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Memories of the Future 未来人做着什么样的梦?

April 1, 2019 2019年4月1日

 

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With the whirlwind pace of technological advancements, some ideas that seemed ludicrous not long ago are now within the realm of possibility. Future Cities is one such idea. Masterminded by Cody Ellingham of DERIVE (whose photo series Danchi Dreams and Painting the Town Red we’ve featured in the past), the ambitious project combines the talents of 3D artist Ruben Frosali, sound designer SJF, and Ellingham himself. The result of the collaboration is a cutting-edge art exhibition based on photogrammetry, a method of measuring distance between objects on static images. Using these calculations, they’ve developed a way for 2D stills to be experienced in an interactive format.


随着科技不断进步发展,以往一些看似荒谬可笑的想法在不久后的未来也有可能成为现实。《未来城市》(Future Cities)正是一个例子。这个艺术项目由 DERIVE 的摄影师 Cody Ellingham 所策划,又在此基础上融入了 3D 艺术家 Ruben Frosali 和音效设计师 SJF 各自的创作才华(其中摄影师 Cody 的过往作品报导可参看链接:《Danchi Dreams》和《Painting the Town Red》),利用摄影测量术打造了一个高科技的前卫展览。摄影测量术是一种测量静态照片上不同物体之间距离的方法。通过测算,他们成功创造出一种能让人在静态二维空间实现人景交互的体验。

Future Cities began with the team making 3D scans of different locations across Tokyo. The scanned images were then digitally altered by Frosali and paired with moody soundtracks from SJF to create the series of immersive dream sequences. Streaking beams of light and disintegrating pixels transformed familiar locales like Kabukicho and Akihabara into otherworldly settings that only bear a vague resemblance to their real-life counterparts.

“We did not want to simply guess at what a generic sci-fi future might look like,” Ellingham explains. “Instead, we wondered what someone from the future would be dreaming of, and we came to the conclusion that it might be memories of a distant past: our present day, combined with their own future.”

At the two-day show in Tokyo, audience members were handed controllers, allowing them to wander through these fragmented memories of the future and become lucid participants in someone else’s dream.


这个项目首先从东京各地进行 3D 扫描开始,然后由 Ruben Frosali 进行后置处理,再与来自 SJF 空灵的配乐相结合,以打造一系列沉浸式的梦中画面。人们熟悉的场景如歌舞伎町和秋叶原,在四溢的光束和液化的结构映衬下,幻化成一场超脱尘世的的梦境,而这些场景和他们的真实外表只相形大概。

“我们并不想仅仅猜测一个普通的科幻未来会是什么样子。相反,我们想知道来自未来的人会梦想些什么。” Cody Ellingham 解释道,“我们最后得出的结论是,也许会是关于遥远过去的回忆吧。”

在东京的为期两天的展览上,观众可以使用控制器去探索这些梦中场景,得以在这些支离破碎的未来记忆中漫步,成为他人之梦的参与者。

The second edition of Future Cities will debut in Taipei, Taiwan on April 20th. Similar to the first show, the Taipei exhibition will feature brand new settings based on real locations in the exhibiting city. Click here for event details.


第二届《未来城市》将于 4 月 20 日在台北亮相。与第一届展览类似,台北场展览也将基于全新拍摄的当地实景来创作。点击此处可了解更多展览的详细信息。

Website: derive.tokyo
Facebook: ~/derive.tokyo

 

Contributor: David Yen
Chinese Translation: Olivia Li
Images & Video Courtesy of DERIVE


网站: derive.tokyo
脸书: ~/derive.tokyo

 

供稿人: David Yen
英译中: Olivia Li
图片与视频由 DERIVE 提供

Turning the Tables 本地人/异乡人?

March 18, 2019 2019年3月18日

On a blistering Sunday afternoon, the staccato beats of Jersey club are kneaded together with the flashy textures of Congolese soukous inside Elevator, one of Shanghai’s most popular—but now defunct—electronic dance venues. A group of young women is huddled behind two DJ mixers on opposite sides of the room instead of on the dance floor.

Started in March 2018, NÜ SHÙ (女术) is a Shanghai-based non-profit DJ collective that teaches women, femme-identified queers, or non-binary individuals with or without musical experience. In addition to Elevator, NÜ SHÙ has also hosted club nights and free workshops at DADA Shanghai, ALL Club, and Daliah. Their curricula range from lectures to technical equipment introductions to practical workshops where participants can bring their own flash drives of .mp3s to practice on CDJs. Prominent Shanghai-based female DJs including MIIIA, DIFAN, JI NA, and the 16-year-old Gouachi have been invited to share their expertise as guest instructors.


一个酷热的星期天下午,揉杂着 Jersey club 断续的节奏与 Congolese soukous 的华丽音效,上海曾最受欢迎的地下电子舞场之一:Elevator 里放着这样的音乐——但现在它却早已关门了。一群年轻女子却并没有挤在舞池里,而是站在两个 DJ 的混音器后面。

NÜ SHÙ 女术”于 2018 年 3 月成立组合,是一个总部位于上海的非盈利性 DJ 集体:她们教授女性和非二元性别的酷儿人群,无论有没有音乐经验皆可。除 Elevator 外,“女术”还在上海 DADA、ALL 和 Daliah 举办俱乐部之夜和免费工作坊活动。他们的课程包括讲座、技术设备介绍、实用研讨会等,在那里,学员们可以携带自己的储存设备来播放 mp3 文件,以练习 CDJs。上海著名的 DJ 们,包括 MIIIA,DIFAN,JI NA,以及年仅 16 岁的 Gouachi 都被邀请来分享他们作为客座导师的专业知识。

The trio running the collective—DJs Asian Eyez, Amber Akilla, and Daliahfind it difficult to pinpoint an exact moment when NÜ SHÙ was conceived. Having all been connected either as housemates or via shared social spheres, the three DJs had common projects and focuses that made the workshop an obvious collaboration. “There’s just like this spirit and energy of women artists that I love to support,” says Asian Eyez. “Why shouldn’t we put together our connections and create something new? This workshop is another step for me—really focusing and reaching out to these girls—this makes me happy.”

Each of the founders brings their own unique sets of skills and connections to the project, pulling together everyone’s resources to fill in any gaps. On top of the founder themselves, NÜ SHÙ also collaborates with friends who are DJs, designers, and photographers to work together across different creative disciplines and create a bigger, self-sustaining organization. “I don’t really see myself as a talker or teacher, and that’s why I like to express myself in putting these kinds of events together,” says Asian Eyez. “I already have contacts when it comes to venues, DJs, and the teachers we need. As long as I’m in this industry, why shouldn’t I support all these women, when I have the ability to?”

“We meet a lot of girls, queer, and non-binary people who just don’t even know where to begin when it comes to DJing,” says Amber Akilla. “They love music but don’t know where to start. I think that just being able to create a space where people feel comfortable to learn new things, share ideas, and meet people is important. That’s more of what we’re trying to create, rather than create DJs.”


小组的三位成员 DJ Asian EyezAmber AkillaDaliah 已经记不清是什么时候有了成立“女术”的想法。三人当初因为共同的社交圈子和作为室友相识,曾一起做过项目,加上相似的理念,最终一起成立了“女术”工作坊。“我一直很希望能支持女性艺术家的精神和能量。”Asian Eye说道,“那为什么我们不结合起来,一起进行新的创作?这个工作坊对我来说是迈出了新的一步——真正去关注和接触这些女性艺术家,这让我感到特别开心。”

作为创始人,她们分别为这个项目带来自己的专长和人脉,将大家的资源整合在一起,互补长短。除了创始人之外,“女术”也会与她们的 DJ、设计师和摄影师朋友合作,让跨越不同创意领域的人走在一起,共同创造出一个更大的、自我维持的组织。“我不觉得自己是演讲家或教师,但是正因如此,我喜欢通过组织这些活动来表达自己。”Asian Eyez 说,“我有场地资源,也有认识的 DJ 和老师。既然我身处这个行业,为什么不趁我有能力的时候去支持一下这个行业里的女性呢?”

Amber Akilla 说:“我们遇到过很多女性,还有 LGBTQI 群体(即同性恋、双性恋、跨性别者、酷儿和无性恋者),他们都不了解怎样才能成为 DJ。他们喜欢音乐,但不知道要从哪里开始。我觉得如果能够创造一个自在的空间,让大家去学习新的东西、分享观点与认识朋友,这样做很必要。所以,事实上,与其说我们在努力培养 DJ,还不如说是想打造这样一个空间。”

From left to right: Asian Eyez, Daliah, and Amber Akilla / 左到右: Asian Eyez, Daliah, and Amber Akilla

NÜ SHÙ is not the first organization of its kind. It follows a longer history paved by the ideas and work of their predecessors, including Discwoman in New York, SIREN in London, and North America-wide Intersessions. After attending an Intersessions workshop in Los Angeles back in 2016, Amber Akilla connected with that group’s co-founder Chippy Nonstop for advice on establishing a workshop structure, and eventually started NÜ SHÙ. As it and similar groups grow, the participants lift each other up, banding together to create a larger global community and support system for non-cis-male DJs.


