All posts by admin

Memento Mori 曼舞在当下的灵魂

March 3, 2020 2020年3月3日

 

无法观看?前往腾讯视频

In youth, we rarely think about matters of life and death. But being conscious of our mortality can instill in us a deeper appreciation for life. It can motivate us to make the most of every moment, to live our best lives, and to not waste time worrying about the future. For Chinese dancer Li Kehua, this awareness of life’s transience has become a powerful creative catalyst in recent years.


年轻的时候,我们很少会去思索人间生死的苦楚。当意识到生命的有限之后,生活或许有了更深的领悟。我们会因此触动,好好地活在当下,真诚地感受生活中的每一刻,不再因为未来而焦虑。对于中国舞者李可华来说,近些年来生活的瞬息万变已成为她创作的积淀。

Li hadn’t given much thought to death in the past, but with the passing of her grandfather at the end of 2018, the subject began to weigh on her mind. “I realized I wanted something to remember our time together, the moments we shared,” she recalls. “Dance was the only way I knew how.”


过去的李可华对于死亡并没有太多概念,直到 2018 年末祖父去世,这个主题在她心中开始变得沉重。“我意识到需要用一些事情来纪念我和祖父共度的时光。”李可华回忆道,“对我来说,唯一能实现的方式就是舞蹈。”

The desire to preserve her grandfather’s memory led Li to create Tomb, a performance meditating on time, memory, and the brevity of life. It’s a deeply personal work that marries Li’s technical skills with a visceral display of emotion. Li approaches the performance with complete honesty, putting her vulnerabilities on display for the audience. Each gesture, from subtle flicks of her wrist to sweeping full-body movements, carries the potency of a thousand words and emotions. Tomb recognizes the inevitability of death, but it’s also a declaration that death isn’t the end: even after we’re gone, we’ll continue to live on in the memories of our loved ones.


带着对祖父的追忆,李可华创作了《墓》—— 一场关于冥想时间、记忆与生命之短暂的表演。这是一部完全个人的作品,将李可华内心深处的情绪与舞蹈专业技艺嫁接在一起。她将最真实的一面搬上舞台,把脆弱的自己放在观众面前。每一个动作,从腕间的轻弹到全身的起伏,都呈现出万语千言和情感的蓄力。《墓》揭示了死亡的必然性,同时也向我们阐述 —— 死亡并不意味着终点,即使我们离去,但我们仍将继续生活在被牵挂的记忆当中。

Dance is an ephemeral form of art that exists for a moment and then is gone. The dancer has to be fully devoted to that moment, and Li brings this ethos of mindfulness to her everyday life as well: through the medium of her body, she shows what it means to be present in the now. Every performance is a live rendering of her immediate spiritual, emotional, and mental worlds, a way for her to turn these intangibles into something physical. This immersion in the moment is what makes Li’s work so mesmerizing.


接受痛苦,因为它存在,它必然会流逝,它必然会消失。同时,舞蹈作为一种艺术的短暂形式,它存在于片刻,也终将离去。舞者需要在片刻中倾尽全力,这样的理念被李可华带入了每一天的生活中,她用身体做媒介,展现了活在当下的意义。每一场演出,都像是对思绪、情感和精神世界的即刻描述,是一种将无形转化为有形的方式。沉浸在当下,让李可华的作品令人着迷。

While she puts a great deal of thought into her own choreography, Li doesn’t believe that artistic intent is a prerequisite for good dance. “Even movement not intended to be performative can be riveting,” she says. “I’m often fascinated by how a person moves or gesticulates, and I’ll try to understand the purpose or reasoning behind these movements. It’s all a form of dance to me. I believe that movement in itself—any kind of movement—is the purest expression of life. It’s all meaningful.”


尽管李可华在自己的编排中花了很多心思,但她并不认为艺术意图是好舞蹈的先决条件。“即使那些不带有表演性的动作也令我非常着迷,”她说。“我经常被人体的动作和手势吸引,然后尝试理解这些行为背后的动机和原因。对于我来说,这些都是舞蹈。我相信事物本身的任何运动,都是表达生命的纯粹方式,并且具有非凡的意义。”

Like our stories? Follow us on Facebook and Instagram.

 

Weibo: ~/LicoLi

 

Contributor & Photographer: David Yen
Videographer: Damien Louise
Chinese Translation: Pete Zhang


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

微博: ~/LicoLi

 

供稿人与摄影师: David Yen
视频摄影师: Damien Louise
英译中: Pete Zhang

Ill Japonia 水风吕歌者

March 2, 2020 2020年3月2日

After over a decade in the music scene, Kawabe Taigen, performing under the name Ill Japonia, has finally issued his first solo collection, titled Ill. This five-track EP is also the first original release by British label Eastern Margins, a collective focused on organizing shows for London’s East and South-East Asian diaspora communities.

On Ill, Kawabe blends his interest in trap with years of genre-hopping. Kawabe is perhaps best known as the frontman and bassist of Bo Ningen—a similarly unclassifiable act that draws broadly from acid rock, noise rock, and psychedelia. However, his past experimentation has seen him work with collaborators ranging from experimental electronic artist Foodman to psychedelic rock group Mainliner.


十多年的音乐生涯过后,Kawabe Taigen (aka. Ill Japonia) 发行了个人首张 EP《Ill》。这张 EP 一共包括了五首歌,同时也是英国音乐厂牌 Eastern Margins 发行的首张原创制作。Eastern Margins 团队一直放眼于居住在伦敦的东亚和东南亚音乐人,并为他们组织演出与派对活动。

早期 Kawabe Taigen 最为人熟知的身份是 Bo Ningen 乐队的主唱和贝斯手,乐队风格深受酸式摇滚、噪音摇滚和迷幻音乐影响,很难被归类为特定的流派。从实验电子音乐人 Foodman 到迷幻摇滚乐队 Mainliner,他都曾与他们进行过音乐上的 “交手”。而在单曲《Ill》中,Taigen 将自己的偏好转向了 Trap 音乐,尝试与多年涉猎的各种音乐流派相融合。

This diverse background gives Kawabe a unique entrance point into his explorations of trap. Signature elements of the genre emerge on each track, but trap acts more as a common thread than a dominant feature, leaving room to display a larger fabric of ideas. As Kawabe says, he is “not new” as a musician, and he’s by no means trying to obscure his history or diverse sonic interests by blindly replicating what he hears from the trap scene. “I’ve got different backgrounds, different roots,” he says. “So the way I make music is different from the usual trap, which I sometimes think is a struggle that’s also my strength.” Trap seems less like the foundation of the project and more like a reference point, or a lens through which Kawabe is peering to see what he can learn about his relationships with music, with the world around him, and ultimately with himself.


多元化的背景为 Taigen 提供了 Trap 音乐的独特入口。专辑中每首曲目都有独特个性,而 Trap 更像是一条贯穿其中的线索,为歌曲的构思留出更多空间。正如 Taigen 所说,他已经不是初出茅庐的音乐人,他决不会盲目地复制自己所听到的 Trap 音乐,不希望掩盖多元化的胃口。他说:我来自不同的音乐背景,有不同的文化根源。所以我在音乐的创作方式上不同于一般的 Trap 音乐,有时我觉得这既是一种障碍,也是我的优势。与其说 Trap 音乐是这张单曲的根基,不如说为他的音乐提供参考价值。在 Taigen 的镜头下,他审视自己与音乐、乃至世界的关系,或者从根本上讲,是他与自己的一场联系。

Listen to some of our favorite tracks from Ill Japonia below:


点击即可试听 Ill Japonia 的几首精选歌曲:

Indeed, Kawabe’s particular relationship to trap seems as much an exercise in the spiritual as the sonic. Though he acknowledges that typical trap lyrics are often about what he calls “teenager goals”, he finds the genre’s energy and bluntness to be refreshing. Adults often criticize young people for never thinking about the future, he says, but he finds it invigorating to hear artists ten years his junior rap about what he calls “the now.” The mindset he grew up with in Japan, by contrast, emphasized the importance of working hard now for long-term gain that could be enjoyed in ten or twenty years’ time. “I do still believe this,” he says thoughtfully. “I grew up with those kinds of thoughts. But now I feel that now is the most important moment, and it’s the healthiest way to think about the past and future.”


Taigen Trap 音乐的联系不仅存在于声音,也存在于精神层面。他认为典型的 Trap 音乐通常都在讲述 “少年野心的话题,这种音乐流派拥有令人耳目一新的能量和直率。成年人总是说年轻人不懂得为将来打算,但他发现,这些比他年轻十岁的歌手以 “当下为主题的说唱更令人振奋。由于自小在日本长大,传统的观念下他总是认为现在要努力工作,才能在十年或二十年后享受生活。我仍然相信这一点。他若有所思地说,我自小就被灌输了这样的想法,但现在我越来越觉得 当下才是最重要的,这也是思考过去和未来最好的方式。

Kawabe initially learned about this focus on the present through reading about trap artists’ improvisational workflow. “They’re in the studio for one day and the rapper just writes lyrics as the producer makes the beat,” he marvels. “They make five or six songs per day, and finish everything in a day. They focus more on impact than hook or structure.” As Ill Japonia, Kawabe tries to keep some of this creative agility, saying that he uses a different part of his brain than with Bo Ningen. With the band, the process is much more methodical. “We bring ideas to the studio and jam, discuss between each song, come to a decision, go play the songs live to find out audience reaction, then build up the songs in response,” he says. “It takes a really long time before we do the actual recordings.”


