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City Poetry 城市诗歌

May 29, 2019 2019年5月29日
心心: Emotion Shift心心: Emotion Shift

Since moving to Hong Kong in 2011, photographer Romain Jacquet-Lagrèze has been captivated by the beauty of Chinese characters. In his latest series, City Poetry, his longstanding interest has made its way into his work. Like his previous photo series The Blue Moment and Concrete Stories, which we’ve featured before, Jacquet-Lagrèze puts a fresh spin on an over-photographed cliché of Hong Kong: its iconic signs.

Rather than the rows of neon billboards and sign-cluttered streets that are ubiquitous on Instagram, Jacquet-Lagrèze takes a close-up look at Hong Kong’s signage. His photos isolate individual characters from their original context and highlight how prolonged exposure to time and the elements have worn them down. Yet despite the peeling paint and cracked veneers, the characters—even when they’ve completely fallen off—remain legible. “People designed them to be informative and attractive,” Jacquet-Lagrèze says, “But I think the erosion transforms them into something more, something deeper.”

City Poetry goes beyond mere documentation though. With help from his Hong Kong-born wife, Jacquet-Lagrèze has taken this collection of characters and assembled them into various idioms and phrases, imbuing them with new meaning beyond their original context and paying tribute to Cantonese culture.

自 2011 年搬到香港以后,摄影师 Romain Jacquet-Lagrèze 一直被汉字之美所吸引。在他的最新系列《City Poetry》(《城市诗歌》)里,他对汉字旷日持久的兴趣也融入其中。与他之前的作品  The Blue Moment 和 Concrete Stories 一样,Romain 的新作让人耳目一新,给香港被过度拍摄的标志性特色注入了新的色彩。

不同于 Instagram 上随处可见的霓虹灯招牌和的街道,Romain 近距离观察香港的标牌。他的照片将单个的汉字与原来的上下文隔离开来,凸显了那些招牌经年累月的痕迹。那些汉字,尽管油漆斑驳、背板开缝——甚至完全剥落——但依然清晰可见。“人们把它们设计成饱含信息量且充满吸引力的样子,但我认为时光的侵蚀使之转化成更充沛、更深刻的东西。”

不过,《City Poetry》并不仅仅局限于此。在香港出生的妻子的帮助下,Romain 把这些字汇集成各种习语和短语,赋予它们原有语境之外的新含义,并致敬粤语文化。

Left: 香港文化 - Hong Kong Culture. Right: 福如東海 - Boundless Happiness左:香港文化 - Hong Kong Culture. 右:福如东海 - Boundless Happiness
Left: 點石成金 - Turning Stone into Gold. Right: 百苦成材 - A Hundred Pains Forge Talent左:點石成金 - Turning Stone into Gold. 右:百苦成材 - A Hundred Pains Forge Talent
園 - Forgotten Garden园 - Forgotten Garden
勵行 - Inspirational Urge励行 - Inspirational Urge
精品 - Objets d'Art精品 - Objets d'Art
愛家 - Love Home爱家 - Love Home
九龍 - The Nine Dragons九龙 - The Nine Dragons

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Contributor: David Yen
Chinese Translation: Chen Yuan


供稿人: David Yen
英译中: Chen Yuan

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Tokyo Jazz Joints 夜色里的爵士酒馆

May 24, 2019 2019年5月24日

A Japanese salaryman leaves his office late at night, exhausted from the grueling hours. He’s running on very little sleep. The night air is cold, and the train station is not too far away. But he turns in the opposite direction, through the labyrinthine alleyways of Tokyo—he has one stop in mind before heading home. He walks a couple of blocks to a small establishment that one could very easily miss. He opens the door and is embraced by warmth and the steady lull of music on vinyl. The owner greets him, and he takes a seat at the bar. He’ll have the usual, he says. He takes a sip of his beer. The rhythm from the record player eventually takes him away, into a trance he shares with the few other patrons who had also come in to enjoy the magic that is jazz.


Intro Bar / Shinjuku-ku, Tokyo Intro Bar / 东京市新宿区
Intro Bar / Shinjuku-ku, Tokyo Intro Bar / 东京市新宿区

“Maybe that’s their one moment of freedom,” says Tony Higgins of BBE music in an interview with Philip Arneill, the photographer behind Tokyo Jazz Joints, a project that captures these unique establishments. Arneill, an Irish photographer who lived in Tokyo for 19 years, was not only drawn to the charm of jazz bars, but also worried about their longevity. “The original raison d’être for the project was that jazz joints were disappearing all over the country, due to rising rent, aging owners, and a dwindling customer base,” he says.

“也许这是他们自由的时刻。”音乐厂牌 BBE 的 Tony Higgins 在和一个专门拍摄这些爵士乐场景的项目 Tokyo Jazz Joints 的摄影师 Philip Arneill 采访时说道。Philip Arneill 是一位在东京生活了19年的爱尔兰摄影师,不仅深受爵士酒吧魅力的吸引,还相当关注它们还能存活多久的议题。“该项目最初的存在理由是由于租金上涨、业主老龄化以及客户群逐渐缩小,全国各地的爵士乐场所正在消失。”他说。

Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区
Hello Dolly / Nakagyo-ku, Kyoto Hello Dolly / 京都市中京区

Arneill first discovered this subculture of jazz bars and cafés when he visited Hello Dolly, a jazz bar in Kyoto. He immediately knew he’d found something unique that he needed to document. He called up his friend James Catchpole, a broadcaster and writer based in Yokohama, with the idea for the photo series. At the time, Catchpole ran the Tokyo Jazz Site, a blog indexing every jazz-related establishment in the Tokyo area, which proved indispensable as Arneill plotted his itinerary. The venue that kicked off the project was Pithecanthropus Erectus in Tokyo’s Kamata district, which they photographed back in 2015. Since then, the duo has documented over 160 different establishments throughout the country. Their genuine respect for jazz may be why they’ve never been refused to photograph a bar.

The duo plan on publishing a photography book with the best of the project once they pass the 200 mark. Though Arneill is now based in Dublin, he is planning a few upcoming trips back to Japan to document 50 to 60 more locations.

当 Philip 访问位在京都的爵士酒吧 Hello Dolly 时,他首先发现了这种爵士酒馆和咖啡馆的亚文化,当下他就知道自己找到了必须记录下来的场景。他打电话给朋友 James Catchpole,他是一位住在横滨的广播员和作家,告诉他自己的想法:创作一个摄影系列。当时,James 开办了一个介绍东京各个爵士相关活动的博客 Tokyo Jazz Site,每当 Philip 在策划他的行程时,这个博客扮演了不可或缺的角色。该项目于2015年进行了第一个地点拍摄——东京蒲田区的 Pithecanthropus Erectus。从那时起,这个双人组总共记录了全国160多个场所。他们对于爵士乐的真正尊重,也许正是他们从未被拒绝拍摄的原因。

一旦超越 200 次拍摄的里程碑,他们希望计划出版一本收录其中最好作品的摄影书。虽然 Philip 现在人在都柏林工作,但他正计划一些到日本的旅行,以记录其他 50 到 60 个地点。

Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区
Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区
Pithecanthropus Erectus / Ota-ku, Tokyo Pithecanthropus Erectus / 东京市大田区

Jazz arrived in Japan after the First World Two and was very popular in the 1920s and 1930s, until it was outlawed during the Second World War. After the war, Japan’s occupation by U.S. forces revived the genre. Many jazz bars that opened at the time were even dedicated to specific artists. The most notable may be Basie, named after the legendary American musician William James “Count” Basie. The current owner, Shoji “Swifty” Sugawara, has collected over 10,000 jazz LPs and, countless items of Basie memorabilia. He even became good friends with the man himself—a portrait that Sugawara took of Basie still hangs in the venue today.