“女术”并不是同类组织的首创。在它之前,已经有很多类似的组织,包括纽约的 Discwoman、伦敦的 SIREN 和北美地区的 Intersessions,在长时间的运作中,这些组织作出过许多的努力,也留下了很多想法。2016 年,Amber Akilla 参加了在洛杉矶举办的 Intersessions 工作坊。在开始“女术”之前,她也曾就工作坊组织结构的问题咨询过 Intersessions 的联合创始人 Chippy Nonstop 的意见。随着像“女术”这样的本地社团的发展,参与者可以相互扶持,联合起来创造一个属于非顺性男 DJ 的大型全球社团和支持组织。(注:顺性男即 Cis-male,指出生时生物性别是男性,自己也觉得自己是男性的人群。)

At NÜ SHÙ’s first club night, at DADA Shanghai in August 2018, Intersessions instructor Bambii headlined with support from Asian Eyez and Amber Akilla, NÜ SHÙ instructors JI NA and Gouachi, and an open deck at the beginning of the night reserved for NÜ SHÙ students to gain DJ experience in a live club setting. NÜ SHÙ’s roles as both a workshop and event organizer allow for a self-sustaining line of continuity and consistency within the community, in which opportunities for learning can directly link to opportunities for performing.

“When I was growing up, I always felt like it was a competition between women,” says Amber Akilla. “You have to be protective of your own space or whatever you’ve created for yourself because you’re always pitted against each other, especially in the industry. I feel like men have much more space to just create what they want even if what they’re doing already exists. It’s slowly changing through social media—you see more women and non-binary communities sharing and collaborating more.”


去年 8月,“女术”在上海 DADA 酒吧举办了第一次的活动。由 Intersessions 讲师 Bambii 带领,在 Asian Eye 和 Amber Akilla 的支持下,“女术”的 JI NA 和 Gouachi 担任主讲,在当晚让“女术”学员在俱乐部现场学习 DJ 经验。因为同时作为工作坊和活动组织者的角色,让“女术”在社区内实现了自我持续的连续性和一致性,在这种形式下,学习与表演的机会往往是连在一起的。

“在我成长的过程中,我总觉得女人之间充满了竞争。”Amber Akilla 说,“你必须时刻保护好自己的空间或任何你自己的创造,因为大家都像是在互有争斗,特别是在这个行业。但对男性来说,他们却似乎有更多的空间来自由创造,即便他们所创造的是一些已经存在的事物。而随着社交媒体的发展,这种情况慢慢地得到了改变——你可以看到越来越多的女性和跨性别人群在共享和协作。”

Although it’s found inspiration in Intersessions and Discwoman,  NÜ SHÙ is still localized and rooted in Shanghai—meaning that the steps, decisions, and priorities in community-building can look different. For each workshop, they invite two instructors to teach at opposite ends of the space, one in Mandarin and one in English. Contrasting against Discwoman’s explicitly political focus and speaking out against sexism, NÜ SHÙ has emphasized that rather than resisting gender structures, their priority is on learning and connecting through music.

“Our experiences as women mostly exist outside of China, so it’s really important to me, as a weird visitor who’s local but non-local, to not force any identity politics onto people here,” says Amber Akilla. “How gender inequality and feminist issues exist in China is just different from the West, and it’s not my place.”


虽然“女术”的创立灵感来自于 Intersessions 和 Discwoman,但它仍是一个扎根于上海的本地组织——这意味着团体的运作步骤、决策和在社区建设的优先级可能会有所不同。每次工作坊,“NÜ SHÙ 女术”都会邀请两名主讲,分别在空间的两端以普通话和英语授课。并且,与 Discwoman 针对性别歧视的鲜明政治立场和反对声音不同,“女术”是强调而不是抵制性别结构,其首要重点是学习,以及如何通过音乐把人们连接起来。

“作为女性,我们大部分的生活经验是在中国以外的地方,在这里,我们是‘奇怪的游客’,既是本地人也是异乡人,所以我们不想将自己的政治观点强加于这里的人们。”Amber Akilla 说,“中国的性别不平等和女权问题与其它西方国家的情况是不一样的。所以这里并不是我的主场。”

Moreover, the founders agree that gender inequality is not as embedded in China’s young and developing music scenes as it is in the US and Europe’s long history of club music. “I feel like for us in Shanghai, it’s much more welcoming for women—as a female DJ you’re not questioned as much here from my experience,” says Amber Akilla. “Even though the scene isn’t as ‘bro-y,’ we can say that most spaces are inclusive of men, and a lot of the time, women and minorities feel intimidated to start their own thing—so that’s why this project is femme-queer-focused. This is our trying to lead by example. You don’t have to try to get on lineups that are male-dominated, you can create your own line-up.”

Creating a space is step one of the continuous process that is “community”—sustaining a community is work that requires constant reflection and dialogue. Because of the founders’ personal experiences, NÜ SHÙ started out as a DJ workshop, yet they acknowledge the possibilities of expanding outside of Shanghai and trying other formats and skill sharing. They also want to take their time in figuring out the best way to develop and maintain the existing community.


此外,“女术”的创始人一致认为,在中国这个年轻和新兴的音乐领域,性别不平等并不像美国和欧洲这些有着悠久俱乐部历史的地方一样根深蒂固。Amber Akilla 说:“我觉得在上海,女性 DJ 会更受欢迎一些——从我自己的经验来看,女性 DJ 在这里受到的质疑会更少一些。虽然这个行业不能算是完全男性的天下,但我们可以说,大部分地方都是男性为主的,很多时候,女性就像少数群体一样,不敢去开始自己的事业——正因为这样,这个项目才会以女性 LGBT 群体为重点。我们想要通过行动告诉其他人,你不必试图在由男性占主导的世界里排队等候自己的机会,你完全可以创造出属于自己的天地。”

创建这样的空间只是打造“社区”的其中一步——要维持这样的社区,需要不断反思和对话。因为创始人的个人经验,“女术”最开始是作为一个 DJ 工作坊的形式存在的;但是,她们也表示,将来会有可能扩展到上海以外的地方,她们在尝试其他形式的技能分享活动,同时也在努力思考发展和维持现有社区的最佳途径。

Instagram: @nvshushanghai

 

Photographers & Contributors: Jasmine Lin, April Lin
Additional Images Courtesy of NÜ SHÙ
Chinese Translation: Olivia Li


Instagram: @nvshushanghai

 

摄影师与供稿人: Jasmine Lin, April Lin
附加图片由 NÜ SHÙ 提供
英译中: Olivia Li

Science of the Secondary 这一切,都从一颗苹果开始

March 8, 2019 2019年3月8日
Issue #9 "Plates" / 第九期 《盘子》

A methodical science experiment carried out by a team of expert researchers examining overlooked, everyday objects to understand their “secondary” functions—that’s the premise of Science of the Secondary, an experimental publication created by Atelier HOKO, a self-described “research lab” based in Singapore. Similar to the family-run publication Rubbish Famzine, the team consists of creative director Alvin Ho and art director Clara Koh, while a third member, their grade-school-aged son Lou, tries to help out but more often just gets in the way. They make the most headway on the project after he goes to bed, or when he stays over at his grandparents’ place. In fact, it’s often a mad dash to get any work done in their home office before the little rascal is raising hell again.


一场严谨的科学实验,一个专业的研究团队,针对日常生活中被我们忽略的平凡物件,进行一次天马行空的“次要”解读:这就是《Science of the Secondary》(次要科学),一本由新加坡独立工作室 Atelier HOKO 所创立的杂志。类似 《Rubbish Famzine》,这团队由创意总监 Alvin Ho 和艺术总监 Clara Koh 组成,还有一位学龄前的淘气成员 Lou,他喜欢帮忙,但结果总是不尽人意。所以只有在 Lou 睡着或是待在外公外婆家时,Alvin 和 Clara 才能在家里的工作室安心工作,而且必须要赶在“混乱”回来之前,迅速把工作完成。

Making of Issue #9 / 第九期的制作过程
Making of Issue #9 / 第九期的制作过程

As the magazine’s title indicates, every one of their experiments has two key elements: the “secondary” and the “scientific.” The former refers to the features and details of everyday objects that we interact with but don’t give much thought to. The “scientific” aspect refers to the duo’s systematic and goal-oriented approach in uncovering these stories. From the moment readers flip open Science of the Secondary, they have to keep an open mind and accept that they’re entering a world of unknowns.


在这场实验研究里,有两个关键点:“次要”和“科学”。所谓 “次要”,指的是我们在日常生活中与周遭环境事物互动的过程里,经常无意识忽略的细节与经验;而“科学”即是有目的、有计划、有系统地去探索一件事情。从打开《Science of the Secondary》的那一刻开始,你将进入一片未知的领域。

Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》
Issue #1 "Apple" / 第一期 《苹果》

It all began with an apple, which Ho and Koh decided would be the main subject of their inaugural issue. On the cover, a red specimen of the fruit sits against a sky blue backdrop creating visual contrast that immediately commands the viewers’ attention.

When you think about an apple, what first comes to mind? If there’s an apple nearby, hold it in your hands and take a close look at it. You might focus on its color and size, but have you thought about where on the apple the first bite would take place? Or can you outline step by step how one would eat an entire apple? Even though an apple, as an object, seems as boring it gets, once you look at it from different perspectives, it can pique your curiosity.