Taigen 了解到 Trap 音乐即兴的创作流程之后,他开始关注 ‘当下’ 的含义他们能在录音室里呆一整天,制作人一边创作伴奏,说唱歌手一边填词儿。他惊奇地说道,他们每天可以制作五、六首歌,一天内就能全部搞定。他们更关注音乐的冲击力,而不会在歌曲的 钩子hook,乐句)或结构上过分纠结。切换到 Ill Japonia 的身份后,Taigen 试图保留这种创作的灵活性,用不同于 Bo Ningen 乐队时的方式进行创作,因为乐队的创作过程会更系统化。我们把想法带到工作室,一起练习、讨论,做好决定后,到现场表演歌曲,看看观众的反应,然后相应地修改歌曲。他说,所以往往要经过很长一段时间,最后才去录音。

On Ill, though, he approaches the recording like a one-man jam session, building his beats from the ground up and freestyle rapping as he goes. He finished the lyrics for most of the tracks in the space of a couple hours, and the first basic takes were done within a day, though he took longer to fine-tune them afterward. The lyrics are full of personal musings on growing older, learning from younger artists, looking for answers, and finding peace. “Touring through Japan, people would talk to me more about my lyrics after Ill Japonia shows,” Kawabe says, clearly gratified. “They’d ask how I see a line, and tell me what lines resonate with them.”

Yet even as Kawabe explores the communicative power of rap, he’s also pushing at its lyrical limits. Where others freestyle rapping in a recording session might have stumbled over a rhythm, or paused at the end of an idea, Kawabe instead steamrolled forward, mashing together syllables and words that sounded good together, whether Japanese, English, or a language of his own invention. Between takes, he listened back to the recordings and directly transcribed the resulting mix of intelligible, partially intelligible, and totally unintelligible lyrics. Sometimes he even tried to “turn off his brain” and intentionally mishear the recordings, writing down entirely different lyrics in the process. The final product is playful yet sincere, echoing his journey to both harness rap’s liberating energy and reflect on his life.


整张《Ill》的录制,就像是 Taigen  一个人的即兴演奏,伴奏配合着信手拈来的即兴说唱。短短几个小时,他就填写完专辑大部分歌曲的歌词,一天就过掉了录音的初步流程,当然后期也花了一些时间修改调整。歌词讲述了很多他个人对于年龄增长、向年轻音乐人学习、寻找答案和如何获得平和的内心这些问题的思考。在日本进行的 Ill Japonia 巡回演出时,人们会更多地和我讨论里面的歌词。Taigen 欣然说道,他们会问我对某句歌词的看法,告诉我哪句歌词让他们产生共鸣。

在探索说唱互动性力量的同时,Taigen 也不断在歌词的边界行疆阔斧。在录制过程中,他不像其他人会因节奏或没有灵感的状况下暂停,而是爆发出一鼓作气的冲劲儿,他将所有听起来不错的音节和单词混在一起,其中参杂着日语、英语还是他自己发明的语言。每次录制之前,他都会反复回放之前的录音,将他能够理解、部分理解和完全无法理解的歌词直接写下来。有时,他甚至尝试 关掉大脑,故意 听错录音,写下截然不同的歌词。最终完成了既有趣又诚恳的音乐,即保留了说唱音乐的能量,同时又是自己生活的真实写照。

 

无法观看?前往腾讯视频

The first and last tracks stitch together his lyrical and musical exercises with poise. The opener, “Sauna Mizuburo,” is a track that draws an analogy between music and the feeling of plunging into the mizuburo, the cold pool at a Japanese sauna. “Listening to and playing music are a kind of detox, a purification,” Kawabe explains. Fittingly, the track ends with an anecdote about some friends telling him that he looks the same onstage as he does in the mizuburo. On the closing track, “Lounge Muzak,” he reflects on the concept of kakugo, which he describes as a mix of a sense of awareness and determination. “I wanted to make music because I wanted to find answers,” he says.

Thus, as much as the music on his first EP is about positive energy, purification, and simplicity, this final track reveals that it’s also an extension of his goal of living life with kakugo, and using music as the vehicle to do so. No wonder Kawabe Taigen’s search has led him through so many musical styles. “Now, at 33, I can say that I can be anything and I can study anything, that now is the most important moment.”


专辑中首尾两首歌曲自然而然地将 Taigen 在歌词和旋律上的探索串联起来。第一首歌《Sauna Mizuburo》通过音乐演绎出跳入日本桑拿房冷池水 水风吕mizuburo)一般的感受。“不管是听歌、还是放歌,对我来说都有一种排毒、净化的作用。” 他解释道。很巧的是,他的朋友曾说,Taigen 在舞台上看起来真的像在水风吕里一样自在。结尾曲目《Lounge Muzak》讲述了他对 觉悟kakugo)这个概念的思考,并将其描述为意识和决心的结合。做音乐是因为我想通过音乐找到答案。他说。

Taigen 在首张 EP 中表达着正面、纯净和简单的主题,同时也在最后一首曲目中表明,带着觉悟kakugo)地生活是他的人生目标之一,而音乐则是载体。难怪 Kawabe Taigen 在自己的音乐探索中涉猎了如此丰富的音乐风格。现在,33 岁的我可以成为任何人,我可以学任何事物,‘当下’ 才是最重要的时刻。

Like our stories? Follow us on Facebook and Instagram.

 

Contributor: Kiril Bolotnikov
Chinese Translation: Olivia Li
Images Courtesy of Eastern Margins & Adjorka


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

供稿人: Kiril Bolotnikov
英译中: Olivia Li
图片由 Eastern Margins 与 Adjorka 提供

You Might Also Like你可能会喜欢

Art of the Jeepney 超改巴士

February 24, 2020 2020年2月24日

It’s rush hour in Metro Manila, which means gridlocked streets for several hours. The city is one of the world’s most congested. Within this tangle of cars and scooters and stationary running motors, one type of vehicle stands out from the rest: the jeepney.

Jeepneys are a uniquely Filipino mode of public transportation that appeared after World War II, which left the country’s infrastructure severely damaged. After the war, American troops left behind Willy Jeeps—the ubiquitous four-person green jeeps of war-movie fame—as it was costly to ship them home. Locals set about retrofitting them to meet their transportation needs. Though they were born as a temporary solution, they’ve now become a mainstay across the country. Most of the original jeepneys are out of commission, and the ones found on the road today were produced by local car manufacturers in the years since.


马尼拉是世界上最拥挤的城市之一,这里市中心的交通高峰时段,路上往往会堵车好几个小时。在被小车、踏板车和各种车辆挤得水泄不通的路上,一种交通工具的身影尤其突出,那就是吉普尼巴士。

吉普尼巴士是菲律宾所特有的公共交通工具。这种巴士出现在二战之后,当时菲律宾整个国家的基础设施严重受损。战后,美国军队留下了许多 Willy Jeeps。由于运回美国的成本太高,这些汽车经过当地人的改造,使这种在战争片里经常出现的四人座绿色吉普车变成了一个能用来满足日常需求的交通方式。虽然最初吉普尼只是作为临时的交通解决方案,但现在,这种巴士依然是菲律宾各地常见的交通工具。如今,路上行驶的吉普尼是原来的报废车辆,它们经过当地汽车厂的改良被重新投入使用。

A typical jeepney can carry about 20 people in the back. People sit on twin benches facing each other, with a few others hanging off the back if it’s packed. The base fare is 10 pesos, or around US $0.20, and they travel just about anywhere you need to go. In a country with limited bus routes and an even smaller rail line, it’s often the only affordable way to get where you’re going, unless you’re willing to pay premium rates for a taxi or ride-hailing app. Once you climb on, you hand your cash to another rider and they pass it down to the driver, who then counts out change and sends it back down the line, often while driving. The ceilings are low and the windows are difficult to see out of, especially when crowded. Rain, heat, and fumes from nearby traffic easily enter the cabin, and in some of the more dilapidated jeeps, so does its own exhaust. When your stop comes, you call out to the driver or knock on the ceiling and jump out, sometimes directly in the middle of the street.

Jeepneys are often blamed for adding to Manila’s congestion, seeing as how their drivers often swerve across lanes to pick up customers and make frequent stops. But with the increase in population and rise in personal automobile ownership, the megacity is groaning under the strain now more than ever.


