautiful place. This belief is at the core of what inspired Taiwanese designer, illustrator, and animal lover Wan Xiangxin to create Under 1.0.

Cleverly designed as a series of eye exam charts, Under 1.0 is comprised of a dozen infographic posters that call attention to the global issue of species endangerment. Rather than the solid black Cs of standard Landolt ring charts, Wan has meticulously hand drawn each ring to represent specific animals. Much like traditional eye exam charts, the rings shrink as they go down the poster – the diminishing size of each C-shaped animal indicates the severity of each species’ dwindling population.


设计的最重要目的之一是解决问题,让人们的生活,或者说整个世界,变得更好、更美。正是这一理念激发了台湾设计师、插画家和动物爱好者万向欣创作了一系列的资讯图表海报《Under 1.0

万向欣将《Under 1.0》巧妙设计成一系列的视力表,呼吁人们关注物种濒危的全球性问题。她将朗多环形视力表上的黑色实体“C”字精心手绘成而不同的动物。和像传统的视力表一样,越往下,“C”字越小,大小的递减对应着所画的动物物种数量不断减少的严重程度。

With each of the 12 posters representing a different country, Under 1.0 spotlights the endangered species endemic to each region. From afar, every poster looks similar, but a closer look will reveal that each poster actually features a completely unique art style; from American comic art to Australian aboriginal painting, Wan ingeniously pays homage to traditional art forms each country is known for. So far, over 800 animals have been drawn for the project and she’s teased at plans of building on the series in the future.


《Under 1.0》的 12 幅作品各代表不同国家,展示了每个地区的濒危物种问题。从远处看,每一张海报大同小异,但仔细观察就会发现,每张海报里居然拥着各不相同的艺术风格。从美国漫画艺术到澳大利亚原住民绘画,她巧妙致敬着每个国家的传统艺术形式。迄今为止,万向欣在这个项目里已经画了超过 800 种动物,并有计划在未来继续扩大这个项目。

“I believe designers have a social responsibility,” Wan tells us. “We’re all a part of society, and our job as designers is to communicate ideas in an accessible way to the masses through good design . . . Every field of design can improve the world in their own ways. Minute changes can inspire solutions to big problems. As long as there are still designers, and as long as designers work together, I truly believe the world will become a better place.”


“我认为设计师需要有社会责任感,因为设计师也是社会的一份子,而设计师的工作就是要把需要传达的事情、透过设计、透过视觉呈现来传达讯息给社会大众,让大众能透过最直接的视觉来了解我们所要传递的讯息及内容……各种领域的设计都是为了能让世界更美好,所以从最小的细节去发现,一直到最大的问题去改善,只要这世界上还有各个领域的设计师存在,并一起努力不放弃,我相信世界会变得更美好。”

Under 1.0 is one of many inspiring design concepts entered in this year’s Golden Pin Concept Design Award. Shortlisted candidates for concept designs will be announced in July and the winners will be announced on September. For completed designs, registration for the Golden Pin Design Award will run until June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


《Under 1.0》是今年金点设计奖(Golden Pin Design Award) 的精彩入围作品之一。本次大奖的概念设计入围名单将于 7 月公布,最终获奖者将于 9 月公布。想要提交设计项目,记得在 6 月 28 日下午 5 时(GMT + 8)前完成注册。欲了解更多详情,请登陆浏览金点设计奖官网

Facebook: ~/Under1.0C

 

Contributor: David Yen


脸书: ~/Under1.0C

 

供稿人: David Yen