When kids learn to spell in English, “A is for Apple” is one of the first phrases they hear. This familiarity led the duo to choose it as their first topic. “The reason we chose an apple isn’t because it’s something that’s commonly eaten,” Ho clarifies. “It’s because everyone knows what an apple is.”


然而这一切,都从一颗苹果开始。在第一期杂志的蓝色杂志封面上停留着一颗红色苹果。苹果红和天空蓝的对比组合,让那一点红占据了你所有的视野。

关于一个苹果的各种可能性,你首先想到的什么?不如现在就拿起一个离你最近的苹果,好好观察一下。“主要”的思考通常会停留在苹果的颜色、大小等等。但当你洗干净,准备咬下去第一口时,有没有想过你的嘴会落在苹果的什么位置?如果要吃完它,整个啃咬的顺序又是怎样?虽然苹果只是生活里再平凡不过的一样东西,但是其中却隐藏着很多微小而隐晦的趣味点,能够轻易地撬开每一个人的好奇心。

英文里有句说法叫做“A is for Apple”,这往往是我们在孩童时期学习英语接触到的第一个单词,这正是 Alvin 和 Clara 选择苹果作为第一个实验对象的原因,“并不是因为每个人天天都吃苹果,而是因为我们都知道苹果是什么。”

Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》
Issue #6 "Pipe" / 第六期 《水管》

These overlooked objects in our lives are the very foundation of Science of Secondary. For example, issue six discusses the topic of “pipes.” When do we even acknowledge their existence? When one is clogged in our home? When there’s a leak or when one bursts? Only when problems arise do we pay momentary attention to these vital bits of household infrastructure. Once they’re repaired, they once again become invisible.

The goal of every issue of Science of Secondary is to spotlight these “invisible” everyday objects: teacups, clocks, windows, even eggs. In one issue, they decided that they hadn’t looked into anything below their waistline, so they decided to focus on socks. The choice wasn’t arbitrary—they want to cover objects everyone’s familiar with that can be found just about anywhere.


《Science of the Secondary》的基础,来自于生活中那些看似“隐形”的小物。例如在第六期里讨论的主角“水管”,我们何时会关注水管?当家里厕所的水管被阻塞?漏水?还是爆裂的时候?或许只有在它出现问题时,我们才会投入片刻的关注。等修理完毕,它便再次退回隐形的状态。

从第一期至今, 平常被隐形的日常物品一个又一个出现在《Science of the Secondary》里。从每个人每天都在使用的茶杯、每时每刻都会看的时钟;到包含更多空间意义的研究对象比如窗户;或是为了探讨一些容易取得的东西,于是选择了鸡蛋;没有研究过腰部以下的物品,所以研究了袜子……对于 Alvin 和他的团队来说, 每一次的研究对象并不是随机选择,它们的出现似乎有一个神奇的规律,且都有一个共同的特点:随处可见、且无人不知。

Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》
Issue #7 "Egg" / 第七期 《鸡蛋》

Curiosity is the catalyst for every issue. Atelier HOKO abides by what they describe as “strict scientific procedures” for each issue, but at the same time, they never compromise the magazine’s playful flair. Outside the publication, Ho and Koh enjoy presenting their ideas in other interactive formats for the curious-minded. For example, when the “Apple” issue was released, they made it available at select fruit vendors. People who bought the magazine also received an apple and got to experience the content in an immersive way.

Science of Secondary seeks not only to explore these neglected objects, it also aims to foster people’s curiosity about the overlooked potential in their daily lives, so they can discover more “secondary” aspects in everyday objects. If you’re similarly interested in engaging with your curious side, then maybe this is the magazine for you. Select issues now available for purchase on the Atelier HOKO e-shop.


好奇心是这场实验的核心驱动元素。对于每一期的研究,Atelier HOKO 都遵循着认真严肃的科学研究方法,但又不失趣味性。除了杂志本身,主创团队还会定制一些特别的体验,比如第一期的《苹果》就放在水果摊寄卖,购买杂志的人都能拿到一个苹果,让读者可以真实、立体地感受到杂志的研究过程,更沉浸在内容里。

《Science of the Secondary》希望我们在探究生活小物的同时,能够对日常生活所有潜在的可能性都保有高度的好奇心,延伸出更多“次要“的精彩发现。想测试一下你的好奇心吗?不妨翻开这本杂志吧。购买请上 Atelier HOKO 的线上商店

Issue #4 "Window" / 第四期 《窗户》
Issue #2 "Cup" / 第二期 《杯子》
Issue #3 "Clocks" / 第三期 《时钟》
Issue #8 "Socks" / 第八期 《袜子》

Website: www.atelierhoko.com
Facebook: ~/atelierhoko
Instagram: @atelierhoko

 

Contributor: Handowin Ho
Images Courtesy of Atelier HOKO


网站: www.atelierhoko.com
脸书: ~/atelierhoko
Instagram: @atelierhoko

 

供稿人: Handowin Ho
图片由 Atelier HOKO 提供

Powerlifting is for Girls 摔碎那些你对女孩的偏见

March 6, 2019 2019年3月6日

 

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In South Korea, femininity is most often associated with adjectives like “petite, “meek,” or “delicate.” Female powerlifters, however, certainly don’t fit into any of those descriptions—calloused hands, muscular legs, and brawny shoulders aren’t typically associated with conventional notions of female beauty in the country. These physical attributes are, however, symbolic of a new generation of girls who are redefining what it means to be a female in modern times.


在韩国,“女人味”最常与“娇小”、“温顺”或“娇嫩”这样的形容词联系在一起。然而,女举重员肯定不符合这些描述中的任何一种——满是老茧的手、肌肉发达的双腿和粗壮的肩膀,并不完全是这个国家传统的女性美观念所具有的品质。然而,这些物理特性象征着新一代的女孩,她们正在重新定义在现代社会中做一个女性的意义。

Lee Seon-mi, a senior at Gyeongbuk Physical Education High School near Daegu, is currently at the forefront of women’s powerlifting in South Korea. She’s been a dominant force in both domestic and international competitions and is currently one of the most widely recognized figures in the Korean powerlifting scene. Though many of Lee’s peers describe her as a quiet and unassuming individual, she’s anything but meek in competitions. She has broken every junior powerlifting record in the country, including those set by Korea’s 2008 Olympic gold medalist, Jang Mi-ran. Lee is on track to shatter more records as she transitions to senior competitions next year. When asked about the powerlifting records she’s broken so far, she looked sincerely puzzled: “Which ones? It’s hard to remember all of them.”


大邱(Daegu)附近的庆北体育中学(Gyeongbuk Physical Education High School)的高年级学生 Lee Seon-mi 目前处于韩国女子举重运动名列前茅的几位之一。她一直是国内和国际比赛的主导力量,目前也是韩国举重场景中最受认可的人物之一。虽然 Seon-mi 的许多同行形容她是一个安静而不张扬的人,但她在举重比赛中并不温顺。她打破了这个国家的每一个青少年举重记录,包括韩国 2008 年奥运会金牌得主 Jang Mi-ran 的纪录。明年即将过渡到高级比赛的 Seon-mi 有望打破更多记录。当被问及她到目前为止打破的举重记录时,她看起来真诚而疑惑:“哪些?很难记住所有的记录啊。”

Despite her achievements, Lee remains mindful of gender stereotypes in Korean society. “A lot of girls avoid this type of sport here,” she says. “There’s a bias that girls are weak in Korea.” With each win under her belt, she’s proving that this is far from the truth.

Lee’s parents are equally aware of the cultural expectations surrounding girls in Korea. They’re proud and fully supportive of her pursuits, but they understand it’s an uphill battle for her to be seen as a “normal girl” in the country. Luckily, neither Lee nor her peers are bothered by these superficial constructs of Korean femininity. They’ve placed more importance on pursuing something they’re truly passionate about.


尽管身为女性的 Seon-mi 已小有成就,但她仍对韩国社会的性别期望保持着清醒的态度。她说:“在韩国,很多女孩都避免这种类型的运动。”她说,“有一种偏见,认为韩国女孩很弱。”然而,随着一次次的胜利获奖,她用自己证明了这根本不是事实。

Seon-mi 的父母也同样意识到围绕韩国女孩的文化期待。他们为她的追求感到骄傲,并全力支持她的追求,但他们明白,要让她在这个国家被视为“正常的女孩”,还是一场艰苦的战斗。幸运的是,Seon-mi 和她的同伴们似乎都没有被这些韩国女性的肤浅偏见所困扰。她们更看重追求自己真正热爱的东西。

Powerlifting is less popular among females than other sports, but Lee hopes that her success will garner interest in the sport among those younger than her. “I think it would be great if more girls did powerlifting,” she chirps. “It’s helped me build my confidence, and I’ve made a lot of new friends.”


虽然 Seon-mi 意识到力量举重在女性中不如其他运动那么受欢迎,但她希望自己的成功能在引起比她年轻的人对这项运动的兴趣。“我认为如果有更多的女孩参加力量举重,那就太好了,”她说道,“它帮助我建立了自信,而且交了很多新朋友。”

Lee’s Olympic aspirations have yet to be settled, but a series of international competitions in 2019 that she is highly favored to win will ultimately determine her place on the 2020 Olympic team. Lee says, “I’d like to attend two Olympic Games and take medals both times.”

