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East x West with Bohan Phoenix 用嘻哈给生活加点辣

November 10, 2017 2017年11月10日

 

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For Chinese American rapper Bohan Phoenix, the subject of identity is thematically central to his music. Having spent his formative years in the U.S., the Hubei-born rapper has gained a sharp insight into both cultures that he channels through his bilingual lyrics. Bohan’s music – which often touches on positive, universal messages of love, acceptance, and pride – is a way for him to reconcile his Eastern and Western identities as well as narrow the cultural divide between the two different worlds.


对于美国华裔说唱歌手Bohan Phoenix来说,身份认同是他音乐的核心主题。这位出生于湖北、在美国成长的说唱歌手在美国和亚洲地区越来越受欢迎。他所创作的双语歌词,正是他跨文化成长背景的体现。Bohan的音乐大部分都是在传递爱与接纳、忠于自己等正能量信息,他希望通过自己的音乐来缩小东西方文化的鸿沟,并以此调和自己介于这两种文化间的身份认同。

Take a listen to select tracks from Bohan Phoenix below:

Bohan Phoenix – PRODUCT (prod. Yllis)
Bohan Phoenix – EASTSIDE (prod. Drummy)
 Bohan Phoenix – 3 DAYS IN CHENGDU (prod. Jachary Beats)


下面是Bohan Phoenix的几首精选歌曲:

 Bohan Phoenix – 一摸一样 (prod. Yllis)
Bohan Phoenix – 东边 (prod. Drummy)
 Bohan Phoenix – 回到成都 (prod. Jachary Beats)

This cross-culture pollination has gifted Bohan a versatility and open-mindedness that’s abundantly evident on the JALA EP released earlier this year. From “EASTSIDE,” an AutoTuned R&B song with Bohan singing instead of rapping, to “NO HOOK,” a trapped out collaboration with Chengdu’s Higher Brothers, Bohan’s sound is not only reflective of his cultural influences but also of the diverse musicians who have inspired him over the years, a list that includes the likes of Jay Chou, Eminem, 2Pac, and D’Angelo. The final song of the EP, “3 Days in Chengdu,” introduces listeners to an introspective side of Bohan. Delivering the opening verse completely in Chinese, Bohan speaks of missing his late grandmother and shares an apologetic confession for not finding the time to call his mom more often. But it’s not just the intro, Chinese lyrics throughout the song display a sense of emotional vulnerability that has often been avoided in the Western mainstream hip-hop of recent years. “Being a rapper in America, there are certain things that come with it,” Bohan says. “You have to act or look a certain way and it can’t be compromised all that much. There’s less emphasis on some of the macho parts of Western hip-hop in China. But stereotypes within the genre are starting to change now in the West as well.”


在今年早些时候发布的《加辣》EP中,Bohan借助自己的跨文化背景大玩了一番。从大量Auto-Tune处理的R&B歌曲《东边》,到与成都说唱组合Higher Brothers合作的《NO HOOK》,你能感受到他的音乐受到不同类型的音乐人影响,包括周杰伦、Eminem、2Pac和D’Angelo。而EP的最后一首歌曲《回到成都》,Bohan放慢了节奏。歌曲开头以中文演绎,讲述Bohan对自己已故姥姥的思念,以及对于太少抽时间给母亲打电话的歉意。这段歌词所透露的脆弱情感,在近年来的西方主流嘻哈文化中难得一见。Bohan表示:“美国的说唱歌手,有时候会有一些不言而喻的要求,你的行为和造型似乎都要遵循某种标准,这一点你不能有太多的自由。但中国嘻哈不一样,没有像西方嘻哈中那样非要强调这种男子气概。当然,在现在的西方嘻哈,这种现象也开始改变了。”

With the recent conclusion of his JALA Asia Tour, Bohan has now officially moved back to China, and joining him is his DJ, longtime collaborator, and close friend Allyson Toy. For Bohan, this move was first and foremost about being closer to family. Secondary to that, both him and Allyson want to be involved in China’s music scene, seeing it to be a refreshing change of pace from the oversaturated music scene that left them feeling jaded in New York. “Having the courage to move back to China and experience a different side of things has been a big milestone for me,” Bohan tells us. “Howie Lee has talked to me about the Chinese Dream a lot. I feel like there have always been opportunities for creatives in China, but now there’s a bigger audience. The equivalent of the ‘American Dream’ has always existed here and right now it’s more alive and well than ever. There seems to be more opportunities now in China for young creatives.”


随着JALA在亚洲巡回演出结束,Bohan也正式回归了中国。和他一起搬过来的还有他的DJ,也是他长期合作的好友Allyson Toy。对于Bohan来说,这是一个让他拉近与家人距离的机会。除此之外,他和Allyson都看好这里的前景,可以一同来推动中国音乐的发展。与之前在过度饱和的纽约那种被慢慢淹没的感觉不一样,这里有一种耳目一新的感觉。Bohan告诉我们:“鼓足勇气回到中国,体验不同的世界,这对我来说是人生的一个重要里程碑。Howie Lee(北京的电子音乐制作人/DJ)已经跟我提过很多次‘中国梦’。我以前一直觉得在中国是有机会去发挥创意的,不同的是,现在这里有了更多的观众。‘中国梦’一直存在,但现在它比以往任何时候都更好、更旺盛。现在的中国可能会给年轻创意人才提供更多的机会。”

In a time where much of mainstream rap has become predictable and formulaic, Bohan stands out by being a rapper who can fully and unapologetically be himself, an outspoken third culture kid unafraid of challenging conventional hip-hop archetypes. “It took me a while to get over my fear of not being understood, but then I realized that I could create and didn’t have to just imitate,” he shares.”Now, I understand my music to be a reflection of self. It’s all of my emotions – when I’m happy, when I’m upset, all of my insecurities and my possibilities. My music is me.”