一辆吉普尼通常大约可以乘搭 20 人。乘客们通常会面对面坐在车内两侧的长椅上,满座后,还会有一些乘客趴在巴士的后架上。只用花上 10 比索(约一块四人民币)的车费,就能将你送往各个目的地。在这个公交线路不多、铁路有限的国家,吉普尼是人们唯一经济实惠的出行方式,否则就要乘坐昂贵的出租车或网约车。上车后,你只需将车费交给另外的乘客,由他们挨个传递到司机手里。司机一边开车,一边数要找回的零钱,再将钱交给乘客,原路返还到你的手中。车顶很低,乘客很难将头从窗户伸出去,尤其在人群拥挤的时候。雨水混杂着热气和四周车辆排出的尾气钻进车内,一些甚为破旧的吉普尼巴士,本身的废气也会窜进来。到站时,你可以大声告诉司机或敲敲车顶,有时你有可能会在马路中间下车。

很多人认为吉普尼加剧了马尼拉的交通拥堵问题,因为司机常常因为载客而突然变换车道,停车也比较频繁。但是问题可能没那么简单:随着私家车保有量的增加和人口的爆炸式增长,这座大城市的马路越来越喘不过气来。

Jeepneys are best known for their gaudy bodywork, covered with a mix of pop-culture imagery, Catholic symbols, and Americana art like flags, US monuments, and more. It’s a bizarre mix that attests to the country’s history of colonization. One of the best places to spot these roving canvases is Aurora Boulevard, a major thoroughfare in Quezon City where throngs of jeepneys pass through day and night, and it’s where we first heard about Giele Nicola, one of the most revered jeepney artists in town.

The art found on Jeepneys differs a bit from area to area, but the vehicles Nicola works on and many others around Aurora feature modifications like designs cut into the mud flaps, ornate metal wiring around the brake lights, and LED lights that glow from the undercarriage and inside the cab. Back wheels are raised while the front axle is dropped low, showing off cartoonish hood ornaments and unnecessary, prolific antennas. Even the inside of the wheel wells are often painted with glow-in-the-dark paint.


吉普尼以其华丽的车身而闻名,上面布满了各种流行文化图像、天主教图案以及美式旗帜、美国标志性建筑等文化元素。这种奇怪的组合也了揭示出一段菲律宾被殖民的历史。欣赏这些 巡回画布的最佳地点之一是奎松市的奥罗拉大道(Aurora Boulevard),那里从早到晚都能看到吉普尼巴士在路上穿行。也正是在这里,我们第一次听说了 Giele Nicola,他是当地最著名的吉普尼艺术家之一。

城市中每个区域的吉普尼艺术都略有不同,Giele 和奥罗拉地区的艺术家在设计时喜欢对吉普尼进行车体的改装,例如切入挡泥板的设计、在刹车灯四周环绕金属线、为底盘和车内装饰的 LED 灯。他们降低前轴,升高后轮,将卡通风格引擎盖设计和纯粹装饰性的天线设计公示于路人。就连车轮拱板内也常常涂满了荧光的染料。

Nicola’s garage is in Marikina, on the eastern end of Aurora Boulevard, down a quiet residential backstreet where jeepneys line the sidewalks. On the day of my visit, four jeeps were crammed inside the open-air garage, as a group of men huddle under a canopy to the side. One of them is Nicola, airbrushing a portrait of Jesus on a loose side door. A compressor hose from his nozzle leads to a running engine placed on the ground, itself attached to an old car that hasn’t seen the road in years.

Nicola has been at this for 20 years now. He got his start at 19, freelancing for Morales Motors, a well-known jeepney manufacturer that operates their own body shops. But even before that, he often painted bicycles and jeepneys for fun, working freehand with a brush in the traditional jeepney one-stroke style, which is handwriting style of flat brush calligraphy. Impressed with his work, Morales brought him on board, but within a year he decided to open his own garage. “Jeepney art was on the rise back then,” he said, barely glancing up from his work. “It was a lot simpler then, and just starting to evolve. The jeepney industry was at its peak, with garages and artwork everywhere.” Over the years, he’s become known for specializing in hyper-realistic paintings. But his garage does everything, including metalwork and repairs.

Nicola opened the garage with his partner Arturo Cinco, who goes by the alias Rokba. The two met at Morales Motors when they were both still teenagers. Rokba specializes in custom decals, which he cuts out freehand and applies in layers. They can be up to six feet wide and two feet high, with a dozen different colors. “I never did any other kind of art,” he says. “Jeepney art was my passion and my hustle from the start.”


Nicola 的车库位于奥罗拉大道东端的马里基纳(Marikina),一个安静住宅区里的小巷。路边就停着一排的吉普尼车。我去参观车库那天,露天车库里停着四辆吉普尼车,一群人挤在旁边的遮篷里。其中一个就是 Giele,他正在用气笔给一块被拆解下来的车门喷绘,上面画着耶稣的肖像。气笔的压缩空气管连接着地上的发动机,而这台发动机本身则是来自一辆报废多年的旧车。

Giele 从事这个行业已经有 20 年,他从 19 岁开始给当地一家著名的吉普尼制造商 Morales Motors 干私活。但早在此之前,他也常常在自行车和吉普尼车上找点乐子。那时候,他喜欢用平刷的字体书写方式,在吉普尼车身上一笔划过。他当时的的作品令 Morales Motors 印象深刻,并受邀加入团队。但是一年后,他决定开设自己的车库。那时候吉普尼艺术正在兴起。他头也不抬地说道,“相比现在,吉普尼艺术刚开始流行的时候要简单很多。在吉普尼行业的全盛时期,吉普尼艺术和车库遍地都是。这些年来,他凭借超现实主义的风格绘画而闻名。

除了绘画和改装,Giele 的车库提供金属加工、维修等各种服务。该车库是他和合伙人 Arturo Cinco (又名 Rokba)共同创办。他们年轻时在 Morales Motors 一起工作认识。Rokba 擅长制作贴花,通常情况下,他会先用手剪出图案,再一层层贴在车上。这些贴花可能达 6 英尺宽、2 英尺高,拥有十几种不同的颜色。我从来没做过其他艺术。一直以来,吉普尼艺术就是我的热情和动力所在。他说。

For years, business boomed. A full customization, with all the bells and whistles, costs around $4,000 and takes two weeks—a good racket, considering that it’s about what the average family makes in a year. As more garages appeared, the market became oversaturated, but business took a significant dive a couple years ago. In 2017, the government announced a modernization program that would phase out most of the classic jeepneys with newer models. (Jeepneys are classified as “public utility vehicles.”) Under the original plan, jeepneys that are 15 years or older would no longer be allowed on the street by 2020.

The new jeepneys are meant to be cleaner, safer, and more accessible for the elderly and disabled. They use modern engines that spew fewer emissions. A few different models, which resemble minibuses more than traditional jeepneys, are already running along a few routes, and they are undeniably more pleasant to ride in. Beyond improving the lives of those already dependent on jeepneys, the policy aims to attract new riders who might otherwise contribute to the daily congestion with their private vehicles. Proponents hope that cleaner vehicles, improved routes, and more accountable drivers will help ease the city’s traffic woes.


好几年来,吉普尼车库的生意几经红火。一套完整的改装设计,加上所有的花哨装饰,花费大约在 28000 人民币左右,耗时两周时间——普通家庭一年的收入相比,这是很不错的收入。但随着越来越多车库的出现,市场变得过份饱和,在几年前他们的生意急剧下降。2017 年,当地政府宣布了一项现代化方案,使新型车辆逐步淘汰大部分的传统吉普尼巴士(吉普尼被列为公共交通用车)。根据这个方案,超过 15 年的吉普尼车到 2020 年将不能再在街上继续行驶。

新型吉普尼巴士会更环保、更安全,也更方便老年人和残疾人乘坐。它们将采用现代化的引擎,以减少废气排放。其中一部分新车已经投入使用,与传统的吉普尼相比,它们看起来更像正儿八经的小型巴士。而毫无疑问,它们乘坐起来也更加舒服。除了吸引那些喜欢搭坐吉普尼的乘客之外,这项政策还希望能够吸引平时开私家车的人,因为私家车过多也是造成交通拥堵的隐患之一。这项政策的支持者希望,更清洁的车辆、更完善的路线以及更负责任的驾驶员将有助于缓解这座城市的交通困境。

Yet the plan isn’t without its critics, and jeepney drivers have gone on multiple strikes to protest. Drivers who wish to keep their jobs were required to upgrade to one of the newer models, but so few have done so that the government has delayed the deadline for another year. Jeepneys that pass a “roadworthiness test” are given an additional year’s lease on life. It’s not difficult to see why there’s such a lack of compliance: the required costs of a new jeepney model range between $32,000 and $44,000, but most drivers only make around $10 per day. The government has developed a loan scheme to help fund the transition, but it’s restrictive and leaves many owners with no assistance. Some critics argue that for the plan to be realistic, the transportation sector would need to be state-run.

Amidst all the traffic issues, the culture and art of the jeepney are a distant afterthought and the future for artists like Nicola and Rokba is wildly uncertain now. Much of the industry that’s grown up servicing and decorating traditional jeepneys could disappear, including Nicola and Rokba’s garage. “Everyone is affected,” Nicola says. “It’s not just us. It’s the barkers who corral riders to empty seats for change. The drivers and mechanics. The garages. Everyone.”