She’s already out lifting her closest competitors by over 25 kilos. This, coupled with the cabinet full of gold medals that currently sits in her parent’s living room, suggests that the Korean public will soon be introduced to a star who’ll be forcing the country to reevaluate their notions of femininity.


Seon-mi 的奥运抱负还有待确定,但 2019 年有她非常看好的一系列国际比赛,这也将最终决定她在 2020 年奥运会上的位置。Seon-mi 说:“我想去两次奥运会,两次都拿奖牌。”

她的举重级已经比最接近的对手重了 25 公斤。仅这一点,再加上她父母客厅里摆满了金牌的橱窗,表明韩国公众很快就要知晓这位明星了,而这位明星也将迫使韩国人重新审视自己对女性的固有观念。

Contributor, Photographer & Videographer: Jeremy Meek
Chinese Translation: Chen Yuan


供稿人,图片摄影师与视频摄影师: Jeremy Meek
英译中: Chen Yuan

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Conscientious Storytelling 一张照片,一种生活

February 27, 2019 2019年2月27日

It’s a rainy afternoon in Manila, and the few pedestrians who remain in the streets are moving along with hurried steps, desperate to get out of the downpour. Under the cover of a black umbrella, 27-year-old photographer Jilson Tiu is walking along at a much more leisurely pace, seemingly unfazed by the rain; this indifference towards the weather is made more apparent by the uncapped 70-200mm Canon lens on the DSLR loosely slung around his shoulder, gathering droplets of rain with every gust of wind. “Sometimes I wish my camera was as waterproof as me,” he chuckles as he wipes it with a shirt sleeve.


在马尼拉的一个下午,雨正淅淅沥沥地下。街上行人稀少,大都行色匆匆,着急地避开这场大雨。在一把黑色雨伞的庇护之下,27 岁的摄影师 Jilson Tiu 的步伐显得悠闲得多,似乎丝毫未受倾盆大雨的影响。一颗没有掩护的佳能 70-200 mm 镜头和单眼相机就这么挂在脖子上,随风刮来的雨水沿着镜头滴落,更衬托出他对雨天的毫不在意。“有时候,我真希望相机能和我一样防水。”他笑着说,随手用衬衫袖子擦拭相机。

Tiu is a street photographer and photojournalist who’s been covering stories across the Philippines since 2010. He’s worked with media outlets like CNN Philippines, the Financial Times, Esquire, and more. Today, he isn’t on assignment but seems no less purposeful as he makes his way through Tondo, one of the most densely populated parts of Manila. This district houses some of the city’s most derelict slums and is where Tiu was born and raised; it’s also become one of his favorite places to shoot street photography. “There’s so much going on and it’s challenging to frame the scenes around here,” he says, “I feel like my photography gets better every time I visit.”


Jilson Tiu 是一名街头摄影师和摄影记者,从 2010 年开始拍摄菲律宾各地的故事。他曾为多家媒体工作,包括菲律宾 CNN、《金融时报》(Financial Times)、《君子杂志》(Esquire) 等等。他今天没有工作任务在身,但也并非是漫不经心地闲晃在汤都区(Tondo)的街道上。汤都区是马尼拉人口最密集的地区之一,许多被社会所遗弃的贫民窟以此地为家。而这里,正是 Jilson Tiu 出生和成长的地方,最近则成为他最喜爱街拍的地点之一。“这里总是有很多有趣的事情在发生,找寻构图的过程也充满挑战。我觉得每次来这里,我的摄影技术都会进步。”

It’s not just technical skills that make Tiu such a brilliant street photographer, though—he’s been able to avoid a common pitfall of street photography: a lack of authenticity and connection. Although often unintentional, many street photographers falsely represent the individuals they’re capturing. They end up with images that offer a distorted view into the lives of people they know nothing about. And without a real connection between the subject and photographer, the resulting images lack crucial context. This means that the shots only feed into a self-serving narrative the photographer has dreamed up, one that’s completely detached from reality.

As a Manila native, Tiu has an insider perspective that imbues his work with an unmistakable sincerity and empathy. His images present the city as he knows it, a vibrant and beautiful metropolis teeming with untold stories.


作为街头摄影师,Jilson Tiu 的出色之处并不仅限于他的摄影技术。更重要的是,他成功避开了街头摄影一个常见的问题:缺乏真实性和连结性。很多街头摄影师常常会以错误的角度呈现他们的拍摄对象,以至于最终成果反映出的不过是自己一无所知的陌生人的生活切面。如果摄影师和拍摄对象之间不能产生真正的联系,那么也会使照片缺少重要的背景情境。意味着这样的创作,只是一个以自我为中心的叙事者的个人满足,是完全脱离现实的。

身为土生土长的马尼拉人,Jilson Tiu 能够从当事人的角度出发,这让他的作品充满一种无可比拟的真诚和同理心。他的街头摄影真切地呈现出他所了解的马尼拉,一个充满活力的美丽城市,包容着无数不为人知的故事。

Since Manila isn’t often seen in a positive light, his work is a breath of fresh air. The capital of the Philippines is often associated with trash-strewn streets, derelict slums, and in recent years, Duterte’s bloody, inhumane war on drugs. “There’s no denying that, it’s here,” Tiu says. “But there is so much life in Manila. It’s a place where both the positives and negatives of life intertwine, and I want to bring it all out through my photography. I want to change people’s view of Manila not by removing the true, negative aspects of the city but by showing the smiles and hope that coexist alongside these things.”


考虑到那些常和马尼拉联想在一起的负面形象,他的作品相当令人耳目一新。说起这座菲律宾首都城市,人们总会想到垃圾遍地的街道、废弃的贫民窟,以及近年来,因为杜特尔特所发起那场违背人道的毒品战争而成为的一处血腥战场。“这些都是不可否认的事实,确确实实发生着。”Jilson Tiu 说,“但是,在马尼拉有非常多样的生活,光明和黑暗在这里交织汇合。我希望通过自己的摄影,将这些不同面向都呈现出来。我想改变人们对马尼拉的看法,不是靠抹去那些负面事实,而是将与这些阴暗共存的希望和笑容展示出来。”

While Tiu enjoys capturing the city’s charms, his background in photojournalism means that he believes the good and the bad both deserve equal representation, In fact, capturing the ugly truths is often times of greater importance to him. “No matter if it’s the drug war, the pollution, or the city’s congested streets, there’s something to be learned,” he says. “These documentations can help show us the errors of our ways, and remind people—whether they be individuals, communities, or politicians—that we can do better.”


虽然 Jilson Tiu 喜欢捕捉这座城市的魅力,他的新闻摄影背景也使得他相信好的和坏的事实都应该获得平等的展现。对他而言,揭示丑陋的真相往往更具有显着的意义。“不论是毒品战争、污染、或城市拥挤的街道,都能让人们有所启示。”他说。“这些纪录可以帮助我们认识所犯下的错误,并提醒人们,不论是个人、团体或政治人物,我们都可以做得更好。”

As the day winds down and the rain subsides, Tiu begins packing up his camera. Just a few hours on the streets has filled his CF card with hundreds of images. While he’d be happy if he ended up with a few shots he liked from the day, it’s not a big deal if he doesn’t. Rather than being driven by a need to “get the shot” at all times, he finds that it can be more meaningful to just appreciate moments for what they are. Grinning, he says, “Sometimes the greatest scenes are the ones you see when you don’t have your camera.”


随着狂风逐渐平息,雨水也逐渐消退,Jilson Tiu 收起了他的相机。在街上游荡的几个小时已经让他的相机记忆卡多了数百张图片。如果有拍到让自己满意的照片,当然很值得高兴。但即使没有,也无所谓。他并不是怀着“拍到好照片”的意图在拍摄的,他觉得单纯去感受那些时刻的存在更耐人寻味。他咧嘴笑道:“最好的画面往往出现在你亲眼看到,但手边却没有相机的时候。”

Website: www.jilsontiu.com
Instagram: @jilson.tiu

 

Contributor: David Yen
Chinese Translation: Olivia Li


网站: www.jilsontiu.com
Instagram: @jilson.tiu

 

供稿人David Yen
英译中: Olivia Li

18 Uppercut 跟着我左手右手一起上勾拳

February 22, 2019 2019年2月22日

18 Uppercut is a Shanghai-based visual collective helmed by Morris Lee and Pete Gibson. Since they joined forces in 2018, the duo has created an impressive body of work that runs the gamut from film to fashion to toy design. Their diverse professional and cultural backgrounds—Lee’s from Singapore, while Gibson is from the US, and they’ve both held every sort of job imaginable—constantly inspire their work. Recent projects include an interactive music video for Chinese American rapper Bohan Phoenix, a visually explosive short film with music producer W.Y. Huang, an art figurine made with design studio Mighty Jaxx, and collaborations with Hong Kong streetwear brand Dragonmade8. 