在当今许多主流说唱方式变得过于公式化的时候,Bohan脱颖而出,无所谓地做着真正的自己,一名不怕挑战传统Hip-hop的第三文化小孩(third culture kid)。他说:“我花了很长一段时间来克服自己对于不被理解的恐惧,但后来我发现,我也可以创造,而不只是模仿。现在,我明白到,我的音乐就是自我的写照,是我的情绪,高兴、不高兴、所有的不安全感和可能性。我的音乐就是我。”

If you’re keen to learn more about Bohan’s story, check out the fun animated spot our creative agency made for Beats By Dre featuring him and his crew.


欢迎点击收看我们创意机构为Beats By Dre创作的动画短片,讲述了Bohan Phoenix的故事。

 

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Website: www.lovelovenyc.com
Facebook: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
Weibo: ~/bohanphoenix
Xiami: ~/bohanphoenix

 

Contributor & Photographer: David Yen
Videographer: Ye Zi, Damien Louise
Music: Howie Lee

Special Thanks to Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.


网站: www.lovelovenyc.com
脸书: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
微博: ~/bohanphoenix
虾米: ~/bohanphoenix

 

供稿人与图片摄影师: David Yen
视频摄影师: Ye Zi, Damien Louise
视频音乐: Howie Lee
特别鸣谢Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

The Boys of Summer

November 2, 2017 2017年11月2日

Yuzhou Feigou (whose moniker roughly translates to “A Worthless Cosmic Dog”) is studying visual communication design at the China Academy of Art. Despite declaring to us, “I’m a conservative guy,” his newest illustrations boldly explore themes of homoerotic desire and fantasy. Featuring a cast of young male characters flaunting their luscious bodies, the lazy scenes and bright colors create a sense carefree summer days. Feigou’s simple, yet distinct, style hasn’t gone unnoticed. Recently, VOGUE Me tapped him to create artwork for the magazine’s October issue. Despite this commission, Feigou told us he isn’t interested in becoming a professional illustrator. Even though drawing is just a “passion” project for him, he assured us with a smirk: “As long as I have that lust within me, I’ll keep drawing.”


宇宙废狗,一个在中国美院念视觉传达的学生。尽管他宣称:“我是个保守的人!”但他的插图却不然。他最新的插图主题大胆地探索同性恋的欲望和幻想:以一群年轻的男性为主角,展现他们丰美的身材。其中慵懒的场景、明快的色调,营造出无忧无虑的夏日风情。他简单、透彻又独特的风格不会被忽视,今年的《VOGUE Me》十月刊就把他的作品收入了内页。尽管这样,废狗还是表示他对成为职业插画师没有太大兴趣,绘画对他来说只是一个“激情”项目。“只要还有情欲的话,我就会一直画下去。”

Weibo: ~/宇宙废狗
Instagram: @_dagou

 

Contributor: Shou Xing


微博: ~/宇宙废狗
Instagram: @_dagou

 

供稿人: Shou Xing

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9999

October 25, 2017 2017年10月25日

Earsnail is an electronic music duo comprised of musicians Wang Xu and Yan Shuai. Combining their individual approaches to music, the duo is unconstrained by boundaries of genre. Their experimental style reimagines the possibilities of sound and how music can be presented. Under FakeMusicMedia, the two have recently released their debut album, 9999, and locked in tour dates that takes the duo across China. We grabbed drinks with the duo during the Shanghai stop of their tour to learn about their recent musical developments and what we can expect from them in the future.


耳蜗是北京非刻文化旗下的电子乐团,由音乐人王旭和阎帅组成。二人对音乐及乐器的把控有着不同寻常的理解及释放,没有风格的界定及预想,他们发掘着新的方式,试图用不同于以往表达的途径和声音构建一些新的可能。借着新专辑《9999》的发布,耳蜗的全国巡演来到了上海站,我们就在一个雨夜,跟耳蜗一起喝着啤酒聊了聊他们以及他们正在做的事。

Having played in bands when they were younger, Wang Xu and Yan Shi have both been interested in creating music even prior to Earsnail. In 2013, the two would meet up and experiment with the production equipment they each had on hand. These early days of experimentation became the foundation for Earsnail. Now, the two’s production style have matured immensely since those early days, with each track filled with richly complex elements. Yan Shi shares that one of his favorite samples is from a field recording of a random saxophonist they met at the park – even though the original recorded sound wasn’t interesting, they were able to take segments of it and integrate it perfectly into a track.