爵士乐在第一次世界大战后抵达日本,在上世纪20、30年代时非常受欢迎,直到第二次世界大战期间被明文禁止。战争结束后,占领日本的美军再次振兴了此音乐流派。当时有许多爵士酒吧是特别为了向几位艺术家致敬而创立,其中最值得注意的可能是由菅原正二(Shoji “Swifty” Sugawara)经营的 Basie,以传奇美国音乐家 William James “Count”  Basie 命名。到目前为止,菅原先生已经收集了超过一万张爵士乐唱片和无数样 Basie 的纪念品。他甚至还和这位音乐家成为了好朋友,至今菅原拍摄的 Basie 肖像仍然挂在墙上。

Shoji “Swifty” Sugawara, the owner of Basie / Jishu-machi, Ichinoseki Basie 的老板菅原正二 / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町
Basie / Jishu-machi, Ichinoseki Basie / 一关市地主町

“Every jazz joint is different, and that always makes for exciting visits,” says Arneill . “It’s very hard to categorize concisely, but I would say the quintessential jazz bar features are a very high-end sound system with large bespoke handmade speakers, vinyl of course, and a simple menu that consists of coffee and/or alcohol.” He also notes that the sound system is often placed in a central location, which is  an arrangement similar to the structure of most Japanese shrines.

“每个爵士乐场所都是不同的,因此每次拜访总是让我很兴奋。”Philip 说。“实在很难帮它们分类,不过,典型的爵士酒吧会有一个非常高端的音响系统,配有大型订制的手工扬声器,当然还有黑胶唱片,和一个备有咖啡或酒饮的简单菜单。”他还补充说道音箱系统通常会被放置在中央位置,类似于大多数日本神社的结构。

Samurai / Shinjuku, Tokyo Samurai / 东京市新宿区
Samurai / Shinjuku, Tokyo Samurai / 东京市新宿区
Jazz Spot Candy / Inage-ku, Chiba Jazz Spot Candy / 千葉市稲毛区
Club Goodman / Chiyoda-ku, Tokyo Club Goodman / 東京市千代田区
Club Goodman / Chiyoda-ku, Tokyo Club Goodman / 東京市千代田区

Arneill captures the establishments as they are, without flash or additional lighting. This can sometimes be challenging, as many of these places are dark and open only in the evening. He says he’s gotten more confident over time in documenting each location, which requires not only photographic skill but also the ability to make chit-chat with the owners. Through his conversations, he’s come to better understand how these places have aged, how the spaces reflect the owners’ personalities, and how they’re influenced by the surrounding neighborhood: “The bars very much represent a subculture now, as many Japanese are unaware of their existence, or have never visited one.” He notes that there is little incentive for owners’ children to carry on the family businesses because of the odd working hours and minimal profits.

Philip 会按照这些场所最真实的样子去拍摄,没有闪光灯或额外的照明。有时候这极具挑战性,因为很多这些地方都很黑暗,只在晚上开放。随着时间过去,每一次经历都让他获得更多信心,这不仅仅需要摄影技术,还要具备和老板闲聊的技巧。通过谈话,他会更好地了解这些地方如何变迁、空间如何反映老板的个性、以及它们如何受到周围社区的影响:“酒吧现在非常代表亚文化,许多日本人都不知道它们的存在,或者从来没有去过。”他指出,由于不寻常的工作时间、利润微薄,老板的孩子通常没有意愿接手家族企业。

The owner of Marshmallow / Naka-ku, Yamashitacho Marshmallow 的老板 / 横浜市中区
The husband-and-wife duo behind Coltrane Coltrane / Higashi-machi, Tosu Coltrane Coltrane 夫妻双档 / 鸟栖市东町
The owner of Rindo Jazz Cafe / Maehara, Honjo Rindo Jazz Cafe 的老板 / 本庄市前原
The owner of Birdland / Adachi-ku, Tokyo Birdland 的老板 / 东京市足立区

Japanese jazz bar owners would be more keen to pass on their businesses to another generation if they knew how incredibly rare their spaces are. Arneill says that owners are often surprised when he tells them that in their particular form such places exist only in Japan. “It’s ironic that so many of these places are vanishing, as there now seems to be a trend in other countries for vinyl-centered listening bars, many of which take the whole look and style from Japanese bars.” He mentions Spiritland in London and Rhinoceros in Berlin as examples.

如果日本爵士酒馆的老板们知道自己的空间有多么珍贵,他们会更热衷于把它传承给下一代人。Philip 说,当他告诉他们这样特定的地方只存在在日本时,他们的反应都非常惊讶。“讽刺的是,很多这些地方都在消失,因为现在其他国家似乎都流行着以黑胶为重点的酒吧趋势,其中许多却都采用了日本酒吧的外观和风格。”他举了伦敦的 Spiritland、柏林的 Rhinoceros 为例。

Miles / Setagaya-ku, Tokyo Miles / 东京市世田谷区

Not long after the Second World War, a fledgling pianist found herself in Chigusa, a famous jazz bar in Yokohama. At first she detested the genre, but after a record collector played Teddy Wilson’s “Sweet Lorraine” for her, she changed her mind. She sought out the only place she could listen to more, returning again and again, asking the owner to replay a particular section from her favorite albums or recommend new music. Toshiko Akiyoshi’s love for jazz deepened, and she went on to become one of the most influential jazz pianists of all time.

In the years to come, the only trace of what salarymen or aspiring musicians felt in these niche establishments may be relegated to photos like Arneill’s. The chatter of drunken conversation and the communal experience of listening to your favorite records in a room filled with like-minded jazz lovers is impossible to replicate in a still image, but as more of these bars and cafes begin shutting their doors, Arneill’s photography serves as a time capsule of sorts, preserving their memories.

A selection of prints from the project will be on exhibition at the Rhinoçéros jazz bar in Berlin from June 7th to June 29th.

第二次世界大战结束不久后,在横滨著名的爵士酒吧 Chigusa 有一位初出茅庐的钢琴家的身影。在这之前,她并不喜欢爵士乐。但在一位唱片收藏家的引导之下,她找到了唯一一个可以听到更多这种音乐类型的地方。她一次又一次地回来,要求老板从她最喜欢的专辑中重复播放一个段落、或是推荐新的音乐。秋吉敏子对爵士乐的热爱加深了,尔后她成为了有史以来最具影响力的爵士乐钢琴家之一。

在未来的岁月里,无论是支薪族或是有抱负的音乐家——人们在这些狭小空间里感受到的种种,可能只能在 Philip 的照片中找到残存的痕迹了。虽然这些酒酣耳热的交谈、和志同道合的爵士爱好者一起享受音乐的体验,是无法在照片中重现出来的,但在这些场所真正消失之前,Philip 的作品就像一只储存时光的胶囊,将专属于这些空间的回忆和意义流传下去。

该项目的部分照片,将于6月7日至29日在柏林的 Rhinoçéros 爵士酒吧展出。

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Instagram: @tokyojazzjoints
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Contributor: Eugene Lee



Instagram: @tokyojazzjoints
脸书: ~/tokyojazzjoints


供稿人: Eugene Lee

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Art for Everyone 共享一面墙

May 20, 2019 2019年5月20日
Artist: Jaba / Photographer: Daniel Murray 艺术家: Jaba / 摄影师: Daniel Murray

Hong Kong’s Morris Hill neighborhood, dominated by government buildings and schools, is usually sleepy on weekends. Today, the gray, overcast sky adds to the stillness of the quiet Sunday morning, but the freshly painted walls are riotous and colorful, bursting with dynamic energy. Recently the city welcomed over 40 artists to participate in the week-long street art festival HKWalls, which is now in its 6th year. The paintings range from multi-story murals on major streets to human-scale paintings in side alleys. Some are abstract, some are hyperrealistic, some feature wallpaper-like floral patterns, and one even has a crocheted design woven into a chain-link fence.