When asked what they’ll do next, the duo’s answers offered a glimpse of their resilience and optimism: Nicola says he’ll focus on his tattoo business, which he already does now on the side. Rokba just laughs: “I’ll get some rest.”


但是对于这项政策也招来了很多批评的声音。吉普尼司机多次罢工表示抗议。想要保住饭碗的司机就要更换新车,但很少司机这样做,为此政府不得不将最后期限推迟一年。通过 车辆适用性能测试的吉普尼车将可以获得额外一年的行驶寿命。不难理解为什么那么多人不愿意接受这项政策:新的吉普尼车型价格为 20 至 30 万人民币,但大多数司机每天收入只有 70 块。当地政府制定了一项贷款计划来为过渡期提供资助,但条件限制很多,许多司机都无法获得帮助。一些批评者认为,要让这项计划得到落实,就要让交通运输行业国营化。

在面对这些交通问题时,人们忽略了吉普尼的文化和艺术,对 Giele Rokba 这些艺术家来说,未来充满了不确定性。那些与传统吉普尼车维修和装饰相关的行业可能会逐渐消失,包括 Giele Robka 的车库。每个人都会受到影响。”Giele 说,不仅是我们,为了应对政策我们或许要将所有人都赶走。包括司机、机械师,车库,所有人。” 

当被问及将来有何打算时,他们却很灵活和乐观 —— Giele 表示他将把重心放在自己的纹身事业,这也是他现在已经在做的工作;而 Rokba 则笑着说:我要先给自己放个假。

Like our stories? Follow us on Facebook and Instagram.

 

Contributor: Mike Steyels
Photographer: Jilson Tiu
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

供稿人: Mike Steyels
摄影师: Jilson Tiu
英译中: Olivia Li

You Might Also Like你可能会喜欢

Emotive Vessels 熟悉的陌生人

February 21, 2020 2020年2月21日

Taiwanese artist Fan Yanting creates ceramic art that feels human. His pottery wares—etched with faces and given endearing backstories—are as expressive as they are functional. Fan imagines stories for each of his works: the face on a flower vase belongs to a stern but kind-hearted school principal, a trio of coffee mugs show three quarrelsome brothers, and the character on the corner of a dessert tray is a hungry daydreamer.


台湾艺术家樊彦廷所打造的陶艺往往被赋予人性。它们各自诉说一段有趣的故事,由内至外地流露出几分人情的味道。这些陶瓷作品既富表现力又不失实用性:校长严厉而慈祥的脸浮现在花瓶上;三个喋喋不休的兄弟围成一个咖啡杯套装;痴狂梦中人的形象则映现在甜点托盘的角落。

Faces have long fascinated Fan. Sometimes a stranger may look inexplicably familiar, in a way that makes others feel at ease. It’s not always rational or grounded in reality. “When people see different faces, they project their own ideas onto them,” he says. “Maybe a face will remind someone of an old friend, a family member, or the coffee shop owner down the street. By leading viewers to experience everyday items that have different faces, I hope to explore this phenomenon in my work.”


一直以来,樊彦廷着迷于形形色色的面庞。有时候,路上的陌生人也会散发出莫名的熟悉感,令人感到自在。但这样的邂逅在现实生活中或许并不常见。他说:“每个人看到不同人脸的时候会有不同的回忆投射。你或许会想起某个朋友、家人、每天买咖啡的老板。藉由引导人去体验不同的人脸生活器,注入不同却很个人的情感投射。”

Fan has never received any formal art training. In fact, he’s only worked with ceramics for a year. But this inexperience has proven to be a virtue—through an approach that’s more intuitive than technical, he creates work that trades the over-polished presentation of fine art for something free and unassuming. “I empty my mind when I’m sculpting the human faces,” he says. “I might plan the pottery shape and maybe where I’d like to position the face, but I don’t start with specific character designs in mind.”


樊彦廷从未接受过任何正式的艺术教育。实际上,他接触陶瓷也只有短短一年的时间。但这种经验的缺乏却反倒成为一种优势——他在创作时可以更凭感觉,而非遵循技术。没有了过度的精雕细琢,反倒为作品增添了一份自由与含蓄。他解释说:“我在做人脸雕塑的时候其实是很放空的,只有器形是有规划的,以及人脸的位置有思考过,但雕塑本身是没有任何角色设定任何投射。”

A lack of a background in art has also given Fan a unique perspective on the relationship between artist and medium. He doesn’t just see the clay he works with as inanimate material, but instead recognizes it as a collaborator. To him, each new work is the beginning of a new relationship; as he and the clay familiarize themselves with one another, the relationship will grow and yield surprising creative results.


缺乏艺术背景也让樊彦廷以一种独特的视角来看待艺术家与艺术媒介之间的关系。在他眼中,粘土被赋予生命,是与他共同创作的伙伴。对他来说,每一件新作品都是一段新关系的开始;创作过程中,他与粘土的关系从相互播种到萌芽开花,最终结出令人惊喜的创意果实。

Though more modern techniques exist, Fan insists on hand sculpting, a technique that relies only on the artist’s two hands. It’s a process that often yields uneven edges and dimpled textures. But these imperfections, left as they are, lend his art an extra human touch—much like people, these imperfections are part of what makes each of his creations so unique.


尽管如今新式的陶瓷制作方法层出不穷,但樊彦廷依然坚持手工雕磨。这种仅仅依靠双手就能完成作品的手艺活,其过程往往也会形成不平滑的边缘和纹理。但正因为这些手工留下的缺陷,成就了它们,也为樊彦廷的艺术品增添了不少人情的味道。要知道,这世上金无足赤,人无完人,而我们每一个人也因此变得独特。

Like our stories? Follow us on Facebook and Instagram.

 

Instagram: @oldfan_pottery
Facebook: ~/做陶的老樊

 

Contributor & Photographer: David Yen
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Instagram: @oldfan_pottery
Facebook: ~/做陶的老樊

 

供稿人与摄影师: David Yen
英译中: Olivia Li

You Might Also Like你可能会喜欢

The Villainess 恶魔女的自述

February 13, 2020 2020年2月13日

The end of the decade sees us firmly in a new golden era for music videos. Although they’re not the only way for musicians to blow up, having an engaging music video definitely gives artists an advantage in cutting through the noise. Japan’s Nina Utashiro is someone who clearly knows how to do just that. A newcomer to the rap scene, she has a solid resume in photography, fashion styling, writing, and creative direction. Under her Thirteen13 alias, she combines a dozen different ideas into her music videos, bringing horrorcore rap together with cinematic visuals, couture fashion, and a powerful sense of transgression.


二十世纪一零年代的尾声,我们亲眼目睹着这个音乐视频的黄金时代。尽管音乐视频并不是音乐人唯一炸开锅的道具,但绝对是夺人眼球的有力方式。来自日本的 Nina Utashiro 非常明白这一点,并且知道该怎么做。作为说唱场景的新晋音乐人,Nina 有着坚实的摄影、造型、创意和写作根基。她与创作团队 Thirteen13 一道在音乐视频中加入的很多个人想法,将恐怖核说唱(horrorcore rap)裹挟在影院级别的视觉效果、时装造型之下,带着十足的叛逆劲儿,让人一饱眼福。

“Originally, the Thirteen13 project was going to be anonymous, but my background and look are clear advantages,” she says. Music videos have become her passion. “Sometimes the video concept even comes first and the music comes after,” she says. “I’m a very visual person, and creating the video is really my favorite part.” It’s made her realize that executing other people’s ideas isn’t fulfilling enough anymore. While she’d like to collaborate with others in the future, she wants full control now.


“起初 Thirteen13 团队的名字并不打算公开,不过视频中我的造型和布景的确非常抢眼,” Nina 说道。目前,拍摄音乐视频已经成为 Nina 热衷的事。“有时候,音乐视频的概念甚至要比音乐本身早一步出现”, 她说,“我是一个很在乎视觉的人,创造视频是我最喜欢的环节。”这也让她意识到执行别人的想法并不能满足自己,尽管未来她愿意与更多人合作,但目前的 Nina 更喜欢一手操盘的感觉。

A still from Blood 《Blood》片段截图
A still from Blood 《Blood》片段截图
A still from Blood 《Blood》片段截图
A still from Blood 《Blood》片段截图

In her newest video “Omerta,” she plays with taboos, gleefully spilling secrets. It’s not quite a music video, and instead splices a couple of different segments of partial songs with faux interviews. The comical interviews are simply shot but highly stylized and filled with bright colors, while the music scenes are aggressive and dark. She raps in low ASMR tones over hardcore club music and rusty industrial beats while stark lighting casts heavy shadows on her costumes and sets.

In “Blood,” which is her most complete vision, Utashiro’s character is seen in a series of costumes, with repurposed high fashion outfits, intricate nails, and detailed set design. She takes vengeance on a collection of victims, which is reflected in the lyrics as well, where she lashes out at those who’ve taken advantage of her.