王旭和阎帅早年都身处各自的乐队,13年两人决定把手头上的电子设备攒在一起,开始创作电子音乐。耳蜗的音乐里包含着丰富的元素,阎帅跟我们分享了他们录取的公园里有人在练习吹萨克斯的声音。录音本身也许极不协调,却被很巧妙的融入他们的作品中。

The new album, 9999, is a reference to Beijing’s nickname of “The Four Nine City,” a fitting name considering that the duo sees the album as a compilation of their memories from living in Beijing. For Wang Xu, the most meaningful track on the entire album is “City Bird.” “The song has to do with the place where I called home,” he shares. “There was a tree in front of my house, and during that time, Beijing’s air quality was particularly bad. A few birds made their nest there, and I would observe these birds as they grew and hatched babies. Watching them survive in this kind of environment gave me a lot of different ideas. It made me feel like our lives were not too different from the lives of these birds.” Similarly, their “Ant” track builds on the theme of living in urban environments. The song is a statement about the daily lives of the working class, likening them to a colony ants, continuously working to survive without a moment of respite.


《9999》意为四九之城,这张专辑也记录了两位创作者在北京的生活状态,让王旭印象最深刻的是《城市小鸟》,“这跟我住的地方有关,我们家前边有一棵树,北京那段时间的空气特别不好,有几只鸟在那棵树上筑巢,那两只鸟越来越大,后来还生了小鸟,它们拥有这样的一个小窝在这个城市里生存着,我每天看着他们的状态,有一些想法就记录下来了,觉得我们其实跟它们差不多。”而《蚂蚁》也正是反映了生活在北京的全国各地的人们的一种共同的生活状态,在这个偌大的城市里,我们也许像蚂蚁一样微不足道,却始终推动着大齿轮的转动,一刻不得松懈。

Listen to select tracks from the new album below:

Earsnail – Ants

Earsnail – City Bird

Earsnail – Post Soho City


点击下方链接试听新专辑的精选曲目:

耳蜗 – 蚂蚁

耳蜗 – 城市小鸟

耳蜗 – 后现代城

The two share a similar mixed feeling around the current state of electronic music in China. They’re both eager to see more new faces and hear new sounds but also feel a sense of apprehension. “I feel like it’s good that more and more people are interested in this kind of music, and more are willing to try and produce it,” Wang Xu comments. “But at the same time, I feel like people are very impatient in this kind of environment, whenever they start anything they’ll first think about whether or not their work will succeed or be recognized by others.”


对目前的电子音乐创作环境,他们有担忧也有期待:“我觉得有一点特别好的是,越来越多的人对电子乐感兴趣,也尝试去创作。 只是其实当下的创作环境还是挺浮躁的,大家在做一件事的时候可能会先去想我的作品会不会成功,会不会被认可。”

As their tour nears the end, Earsnail has toured through a number of different cities across China. The duo has been documenting every city along the way. “Of course, every city is different,” Wang comments, expressing an eagerness to revisit certain cities on their tour. “I’m curious about the changes that these different cities have undergone over the years. The plan is to snap some photos and also keep my ears open to try and find interesting sounds to sample in these different cities.” Concluding their China tour, Earsnail will be stopping by Guangzhou, Shenzhen, and Zhuhai. Click here to purchase tickets.


巡演过程中,耳蜗去往全国很多城市,熟悉或不熟悉的都有,他们也期待纪录下更多内容。“每个城市都特别不一样,最大的好奇点是这些城市相对于几年前发生的变化。我们会在这些城市采集一些有趣的声音,拍一些有意思的影像。” 接下来,耳蜗的巡演还会去到广州、深圳及珠海三个城市,点此购票。

Xiami: ~/Earsnail
QQ: ~/Earsnail

 

Contributor: Shou Xing
Photographer: Ye Zi
Additional Images Courtesy of Earsnail


虾米: ~/Earsnail
QQ: ~/Earsnail

 

供稿人: Shou Xing
摄影师: Ye Zi
附加图片由耳蝸提供

Xander Zhou Spring/Summer 2018

October 19, 2017 2017年10月19日

For the unveiling of Chinese designer Xander Zhou‘s latest collection, the runaway was transformed into an office-like environment, or more specifically, the headquarters of an imaginary corporation called “Supernatural, Extraterrestrial & Co.” But instead of white-collared workers, Zhou’s office is populated with uniformed staff in glittery tracksuits, bowling uniforms, oriental garments, and other outlandish outfits. Every outfit is a “standardized uniform” in Zhou’s reimagining of modern society in an alternate reality, but the details in each design help draw attention to the diverse origins and cultural backgrounds of Zhou’s imaginary characters. For every single one of his collections, Zhou has described his design approach to be similar to producing a movie, with each look helping to build a cohesive and compelling narrative.