上海视觉厂牌 18 Uppercut 的两位负责人分别为来自新加坡的 Morris Lee 和美国的 Pete Gibson。从 2018 年初正式联手以来,两人打造了众多令人印象深刻的作品,折射出他们的独特创意、专业和文化背景。他们的作品形式丰富多样,包括为美籍华裔说唱歌手 Bohan Phoenix 打造的互动性音乐视频、和音乐制作人 W.Y. Huang 合作的视觉冲击力强大的短片、与玩具设计工作室 Mighty Jaxx 联手创作的艺术雕像,以及与香港街头品牌 Dragonmade8 的联名设计等等。

Poster for Flow, an art figurine created with Mighty Jaxx
Flow, a collaborative art figurine between 18 Uppercut and Mighty Jaxx

The collective’s name comes from a mixture of references. “18” is a reference to late author Jin Yong’s “Eighteen Subduing Dragon Palms,” a fictional martial arts technique that’s referenced throughout his wuxia novels. “Jin Yong is a huge inspiration for us,” Gibson says. “Those of us who came from the East are very familiar with his magnificent tales of kung fu. While those who grew up in the West may not be as familiar with his novels, his influence on wuxia and the entire kung-fu genre were an extension of his genius that everyone, from both East and West, can appreciate.”

The latter part of the collective’s name is a Street Fighter reference: the character Sagat’s signature moves is the Tiger Uppercut, a spiraling jump punch that inflicts massive damage to an opponent. Pieced together, these two references paint a clear picture of what the group is all about: the first half represents an enduring adoration and respect for Chinese culture, while the second half is emblematic of the group’s swift and ruthless ascent into a creative force to be reckoned with.


团体名字蕴含了丰富的灵感来源。“18”取自已故武侠小说家金庸先生的“降龙十八掌”,这是他在武侠小说里虚构的一种武功。Pete 说:“金庸先生对我们影响很大。我们这些来自东方文化背景的人都非常熟悉他的武侠小说。虽然在西方长大的人可能不会那么熟悉,但他在武侠和功夫界的影响力足以说明他的才华,无论是在亚洲还是欧美国家,这一点都是公认的。”

团体名字“18 Uppercut“的后半部分则来自《街头霸王》:里面的角色沙加特(Sagat)的招牌动作就是“虎击上勾拳”(Tiger Uppercut),这是一个螺旋跳起击拳的动作,能对对手造成超强伤害。拼凑在一起,“18 Uppercut”让人对这支团队的理念有了大概的了解:一方面是对中国文化的崇拜和尊重,另一方面则象征团体将成为一支迅速飙升的创意势力。

Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou
Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou

 

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Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou
Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou

Gibson and Lee met serendipitously, a result of their respective (and rather unconventional) career trajectories. “Between the two of us we’ve served as a commando in the military, been a monk, worked as club promoters, poster designers, analysts at venture capital firms, producers, animators, and at one point, I even sold holiday cards in an arts-and-crafts store,” Gibson laughs.

But these unlikely career paths ultimately led the two to cross paths in 2016 when they both landed jobs at the same creative agency in Shanghai. There, their collegiality quickly grew into a tight-knit friendship. “We both wanted to do good work, and we knew what it took to make it,” Lee recalls. “We began to develop a mutual trust for one another when we recognized each other’s work ethic and accountability.”


Pete 和 Morris 的相识很偶然,是他们两人(相当不同寻常的)职业生涯轨迹的一个交点。“我们两个人中,做过突击队员,当过和尚、俱乐部发起人,做过海报设计师,还在风险投资公司做过分析师,担任过制片、动画师,我甚至还曾在美术工艺品店卖过节日贺卡。”Pete 笑着说道。

但是,正是这些看似毫无关联的工作,最终让两人在 2016 年相遇,当时他们都进了上海同一家创意广告公司工作。在那里,他们变成了亲密的好友。“我们都希望做好作品,也知道为此要付出什么样的代价。我们发现对方都特别有职业道德和责任感时,也开始对彼此有更多的信任。”Morris 回忆说。

Still from Dukkha
Still from Dukkha
Still from Dukkha
Still from Dukkha

Gibson and Lee’s time in advertising helped them acquire a diverse set of skills that play a large part in 18 Uppercut projects, but it’s their childhood interests that form the bedrock of their creative work. The duo cites a shared love for kung-fu movies, kaiju films, anime, and Western sci-fi flicks like Tron and Star Wars. And nowhere is this mishmash of influences more apparent than their most recent directorial work, Dukkha, a violent, neon-streaked video that pairs Chinese martial arts with an ominous score by DoHits producer W.Y. Huang. From a lightsaber battle to Kamehamehas shooting across the screen, the four-minute short is a love letter of sorts to some of the duo’s favorite works of fantasy. And recently, it was selected as a winner at New York’s One Screen Short Film Festival.


在广告公司的经历让 Pete 和 Morris 掌握了一手成熟技能,运用到 18 Uppercut 的项目里。但是,归根到底,真正让两人合作这个创意项目的原因是他们共同的童年爱好:功夫电影、怪兽电影、动画片,以及西方科幻电影,如《电子世界争霸战》(Tron)和《星球大战》(Star Wars)。团队最新创作的短片《Dukkha》最能体现这些丰富的影响。这部以中国功夫为主题的短片风格暴力,最近刚刚入选为纽约 One Screen Short Film Festival 的得奖影片之一,画面充满霓虹色彩,音乐部分由 DoHits 制作人 W.Y.Huang 创作。从激光剑战斗到龟派气功,这一部四分钟的短片是对两人所喜爱的科幻作品的致敬。

 

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Like their other projects, Dukkha was entirely self-initiated by Gibson and Lee. And perhaps this is a large factor in what makes all of their works stand out—it’s pure, unadulterated creative output that isn’t tainted by commercial incentives. The two, however, have expressed an interest in applying their creativity to branded work if the right project comes along.

“Money isn’t the driving factor of what we do,” Gibson notes. “We love doing these projects and getting to work together, but on the other hand, we do look forward to the day that we can put our all into it without having to squeeze it in around our other responsibilities or double check our bank accounts before agreeing to a project. What’s most important though, is that at the end of the day, we’re inspiring others to go out and create with a license to be original.”


和团队的其它项目一样,《Dukkha》完全是 Pete 和 Morris 自发性的作品。也许在很大程度上,这正是作品能脱颖而出的原因——纯粹的创意作品,完全未受商业利益的污染。然而,两人也表明了他们愿意与品牌合作,将创意挥洒在合适的项目上。

“钱不是我们做所有事情的动力。”Pete 说,“我们热爱做这些项目,喜欢一起工作,但另一方面,我们也期待有一天可以全心投入其中,不用在其它工作中挤时间,或是在准备开始项目前都要先查下银行余额是否有足够的钱。但最重要的是,我们能鼓舞更多人走出来,进行自由原创。”

Poster for Dukkha

Website: 18uppercut.com
Instagram: @18uppercut
WeChat: official18uppercut

 

Contributor: David Yen
Chinese Translation: Olivia Li


网站: 18uppercut.com
Instagram: @18uppercut
微信: official18uppercut

 

供稿人: David Yen
英译中: Olivia Li

Catwalk Calligraphy 水墨点染的时尚秀场

February 11, 2019 2019年2月11日

A Chinese upbringing in Malaysia is a lot of work. For Kedah-born illustrator Lihuà Wong, in addition to learning every subject in two languages and enrolling in a never-ending series of extracurricular classes, that meant calligraphy lessons. From the tender age of six all the way up through secondary school, Wong had to practice making Chinese characters with perfect brushstrokes. Despite her reluctance, what began as a laborious chore soon became a key element in her art. Her calligraphy-inspired illustrations have now attracted major fashion brands, such as Chanel, Prada, and Christian Dior.


对于在吉打州出生的插画家王莉桦(Lihuà Wong)来说,身为一个华裔,在马来西亚成长的经历是辛苦的。除了必须用两种语言学习每一门科目,她还得参加一系列永无止境的课外课程,其中包含书法课。从六岁到中学的年纪,王莉桦必须练习用完美的笔画写出汉字。尽管她不情愿,但早先的辛苦练习很快发展成她艺术的养分。现在,她的书法风格插图吸引了许多国际知名的时尚品牌如香奈儿、普拉达和迪奥的注意。

Wong currently juggles a job teaching fashion illustration at The One Academy while building her name as an artist. She brings her minimalist figures to life with bold brushstrokes, injecting them with the flair and expressive movement of calligraphy. Incorporating calligraphy in her work was never a conscious plan. “It just happened,” she says, since the brushwork carried over to her painting. The only real change was the medium, as she experimented with the combinations of various types of paints and paper.


王莉桦目前在立万国际美术学院(The One Academy)教授时装插画,同时以自己的名字发展艺术生涯。她通过大胆的笔触将她极简主义的人物变为现实,为他们注入了书法灵动的表现力。在她的作品中,融合书法并不是一开始就拟定好的计划。“它才刚刚发生。”她说,自从书法进入她的画作,唯一的改变是媒介,因为她开始尝试各类颜料和纸张的组合。

She describes her work as mixed media, since she doesn’t use just Chinese ink, but also works with watercolor, acrylics, and even digital software. Still, Wong prefers more traditional approaches, because she likes the organic feel of doing things old school. A true artist, she declines the convenience of brush presets and printing to pursue something more delicate and crafted.

“I start with a sketch. It’s quite spontaneous. I look for a picture, a composition, then put it together. I want to find something that makes the most impact,” she says. “That’s my concept, that’s how I work. It’s easy with things like Photoshop—you just need a laptop and a tablet and you can easily work anywhere. But that’s more for commercial art. If it’s just for myself, then I choose the traditional way.”