在 Nina 最新的音乐视频《Omerta》中,她大玩禁忌,兴高采烈地散播着深奥的秘密。《Omerta》并不完全像是一部真正意义上的音乐视频,而是在音乐的不同段落穿插了虚假采访内容。有趣的采访镜头看似简单,但其实每一位受采访者都被精心装扮,艳丽的色彩与激进、暗黑的音乐场景形成鲜明对比。音乐部分中,伴随着强烈的先锋俱乐部之声与锈迹斑斑的工业节奏,Nina 细碎的低吟试图让听众到达颅内高潮;画面里,阴冷的光线照射在她的衣服和布景上,投射出沉重、可怖的阴影。

在音乐视频《Blood》中,Nina Utashiro 所扮演的角色身穿一系列服装,其由高端时装重新改造而成,加上精致的指甲彩绘和布景设计,是 Nina 迄今为止最具完整性的视觉作品。视频中展现多个施害的残酷行径,其实是抨击那些曾经占过 Nina 便宜的人,同样也体现在歌词中。

Her foray into rap hasn’t been without controversy. Some critics have dismissed her as an Instagrammer and told her to stick to fashion. “Otaku culture is big here in Japan, so it’s all about finding what you like and sticking to it. That’s never been what I do. I do a lot of things. But you can’t be behind the scenes as a rapper, so now my face is out there.”

Utashiro’s appearance has always stood out. As a German-Japanese kid growing up in Tokyo, it was impossible for her to forget she was unlike her peers. “Japan is extremely homogeneous. Everyone knew me because my name and face were different,” she says. “It’s not good or bad, but the concept of independence was given to me at a very young age. I was always very solitary.”


不过,她对说唱的尝试并非毫无争议。一些键盘侠并不为她的 Instagram 买账,他们劝 Nina 乖乖去做时尚。“宅男文化在日本十分盛行,他们在于找到自己喜欢的一样东西并坚持下去。 那从来不是我要做的,我要做更多的事情。但是作为说唱歌手你不能总在幕后,所以你才看到现在的我。”

Nina 的造型往往更为突出。作为一名东京长大的德裔日本姑娘,忘记自己与同龄的差别似乎不太容易,“日本是一个非常同类分化的国度。所有人都知道我的名字和面庞和大家不太一样,”她说,“这样的现象并没有好坏之分,但我很小的时候就被灌输了独立的思想。因此,我总是感觉很孤独。”

Listen to some of our favorite tracks from Thirteen13 below:


点击即可试听 Thirteen13 的几首精选歌曲:

In middle school, she was drawn to metal, partly in opposition to the hypocrisy she saw in her father’s Catholic side of the family. “They were extremely intense, so I was rebellious towards them. My dad bordered on being a white supremacist. I was confused because he was married to my mom, a Japanese woman. I still don’t understand that. My mom was the polar opposite, accepting of everybody.” Always looking for the positive side of things, she says her father provided a model of what not to be. But she’s still lashing out at them, and the metal influence remains a part of her life. Her Thirteen13 persona is demonic and purposely antagonistic towards the church.

After her parents divorced, Utashiro moved with her mother to Manhattan, where she went to public high school at 16. It was life-changing. “My school was mainly black, Latino, and Chinese. I didn’t understand poverty, I had never seen drugs. I’d never experienced diversity,” she recalls. “In New York, there’s this level of respect for different cultures that doesn’t exist in Japan. But I got myself in trouble at school. Everyone was saying the n-word to each other and I didn’t know where it came from. I said it and my friends were like, ‘Look bitch, you can’t say that word.’ It was one of the best and hardest experiences of my life.” New York was also were she fell in love with hip hop, a constant in her ever-evolving creative identity. She graduated high school early and quickly went on to study at Columbia University where she began her exploration of fashion.


中学时期的 Nina 沉迷于重金属音乐,部分原因是因为她希望用这样的音乐形式,来对抗父亲的天主教式家庭中的虚伪一面。“那段时间家人的关系非常紧张,我对他们来说也太过叛逆。我的爸爸基本上算是一个白人至上主义者。所以我不明白他为什么要娶我妈妈,一位日本女性。我妈妈是极端主义的反对者,她接受任何身份的人。” Nina 一直寻找身边事物的积极方面,她认为自己的父亲是一个负面案例,提醒她什么不该做。但她依然对父亲曾经的举动感到愤怒,金属音乐对她的影响将会持续至她整个人生。而她在 Thirteen13 打造下的恶魔人设,则是为了刻意与教堂做对。

父母离婚之后,Nina 和她的妈妈搬去了曼哈顿,十六岁时去了公立高中念书,在那里彻底改变了她的人生。“学校的学生主要以黑人、拉丁人和华人构成。入校之前,我从未理解过贫穷,从没见过毒品,也从未体验过多样性融合的文化,”她回忆道,“在纽约,尊重文化差异的举动在日本是不存在的。但我在学校也遇到过一些麻烦,所有人都在说 N 字开头的脏话,我也不知道这词儿是从哪儿冒出来的。当我把这词儿说出口的时候,身边朋友却对我说, ‘小娘们儿,这词儿你可不能说’。那是我人生最棒也是最艰难的时刻。” 纽约也是 Nina 爱上嘻哈音乐的地方,是她不断发掘的创造力的地方。早早从高中毕业之后,她进入了哥伦比亚大学,开始了对时尚的探索。

Utashiro believes her multiethnic background gives her an advantage, even if some people don’t know what to make of her. In Tokyo, where she returned at age 21, her heritage and style are misunderstood. “People think I have sex a lot. There’s a lot of slut shaming here,” she says. Her style is very sexually forward, and she’s unashamed of it. It’s a direct challenge to conventional gender roles in Japan, but it’s not a political move, she just does as she feels. “In all honesty, I’m a little selfish. I’m not trying to change anyone’s mind. But if they do, that’s cute too.”

In the end, she doesn’t care what anyone thinks. “I should be more considerate of my audience but I’m not saying anything for them, it’s for me. Because I need to get it out. The people I’ve always looked up to are living their true selves, doing purely what they enjoy.”


Nina Utashiro 认为自身的多民族身份会带来一些优势,甚至会带来一些人们会对她身份的好奇心。Nina 在二十一岁搬回了东京,她的作品和造型常常遭到人们异样的眼光,“人们会觉得我是一个喜欢滥交的人。在这里经常会有很多女德之类的东西存在,”她说。Nina 的造型极具性感并且不加掩饰,直接朝着日本女性角色的传统发起冲击。但这政治无关,她完全出于自己的想法和感觉。“老实说,我有点自私。我并不想改变任何人的观点。当然如果别人和我做了同样的事,那也是可爱的。”

归根结底,Nina 不在乎任何人对她的看法。“视频中我会更考虑到我的观众,但这并不是说为他们准备一切,一切的出发点还是我自己。因为我想把我内心的事物表达出来。我尊敬那些按照自己意愿活着的人,关心那些做自己真正喜欢的事情的人。”

Like our stories? Follow us on Facebook and Instagram.

 

Website: ninautashiro.com
Instagram
@ninautashiro
YouTube: ~/thirteen13

 

Contributor: Mike Steyels
Photographer: Riku Yamashita
Chinese Translation: Pete Zhang


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Website: ninautashiro.com
Instagram
@ninautashiro
YouTube: ~/thirteen13

 

供稿人: Mike Steyels
摄影师: Riku Yamashita
英译中: Pete Zhang

You Might Also Like你可能会喜欢

Fishing for a Future 一切现状,是我们造成的

February 10, 2020 2020年2月10日
Sea Escape (2018) 231 x 365 cm / oil on canvas 《Sea Escape》(2018) 231 x 365 厘米 / 布面油画

Vibrant colors jostle for attention as overgrown weeds, plastic garbage, and fishermen vie for space in the hectic, discordant compositions of Ronson Culibrina. These oil paintings depict the Filipino artist‘s lakeside hometown, which has been heavily impacted by pollution and overuse.


在一片纷乱的色彩中,杂草丛生,垃圾遍地,渔民们与这片乱象竞相生存,种种不和谐构成了 Ronson Culibrina 的作品。这些油画描绘了他的家乡菲律宾,由于污染和过度开发,那里的风景正在消亡。

Mainland Quest (2018) 122 x 152 cm / oil on canvas 《Mainland Quest》(2018) 122 x 152 厘米 / 布面油画
Vain Aquatic Capital (2018) 122 x 152 cm / oil on canvas 《Vain Aquatic Capital》(2018) 122 x 152 厘米 / 布面油画

Culibrina grew up on an island in Laguna de Baý, a lake east of Metro Manila where a third of the megalopolis’ fish is sourced from. The town primarily earned its livelihood through fishing and trading, but over the years, industrial and agricultural runoff and plastic pollution have choked the waters. In addition, the onset of climate change has brought up droughts that have sped up the growth of algae bloom, which have made the water harmful for humans and animals.

In Culibrina’s paintings, dense clusters of water hyacinths are tangled with piles of bright plastics and fishing wire. Fisherfolks, children, and clean-up crews are shown amidst the colorful chaos. These scenes draw attention to real-life issues faced by his lakeside community and ask viewers to consider the consequences of inaction.