新一季的Xander Zhou的T台被打造成一个巨大的办公室场景,但里面可不仅仅只有西装革履的上班族,更充满了外星人、餐厅服务生、神秘的东方法师等各种角色,乍一看他们隐藏在现代文明之下,却在各自的着装细节里透露着自己身份的线索。对设计师而言,整个系列就像一次个人电影创作,所有look一起构建出最终完整的剧情。一起来看看这场Xander Zhou SS18台前幕后精彩的“演出”。

Website: www.xanderzhou.com
Instagram: @XanderZhou

 

Contributor: Shou Xing
Images Courtesy of Xander Zhou


网站: www.xanderzhou.com
Instagram: @XanderZhou

 

供稿人: Shou Xing
图片由Xander Zhou提供

Tiffany’s Tokyo TV: Yoshi

October 3, 2017 2017年10月3日

 

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Based in Tokyo, Tiffany Godoy is a seasoned fashion editor and host of SSENSE’s “vlogumentary” series Tiffany’s Tokyo TV. The series explores Tokyo’s fashion scene, interviewing different fashion icons in the city. In one of our favorite episode, released earlier this year, Godoy chats with Yoshi, a 14-year-old fashion figure who attends various fashion events, posts selfies on Instagram with his mom’s phone, and aspires to start his own clothing brand. In the video, Godoy joins Yoshi for a fun day of eating hamburgers, dancing, and visiting his favorite boutique shops in Harajuku.


作为一个资深时装编辑的Tiffany Godoy以东京为背景与SSENSE制作了一档属于自己的真人节目《Tiffany’s Tokyo TV》,旨在深度挖掘这个城市里的时尚ICON们的故事。在这期节目里,Godoy采访了14岁的Yoshi,Yoshi在穿着上非常有自己独到的见解,他以他的方式参加各种时尚活动,用妈妈的手机上Instagram,并且梦想着成立一个自己的品牌。Yoshi跟Godoy一起吃汉堡、跳舞、带领她去他最爱的两个原宿时装店并且分享了自己的一些超龄计划。

Stickymonger

September 5, 2017 2017年9月5日

Based in New York, Stickymonger is a Korea-born artist whose work has the ability to transport viewers to dark, surreal worlds. At first glance, her large-scale, black-and-white murals look like ink illustrations, but, in fact, Stickymonger’s murals are actually constructed by cut pieces of vinyl, which she sticks onto gallery walls piece by piece. Her works depict gloomy scenes where young, doe-eyed girls appear to be melting into black puddles, stuck in jars of jam, or drowning in cascades of their own hair.


韩国艺术家Stickymonger目前生活在纽约,她的作品有一种带领观众进入黑暗、超现实的世界的魔力。乍一看,巨幅的黑白壁画像是用油墨绘画而成的插画,但事实上,Stickymonger的壁画是用剪切好的乙烯基,一片片贴上画廊墙的。她在自己描绘的黑暗世界上,又加上了有着天真无邪大眼的年轻女孩,她们或是融入浓稠的黑色水坑中,或是困在果酱罐子里,或是埋在自己瀑布般的头发里。

Stickymonger spent her childhood days in Korea where her family owned a gas station. She says that her fascination with ink and liquid fluidity, which are both trademarks of her artistic style today, began as she played among oil cans. Beyond these childhood memories, she cites graphic novels and anime to be some of her biggest influences. “Galaxy Express 999 is my bible,” she says of the manga series from the late 70s. Some of her other manga-related influences include the works of horror artists Junji Ito, Kazuo Umezu, and Kanako Inuki.


Stickymonger童年大部分是在韩国度过的,她的家人在那里经营着一间加油站。小时候在石油罐中玩耍的经历,让她对油墨和液体流动性的产生着迷,而这两点也成为了她的标志性艺术风格。除了这些童年回忆之外,插画小说和动漫作品对她影响也很大。她说:“《银河铁道999》是我的圣经。”除了这部 1970 年代末的漫画系列,恐怖漫画家伊藤润二、楳图一雄(Kazuo Umezu)和犬木加奈子(Kanako Inuki)的作品也对她的创作有重要的影响。

Despite the dark undertones, her artworks are actually meant to be a creative outlet for some of her past interpersonal struggles, frequently conveying feelings of anxiety and her experiences with prejudice. Oftentimes, the girls depicted in her murals are lost in thought, submerged in sludge with their eyes glazed over, or worriedly looking elsewhere as if searching for an escape from within Stickymonger’s sinister landscapes. Throughout her work, her subjects are intertwined with the landscape, dissolving into bodies of liquid blackness or forming portals into an alternate universe. The large-scale murals, which she has described as a visual representation of her sardonic worldviews, allow viewers to be fully immersed in her dark, haunting landscapes.


尽管作品风格较为黑暗,但她的作品其实是她在过去一些个人内心挣扎的创意宣泄口,所以她的作品中常常会透露出焦虑的情绪,以她个人的主观角度讲述她的经历。大部分时候,画中的女孩都陷入沉思,满身污泥,或目光呆滞,或苦恼地望向别处,仿佛想要寻找出口,逃离Stickymonger描绘的这个险恶世界。在她的作品中,她所画的对象与背景交织在一起,或是融入一大片黑色液态中,或是形成通往另一个宇宙的入口。她解释,这些巨幅壁画展现了她个人充满讥讽的世界观,让观众可以完全沉浸在她令人难以忘怀的黑暗世界中。

After having held successful exhibitions in San Francisco, New York, and South Korea, Stickymonger’s latest work will be featured in CIRQUE NOIR, a group show at AFA Gallery in New York City. The show will begin October 7th, 2017.