香港的摩理臣山街区遍布政府大楼和学校,因而在周末往往显得静谧安祥。今天,灰蒙蒙的天空增添了星期天早晨的宁静,但新粉刷的墙壁五彩缤纷,充满了活力。最近,香港邀请了 40 多位艺术家参加为期一周的街头艺术节“HKWalls”,这已经是它走过的第六个年头了。这些画从大街上的墙绘到小巷中的人像画,应有尽有。抽象的、具象的、像墙纸一样的大花的,都有,还有一个甚至有编织成栅栏样的钩编设计。

Artist: Dezio / Photographer: Daniel Murray 艺术家: Dezio / 摄影师: Daniel Murray
Artist: Fluke / Photographer: Daniel Murray 艺术家: Fluke / 摄影师: Daniel Murray
Artist: Make and Do / Photographer: Ren Wei 艺术家: Make and Do / 摄影师: Ren Wei

The festival coincides every year with Art Basel Hong Kong, the Asian-edition of one of the world’s most famous art festivals. Street art and graffiti have long been a mainstay of Miami’s Art Basel, but until recently they were entirely unrepresented here. And that gap provided an opening for three enterprising people to create HKWalls.


Artist: Wing Chow / Photographer: Daniel Murray 艺术家: Wing Chow / 摄影师: Daniel Murray
Artist: Wing Chow / Photographer: Ren Wei 艺术家: Wing Chow / 摄影师: Ren Wei
Artist: Wing Chow / Photographer: Daniel Murray 艺术家: Wing Chow / 摄影师: Daniel Murray

“One day while drinking at a local bar, I was bitching about the kind of events street artists were being asked to do,” says Jason Dembski, who runs HKWalls along with his wife Maria Wong and partner Stan Wu. “It was like these people would hear graffiti or street art was cool and that it would make their party cool. They didn’t care about the art at all. So me and Stan were like, why not just start our own event? We decided it had to be around the time of Art Basel, or Art HK as it was called then. That’s when all the art is happening, and there’s nothing graffiti- or street art-related, so we saw a gap. And the parties are all about being on the list and VIP access, so we wanted to throw something anyone could come to.”

They went ahead and put together a small first event, collecting in-kind donations like some clothing, a few dozen cans of spray paint for the artists, and some beer—just enough to make it happen without spending too much money. And while only about a dozen artists participated in that first iteration and mainly worked on street-level pieces, it got a lot of attention because of how novel it was.

Jason Dembski 和妻子 Maria Wong 及搭档 Stan Wu 一起经营着 HKWalls,“有一天我在当地的酒吧里喝酒,正好在抱怨街头艺术家被请去参加的活动形式,就好像是人们觉得听到涂鸦和街头艺术很酷,所以请他们现身会让他们的派对更酷。那些活动举办方的人们一点也不关心艺术。所以我和 Stan 就想,为什么不开始我们自己的活动呢?我们决定它必须是大约在香港巴塞尔艺术展的时候,当时还叫 Art HK。那时候,所有的艺术形式都在发生,却没有涂鸦或街头艺术相关的,我们因此看到了一个缺口。而且派对都是关于邀请媒体和重要人物的访问,所以我们想提出一些任何人都可以参加的东西。”


Artists: Katol & Man Luk (Left), Neil Wang & Wong Ting Fung (Right) / Photographer: Daniel Murray 艺术家: KKatol & Man Luk (左边), Neil Wang & Wong Ting Fun (右边) / 摄影师: Daniel Murray
Artists: Katol & Man Luk / Photographer: Daniel Murray 艺术家: Katol & Man Luk / 摄影师: Daniel Murray
Artists: Neil Wang & Wong Ting Fung / Photographer: Daniel Murray 艺术家: Neil Wang & Wong Ting Fun / 摄影师: Ren Wei

HKWalls has since exploded in size and notoriety, but Dembski, Wong, and Wu still make cultivating local talent a priority. One-third of the artists are always locally based, another third are from around Asia, and the rest are from overseas. They also try to encourage Hong Kong artists who haven’t explored mural painting to give it a shot, since the scene is so small. Dembski estimates that there are about 40 people actively doing illegal street art or graffiti in the city, and another 20 to 50 artists who frequently work on sanctioned murals. Each year they try and move the festival around to different neighborhoods in order not to paint over too many pieces from previous years.

自那时起,HKWalls 在规模和知名度上都出现了爆炸式增长,但 Jason 和妻子 Maria 及 Stan Wu 仍然把培养本地人才作为首要任务。三分之一的艺术家总是在当地工作,另外三分之一来自亚洲,其余的来自海外。他们还试图鼓励那些没有探索墙绘涂鸦的香港艺术家们去尝试一下,因为这个圈子太小了。Jason 估计,在这座城市里,大约有 40 人在积极地从事非法街头艺术或涂鸦,另外有 20 至 50 名艺术家被允许可以在墙面上涂鸦。每年,他们都会尝试着把这个节日搬到不同的区域,这样就不会和前几年的墙绘重叠。

Artist: Zmogk / Photographer: Ren Wei艺术家: Zmogk / 摄影师: Ren Wei
Artist: Melancholy / Photographer: Ren Wei艺术家: Melancholy / 摄影师: Ren Wei
Artist: Yopey / Photographer: Ren Wei 艺术家: Yopey / 摄影师: Ren Wei
Artists: Kringe, Anhz, & Portls / Photographer: Daniel Murray 艺术家: Kringe, Anhz, & Portls / 摄影师: Daniel Murray
Artist: Jasmine Mansbridge / Photographer: Ren Wei 艺术家: Jasmine Mansbridge / 摄影师: Ren Wei

These days, HKWalls attracts brand sponsorships from around the world and the festival is able to fly artists in, put them up in hotels, give them hundreds of cans of paint, and provide the heavy equipment needed for large scale works. This year they even rented a three-story building where they hosted parties, workshops, and art shows.

HKwalls is a nonprofit organization, and while it’s a full time job for the three for a few months out of the year, they don’t make any money from it. But they’ve started a for-profit business to handle all the event requests they get asked to do as a result of their growing notoriety. And the connections they make through these side events are in turn relied on for HKwalls later, so each side of the business reinforces the other.