Ronson 在拉古纳德湾的一个岛上长大——作为马尼拉城三分之一的鱼类来源,这个岛镇一向以来主要通过捕鱼和贸易谋生。但随着时间的推移,工农业废水和塑料污染阻滞了这片水域。此外,全球气候变暖导致区域性缺水情况的出现,这也加速了有害海藻的繁衍。

在 Ronson 的画中,密集的水葫芦簇拥着成堆的塑料亮片和钓鱼线。纷乱的景象中,混杂着渔民、孩子和清洁工。这些画面引起了人们对社区现实问题的关注,并呼吁观者思虑不作为的后果。

Sa Palangnoy 1 (2019) 61 x 86 cm / oil on canvas 《Sa Palangnoy 1》(2019) 61 x 86 厘米 / 布面油画
Sa Palangnoy 2 (2019) 61 x 86 cm / oil on canvas 《Sa Palangnoy 2》(2019) 61 x 86 厘米 / 布面油画
Daungan (2019) 61 x 76 cm / oil on canvas 《Daungan》(2019) 61 x 76 厘米 / 布面油画
Sa Pritil (2019) 61 x 76 cm / oil on canvas 《Sa Pritil》(2019) 61 x 76 厘米 / 布面油画

The situation has become so bad that even boats have a hard time navigating through the polluted waters; fish have also become much more difficult to catch and raise. Many locals have left in search of a better life elsewhere, but not everyone is fortunate enough to do so.

In Culibrina’s recent exhibition, Maselang Bahaghari, he highlights the plight of those who are unable to leave by depicting fishing nets covering vast, negative spaces. “It’s an infinite texture, a device of entrapment, just like the current condition of the locals in our island, many are imprisoned and unable to move forward,” he says.


在这片水域,情况已糟糕到甚至船只都很难航行;而捕鱼业也更加难以捕捞和饲养鱼类。许多当地人已经离开,到别处寻找更好的生活,但不是每个人都足够幸运能这样做。

在 Ronson 近期的展览《Maselang Bahaghari》,他用了渔网填满了作品上通常会留白的空间,象征了那些无法离开当地的人们的困境。“这是一种可以无限延展的纹理,它是一种诱捕装置,就像我们岛上当地人的现状一样,许多人被禁锢于此,无法前进。”他说道。

Palaot 1 (2019) 61 x 76 cm / oil on canvas 《Palaot 1》(2019) 61 x 76 厘米 / 布面油画
Daungan 2 (2019) 61 x 76 cm / oil on canvas 《Daungan 2》(2019) 61 x 76 厘米 / 布面油画

The pandemonium of Culibrina’s work is symbolic in itself. “The composition is often a reflection and representation of the tension that has built up between the locals, immigrants, and nature,” he says, referring to climate migrants, which has become an increasingly common phenomenon in the Philippines due to an increase in storm activity. “It’s also a general interpretation of how all of us individuals struggle. Whether at work, as a family, or the environment we’re in.”


Ronson 作品中呈现的混乱本身就带着象征意义。“我的构图往往反映了当地人、移民和自然之间的紧张关系。”对此,他指的是日益普遍的环境移民问题。“无论在工作中,家庭中,还是我们所处的环境中,这种描绘也是对我们每个人如何挣扎的普遍性诠释。”

Salva Vida (2018) 231 x 365 cm / oil on canvas 《Salva Vida》(2018) 231 x 365 厘米 / 布面油画
Littoral Zone (2018) 152 x 152 cm / oil on canvas 《Littoral Zone》(2018) 152 x 152 厘米 / 布面油画
Sea of Change (2018) 152 x 152 cm / oil on canvas 《Sea of Change》(2018) 152 x 152 厘米 / 布面油画
Above Sea Level 2 (2018) 152 x 213 cm / oil on canvas 《Above Sea Level 2》(2018) 152 x 213 厘米 / 布面油画

While Culibrina’s art is based on local environmental issues, he hopes for his work to be viewable in a universal context: “We all have a responsibility to the planet we live in. My works are about the current state of our environment as a whole, not just my hometown.”


虽然 Ronson 的艺术是基于当地环境问题而创作的,但他希望他的作品能呈现更多的普世意义:“我们都对我们所居住的星球负有责任。我的作品是关于我们整个环境的现状,而不仅仅是我的家乡。”

Like our stories? Follow us on Facebook and Instagram.

 

Website: www.ronsonculibrina.com
Instagram
: @ronsonculibrina

 

Contributor: Mike Steyels
Chinese Translation: Chen Yuan


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Website: www.ronsonculibrina.com
Instagram
: @ronsonculibrina

 

供稿人: Mike Steyels
中译英: Chen Yuan

You Might Also Like你可能会喜欢

Peaches & Cream 悠长假期

February 7, 2020 2020年2月7日

The world of Felicia Chiao radiates with the warmth and glow of a dusk sun. Her illustrations capture the comfort of a lazy day off alone, often featuring a peach-colored person with an oversized head lounging about at home. “The bald character who shows up the most is basically my version of a very fleshed out stick figure,” she laughs, explaining that she prefers leaving him without any distinctive characteristics. “Once you add hair or clothes, it has to be someone and I don’t like that. I get a lot of people asking what gender it is and I don’t know why that’s important.”


Felicia Chiao 的插画世界满溢着夕阳的温暖和光芒。在作品中,她捕捉了一个人独自度过慵懒假期的舒适感。她他画面中最常画的是一个桃色大头人,在家里舒服呆着的画面。她笑着说:“画面中出现最多的光头人,可以说就是用简笔画画的我自己。”Felicia 说自己不想为这个大头人加上任何鲜明的特征,因为,“一旦加了头发或衣服,就变成特定的人物,我不喜欢那样。有很多人问我它是什么性别,但我觉得那根本不重要。”

While Chiao’s work frequently depicts homely settings, she often treads into the bounds of fantasy and makebelieve as well, creating surreal compositions that beckon viewers to explore the dense frame and discover all of its hidden secrets. The Easter eggs of her work often reference her Asian heritage: Chinese zodiac animals, lucky cats, koi fish, and more make frequent appearances.

After moving to the US from Taiwan, Chiao lived in Texas, where she spent most of her childhood. “There was an absurdly high Asian population in my part of Texas, so I didn’t think about ‘being Asian’ until I left for college,” she says. “My work depicts an Asian-American viewpoint but I’m not really doing it intentionally. It’s just who I am.”


Felicia 的作品常以家为背景,但也会描绘幻想和虚构的世界。通过超现实主义的画作,吸引观众进入错综复杂的画中去探索,发现其中隐藏的秘密。她作品中的“彩蛋”常常是一些亚洲文化元素:中国的十二生肖动物、招财猫、锦鲤等等。

从台湾移居美国后,Felicia 在得克萨斯州度过了大半童年时光。“在我生活的得克萨斯州亚裔很多,所以在我去上大学之前,我都不会特别去想‘亚裔’这个身份。我的作品描绘的是美籍亚裔的观点,但我其实没有刻意这样做,我只是在展示我自己。”

Chiao creates everything with ink and Copic marker on brown paper, which is what loans the work its unique texture. The inherent warm tones of the medium paired with her cute illustration imbue her work a reassuring sense of calm and comfort. But this coziness is tempered by a darkness nibbling at the edges, usually depicted as a shadowy, shape-shifting form.


Felicia 几乎所有作品都是用墨水和 Copic 马克笔在牛皮纸上创作而成,因而她的作品得以有一种独特的质感。这种纸特有的温暖色调与她可爱的插图相结合,营造出了令人安心的平静和舒适感。但这种感受为边缘处的黑暗形象所吞噬了,那一片黑色的阴影在图中会呈现出各不相同的形态。

The mischievous blob of darkness was originally a visual representation of her digestion issues, which were often brought on by stress. “Initially it was drawn inside the body of characters as a stomach,” she says. “But my mom thought it was a cat, which I thought was funny, so now I just put it in random places.”

The blob has grown to symbolize negative feelings in general, but Chiao stresses that her work isn’t meant to be taken very seriously. She says that while her work does help her emotionally, it’s not as deep as many people tend to think.


Felicia 最初画这个黑色形象,是想用来代表自己因为压力产生的消化不良。她说:起初它是作为胃的象征,画在大头人的肚子里。但是我妈妈却以为这是一只猫,我觉得还挺有趣的,所以现在就把它画到不同的位置上。

这个人物渐渐成为了代表负面情绪的意象,但 Felicia 强调,自己的作品没有什么严肃的主题。她表示,虽然作品确实能改善她的心情,但并不像许多人想的那么深刻。

As her art has grown in popularity, Chiao has started receiving more messages from people about how it has impacted them. “I get very long, intense messages from people,” she says. “And I’m glad, but also a little surprised. If it can help others, that’s great. But I’m not going to pretend I’ve got my life figured out enough to help others.”


随着作品越来越受欢迎,Felicia 开始收到越来越多的留言与私信,讲述她的作品对自己的影响。她说:我收到过一些很长、很热情的信息。我高兴之余,也有些意外。能帮到别人,自然是好事。但我不会假装自己已经顿悟到可以帮助他人的地步。

Like our stories? Follow us on Facebook and Instagram.