It’s not difficult for Wong to find inspiration, as she weaves through videos of fashion shows. She’s particularly drawn to the designs by two of the biggest fashion houses in the industry, Chanel and Dior, for their timeless and delicate designs. Aside from that, she also seeks visual counsel in artists from the past.


她常用混合媒材去创作,不仅使用中国传统的墨水,还会使用水彩、亚克力颜料、甚至是数字绘图软件。尽管如此,王莉桦更喜欢老派的做事方法,并很享受过程之中的有机感。作为一名真正的艺术家,她拒绝为了达成更细致精巧的成果,就使用软件中预设好的笔刷或印刷成品。

“我的创作从画草图开始,是很随兴的。我会思考如何去建构我的图像,我希望让作品的冲击力越大越好。“她说,“这就是我的概念,我的工作方式。用 Photoshop 这样的绘图软件创作很容易,你只需要一台笔记本电脑或平板电脑就可以轻松地在任何地方工作,但这更适合商业艺术。如果只是为了我自己,那么我选择传统的方式。”

王莉桦会从时装秀的视频中寻找灵感,她特别喜欢香奈儿、迪奥这两大时尚品牌的永恒而精致的设计。除此之外,她也会参考其他艺术家的创作。

Wong first began her fashion illustration journey by approaching local brands for small projects at events involving art and media entertainment. International outreach didn’t really happen until she was studying in the UK and had to find a way to make ends meet while pursuing her passion.

“I like fashion. That’s where I started out, doing events. I like drawing people. You get to see their personality, the way they dress, their silhouette, their character. It’s fun to watch. I can’t sit and draw, say, landscapes. I’ve tried it before. I find it boring. I need a more dynamic subject. If it’s just a tree, I find it difficult to tell a story.”


王莉桦首先借由参与当地品牌的小型项目开展她的时尚插画之旅。直到在英国留学时,她意识到追求热情同时必须找到一种维持生计的方法,才渐渐开启了国际间的合作。

“我喜欢时尚,这是我的起点。我也喜欢画人,你可以看到他们的个性、穿着方式、轮廓和风格,这些能让看的人也感到有趣。我不能坐下来画画,比如说风景画。我之前尝试过,但我觉得很无聊。我需要一个更有活力的主题,如果它只是一棵树,我发现很难讲故事。”

What’s inspiring about Wong is her thirst for a challenge. Whenever she’s asked about her style or subject matter, her response always has a common denominator: the challenge.

“I like doing events,” she says. “I like the challenge of live sketching. I get easily distracted working at home, but for this job you have to focus for four hours and observe people. In five minutes you have to observe your subject and observe their character, silhouette, personality, and features—and get it done. That’s why I like drawing figures. It’s dynamic and is always different.”

However, when it comes to sewing, Wong isn’t interested.

“Oh no, no, no,” is her immediate response when asked whether a career in fashion design is in the cards. “I don’t sew. I like to draw what designers already have. I interpret. I love to make things nicer. When I work with designers, they ask me ‘Can you draw this in this way, with this stitching, and this button?’ Then I’ll be their hands. They tell me what sort of artwork they want, and I act as a visual translator.”


对王莉桦来说,激动人心的是她对挑战的渴望。每当她被问及她的风格或主题时,她的回答总是有一个共同点:挑战。

“我喜欢参加活动。”她说,“我喜欢现场素描的挑战。我在家工作很容易分心,但是做现场素描你必须集中精力四个小时去观察人。然后在五分钟之内彻底观察你的对象,他们的风格、长相、个性和特征,并即时完成它。这是我喜欢绘画的原因。它是动态的,而且总是变化多端。”

然而,在谈到制作服装时,王莉桦并不感兴趣。

当被问及时装设计是否有在规划中,“哦不,不,不!”是她的直接反应。“我不做衣服。我喜欢画设计师已有的现成东西。我只是去诠释,我喜欢让东西变得更好看。当我和其他设计师合作时,他们会问我‘你能用这种方式画出这个缝边、或这个纽扣吗?’他们会告诉我他们想要什么样的艺术品,然后我会成为他们的手,我的角色是一个视觉翻译。”

As for the future, like any artist, Wong aspires to have her works showcased to the public. “I gave myself a target. I want to make 100 works of art, then approach galleries to set up a solo exhibition. Also, I haven’t worked with Louis Vuitton yet!”  


至于未来,像任何艺术家一样,王莉桦希望她的作品可以进入大众的视野。“我给自己订了一个目标。我想制作 100 件作品,然后在画廊办个展。而且,我还没有和 LV 合作过呢!”

Website: artoflihua.com
Instagram: @artoflihua

 

Contributor: Joanna Lee
Chinese Translation: Yang Yixuan


网站artoflihua.com
Instagram: @artoflihua

 

供稿人: Joanna Lee
英译中: Yang Yixuan

A Growing Streetwear Empire 从首尔街头走来

February 8, 2019 2019年2月8日

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

It’s no surprise that some of the most authentic and successful retail concepts begin with a simple desire to bring new exciting things to a local crowd. But short of simply importing and selling a shop full of goods because they’re popular abroad, it takes an eye for the timeless and the “classic” that ensures those items will resonate with the target market in a way no derivative products could.

For Kang Seunghyuk, founder of WORKSOUT, what started as a personal mission to make overseas streetwear items available—and accessible—to Seoul’s fashion scene has since exploded into an empire that encompasses over 10 stores throughout the country.

We sat down with him as he prepared to celebrate the next milestone in his streetwear empire, the opening of a new location inside RYSE hotel in Seoul’s up-and-coming Hongdae neighborhood. He shared with us how far he’s come, the intricacies of the Korean fashion scene, and what it takes for a brand to succeed there.


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

毫不意外,一些真实的成功销售案例都从一个简单的愿望开始,即为当地人带来令人兴奋的新事物。但事情不是单纯引进一些在国外很受欢迎的商品如此简单,而是要具备精准的眼光,找到能与目标市场中的人产生共鸣、跨时代、并无可取代的“经典”之作。

对于 WORKSOUT 的创始人 Kang Seunghyuk 来说,最初的使命是为首尔时尚界提供多一些海外街头服饰的选择。但时至今日,此一念头已经发展成为一个全国拥有 10 多家连锁店的服装帝国。

当他正准备庆祝他的下一个里程碑——在首尔逐渐崭露头角的弘大街区里,位于 RYSE 酒店里的新店面——我们在开幕时和他见了面。他与我们分享了他至今走来的路程、韩国时尚界的复杂性以及品牌如何取得成功的故事。

MAEKAN: What was the inspiration behind WORKSOUT?

Kang: This might be hard to explain, but in Korea, there’s this idea of “oldness”—that it’s the older generations that manage companies. Fashion companies still operate under this concept: they keep wanting to work with department stores, and when their products enter these department stores, the prices skyrocket, which makes it hard for ordinary consumers to buy them.

Before, it was really common to see items that would cost only 30 dollars in the US but sell for 60 dollars in Korea. But, I wanted to deconstruct all of that. I wanted to show that it was possible to get the same price for something here as you would in America, Korea or Europe. My goal was to show Korean people that you didn’t have to purchase particular items in the States and that they could buy the same items here.


MAEKAN:创立 WORKSOUT 背后的灵感是什么?

Kang:这可能很难解释。但在韩国有一种“守旧”的观念,公司的管理者仍然是老一辈,时装公司也是在这种概念下运作:他们一直希望与百货商店合作,但一旦商品进驻百货商店,价格就会一路飙升,使得普通消费者买不下手。

在之前,美国售价30美元的商品在韩国要价60美元,这种情形真的很常见。但是我想打破这样的状况。我想让人们知道不管是在美国、韩国或欧洲,都可以享有相同的价格。我的目标是向韩国人展示你不必特地到美国,在这里也可以购买到想要的东西。

MAEKAN: How did the opportunity with RYSE come about?

Kang: They first asked us to join them about three or four years ago, but at the time we were preparing to open our Apgujeong Store, so we declined their offer. But a year later, when we were open and WORKSOUT was doing well, I was given the offer again. Actually, it was a lot of work getting the brand into the hotel. I turned it down initially because it seemed like too big a project or plan and I thought it was too much to take on, but they really wanted to bring street brands into the hotel, so I eventually agreed. The very same Andre Caputo that designed our Apgujeong-dong store is also working on this project.


MAEKAN: 和 RYSE 的合作是怎么开始的?

Kang: 首先他们在3、4年前要求我们加入他们,但当时我们正在准备狎鸥亭的新店,所以拒绝了。但在一年后,当 WORKSOUT 表现不错而我们的时间也允许,我们再次得到这个提议。将品牌带入酒店事实上需要付出非常多心力,最初我拒绝了,因为这像是一个太过庞大的项目,我认为太超过了。但他们真的很想要把街头品牌带进酒店,最终我还是同意了。当初帮助我们设计狎鸥亭店的 Andre Caputo 也参与了这个项目。

MAEKAN: What is unique about the Korean perspective toward fashion?

Kang: I guess it’d be accurate to say Koreans have a strong sense of loyalty? Fandom is a huge concept in Korea. There’s a community for it. So if there’s any one type of style or one type of brand, people will follow it. People from overseas like to dress a certain way that expresses themselves, but Koreans have a tendency to base their style around the brands they’re loyal to. If you like a certain brand, you’ll always like it and never throw it away or abandon it. So I’d say brand loyalty is one unique part of Korea.