这些天来,HKWalls 吸引了来自世界各地的品牌赞助,也开始请艺术家们从各地飞来,并且给他们提供几百罐油漆,为大规模的作品提供所需的设备。今年,他们甚至租了一栋三层高的建筑,在那里举办聚会、讲习班和艺术展览。

HKWalls 是个非盈利组织,虽然他们三个人一年中的好几个月在全职工作,但他们并没有从中赚钱。如今他们已经开始了以营利为目的的公司,来处理那些声名鹊起后找上门来的生意。而他们通过这些随着 HKWalls 建立的联系,也加强了对 HKWalls 本身的名气,两者互惠互利。

Artist: Priscilla Yu / Photographer: Ren Wei 艺术家: Priscilla Yu / 摄影师: Ren Wei
Artist: UUendy / Photographer: Daniel Murray 艺术家: UUendy / 摄影师: Daniel Murray
Artist: Kwan Clan / Photographer: Daniel Murray 艺术家: Kwan Clan / 摄影师: Daniel Murray
Artist: Jaba / Photographer: Ren Wei 艺术家: Jaba / 摄影师: Ren Wei

HKWalls even partnered with the government this year, which allowed them to paint on institutional buildings. “The Hong Kong Design Center approached us, because they’re pushing certain areas as design districts, and they asked us to do our festival in Wan Chai. They were instrumental in helping us find walls and get equipment,” Dembski says. But there were also some downsides to government-sponsored art. “It worked very well, but there was some censorship, and bureaucracy occasionally got in the way. We definitely see the value in what they bring, though, and want to work with them again.”

Such issues are common in Hong Kong, and not just in government partnerships. “People can be quite conservative here, so content that might not be controversial in other places ends up being problematic here,” says Dembski, who moved here from the US ten years ago. “We’ve turned down walls because they wouldn’t accept what we wanted to give them. It’s always a give and take, and we’re always pushing for more freedom. So the walls where they say, ‘do whatever you want,’ those are what we really like. But they’re difficult to find.”

Plan out your route to check out this year’s stunning murals with the HKWalls Painting Map.

今年,HKWalls 甚至和政府合作,在公共建筑上作画成为可能。“香港设计中心找我们,因为他们把某些地区作为设计区来推销,他们要求我们在湾仔举办节日。他们在帮助我们寻找墙壁和获取设备方面发挥了重要作用。” Jason 说。但政府赞助的艺术也有一些不利之处。“它运作得很好,但有一些审查制度,有时官僚作风也会妨碍创作。但我们确实看到了他们带来的价值,并希望再次与他们合作。”

这些问题不仅仅是在政府的合作关系中,在香港也很普遍。“这里的人们可能相当保守,在其他地方可能不会引起争议的内容,在这里却会有。” Jason 说,他是十年前从美国搬到这里的。“假如一些愿意提供墙的人不同意我们的创作方向,我们会拒绝画墙。这是相互的过程,我们一直都在争取更多创意上的自由。如果有人愿意提供墙壁,并让我们自由发挥的话,这是我们最喜欢的,但这种机会很难找到。”

如果你想在今年亲眼看看香港的墙绘盛况,可以点击进入 HKWalls Painting Map 查看和计划你的行程。

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Instagram: @hkwalls
Facebook: ~/hongkongwalls


Contributor: Mike Steyels
Images Courtesy of HKWalls, Ren Wei & Daniel Murray



Instagram: @hkwalls
Facebook: ~/hongkongwalls


供稿人: Mike Steyels
图片由 HKWalls、Ren Wei 与 Daniel Murray 提供

Ride or Die 疾速下的自由

May 15, 2019 2019年5月15日

It’s common for a photographer to devote themselves to a few specific genres of photography. Some may choose to focus on architecture or landscapes while others may prefer portraiture or street photography. But Hou Zitong, a 23-year-old Beijing native, has decided to point his lens at a niche subject matter: bicycles, or specifically, fixed-gear bikes.

通常,每个摄影师都会有自己专精的摄影类型或主题,有人侧重拍摄建筑或风景,也有人喜欢专门拍摄肖像或街头摄影。而 23 岁的北京摄影师侯子通则把镜头对准一个比较小众的主题:自行车,或者再具体一点,死飞自行车(Fixed Gear)。

Fixed-gear bicycles are bikes named for the fixed cog fitted on the rear wheel. This setup means that, unlike regular bikes with a freewheel mechanism, if the wheels are moving, the pedals are moving too, making coasting impossible. While it can be tiring to ride, a fixie’s appeal lies in its simplicity. With fewer moving parts, they’re lighter and sleeker than traditional bikes. Some riders even forgo brakes, which also frees them to perform maneuvers that otherwise wouldn’t be possible. (Brakeless bicycles are illegal in many areas, though some enthusiasts insist they’re safe.) In China the popularity of fixies has waned since its peak in 2013, though dedicated communities of riders still exist,

死飞以安装在后轮上的固定齿轮命名。这意味着不同于一般自行车的飞轮构造,如果死飞的车轮在移动,踏板也会跟着移动,使得它无法在踏板静止状态下保持滑行。虽然骑起来比较累,但死飞的魅力在于它结构的简洁。由于移动部件较少,它们比传统自行车更轻、更顺畅。有些车手甚至会选择不安装刹车,以获得更多操控上的自由,做到更多之前做不了的动作。(无刹车自行车在很多地方都是非法的,即使有些爱好者坚持它们是安全的。)在中国,死飞的热潮在 2013 年达到了顶峰。虽然现在热度有所下降,但仍然存在着许多活跃的死飞车手团体。

Hou is one of these devoted riders. He’s loved both photography and fixies for as long as he can remember. During high school, he was already cruising the streets and shooting whatever caught his eye. Surprisingly, though, the idea of aiming his camera at the cycling culture he loved didn’t come about until much later.

In his early days as a freelance photographer, financial uncertainties were a constant. On one particularly bad month without any jobs, he considered the unthinkable—selling his beloved fixie. “My income at the time all came from photography jobs, but freelancing as a photographer, opportunities were sparse,” he says. “I remember I only had 300 RMB in my bank account, and I had no idea what I’d do after that was gone, but I didn’t want my family to think photography wasn’t a viable profession. So I thought about selling my bike. But I wanted to remember it, so I decided to try to get some cool snaps of it. They turned out rad as fuck, and that’s how it all began for me. I actually didn’t even end up selling my bike. Looking back now, it’s hard to imagine that I even considered it. Maybe it was some sort of divine intervention that was guiding me.”


早期担任自由摄影师的时候,侯子通的经济收入很不稳定。在情况特别不好的月份里,他甚至连一份工作都没有。他不得已开始考虑那些难以想像的出路,例如卖掉自己心爱的死飞。“我当时完全靠摄影谋生,但实在没什么活儿。我清楚记得银行卡里只剩 300 人民币,我不知道花完这些钱后该怎么办。我不想向家里拿钱,让家人觉得摄影这个行业不可行,所以我只好考虑卖掉我的死飞。”他说,“为了留念,我想为它拍一张帅点儿的照片,结果拍完发现实在他妈太帅了。一切就从这里一发不可收拾,当然最后车也没卖。回想起来,我到现在也没法理解为什么那天会有卖掉死飞的想法。可能是暗中有某种力量在指引我走上拍摄死飞这条路。嗯,我想是这样的。”

Despite how niche fixies are in the world of sports photography, Hou’s decision to follow his heart has paid off. In recent years, he’s landed opportunities to work with cycling brands around the world, including Taiwan’s nabiis and Spain’s Dos Noventa. These opportunities have given him the chance to visit—and more importantly, ride in—cities he’s never been to before. “Shooting fixies has been a bridge of sorts for me,” he says. “It’s allowed me to go to different places and meet a lot of other riders.”