 

Instagram: @feliciachiao
Behance: ~/feliciachiao
Tumblr: feliciachiao.tumblr.com

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Instagram: @feliciachiao
Behance: ~/feliciachiao
Tumblr: feliciachiao.tumblr.com

 

供稿人: Mike Steyels
中译英: Olivia Li

INFERNO 你不知道的红灯区

February 4, 2020 2020年2月4日

Bondage slaves, drag queens, and vibrant neons: the paintings of James Jirat Patradoon‘s INFERNO transplants the red-light district into the gallery with a comic-book aesthetic. Bulging male muscles and ballooning breasts are squeezed into leather and latex, Chinese type and luxury brand names sit alongside each other, and latticed borders that call to mind the intricate designs of Chinese-style windows frame the entire composition. These works are intentionally loud and exaggerated, designed to draw parallels between distant cultures.


如果要形容起 James Pirat Patradoon 的绘画系列《INFERNO》,那一定可以这样总结——充满着捆绑奴役、变装皇后和充满活力的霓虹色彩。将红灯区的景象凝成漫画风格搬到画廊展墙之上:肌肉彪悍的猛男、穿着紧身皮革和乳胶衣的性感美女,汉字和奢侈品牌交相辉映,而格纹边框则让人联想到错综复杂的中式窗户,将整个构图融入其中。这些作品刻意而为的抢眼、夸张风格,旨在将不同的文化相联系。

“I spend a bit too much time in strip clubs,” Patradoon laughs. “I find them fascinating. Performers occupy this space where the audience only experiences them as a fiction. The drag queens here in Bangkok are like real buff dudes in regular life. When they perform, they’re like superheroes with a fictional identity.” His art draws on this type of contrast, pulling it to extremes until it becomes something else.


我好像太常去脱衣舞厅。” James Pirat Patradoon 笑着说,我觉得那里很有意思。表演者是整个空间的主角,为观众提供一种虚幻的体验。曼谷的变装皇后在平日里都是很健壮的男人,但当他们在舞台表演时,就像变成了一个个有虚构身份的超级英雄。他的作品借鉴了这种对比,通过极端的演绎,呈现出别样的景象。

Patradoon is Chinese and Thai but grew up in Australia. He’d been based in Sydney until last year when he had the chance to move to Bangkok. With his illustration career at a standstill and the local art scene feeling stagnant, he jumped at the opportunity. “Friends would ask me if Thailand’s nightlife is really as crazy as its reputation, and I couldn’t answer back then,” he says. “It definitely hasn’t disappointed.”

Since moving there, he’s immersed himself in the city’s nightlife, making friends with punk rockers, embedding himself in the local electronic music scene, and getting to know the city’s queer community. Bangkok’s LGBTQ culture especially has had the most impact on him. “Nightlife has been my interest since before I moved and these paintings were based on ideas from before I came, but the energy here motivated me to work and made things much clearer in my mind,” Patradoon says. “You have to experience this stuff first hand and in person. It’s just not the same online.”

INFERNO, which debuted at Superchief Gallery in Los Angeles late last year, is the culmination of his nocturnal escapades in Bangkok. For this series, he began without clear intent, digitally sketching his stream of consciousness. These illustrations were then combined to form his visually dense compositions. The final step was to then paint the finished work on canvas.


James Pirat Patradoon 是中泰混血,但自小在澳大利亚长大。一直生活在悉尼的他,直到去年搬到曼谷。当时正值他插画创作的瓶颈期,加上当地的艺术场景的停滞不前,于是,他选择了搬离。“有朋友会问我,泰国的夜生活是不是像传闻的那样声色犬马,我当时还不知道怎么回答呢。但肯定不会让人失望。” 他说道。

自从搬到曼谷,他就沉浸在这座城市的夜生活,结识朋克歌手,进入当地的电子音乐圈,并接触了这里的酷儿社区。其中曼谷的 LGBTQ 文化对他的影响最大。“在搬到曼谷之前,我就一直很喜欢夜生活,这些画是我根据以前的想法创作的,但这里的能量让我有了创作的欲望,也让我有了更清晰的创作理念。”James Pirat Patradoon 说,“你必须要去亲身体验。这跟网络上的是不一样的。”

《INFERNO》系列于去年年底在洛杉矶的 Superchief 画廊首次亮相,是他对曼谷夜生活的写照。这个系列开始时并没有明确的初衷,James Pirat Patradoon 只是用电脑描画出脑海的想法,然后将这些插图合并成在视觉上复杂紧凑的作品,最后在画布上完成画作。

Life in Thailand has actually made Patradoon identify more as a Westerner and more as an Australian. In Sydney, he always felt out of place because of racism. But in Bangkok, although he’s surrounded by other Thais, he still feels like an outsider. “All I have to do is open my mouth, and it’s obvious I’m an ‘other,'” he says. “But it’s to my advantage because I can ask questions about anything since they’re more forgiving with me as an outsider.”


在泰国生活实际上让 James Pirat Patradoon 更强烈地感觉到自己作为西方人,作为澳大利亚人的身份。在悉尼,因为当地的种族歧视,他总是觉得格格不入。但在曼谷,虽然他身边都是与他相同国籍的泰国人,但他仍觉得自己身在局外。“我只要一说话,就很明显是个‘外国人’。”他说,“但这也是我的优势,因为我可以问任何问题,毕竟他们对外国人比较宽容。”

“These reflections on race and identity have also led him to explore issues of gender and sexuality.  He’s straight, but in Bangkok he’s often perceived as gay. It’s a challenge he hadn’t encountered very often before. “I don’t have a problem with it, but in the West, you don’t necessarily have to label yourself and can live in a grey area if you want,” he says. That freedom is a foundation of Patradoon’s work, mixing everything together without really trying to define it. “It’s not necessarily about being one or another, but that a lot can be true at the same time.”


这些关于种族和身份的思考也促使他去探索性别和性取向的问题。他是直男,但在曼谷他常被以为是同性恋,这是他以前很少遇到过的问题。他说:“我其实不介意,但在欧美国家,你不一定要给自己贴上标签,如果你愿意,也可以选择留在灰色地带。”这种自由是 James Pirat Patradoon 创作的基础,将各种元素融合在一起,又不需要去做任何定义。“世事不一定是非此即彼,有很多东西是可以同时并存的。”

Like our stories? Follow us on Facebook and Instagram.

 

Website: www.jirat.jp
Instagram: @jamesjirat

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Website: www.jirat.jp
Instagram: @jamesjirat

 

供稿人: Mike Steyels
中译英: Olivia Li

You Might Also Like你可能会喜欢

Sugarcoated Darkness 救救她们!

February 2, 2020 2020年2月2日

The clay sculptures of Naomi Mendoza at first glance appear fragile and traditionally feminine. She creates pieces of fine china, flowers, and candy—delicate items to be treated with care, painted in soft colors like pinks and baby blues. Upon closer inspection, an edgier side reveals itself, filled with trauma, anger, and desire. Hands reach out for help as if from a drowning body. Messages like “help me” are written discreetly across the surface. These cheery little clay figures clearly come from a very dark place.


乍看之下,Naomi Mendoza 泥塑作品精致得有点脆弱,带着一股传统女性的柔弱气息。她创作的精美的瓷器、鲜花、糖果,各种精致的小玩意,涂上粉色和淡蓝色这些柔和的色彩,让人想要小心呵护。但走近细看,这些泥塑作品又显露出其不安的一面,似在诉说创伤、愤怒和欲望。那些伸出的双手仿佛是溺水的人在求救,“help me”(救救我)几个字写满了雕塑表面。这些外表活泼可爱的小泥塑,显然背负着沉重的创作理念。

Mendoza grew up in Quezon City, near an art district filled with galleries and shops. Her parents were artists, yet their strict Catholicism meant Mendoza had a sheltered childhood: she wasn’t allowed to explore the city alone or freely pursue her artistic interests. “I liked to draw anatomy, but I never would have been able to freely show off an image of a vagina like I do now,” she says with a laugh. Only when she went to college did she meet other artists and discover the gallery scene in Metro Manila. “I’m very competitive, so it was great being surrounded by artists. I got so much better than I ever would have without it.”

Her first professional experience with sculptures came from a student job making customized bobblehead figurines. “The job was so boring,” she says. “But it helped me develop my skills. I used their process and materials for my own ideas.”


Naomi 从小在菲律宾的奎松城长大,生活在一个画廊和商店林立的艺术区。她的父母都是艺术家,但他们都是严格的天主教徒,所以从不让 Naomi 一个人去城市外面,也不让她自由地培养自己的艺术兴趣。“我喜欢画人体解剖图,但我永远都不可能像现在这样,能够自由地展示我画的阴道图像。”她笑着说道。直到上了大学,她才有机会认识其他艺术家,真正去探索马尼拉的艺术圈子。“我好胜心很强,所以能和那么多艺术家一样,我觉得特别棒,如果不是这样,我也不可能像现在进步这么大。”

她第一次认真做雕塑源自她学生时的一份兼职,当时她要帮忙制作各种定制的摇头玩偶。“这份工作很无聊。”她说,“但它帮助我提升了自己的技术。我可以按照他们的工艺,用他们的材料来创作我自己的想法。”

Mendoza now works in her bedroom, sitting on a plush rug on the floor, kneading and molding the pieces by hand. She uses a toothpick-shaped bamboo stick to carve small details and paints the pieces with a makeup kit. Then she bakes them in a mini-oven and adds a matte gloss. She works without thinking too much in advance, molding a collection of shapes until an idea comes to her. “It’s very therapeutic,” she says of the process. Although the work is intuitive and she doesn’t set out to create dark or sexual sculptures, her work is an expression of her feelings. Vaginas peek discreetly out of pink flower petals, hiding in plain sight. What appears to be popsicles have cactus-like spines.