继在旧金山、纽约和韩国成功举办展览后,Stickymonger将参加纽约的AFA 画廊举办的群展《CIRQUE NOIR》,展出自己的最新作品。展览开幕时间为2017年10月7日。

Websitestickymonger.com
Facebook~/sticky.monger
Instagram@stickymonger

 

Contributor: Megan Cattel


网站: stickymonger.com
脸书: ~/sticky.monger
Instagram: @stickymonger

 

供稿人: Megan Cattel

What Are Your Erotic Fantasies?

July 6, 2017 2017年7月6日
The Goddess (2017)
(54 x 38 cm)

While Taiwan has established itself to be far more progressive than its Asian counterparts in recent years, sexuality still isn’t a topic that’s openly discussed. But for Taipei-based illustrator Pigo Lin, this is perfectly fine because he doesn’t only want to talk about his sexual desires – he much prefers showing you. From naughty cat ladies to an erupting volcanic vagina, Lin’s innuendo-filled illustrations are manifestations of some his deepest fantasies.


近年来,虽说台湾社会对于性的开放程度在亚洲来说算是较为先进和进步,然而在这里性依旧不是一个适合被公开讨论的话题。但在这里,性依然不是一个可以公开讨论的话题。然而,对于台北插画家皮哥(Pigo Lin)来说并不要紧,因为除了谈论自己的性欲,他更喜欢用画面表达出来。从淘气的猫女郎到火山喷发的阴道,皮哥通过自己充满暗示性的插图,呈现出自己内心深处的性幻想。

A Ground Swell in Darkness and Distance (2017)
(30 x 30 cm)
Special Spot Check (2017)
(30 x 30 cm)

Prior to his breakthrough as an erotic artist, Lin’s work veered on the complete opposite side of the spectrum – he was a children’s book illustrator. But realizing that this path wasn’t for him, he switched jobs and became a watchmaker. After entering this new job, he began drawing erotica. “When I was 12 years old and in middle school, I already had a strong sense of curiosity towards sexuality and tons of fantasies,” Lin openly shares. “I read porno magazines and played hentai games. I already enjoyed drawing at the time, but I just didn’t draw this type of stuff. Not sure why.” Lin’s first-ever work of erotica was Surf Rescue, an illustration where a half-man, half-shark lifeguard gropes a curvy, bikini-clad female who appears to be thoroughly enjoying the “rescue.”


在成为情色艺术家之前,皮哥的作品完全是另一种画风——他是一名儿童绘本插画家。但他意识到这并不适合自己,所以他换了工作,成为了一名制表师,同时开始画情色主题的插画。皮哥坦言道:“从12岁国中开始,我对于性就有强烈的好奇和幻想,会看色情书刊,也会和朋友玩色情游戏,当时就喜欢画画,但就是不会画色情图,也不知道为什么。”在皮哥人生第一张情色作品《Surf Rescue》中,半人半鲨鱼的救生员正在抚摸一名穿着比基尼的女性,后者则流露出十分享受这种“救援”的表情。

Take Your Suit Off (2017)
(54 x 38 cm)
Surf Rescue (2016)
(54 x 38 cm)

“The term ‘perverted’ represents a deviation from the expectation from the norm,” says Lin. “The definition of what’s normal and what isn’t is changes from country to country. Cultural history plays a part in dictating this. To me, ‘perversion’ is all relative. For some people, my work is wildly depraved and vulgar. But for others, I’m not even coming close to anything they might consider to be perverted.”


“‘变态’这个词,简单来说就是相对于多数派里的不正常。对于‘正常’或‘不正常’,不同国家或历史洪流里有全然不同的解释。“变态”这个词对我而言只是相对性的,有人认为我的作品有些变态,但也有人认为我的作品根本连变态的边都沾不上!”

Look (2016)
(54 x 38 cm)
Yoga (2017)
(30 x 30 cm)
Cat Woman (2017)
(30 x 30 cm)

Like many other contemporary Asian illustrators, Japanese art played a hand in shaping Lin’s style. Japanese erotica illustrators like Toshi Saeki and Suehiro Maruo were major influences for him, but the Taiwanese artist’s illustrations are considerably more tame. Forgoing the graphic violence and horror elements commonly seen in Saeki and Maruo’s erotic works, Lin’s illustrations instead incorporate humor, references to pop culture, and much bolder colors. In this regard, despite the controversial nature of his drawings, they’re much more approachable for a broader audience. But of course, the influence of Japanese culture extends beyond artists alone – Japanese porn stars are also a tremendous source of inspiration for Lin. “I would say it’s 80% Japanese porn and 20% Western porn,” Lin says of his viewing habits. “For me, porn is both nourishment and inspiration. And as for who I consider to be my favorites, my top five performers, in no particular order, are Shiraishi Marina, Aoi Sora, Uehara, Kawashima Azumi, and Yoshizawa Akiho.”