尽管死飞在体育摄影行业里非常小众,但侯子通始终坚持听从自己内心的声音,在最艰难的时候也没有放弃,最终他的坚持有了回报。近年来,他获得了和世界各地自行车品牌合作的机会,包括台湾的 nabiis 和西班牙的 Dos Noventa。这些机会也让他到访——或是更重要的——骑行在多个不同城市中。“拍摄死飞对我来说就像搭起一座桥。”他说,“它带我去到很多不同地方,认识很多车手。”

While the focus on cycling culture is a hallmark of Hou’s work, what makes his photography truly stand out is the sense of unfettered freedom that’s captured in every frame. His snapshots of riders weaving through traffic, towing themselves on moving trams, and bombing down steep hills encapsulate both the dynamic energy of cities in motion and the thrill of moving with the ebb and flow of that energy. It’s the same energy that he relishes every time he’s out riding, and the same energy that’s kept him infatuated with the sport for over a decade.

“You get to enjoy the city in different ways depending on when you ride,” he says. “In the daytime, with traffic and pedestrians, it’s like a constant tussle between you the city, but at night, you can enjoy the calm. Without cars, it’s just you, your music, and the rhythm of your peddling. But no matter the time of day, the best thing about fixies is the sense of freedom when you ride. It makes me feel like I own the city. Believe me, it’s something everyone should experience.”



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Instagram: @houzitong
Weibo: ~/houzitong


Contributor: David Yen



Instagram: @houzitong
微博: ~/houzitong


供稿人: David Yen

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Darkness Upon Darkness 众妙之门

April 29, 2019 2019年4月29日

From far away, the imposing darkness of Hu Liu’s works is mesmerizing. You feel you’re standing before a jet-black wall: everywhere your eyes reach is somber and grave.



Wave (2016) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《浪》(2016) 110 x 260 厘米 / 纸本铅笔

But this Beijing artist says her works aren’t black, they’re xuán. The word can mean “dark” or “mysterious,” and it evokes the philosophy of Laozi and Zhuangzi. “Xuán is remote, and it also means ‘hidden,'” she explains. She then quotes from the Dao De Jing: “‘Darkness upon darkness: the gateway to wonders.'”


Close up of Sea (2013)《海》(2013) 局部
Close up of Sea (2013)《海》(2013) 局部
Sea (2013) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《海》(2013) 110 x 260 厘米 / 纸本铅笔

In this world drawn in xuán, Hu hides her works in the folds of time, but they reveal themselves with the changing light. “This isn’t a world that any color can depict,” she says.


Close up of Wave (2015)《浪》(2015) 局部
Close up of Wave (2015)《浪》(2015) 局部
Wave (2015) 43 ³/₁₀ x 102 ³/₁₀ inch, Pencil on paper《浪》(2015) 110 x 260 厘米 / 纸本铅笔

Xuán is not black—or rather, it’s not only black.

By design, elements on Hu’s canvases seem to appear and disappear. The entire surface is drawn stroke by stroke in pencil—every plant, every petal, every seascape—line by line, overlapping endlessly. The dense streaks of graphite call you closer, beckoning your eyes to trace the light and shadows, to move point by point and envision its compositional structure. Only when you’re close enough can you perceive the visual intricacy you expect to find in a painting.

Millions upon millions of pencil strokes: to outside observers, this creative process looks almost like a work of religious devotion. For Hu, a drawing isn’t finished just because it looks finished—it often stretches out even more boundlessly. “It’s like crossing the river to the farther shore: it’s hard to judge how long it will take. You have to discover whether the water is shallow or deep, warm or cold.”





Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成
Close up of Bamboo, a work in progress《竹林》,未完成

Staring at Hu’s works, you feel you’re plunging into the black depths of the canvas, subject to the swell and ripple of every stroke. When you’re overwhelmed and look up again, wholeness and clarity appear. Only then do you see why Hu calls this color xuán: the picture is still jet black, but all of the details flash through your mind, and what you see becomes what you think.

“If I’m trying to convey something, the only way to see it is to observe the work up close, face to face. The viewer has eyes, the viewer doesn’t need answers, the viewer can discover them on her own,” she says. “Beckett wrote, ‘The artistic tendency is not expansive, but a contraction, and art is the apotheosis of solitude.’ To me, that rings true.”




Perhaps the real language of an artist is their work. Only when standing before a work of art can a viewer find resonance or contact with its creator. “Through observation, a work of art allows us to feel the intangible,” Hu says. “The most powerful way to be heard isn’t to babble incessantly but to be silent. It’s much more effective than any words.”

To keep up to date with upcoming exhibitions or works from Hu Liu, visit her ShanghART Gallery page.



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Contributor: Chen Yuan
English Translation: Allen Young
Photographer: David Yen
Additional Images Courtesy of Hu Liu



供稿人: Chen Yuan
中译英: Allen Young
摄影师: David Yen

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A Global Artist Network 如何留住人才的心

April 24, 2019 2019年4月24日
Ello | Korean painter 08amEllo | 韩国绘画家 08am

Maintaining a strong digital presence is an important part of being a modern creative. This is especially true if you’re an artist hoping to attract brands for commercial collaborations. Attaching an e-mail address to your Instagram bio and waiting for DMs might do the trick if you’re already a top-tier influencer, but for emerging artists who haven’t gotten their lucky break, opportunities are few and far between. But what if artists could take a more proactive approach? What if, instead of relying on luck, there was a way for you to place your work directly in front of brands looking for creative talent?


Talenthouse | Thai cartoonist Puck SawrealTalenthouse | 泰国漫画家 Puck Sawreal
Talenthouse | Filipino illustrator Joseph LunaTalenthouse | 菲利宾插画家 Joseph Luna

That’s the line of thought behind Talenthouse, an online platform that’s been facilitating creative collaborations between independent artists and global brands since 2009. The vision for Talenthouse, as co-founder Maya Bogle puts it, was to set up a “creative ecosystem and economy,” a welcoming space where users can not only showcase their work and connect to other like-minded individuals but also discover opportunities to get paid for their work. In the decade since its launch, it has introduced an expansive offering of creative briefs from big-name brands and top-tier ad agencies to its ever-growing community of artists, photographers, designers, and more.

“Without community, we are nothing more than a tech platform,” says Bogle. “If you focus on nurturing a creative community, on creating opportunities for them to be inspired by other creatives’ work, and collaborate on projects and to practice their craft with real-world briefs then you give them a reason to stay.”