现在,Naomi 就在自己的卧室里创作,坐在地板的毛绒地毯上,用手揉捏和按压出一件件泥塑作品。她先用一根牙签状的竹子来雕刻细节,再用化妆刷来上色。然后,把泥塑放到一个小烤箱内烤制,以增加表面的哑光亮泽。她在创作前不会考虑太多,一般都是先雕刻出一个个泥塑,然后才突然有了想法。她说:“这个过程特别能让我放松。”她全凭直觉来创作,一开始也没打算创作黑暗风格或性有关的雕塑作品,尽管如此,她的作品却呈现了她的内心所感。阴道藏匿于粉红花瓣中,像是在众目睽睽下试图躲藏;看似是冰棍的作品,又布满仙人掌那样的尖刺。

These elements in Mendoza’s work are signs of trauma. As she explains, she’s had to leave home due to her father’s physical abuse. Her uncles stepped in to help pay for school, but the trauma is still with her. “I’m very shy, but I definitely have an aggressive side. People who know me personally easily recognize that part of me in my work.”


这些作品的细节部分透露出 Naomi 创伤的痕迹。她说因为父亲的家暴,她不得不离家而去。她的叔叔帮她支付了学费,但这种创伤的阴影挥之不去。“我很害羞,但我也有大胆的一面。认识我的人看到我的作品就能看出这一点来。”

Learning to freely express oneself after years of tamping down desires and feelings takes time, and for many people, visual art is a valuable nonverbal outlet. For Mendoza, it’s a way to give difficult feelings a physical form. The size of her sculptures forces viewers to look closely and think about what it might mean. “I actually love creating very small works, because people have to get up close to really get a look,” she says. “It’s much more personal that way.”


经历多年压抑欲望和感觉之后,要学会自由表达自己是需要时间的。对于许多人来说,视觉艺术是一种珍贵的非语言输出,而对于 Naomi 来说,这让她得以通过有形的物品来表达心中的痛苦。精致的雕塑尺寸,使观众不得不仔细观察,思考其中的含义。她说:“我很喜欢创作小巧的作品,因为这样观众在看的时候就要走得特别近,让这个过程变得更私人。”

Like our stories? Follow us on Facebook and Instagram.

 

Instagram: @naomiwmeow

 

Contributor: Mike Steyels
Photographer: Jilson Tiu
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Instagram@naomiwmeow

 

供稿人: Mike Steyels
摄影师: Jilson Tiu
英译中: Olivia Li

You Might Also Like你可能会喜欢

Dead Nature “死去的自然”

January 29, 2020 2020年1月29日

A still life painting doesn’t have to be motionless. The oil paintings of Shannah Orencio are calm and meditative but there’s still a sense of movement in them. Boxes of dried flowers lie in piles, forming intricate patterns and a layered sense of depth. While the flowers are dead, their beauty and life are suspended in timelessness.


谁说静物画一定是静止沉闷的?Shannah Orencio 的油画作品平静而深沉,但仍有一种活力。成叠的干花、复杂的图案和富有层次的深度。花已然枯萎,可它们的美和生命悬于永恒。

These studies in decay—literally images of “dead nature,” as still lifes are known in many other languages—prompt people to question why they dispose of things so quickly. “I want to show that flowers can still be beautiful after they dry out. I don’t understand why people just throw them away,” says Orencio. Her paintings are also memorials to friends and loved ones. “Some of the flowers I paint are gifts from close friends, so I get to remember them while I’m painting. Some of the flowers also remind me of people I care about that passed away recently and are a tribute to them.”


这些对“衰败”主题的思考——它们是实实在在的“静物肖像”(直译为“死去的自然”),就像“静物”在许多其他语言中被熟知的那样——促使人们质疑为什么大家这么快就把它弃之不顾。“我想告诉大家,花干了之后依然可以是美丽的存在。我不明白为什么人们把它们扔掉。” Shannah 说。她的画也是对朋友和亲人的纪念。“我画的一些花是好朋友送的礼物,所以在画画的时候会想起那些朋友。有些花也让我想起了最近去世的我在乎的人,亦是对他们的致敬。”

As the daughter of the well-known painter Jim Orencio and goddaughter to Joven Cuanang, owner of the highly-respected Pinto Museum just outside Metro Manila, she’s art royalty. Her dad bought her lots of sketchbooks and crayons and pencils but never pushed her toward art. “He took me to exhibits and stuff when I was young, but he pretty much let me do my own thing,” she recalls.


她是著名画家 Jim Orencio 的女儿,也是大马尼拉城外备受尊敬的平托博物馆(Pinto Museum)主人 Joven Cuanang 的教女。她爸爸给她买了很多素描本、蜡笔和铅笔,但那从来没有引她走向艺术。“我小的时候,爸爸会带我去看展览什么的,但他几乎都让我做自己的事情。”她回忆说。

Despite that pedigree, Orencio wouldn’t take painting seriously until college, where she learned how to use oil paints in her second year. “I still remember that first time I put the brush to canvas, and the smell of the cheap linseed oil and turpentine.”

One year during holidays, she grabbed a spare canvas from her dad and decided to practice painting Filipiniana, a colonial-era style of art focused on portraits of Filipinas wearing traditional Filipiniana dresses. And although she only finished the face, her take on the traditional style impressed Cuanang. He asked her to finish it and bought it. “It was my second year in college, the first time I ever got paid for something,” she recalls. “It created a domino effect that got me into painting.” Other collectors saw her work hung in Cuanang’s home and commissioned more from her, so she started freelancing on the side while still in school.


尽管是艺术世家,但 Shannah 直到大学才开始认真学习绘画,在大学的第二年她学会了如何使用油画颜料。“我还记得我第一次把画笔放在画布上,还有廉价亚麻油和松节油的味道。”

有一年假期,她从父亲那里拿了一块备用的画布,决定练习“菲律宾人像画”,这是一种殖民时期的艺术风格,专注于当地人穿着传统菲律宾服装的肖像画。虽然她只做完了人脸的部分,但她独特的风格让 Joven Cuanang 深深折服,他让她继续画完全部,然后出资买下了它。“那是我大学的第二年,也是我第一次获得报酬。”她回忆道。“它创造了多米诺效应,让我开始画画。”其他收藏家看到她的作品挂在 Joven Cuanang 的家里之后,开始委托她做更多的作品,所以 Shannah 在上学的时候就开始兼职了。

Orencio has worked in a variety of art styles so far. She painted Filipinianas for a while, incorporating flowers and vintage-style backgrounds. But then her work moved into an unexpected direction: her canvases began to fill up with images of black-and-white garbage bags. These works were the culmination of her concern with today’s environmental issues, and her approach to composition and shapes during this time formed the groundwork for the floral art she creates now.


迄今为止,Shannah 已经尝试过多种艺术风格。她画了一段时间的“菲律宾人像画”,融合了鲜花和复古风格的背景。但后来她的作品进入了一个意想不到的方向:她的画布上开始堆满了黑白垃圾袋的图片。那些作品是她对当今环境问题关注的顶峰时期,在那段时间里,她对构图和形状的处理为她现在创造的花卉艺术奠定了基础。

Considering the constant evolution of Orencio’s visual vocabulary, the connection between her work isn’t often immediately obvious, but everything is linked. For example, the garbage bag and flower series are both focused on the study of decay and ask viewers to reevaluate their relationship with waste. In her art, it’s common for concepts from one series to flow into the next. “As I paint, I’m always thinking about what’s next,” she says. “I like my work to tell a story over time. But I’m not opposed to following inspiration where it takes me either.”


随着 Shannah 视觉表达层面的不断演变,其作品之间的联系也变得日渐疏离,但实际上一切都相互关联。例如,垃圾袋和花卉系列都专注于“腐烂”,并要求观众重新评估他们与废弃物的关系。在她的艺术中,系列之间转变的概念很常见。“当我画画的时候,我总是在思考接下来会发生什么,”她说。“我喜欢我的作品随着时间的推移讲述一个故事。但我也不反对让灵感自由发展。”

Like our stories? Follow us on Facebook and Instagram.

 

Instagram@shannahorencio

 

Contributor: Mike Steyels
Photographer: Jilson Tiu

Chinese Translation: Chen Yuan 


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Instagram@shannahorencio

 

供稿人: Mike Steyels
摄影师: Jilson Tiu

中译英: Chen Yuan