像许多其他当代亚洲插画家一样,皮哥也深受日本艺术文化的启发。Suehiro Maruo(丸尾末広)和Toshi Saeki(佐伯俊男)这类日本色情插画师对他影响较大,但是皮哥的插图风格更为温和。他没有延续Saeki和Maruo作品中常见的暴力和恐怖元素,而是在自己的插图中融入了幽默的元素和流行文化,并采用了更为丰富的色彩。因而,尽管他的插画依然引人争议,但可以被更广泛的读者接受。当然,在日本文化中,除了这些艺术家,日本色情明星也是皮哥的灵感来源。皮哥说他的色情片观看比例“大概80 %是日本色情片,20 %是欧美色情片。对我来说,色情片是食粮也是灵感。不计名次,我最喜欢的前5名色情明星是Shiraishi Marina(白石茉莉奈)、Aoi Sora(苍井空)、Uehara Ai(上原亚衣)、Kawashima Azumi(川岛和津实)、Yoshizawa Akiho(吉泽明步)。”

Come to Mum Boys, Let Me Take You To Heaven (2017)
(54 x 38 cm)
Join Our Lunch Party (2017)
(54 x 38 cm)
Confess Your Love (2016)
(54 x 38 cm)

Lin’s images serve as a reminder that sex isn’t necessarily a dirty thing. “There’s still a lot of tension around sex,” Lin comments. “You can enjoy it, but you can’t talk about it. There’s a line you aren’t supposed to cross.” While some might simply see Lin as a man obsessed with sex, his mission is actually rather noble; with each illustration, Lin is untangling the threads of taboo around sex and eliminating the sense of shame that many people associate with what is arguably one of the greatest pleasures in life.


皮哥的插图向他的读者传递了一个信息:性并非一定是肮脏的事情。皮哥说:“现在人们对性的态度依然较为保守,你可以享受性,但不能谈论它,有一条边界是你不能超越的。”虽然有些人可能只是把皮哥看作一个痴迷于性的男人,但他的使命实际上却很高尚——通过自己的插图,帮助消除人们对性的禁忌,以及加诸于性的耻辱感,毕竟性可以说是生活中最大的乐趣之一。

Lock (2016)
(54 x 38 cm)

Website: pigolin.com
Instagram: @pigolin

 

Contributor: David Yen


网站: pigolin.com
Instagram: @pigolin

 

供稿人: David Yen

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The Mud Men

June 23, 2017 2017年6月23日

 

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Nestled in the heart of Mumbai is Dharavi, the third largest slum in the world. With a staggering population of around a million people living in 550 acres of land, Dharavi is home to hundreds of businesses and small-scale industries. Tucked in the center of it all is Kumbharwada, a massive locality that’s home to over 150 families that, even to this day, make their livelihood through pottery making. Established between 1935 and 1940, this potter community is comprised of residents who migrated from places like Saurashtra and Kutch in western India; some of the families that work here today are the fifth or sixth generation of these migrants.


坐落于孟买中心的达拉维(Dharavi)是世界第三大贫民窟。在这片550英亩的土地上,却密集地居住着约100万人。这里有数百间小企业和各种小型工业。而位于这个贫民窟的中心的Kumbharwada地区,则居住着150多个家庭,直到今日,这些家庭仍然靠制陶来维持生计。这个制陶社区形成于1935年至1940年期间,生活在这里的居民最初都是从印度西部的索拉什(Saurashtra)和卡奇(Kutch)这些地方迁移过来的。今天,在这里工作的家庭已经是这些移民的第5代或第6代。

I made my way through the winding lanes of Kumbharwad one morning, and with each turn I took, the road seemed to get narrower. Amidst the morning sunlight peeking in through thatched roofs, the banter of women conversing outside of their homes, the soapy water flowing around my ankles, the energy of excited kids rushing off to school, and the honking of bicycles coming every which way, I could see potters outside of their houses, diligently working with mud and clay as they worked towards their daily quotas.


穿梭于Kumbharwad曲折的小巷间,每一次转弯,我都感觉前面的小巷又变窄了一些。早晨的阳光穿过茅草屋顶,妇女们在家门外嘻笑聊天,肥皂水泡不时划过我的脚踝处,充满活力的小孩正快步跑向学校,自行车的喇叭声从四面八方传来,而陶工们则在家门外用泥和粘土勤勉地工作着,努力完成每日的工作额。

“I started a little early today, at around seven in the morning, because I want to attend a wedding happening here in the evening,” says Ismail, a potter who lives with his wife and 6-year-old son here. Ismail has been involved in this line of work ever since he was a kid. His father was also a potter but passed away while Ismail was young, leaving the responsibility of maintaining the craft and providing for the family up to him. He tells me that he usually prefers making oil lamps because he thinks he can make more oil lamps in an hour than he would other items.


“我今天开始得早一些,大概早上七点左右就开始工作了,因为我晚上想要参加这里举办的一场婚礼。”陶工Ismail说道。他和妻子以及6岁的儿子就住在这里。Ismail从小就开始干这一行。他的父亲也是陶工,但在Ismail还很年轻的时候就已经去世,留给他的是延续这项工艺和照顾这个家庭的责任。他告诉我,他一般更喜欢做油灯,因为他认为自己在一小时内可以做出的油灯数量比做其它的产品要多。

The process of pottery making in Kumbharwada begins with soil being brought in from the outskirts of Mumbai, which is then mixed and turned into clay. Pots are then molded by hand and left to dry in the sun. Once dried, they’re transferred into a furnace to be baked. Once that’s done, the pots are ready for the markets. It’s a creation cycle that never stops here; every family is focused and equally doing their part to keep the cycle going. “I’ve made all kinds of items in my time here in Kumbharwaada, like oil lamps, flower pots, water pots, dessert cups, and more,” says Jeetu Chitroda, one of the seasoned potters of the community. “This is our daily life. We earn our living here. We’ve been here all our lives. We were kids here at one time, and now, we’re lucky enough to see our own kids playing in the very same alleys that we grew up in.”