这就是 Talenthouse 背后的思路。自 2009 年以来,这个在线平台就一直在促进独立艺术家和全球品牌之间的创意合作。正如联合创始人 Maya Bogle 说,Talenthouse 的愿景是要建立一个“创意人才的生态和经济系统”,在这里,人们不仅可以展示他们的工作成果、与其他志同道合的人联系,还能发现为他们的工作获得报酬的机会。在网站成立后的十年里,Talenthouse 向不断壮大的艺术家、摄影师、设计师社区,推出了由知名品牌和顶级广告公司提供的大量创作需求。

“没有创意社区,我们就只是一个技术平台。”Maya 说,“如果你专注于培育一个富有创造力的社区,为他们创造机会,让他们从其他创造性的工作中得到启发,在项目上进行合作,用真正的广告 brief 来练习他们的手艺,那么你就给了他们留下来的理由。”

Ello | Singaporean 3D artist LarrylkwEllo | 新加坡 3D 艺术家 Larrylkw
Ello | Hong Kong painter Sonya FuEllo | 香港绘画家 Sonya Fu
Ello | Indonesian digital collagist Evan LawrenceEllo | 印尼拼贴艺术家 Evan Lawrence
Ello | Indonesian designer Z.A SetiawanEllo | 印尼设计师 Z.A Setiawan

Talenthouse’s 2018 partnership with Ello, an art-focused social network, is a testament to their commitment to community building. “Ello represented a stunning, curated community of creators who wanted to showcase their work and engage a wider audience,” Bogle says. By opening its creative invites to Ello users, Talenthouse hopes for more artists to understand that they can make a living from their creative passions.

2018 年,Talenthouse 和专注于艺术的社交网络 Ello 合作,证明了他们对创意社区建设的承诺。“Ello 代表了一个令人惊叹的、有策划的社区的创作者社区,他们想要展示他们的工作,并吸引更广泛的观众。”Maya 说。通过向 Ello 用户开放其创意邀请,Talenthouse 希望更多的艺术家明白,他们可以通过自己的创作激情来谋生。

Ello | Malaysian graphic designer ZilinyeeEllo | 马来西亚平面设计师 Zilinyee
Ello | Indonesian illustrator & sculptor TobingdewiEllo | 印尼插画家与雕塑家 Tobingdewi

Since its genesis, Talenthouse has grown from housing portfolios and commission requests to actively setting up creative collaborations, engaging with artists and brands alike on a frequent basis. When working with brands, they’ll help shape briefs so that they can be easily understood by younger, amateur creatives. With artists, when their work is selected, team members from Talenthouse will sometimes take a hands-on approach and help them hone their vision into something that matches brand expectations. This is an invaluable mentoring process for many young creatives without experience working on commercial projects.

自成立以来,Talenthouse 已从一个上传作品集与委托要求的平台,发展到积极建立创意合作关系,经常与艺术家和品牌进行接触。在与品牌打交道的时候,他们会帮助设计创意方案,让较年轻的业余创意人才更容易理解创作需求。对于艺术家来说,当他们的作品被挑选出来时,Talenthouse 的团队成员有时也会插手帮助他们拓宽自己的视野,使其符合品牌预期。对于许多没有商业项目工作经验的年轻创意人员来说,这是一个非常宝贵的指导过程。

Talenthouse | Chinese photographer Bai DongyunTalenthouse | 中国摄影师 Bai Dongyun

In recent years, Talenthouse has begun to strengthen its presence in Asia. “We firmly believe that this region offers a wealth of incredible creative talent that we would love to uncover and showcase to the world,” Bogle says. “We have already identified over thousands of artists across Asia – particularly in the Philippines, India, and Indonesia. We’re also seeing a spike of interest from artists in China, Korea, and Japan and that’s just for starters.”

近年来,Talenthouse 开始加强其在亚洲的影响力。“我们坚信,这个网络社区供给了丰富且惊人的创意人才,我们愿意发现和展示给世界。”Maya 说,“我们已经找到了亚洲各地数以千计的艺术家,特别是菲律宾、印度和印度尼西亚的艺术家。我们也看到了来自中国、韩国和日本的艺术家们,而这仅仅是开始。”

Ello | Taiwanese illustrator artist RubaneeEllo | 台湾插画家 Rubanee
Ello | Singaporean painter BarbarianflowerEllo | 新加坡绘画家 Barbarianflower
Ello | Indonesian illustrator Ade MilhadEllo | 印尼插画家 Ade Milhad
Ello | Indonesian photographer Steven HardyEllo | 印尼摄影师 Steven Hardy

The idea of being a “starving artist” is often glamorized, as if hardship was a prerequisite to producing good creative work, but Talenthouse doesn’t believe in this in the least. It wants more people to understand that making a reasonable living through art isn’t so farfetched. With its mission to democratize creative work by allowing newcomers to compete with experienced artists, Talenthouse isn’t just helping young creatives get their foot in the door—it’s breaking down the door completely.

But even beyond providing artists a way to get paid for their work, the opportunities offered on Talenthouse are valuable in themselves. For young artists, these work experiences can be indispensable for growth, instilling the confidence that can set them up for long-term creative success. And it’s exactly this that makes Talenthouse so unique. Its vision is much more ambitious than just rewarding artists financially—it’s a platform that looks to empower the next generation of creatives.

俗话说“多吃苦才会吃香”,成为一个“饥饿的艺术家”可能听起来很有魅力,但是 Talenthouse 认为它并非如此。Talenthouse 想让更多的人明白,通过艺术谋生并非那么牵强。Talenthouse 允许新人与有经验的艺术家竞争,实现创意竞标,并不仅仅是帮助年轻的创意者进入这个领域——这完全打破陈规旧则。

除了为艺术家提供一种为他们的作品获得报酬的方式,在 Talenthouse 杂志上提供的机会本身也是有价值的。对于年轻的艺术家来说,这些工作经历对于成长是必不可少的,这可以给他们注入信心,长期以来可以使他们收获创意方面的成功。也正是这个原因,才使得 Talenthouse 如此独特。这是一个寻求授权给下一代创造性者的平台,而它的目标比仅仅满足艺术家的经济利益要远大得多。

Ello | Indonesian animator & illustrator RanggasmeEllo | 印尼动画师与插画师 Ranggasme
Ello | Malaysian type designer Marco SkuehEllo | 马来西亚字体设计师 Marco Skueh

Like our stories? Follow us on Facebook and Instagram.


Websites: |
Instagram: @ellohype | @talenthouse


Contributor: David Yen
Chinese Translation: Chen Yuan
Images Courtesy of Talenthouse & Ello



网站: |
Instagram: @ellohype | @talenthouse


供稿人: David Yen
英译中: Chen Yuan
图片由 Talenthouse 与 Ello 提供

New Language Toggle Feature! 语言切换功能已上线!

April 18, 2019 2019年4月18日

Check out Neocha’s new language toggle feature! Now you can use the button at the top right to switch between Chinese and English and read our stories in your preferred language.

If there are any other features you’d like to see on our website, get in touch with us at

Neocha 全新的语言一键切换功能已上线啦!现在你可以点击网页右上方的“EN/中”来切换中英文,两种语言任君阅读。


Cultural Strands 缠绕之发

April 17, 2019 2019年4月17日
Hair Landscape III (2013)《Hair Landscape III》(2013)

Hair is often the first thing we notice about a person. Gender, ethnicity, personality—we can make judgments about these characteristics from a mere glance at their hair. This is because however we choose to style it—whether it’s long or short, straight or curly, dyed or natural—we’re displaying a conscious decision. More often than not, this choice is the beginning of a story.