MAEKAN: 韩国人对时尚的看法有什么独特之处?

Kang: 我想,韩国人有一种强烈的忠诚感,这样的描述应该是准确的吧。粉丝在韩国是很有影响力的,这是一个巨大的群体。因此,如果出现了某种特定风格或类型的品牌,人们就会跟随它。国外的人也许喜欢穿着可以表达自己的衣服,但韩国人倾向于以他们忠诚的品牌为穿搭的基础。如果你喜欢某个品牌,你会永远喜欢它,不会扔掉它或抛弃它。所以我认为品牌忠诚度是韩国独一无二的一部分。


MAEKAN: You now have four WORKSOUT stores and eight CARHARTT stores. What does it take to succeed in different Korean cities?

Kang: For one, if a brand succeeds in Seoul, it can succeed in any region of Korea. That’s why I opened up five stores in Seoul first, which led to a contact from Busan asking if I wanted to open up stores there and then later on again in Daegu. The reason for this is if you succeed in Seoul, you can then expand to other provinces. And if you take advantage of those opportunities, you’ll succeed no matter what because people from other regions always follow Seoul. So because we already did so well in Seoul, things really took off after that.


MAEKAN: 你现在有四家 WORKSOUT 商店和八家 CARHARTT 商店。在不同的韩国城市中取得成功的因素是什么?

Kang: 首先,如果一个品牌在首尔成功,它就可以在韩国任何地区成功。这就是为什么我先在首尔开了五家店,之后就有釜山的人联系我,接着是大邱。原因是如果你在首尔先取得成功,你就有机会扩展到其他城市,如果你好好把握这些机会,事情无论如何都会水到渠成,因为其他地方的人总是跟着首尔的脚步走。因为我们在首尔已经做得很好,我们的品牌就从这里起飞了。

MAEKAN: What direction do you see fashion in Korea taking?

Kang: As I mentioned earlier, it’s still a bit difficult for Koreans to express themselves. We always like to think that Koreans are like Americans in that we like to be bold and outspoken, but the truth is that we find it really hard to create our own color. However, if we talk about the nature of contemporary fashion in Korea, there’s a bit of movement there. Korean idols are so influential and people follow their fashion, so they’re beginning to develop their own color and style. Plus, people are aware of overseas influencers through Instagram and Paris and New York fashion, so they’re starting to draw their own style from it, in my opinion.


MAEKAN: 你认为韩国时尚的走向是什么?

Kang: 正如我之前提到的,韩国人对于表达自己仍然有点困难。我们总是以为韩国人像美国人一样,大胆直言,但事实上是我们连创造自己的风格都有问题。然而,如果现在我们谈论到韩国当代时尚的本质,已经有一些动静了。韩国偶像是如此有影响力,人们开始追随他们的时尚,进而开始发展出自己的风格。 此外,人们通过 Instagram 发现巴黎和纽约的时尚,了解到海外有影响力的人,因此我认为人们会从中汲取并演变出自己的风格。


MAEKAN: What role do you think the Internet has played in all this?

Kang: Back in the day, you had to read books for fashion. Books were more important than the Internet. I used to have tons of books at home, but now I don’t even have a single one. That’s because magazines, unlike books, are updated every day now. But back then, because the magazine came out only once a month, you’d get the latest news only as often, so the trends would be a little late. I think that would be the main difference: the speed in which trends would disseminate.


MAEKAN: 你认为互联网在这一切中发挥了什么作用?

Kang: 以前书比互联网更重要,你必须阅读时尚书籍去了解时尚。我以前在家里有很多书,但现在我甚至连一本书都没有。那是因为杂志的出现,与书不同的是杂志更新的速度非常快。但因为杂志通常都是月刊,一个月你只会收到最新消息一次,所以这样的速度还是有点慢。我认为这是主要的区别:趋势传播的速度。

MAEKAN: I was personally amazed by your Apgujeong store. How should people feel when they have a good physical retail experience?

Kang: The most important thing, in my opinion, is to get people to come to the store by having items on display, preparing events or collaborating with different brands every month at our store. For example, last year we had Nike, Adidas, Puma in our store to collaborate with us and hold parties and events every season and month to introduce their brand. This is how consumers get introduced to the brands and how we bring customers to visit our stores a little bit more often—and not just look online, but actually come and check them out.

MAEKAN: When I went to Apgujeong, I saw a lot of different brands there. How do you pick them and position them together in the same space?

Kang: When I look for a brand, the first criteria is that it’s a brand I can’t find in a department store. In terms of levels, you can see the brands on the first floor are curated so that when people come in they’ll think, “oh, I know these brands.”

When they head upstairs to the second floor, they’ll notice more niche brands that they don’t know but will still appreciate. And on the third floor, they’ll think, “they’ve got a mix of brands here, but I know all of this”.


MAEKAN: 狎鸥亭店让我感到非常惊奇。你觉得人们在良好的消费实体体验当下应该感受到什么?

Kang: 在我看来,最重要的是让人们愿意每个月到我们的商店看看架上的商品、参加活动或和不同品牌的合作。例如,去年我们的店里有 Nike、Adidas、Puma 等品牌与我们合作,每季或每月举办派对和活动来介绍他们的品牌。这就是让顾客如何了解品牌以及吸引他们更频繁地造访我们商店的方法——不仅仅是在网上看,而是实际到店里来看。

MAEKAN:当我去狎鸥亭店时,我在那里看到了很多不同的品牌。你是如何挑选它们并将它们放在同一个空间中?

Kang:当我在寻找品牌时,第一个标准是它必须是我在百货商店里找不到的品牌。在名气方面,你可以看到放置在一楼的品牌都经过策划,以便当人们进来时他们会想“哦,我知道这些品牌。”

当他们上到二楼时,这里有更多不太知名但仍然有吸引力的小品牌。到了三楼,他们会想“这里有各种各样的品牌,但我都知道。”

MAEKAN: As a foreigner, I always hear the fashion discussion in Seoul gravitate towards Itaewon and Gangnam etc. How would you describe Hongdae?

Kang: I personally think Hongdae will be the biggest neighborhood in Korea in the next five or 10 years. We’re already starting from the RYSE  hotel and building all the new buildings on this street, and the hotels and department stores will keep coming in.

Especially in this business district, there are lots of young people living there, so a lot of people pass by all the time. It’s different from Gangnam where it’s hard for people to move around, but here, there are lots of young people, restaurants, bars, and clothing stores too. So business isn’t going anywhere but up here, and more people will come.


MAEKAN: 关于首尔的时尚讨论,作为一个外国人我总是听到大家在谈论梨泰院和江南等街区。你会怎么形容弘大?

Kang: 我个人认为弘大在未来五到十年内将成为韩国最大的社区。从 RYSE 酒店开始,这条街上多了很多新建筑,更多酒店和百货商店将继续进驻这里。

江南区的行动动线不太好,但在弘大这个商业街区,有很多年轻人住在这里,人流很多。也有很多餐馆、酒吧和服装店。因此,我想生意不会流到别的地方,而是会往这里聚集。

Website: www.worksout.co.kr
Instagram: @worksout_official

 

Media Partner: MAEKAN

Contributor: Nate Kan
Photographer: Chris da Canha
Korean to English Translation: Martin Bae
English to Chinese Translation: Yang Yixuan


网站: www.worksout.co.kr
Instagram: @worksout_official

 

媒体合作伙伴: MAEKAN

供稿人: Nate Kan
摄影师: Chris da Canha
韩译英: Martin Bae
英译中: Yang Yixuan

Sigh, Gone “你”能放过我吗?

February 1, 2019 2019年2月1日

 

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Sigh Gone is a new film by writer-director Jeannie Nguyen and cinematographer Andrew Yuyi Truong, the filmmakers behind First Generation. The duo’s latest storytelling effort takes them to their parents’ home country of Vietnam, where with help from local producers at BLAZE they’ve crafted a love story with a contemporary twist.


《Sigh Gone》是由导演 Jeannie Nguyen 和摄像师 Andrew Yuyi Truong 拍摄的一部新电影,他们也是《First Generation》的导演。这对拍档的新电影讲述了一个他们父母的祖国越南的故事,在那里,在 BLAZE 当地制作人的帮助下,他们创作了一个具有当代特色的爱情故事。

The short film centers on Thuy, a girl who’s desperately trying to get over a recent heartbreak. Alone at home and unable to quiet her restless mind, she decides to go for a ride on her scooter. But as she cruises through the bustling streets of Saigon, she discovers there’s no use hiding from her emotions. Her grief is even echoed by lyrics inscribed on the back of her motorcycle helmet. The quote, penned by Vietnamese musician Trinh Cong Son, translates to, “Not all that is lost is forgotten.”


这部短片以一个正在拼命试图从最近的心碎经历中走出来的女孩 Thuy 为中心,影片描述了她一个人在家,无法平静她的心绪不宁,于是决定骑上她的机车去兜风。但当她在西贡熙熙攘的街道上穿行时,她发现隐瞒自己的感情是没有用的。她的悲伤和印在摩托车头盔背面的歌词所呼应,那是越南音乐家 Trinh Cong Son 的原话:失而不忘。Not all that is lost is forgotten.