在Kumbharwada,制陶行业的第一个环节是从孟买郊区购买泥土,然后通过混合变成制陶用的粘土。通过手工成型后的陶器会被放置在阳光下晾干。一旦干透后,就可以将陶器转入火炉里烧制。这一步完成后,就可以准备将这些陶器拿到市场上去卖。在这里,制陶是一个永无止境的循环过程,每个家庭都致力于这一个过程,尽其所能使这个循环不断运转下去。当地经验丰富的陶艺家之一Jeetu Chitroda说:“在 Kumbharwaada,我制作过各种各样的陶器,像油灯、花盆、水盆、甜点杯等等,这就是我们的日常生活。我们通过这种方式来维持生计。我们一辈子生活在这里。我们也曾经是这里长大的孩子,而现在,很幸运地,我们可以看到自己的小孩在我们长大的小巷里玩耍。”

However, the families here are adapting to the changing times, with some transitioning into a more contemporary lifestyle. Nowadays, it’s normal to see a family here with the father and mother staying in the community to keep the pottery business going while their son leaves in pursuit of a different career. Beyond the preservation of traditions and culture, one of the most interesting aspects of the community is seeing how the population is divided into Hindus and Muslims, all of whom live together in harmony. After observing their lifestyle and adaptive nature, I’ve come to see that Kumbharwaada isn’t simply a potter’s hub wedged in the largest metropolitan in the country. Instead, I now see it as a symbol of a successful rural ideology that’s breathing and injecting life in a rapidly changing urban landscape.


然而,这里的家庭也正在慢慢适应时代的变化,开始逐渐过渡到一种更现代的生活方式。如今,有越来越多的家庭,父母留在当地维持陶器生意,而他们的儿子则离开这里,去追寻不一样的事业。除了传统和文化的传承问题,当地社区最有趣的另一方面是,在这里生活的人们主要信奉印度教和穆斯林,而他们都能和睦相处在一起。在观察完他们的生活方式,以及他们适应环境的能力之后,我明白到,Kumbharwaada 并不只是一个夹在印度大都会城市缝隙中的制陶中心。相反,在我看来,它代表着一种成功的农村意识形态,充满活力,为瞬息万变的城市注入蓬勃的生命力。

Videographer, Photographer & Contributor: Omkar Phatak


供稿人,图片摄影师与视频摄影师: Omkar Phatak

A Short Tour of Manila

March 3, 2016 2016年3月3日

In her photography, Catherine Ramos (aka Kleng Ramos) likes to capture the life, charm, energy and the colors of the everyday scenarios that she encounters in the streets of the Philippines, or wherever she goes to travel. She first started shooting in high school with a simple point and shoot digital camera, and ever since then she gets a thrill in capturing things that are rarely seen.


Sa kanyang potograpya, gusto ni Catherine Ramos (na kilala rin bilang Kleng Ramos) na kumuha ng larawan ng buhay, alindog, enerhiya at  mga kulay ng araw-araw na senaryo na nakakasalubong niya sa mga lansangan ng Pilipinas, o saan man siya maglakbay. Nagsimula siyang kumuha ng larawan noong siya ay nasa mataas na paaralan na may simple point at shoot digital camera, at simula noon ay nakakuha siya ng kagalakan sa pagkuha ng larawan ng mga bagay na pambihirang makita.

When asked about Manila, her home city, Catherine tells us, “What I like the most in this city is that there’s always something going on here. This city is busy, yet so lively.” For her, there are always new hang-out places, dining and drinking places pop up constantly, and there never seem to be a shortage of events. The locals in Manila also really know how to have fun and be hospitable.


Nang tanungin siya tungkol sa Maynila na kanyang tahanang lungsod, ikinuwento sa amin ni Catherine na, “Ang pinakagusto ko sa lungsod na ito ay laging mayroong kakaiba dito. Ang lungsod na ito ay abala ngunit buhay na buhay.” Para sa kanya, laging maraming lugar na pasyalan, kainan at inumang lugar na patuloy na lumalabas, at waring hindi kailanman nauubusan ng mga pagdiriwang. Alam din ng mga tao sa Maynila kung paano magsaya at maging magiliw sa panauhin.

Catherine comes from San Juan City, Metro Manila. This is the city that she loves the most and is most familiar with. This part of Manila offers many little surprises to visitors, from cool neighborhood street art to delicious food served in its small local restaurants. While not exactly a pedestrian city, she tells us Manila is rapidly making improvements to make the city more walkable and safer.


Si Catherine ay nagmula sa Lungsod ng San Juan, Kalakhang Maynila. Ito ang lungsod na pinaka gustong-gusto niya at pinaka pamilyar sa kanya. Ang bahagi ng Maynilang ito ay nag-aalok ng maraming maliliit na sorpresa sa mga bisita mula sa magagandang sining sa kalsada ng lugar hanggang sa masasarap na inihahaing pagkain sa maliliit na lokal na restawran dito. Habang hindi pa eksaktong lungsod ng mga taong naglalakad, sinabi niya na mabilis na nagkakaroon ng mga pagbabago ang Maynila para malakaran nang ligtas ang lungsod.