Yuni Kim Lang, a Korean-American artist based in Michigan, is fascinated by hair. Though she was born in Korea, she spent most of her childhood in various cities in China before attending an international school with a Western curriculum. She identifies as a “third-culture kid,” a term for people who have grown up in a culture different from that of their parents, and she often felt caught between three different sets of cultural expectations. “Every summer, when I went back to visit Korea, my heart would start beating faster the moment the airplane landed. I had this idea of what a Korean girl looked like and needed to be like. But what if I couldn’t fit into that box? It was a physical thing for me. I could literally feel how my body started to feel uncomfortable.”


住在密歇根州的韩裔美籍艺术家 Yuni Kim Lang,对头发有着很深的着迷。虽然她出生在韩国,但她在中国不同城市度过了大半的童年时光,接着再进入一所西方教育的国际学校。她认为自己是一个“第三文化小孩”,对于在与父母不同的文化中成长的人来说,她经常感到自己陷入三种不同的文化期望中。“每年夏天,当我回到韩国时,我的心脏就会在飞机着陆的那一刻开始快速跳动。我执着于‘一个韩国女孩应该看起来怎么样?’这样的想法。如果我不能融入呢?这对我来说也造成身体上的影响。我真的可以感到自己开始感觉不舒服。”

Woven Identity I (2013)《Woven Identity I》(2013)
Woven Identity II (2013)《Woven Identity II》(2013)

Lang’s best-known project, Comfort Hair, is the manifestation of that discomfort. The sheer mass of tangled knots pays homage to gache, heavy wigs formerly worn by Korean women to signify social status and beauty. The weight is both literal and figurative, and Lang has said she identifies with the story of a 13-year-old bride whose neck snapped under the weight of her gache. While cultural expectations can be beautiful, rooted in deep traditions, they can also be burdens. “Comfort Hair is about wanting to tell the story of this massive thing on top of my head that encompasses so much, and using it as a conversation starter to dig deeper into our stories,” she says. “It’s the perfect material that everyone understands to be personal.”

Yuni Kim Lang 最著名的项目《Comfort Hair》(《慰借之发》),正是这种文化不适的延伸。大量纠缠的发结,向古代韩国女性用以宣示社会地位和美丽的重型假发“加髢”致敬。这种重量既是象征性的,也是真实有形的。她说,曾经有一个13岁的小新娘的脖子,在加髢的重压下折断。虽然文化期望可以是美丽的,根植于深厚的传统,但它们也可能是重担。“《Comfort Hair》就是想要讲述这个巨大的命题,涵括了很多的东西,并借以开启一段对话,深入挖掘属于我们自己的故事。”她说,“头发正是一个恰好的素材,每个人都可以理解它的私密性。”

Generation (2013)《Generation》(2013)
Hair Landscape II (2013)《Hair Landscape II》(2013)
Hair Landscape IV (2013)《Hair Landscape IV》(2013)

The title also alludes to the “comfort women” taken as sex slaves by the Japanese army during World War II. Comfort Hair is intended to be experienced live as a performed work, with Lang wearing the pieces and lying quietly in a meditative state. Her presence highlights her connection to a complex history that contributes to her identity. Lang states that memory is an essential part of her work, and that hair can be thought to represent a “collective memory.” In one image, three women of different generations share the same web of dense, interwoven, black strands, linking hair with the triumphs and hardships of a community.

Hair is paradoxical. It is neither living nor dead—we cannot feel it, but it nonetheless grows out of our bodies. Similarly, our histories cannot be changed, yet they can be modified, shaped, and worn in different ways.

这个项目的命名,同时也暗示了二次世界大战期间被日本军队视为性奴的“慰安妇”(Comfort Women)。《Comfort Hair》旨在让观众现场体验,Yuni Kim Lang 戴上巨大的发结,静静地躺在冥想状态。她的存在强调了自己、与造就了她的复杂历史两者之间的连结。她说,记忆是她创作中不可或缺的一部分,头发可被视为一种“集体记忆”。在其中一张照片中,三位不同世代的女性拥有相同密集、交织缠绕的黑色织线,将头发与这一群体的伟大与艰辛,紧紧联系在一起。


Flow (2017)《Flow》(2017)

Lang’s newest project, Blooming, is a sequel to Comfort Hair. “Blooming was born from Comfort Hair and visualizes hair as much more than just hair,” she says. “It explores those layered meanings that hair encompasses. Hair is, at times, a stand-in for our identity, and this identity is not static. I see it as something growing and transforming that changes with our stories and unravels as we unfold life’s adventures. I find this concept much more appealing.” Audiences have said Blooming reminds them of flowers, mushrooms, or even sea creatures. “What I want to communicate is growth. Identity is an organism that’s alive, growing, spreading, and blooming.”

Yuni Kim Lang 的最新项目《Blooming》(《绽放》)是《Comfort Hair》的续集。“《Blooming》诞生自《Comfort Hair》,视觉表现上让头发发挥更多想像。”她说,“它探索了头发在不同层面上的意义。有时候,头发是我们身份的替身,但身份并非一成不变。我认为它是会随着我们的经历和生命故事成长而变化的东西。我发现这个概念更具吸引力。“有些观众说《Blooming》让他们联想到花朵、蘑菇、甚至是海洋生物。“我想要传达的是增长的概念。身份是一种有生命、不断成长、向外传播和绽放的有机体。”

Self Portrait II (2017)《Self Portrait II》(2017)
Self Portrait I (2017)《Self Portrait I》(2017)
Nest (2013)《Nest》(2013)

In a few pieces, she doesn’t wear the hair but instead lies in it. The metaphor of hair evolves into a surrounding environment, enveloping a wearer who is not overwhelmed by the pressure but peacefully coexisting with it. Lang, who was once anxious about “not being Korean enough,” has grown into an artist who understands the multifaceted nature of identity, as well as a mother tasked with guiding her boys through the challenges of understanding their heritage. She says hair gives her a platform to talk about the internal struggles she had growing up. “I enjoy talking to my boys about the things I hated and loved about being Korean, and who I am because of those understandings,” she says. Today she serves as a guide through the symbolic seascape of Blooming, both for her children and her audiences.

在几件作品中,她不戴头发,而是躺在头发里。头发的比喻演变成一个周围的环境,包裹着一个没有被外在压力打倒,而是与它和平共处的穿戴者。曾经一度担心“自己不够像韩国人”的 Yuni Kim Lang,已经成长为一个深刻了解身份多重性的艺术家,以及一位母亲,教导儿子去了解他们继承传统的挑战。她说,头发给了她一个平台,讨论成长过程中她内心的挣扎。“我喜欢和我的孩子谈论关于做韩国人我喜欢和讨厌的事,以及因为这些理解,从而去了解我到底是谁。”她说。今天,通过象征性的《Blooming》,她为她的孩子和她的观众提供了方向和指南。

Meditation II (2017)《Meditation II》(2017)
Self (2017)《Self》(2017)
Mother and Child (2017)《Mother and Child》(2017)

Lang recalls on one memorable encounter with a Korean adoptee who shared her personal story after an exhibition opening. Lang’s story of growing up as a third-culture kid resonated with her, and she explained how she too, often felt lost between Western and Korean cultures. However, they bonded over the fact that they can’t deny they’re Korean—their intense black hair would never allow them to. “The world will always see a Korean girl,” Lang says. Even if they covered their roots, their hair would eventually grow back, a mysterious force always trying to tell its story.