As her day drags on, the bereaved protagonist’s heartache goes from bad to worse—she can’t even make even simple decisions, like where to go and what to eat. To make matters worse, she realizes she’s completely forgotten about a friend’s birthday, and when she rushes over with a cake to make amends, the neighbors tell Thuy no one’s home, and chastise her for being a terrible friend.


随着时间的流逝,失去所爱的 Thuy 的心痛愈发加剧,她甚至不能做出简单的决定,比如去哪里、吃什么。更糟糕的是,她完全忘了朋友的生日。当她匆忙拿着一块蛋糕去赔罪时,邻居们跟她说根本没人在家,且指责她是个糟糕的朋友。

Thuy heads home feeling even more defeated than before. But as she pulls up to her apartment, she finds a welcomed surprise: her lost love is there waiting for her—an iPhone that she left at a friend’s place.


回家后的 Thuy 感觉比之前更沮丧了。但当她把车在公寓停好后,她发现了一个惊喜:她丢失的“挚爱”在那里等着她——她的 iPhone,曾留在了一个朋友家的 iPhone。

Sigh Gone turns out not to be a story of lost love after all, but a commentary on our obsession with smartphones. While it’s a lighthearted take on the subject, there is something bleakly familiar about this portrayal of our modern consumption habits. For many viewers, the anxiety and frustration of not having our smartphones within arm’s reach may hit a little too close to home.


Sigh Gone》原来说的并非一个关于失去爱人的故事,而是对我们对智能手机的痴迷现象。虽然这个话题令人轻松愉快得多,但在对我们现代消费习惯的描述中,的确存在着一些令人沮丧的事实。对许多观众来说,手机只要一离开就在我们几步之遥,我们就会感到焦虑和沮丧。

Alongside technology codependency, the film also touches on the double-edged nature of social media. “To be honest, it’s a little scary that today’s young people have never experienced life outside social media,” Nguyen says. “While these platforms can be great tools to make connections with and be exposed to art and culture from around the world, they’re more frequently highlight reels for people’s lives. It’s inauthentic, but young people don’t process that. It can be detrimental to their psyche.”

At one point in the film, Thuy asks herself, “What’s the point of creating memories if they’re not shared?” This question takes on a different meaning when it becomes clear that she’s referring to Facebook. What seems like a wistful question becomes a damning critique of our need to be constantly plugged into these digital feeds. With the ubiquity of smartphones and our ever-increasing screen time, Sigh Gone poses a tough question: are we living our own lives anymore, or are we too busy living vicariously through our devices?


除了科技与人的共生关系,这部电影还涉及了社交媒体的双刃性质。“老实说,现在的年轻人在社交媒体之外从来没有体验过生活,这有点吓人。” Nguyen 说,“尽管这些平台可以成为连接世界各地的艺术文化,并成为与之接触的绝佳工具,但它们通常只是起了强调人们生活的作用。这不是真实的,但是年轻人不会接受。这对他们的精神是有害的。”

在电影中,Thuy 问自己,如果不能分享,那么创造记忆有什么意义呢?当明确了她所指的是 Facebook 时,这个问题就有了不同的含义。似乎从一个伤感的问题变成了对现代人们捆绑于数媒信息之上的一种严厉批评。随着智能手机的普及、人们屏幕时间的日益增加,《Sigh Gone》提出了一个严峻的问题:我们是在过自己的生活,还是我们忙于通过设备,以间接的方式生活?

Websites:
www.jeanguyen.com
www.andrewyuyitruong.com

Instagrams@jea.nguyen | @a.y.truong

 

Contributor: David Yen
Chinese Translation: Chen Yuan


网站:
www.jeanguyen.com
www.andrewyuyitruong.com

Instagrams@jea.nguyen | @a.y.truong

 

供稿人: David Yen
英译中: Chen Yuan

Theatrical Flair 你知道开心到极致的感觉吗?

January 25, 2019 2019年1月25日

Born and raised in northeastern China, Song Wanjie (a.k.a Julian Song) is a photographer who jokingly describes himself as a “folk artist with dreams of opening a dumpling restaurant.” After tasting his homemade jiaozi first-hand, I’d say his restaurateur ambitions aren’t that farfetched.

Song has taken an unorthodox career path. In college, he originally majored in economics before switching over to advertising, and was only inspired to learn the basics of photography when he was handed a camera and asked to help out on a commercial video shoot. Then love stepped in: a significant other gave him a film camera and opened the door to a new world. He took to it like a fish in water, snapping as many shots as he could. Conscious of his amateur background, he mostly stuck to imitating others—until one day someone asked him, “How come your work looks so much like so-and-so’s?” Only then did he realize he needed to find his own style.


生长在东北,Julian 的简介是“民间艺人宋万杰,梦想是开一家饺子馆”。吃人嘴短,我绝对可以证明,他这个梦想不是空穴来风。

自称为“野路子”,非摄影科班出身的 Julian 最初学习的是经济学,辗转到广告学专业之后,一次广告视频的拍摄需要,他得到了自己的第一个相机,经历一点点的自学摸索的过程后,场景切换到一个浪漫的爱情故事,热恋期对象送他的一个胶片相机打开了他的新世界大门,对摄影这件事,他开始变得如鱼得水。但同样由于“野路子”的自我认知,他大量地去拍摄、积累甚至模仿,直到有一天发现有人对他说“你拍的东西怎么特别像那谁……”,他才突然发现得要找找自己了。

“Most people see you using similar colors and think you’re copying. But I think the colors can be similar—the content just has to be different,” says Song. “I want to get away from what people have seen before, do something different. Who’d have thought that a scene like this, with a jumble of everyday objects against a backdrop of clouds and sky, would work?”

Song is especially excited to tell me about his most recent series, Paradise Drama Club. “When the photos came out I was practically moved to tears. You know how when you’re so happy you want to jump off a building?” The inspiration for this shoot came from the music video for “Stubborn” (倔强), a song from 2004 by the Taiwanese pop band Mayday. Sensitive to visuals, Song must have unconsciously filed away the song and the video in some corner of his brain and suddenly reactivated it now.


“一般人就会觉得颜色相似,你就是在抄袭,但我觉得颜色或许可以相像,但内容一定完全不同,我想摆脱他们见过的一切,做不一样的东西。谁能想象这样一个场景,一些看起来无序的生活事件在同一个天空背景下却可以和谐共生。”Julian特别兴奋地跟我讲述他最近一次拍摄的作品《Paradise Drama Club》,“片子出来自己快被感动哭,你知道那种开心到想跳楼的感觉吗!”而这个拍摄的灵感起点是五月天的《倔强》的 MV,凭借一直以来对画面的敏感,这个 MV 场景跟整首歌一起被他长久无意识地储存在了大脑的某个房间里,在当下的某一刻被突然启动。

In person, he’s as bubbly and uninhibited as in his photos. He told me that much of his inspiration comes from S.H.E, the Taiwanese girl band he loved as a kid. (In fact, most of our interview took place with the SHE 17th anniversary concert album playing in the background). At the peak of S.H.E’s popularity, Song was just a teenager. Little did he know, memories of his idol would inspire his art as an adult.


就像作品里的那种乐观坦诚一样,他跟我大方地分享了承包他大半个童年并作为当下创作灵感来源的 SHE(整个采访对话发生的白噪音也是 SHE17 纪念演唱会),当年这个台湾女子组合红透半边天时,Julian 还是个少年,他自己也完全没想到,那个黄金时代的偶像记忆会成为他现在的摄影创作支撑。

In every shot you can probably find touches of real life: a model staring at a bottle of skin creme; a boy taking a selfie in a fitting room; a TV host striking a crazy pose in what looks like a live studio broadcast. To get images that seem to tell a story, Song spends a long time before every shoot getting prepared, reviewing the material, and listening to music for inspiration. “I refuse to do things mechanically. I don’t want to repeat myself, and I don’t want people to think an object or color in my work can be replaced,” he says. “So I put my story and what I understand of culture into every piece, and I make sure each one challenges me.”


你大概能在他的每张照片里都找到一个真实的生活元素: 处在模特直视中的一瓶大宝 SOD 蜜;试衣间里的自拍男孩儿;一个演播室里似乎正在直播进行时的疯狂女主播….而为了营造这种独特的的叙事感,每一次创作前 Julian 都会花大量时间查资料听音乐去做充足的前期准备,“我很拒绝机械化生产,不想一再去重复,让别人觉得我的东西可以被某个物件某种颜色代替,所以我把我理解的文化跟我的故事注入每次创作里,并确保每一次都是在挑战自己。”

If there’s one thing people notice about him, says Song, it’s that he’s down-to-earth. I might add that he’s got an eye for making things look just right. And after seeing his photos, you can’t help but admit, this photographer will definitely wrap a beautiful dumpling.


接地气,是 Julian 觉得自己能被记住的原因,而看完所有这些照片你也不得不承认,这个摄影师一定能把每只饺子都包得很好看。

 

Weibo~/Julian521
Instagram: @juliannn_song

 

Contributor: Shou Xing
English Translation: Allen Young


微博~/Julian521
Instagram: @juliannn_song

 

供稿人: Shou Xing
中译英: Allen Young