“If you are into thrift shops or you would like to shop for vintage and artsy stuff,” Catherine tells us, “you can go to Cubao X, which is located in Cubao-Quezon City, or the Future Market in Manila.” If you want to check it out, Catherine advises that Future Market only happens on Saturdays. At the thrift stores in Cubao X, you can find used clothing, shoes, vintage memorabilias, old cameras, watches, furnitures, vinyl records, books and much more.


“Kung ikaw ay mahilig mamili sa mga ukay-ukay o gusto mong mamili ng antigo at masining na kagamitan,” sinabi sa amin ni Catherine na, “maaari kang magpunta sa Cubao X, na matatagpuan sa Cubao-Lungsod ng Quezon, o sa Future Market sa Maynila.” Kung gusto mong mamili, ipinapayo ni Catherine na ang Future Market  ay nagaganap lamang tuwing Sabado. Sa mga ukay-ukay sa Cubao X, makikita mo ang mga nagamit nang kasuotan, sapatos, antigong mga palamuti, lumang kamera, relo, muwebles, vinyl records, aklat at marami pang iba.

If you want to eat and have a good variety of choices, Catherine recommends that you try the Greenfield Weekend Market on Shaw Boulevard in Mandaluyong City. “A lot of food stalls are set up there during the weekends. Apart from that, artwork and vintage finds could also be bought there,” she says. Sometimes, it is possible to catch some musical performances from local bands while enjoying your food at this park.


Kung gusto mong kumain at magkaroon ng maraming pagpipilian, inirerekomenda ni Catherine na subukan mo ang Greenfield Weekend Market sa Shaw Boulevard sa Lungsod ng Mandaluyong. “Maraming puwesto ng pagkain doon tuwing huling linggo. Bukod doon, mabibili rin ang mga gawang-sining at antigo,” kuwento niya. Minsan, maaaring makakita ng ilang musikang pagtatanghal mula sa mga lokal na banda habang kumakain sa parkeng ito.

“If you would like to watch local bands, be it mainstream or indie,” Catherine says, “I suggest that you go to Saguijo and B-Side which are located in Makati City, or Route 196 which is located in Quezon City.” For contemporary art, Catherine highly recommends the Pinto Art Museum in Antipolo City, Rizal. While it is actually just outside of Manila, the museum is a very famous destination for art enthusiasts.


“Kung gusto mong manood ng mga lokal na banda, mapa- mainstream o indie,” kuwento ni Catherine, “Iminumungkahi ko na magpunta ka sa Saguijo at B-Side na matatagpuan sa Lungsod ng Makati, o Route 196 na matatagpuan sa Lungsod ng Quezon.”Para sa mga napapanahong sining, higit na inirerekomenda ni Catherine ang Pinto Art Museum sa Lungsod ng Antipolo sa Rizal. Habang sa katunayan, ito ay nasa labas ng Maynila, ang museo ay napakasikat na destinasyon para sa mga tagahanga ng sining.

“Nowadays,” Catherine says, “people here in Manila are starting to favor more local cafes, even though famous coffee chains could be found in almost every street – especially around the busy areas of Manila.” To try the local brews, she recommends checking out Local Edition, Yardstick and Commune, which are located in Makati City.


“Sa kasalukuyan,” kuwento ni Catherine, “ang mga tao dito sa Maynila ay nagsisimulang higit na paboran ang mga lokal na kapehan, kahit na ang mga kilalang tindahan ng kape ay matatagpuan sa halos lahat ng kalsada– lalo na sa buong abalang lugar ng Maynila.” Para subukan ang lokal na paggawa ng kape, inirekomenda niya na magpunta sa Local Edition, Yardstick at Commune, na matatagpuan sa Lungsod ng Makati.

As a street photographer, Ramos has come across a lot of different encounters while out shooting. There was one time when she approached a homeless woman to ask if she could take a portrait of her. “Despite the hardships that the woman obviously had been through, I was amazed how excited and happy she was when I asked her to be photographed,” Catherine says, “That encounter made me realize a lot of things and I can say that it was the most memorable experience I had so far while shooting the streets of Manila.”


Bilang litratista ng lansangan, naranasan ni Ramos ang maraming iba’t ibang hamon habang kumukuha ng larawan. Isang beses nang lumapit siya sa babaeng walang tahanan para hilingin kung maaari siyang makakuha ng kanyang litrato. “Sa kabila ng kahirapan na halatang pinagdaraanan ng babae, humanga ako kung gaano siya kasabik at kasaya nang hilingin ko na kunan siya ng litrato,” kuwento ni Catherine, “Ang karanasang iyon ay nagmulat sa akin sa maraming bagay at masasabi ko na ito ang pinaka hindi malilimutang karanasan na mayroon ako habang kumukuha ng larawan sa mga lansangan ng Maynila.”

Website: triplekleng.blogspot.com
VSCO Gridvsco.co/klengramos

 

Contributor: Leon Yan
Photographer: Kleng Ramos


Website: triplekleng.blogspot.com
VSCO Grid: vsco.co/klengramos

 

Kontribyutor: Leon Yan
Litratista: Kleng Ramos