Yuni Kim Lang 回忆起有一次在展览开幕后,遇见一位被领养的韩国人。她分享了个人经历和故事,并提到这样的作品引起她很大的共鸣。她解释自己也是如此作为一个第三文化孩子成长,经常感到迷失于西方和韩国文化之间。 然而,两人都认同自己无法否认她们韩国人的身份——她们明显的黑发绝不允许她们这样做。“世界看到的我将会永远是一个韩国女孩。”她说。即使覆盖了根,头发也会长出来,仿佛丛生着一股神秘力量,总是试图去诉说它的故事。

Bloomscape (2017)《Bloomscape》(2017)

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Instagram: @artist_yunikimlang


Contributor: Eugene Lee
Chinese Translation: Yang Yixuan

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Instagram: @artist_yunikimlang


供稿人: Eugene Lee
英译中: Yang Yixuan

A Layered World 跃然纸上的记忆

April 12, 2019 2019年4月12日
Girl Talk (2019) 18 x 24 in / Pen and ink on tracing paper 《Girl Talk》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

On average, Filipina artist Lui Gonzales uses five layers of paper to create one work. She starts by tracing along the paper with a pen, rendering the likenesses of people and everyday objects in meticulous detail. Then, after layering one over the other, she systematically tears the tracing paper from top to bottom. The torn edges of the paper decorate the pieces with striking lines that twist and turn to form dynamic figures and shapes. The resulting work is a feast for the eyes, each layer beckoning the viewer to come and explore its depths.

平均下来,菲律宾艺术家 Lui Gonzales 会用五层纸来做一个作品。开始时,她会先用笔在纸上描画,画面细致入微地展现着人物和日常物品;然后再把一张张的画叠起来,有计划地从上到下把画撕下来。而这些撕下的纸,Lui 则会用醒目的线条来装饰它们,扭曲、旋转的线条,形成动态的图样。她的作品可说是一场视觉盛宴,每一层纸张都在召唤着观看者来探索它的深度。

Conversational (2019) 36 x 48 in / Pen and ink on tracing paper 《Conversational》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Visitors (2019) 36 x 48 in / Pen and ink on tracing paper 《Visitors》(2019) 91 x 122 厘米 / 笔墨、硫酸纸

Gonzales first encountered art as a child. “When I was younger, my father let us read a lot of art books,” she says. What started as a hobby soon developed into a passion. In 2006, she was accepted at the Philippine High School for the Arts and specialized in visual arts. She went on to attend the University of the Philippines-Diliman, graduating with a major in painting in 2015. Since then, she has held multiple exhibitions at galleries and art spaces both in the Philippines and abroad.

Lui 接触艺术是在她儿时,“当我还小的时候,我父亲就让我们读了很多艺术书籍。”她说。这一开始的爱好很快就发展成一种热爱,在 2006 年的时候,她前往菲律宾艺术高中(Philippine High School for the Arts)就读,主攻视觉艺术。2015 年毕业于菲律宾大学蒂利曼校区(University of the Philippines-Diliman)的绘画专业。自那以后,她在菲律宾和国外的画廊和艺术空间举办过多次展览。

Spectators (2019) 36 x 48 in / Pen and ink on tracing paper 《Spectators》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Big Sky Minds (2019) 24 x 36 in / Pen and ink on tracing paper 《Big Sky Minds》(2019) 61 x 91 厘米 / 笔墨、硫酸纸

Many of Gonzales’ works possess a distinct, personal touch. She describes the process of drawing on paper as “immediate and honest,” and in this regard, her art is a personal diary of sorts. It is a manifestation of the process of recalling and interpreting the objects, events, and scenarios she has witnessed. Memory, and the various ways in which it reveals itself, plays a central role in her art.

In her first solo exhibition titled Colorless Confetti, Gonzales deconstructed the process of remembering, imagining memories as multiple, fragmented layers that appear before the mind in no coherent order. Some remain concealed, while others are in full view. Tearing through the layers of paper is an act of destruction, but even when torn, the pieces of paper still hold value. They are recalled and remembered, and therefore, brought back to life.

Lui 的很多作品都有着她鲜明的个人风格。她把在纸上绘画的过程描述为“直接的、诚实的”,在这方面,她的作品是日记式的,是回忆和诠释她所目睹的对象、事件和情景的过程展现。记忆,以及它揭示自己的各种方式,在 Lui 的作品中有着举足轻重之地。

在她的首个个展“Colorless Confetti”中,Lui 解构了记忆的过程,把记忆想象成多重的、支离破碎的层次,这些层次以不连贯的顺序呈现出来。一些仍隐匿在暗处,而另一些却暴露于众目睽睽之下。撕开一层层的纸的行为是破坏的过程,但即使撕破了,这些纸片仍然具有价值。他们被回想起来,被记住,因此也重新展现了生命力。

For Safe Keeping (2019) Varied Sizes / Mixed media《Conversational》(2019) 尺寸可变 / 综合材料

Gonzales further expands on this concept in her latest solo exhibition Circa. Organized by Kaida Contemporary and currently on display at the ArtistSpace Gallery of the Ayala Museum in Makati, the new show likewise focuses on the fleeting nature of memory. Gonzales examines the accuracy of our recollections, questioning whether our mental manifestations mirror what is true and real. The exhibit brings together an assemblage of scenes and portraits, taken out of their original sequence, and restructured on paper.

Lui 在最近的个展“Circa”上,进一步扩展了这一概念。这次新展同样关注记忆的转瞬即逝的本质,由 Kaida Contemporary 组织,目前正在马卡蒂阿亚拉博物馆的 ArtistSpace 画廊展出。Lui 检查我们记忆的准确性,质疑我们的精神表现是否反映了真实。这次展览汇集了一组场景和肖像,从原来的记忆顺序中取出,并在纸上重新构造。

Hey, Andy (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Hey, Reg (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Dwelling (2019) 48 x 36 in / Pen and ink on tracing paper 《Dwelling》(2019) 122 x 92 厘米 / 笔墨、硫酸纸

Gonzales’s largest work in this series is titled Crowded. At 72 inches wide by 42 inches long, the artwork uses ten layers of paper. Similar to other works in this exhibit, Crowded is a moment frozen in time. It depicts a large group of people as they weave their way amongst one another. “I like it when people are brought together into one setting,” Gonzales says. “I like observing how they all interact with each other, even if these events never happened in the same timeline. In my mind, they all morph into one another.”

Lui 在这个系列中最大的作品叫做《Crowded》(《拥挤》)。作品宽 72 英寸,长 42 英寸,用了足足十层纸。和本次展览中的其他作品一样,《Crowded》是凝固在时间中的一个瞬间。它描绘了一大群人,他们在彼此编织着自己的路。“我喜欢把人们集中在一个环境里。”Lui 说,“我喜欢观察他们是如何互相影响的,即使这些事件从未发生在同一个时间线上。在我的脑海里,它们都变成了彼此。”

Crowded (2019) 42 x 72 in / Pen and ink on tracing paper《Crowded》(2019) 107 x 183 厘米 / 笔墨、硫酸纸

Memories are fragments: scraps and pieces that our minds bridge together; the results are convincing but often inaccurate versions of events. The portraits in Circa are similarly disjointed, with faces seemingly in motion and no fixed expression. Instead, they shift and take on different forms, revealing a variety of emotions all at once.


Hi Bessy (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bessy》(2019) 91 x 46 厘米 / 笔墨、硫酸纸
Hi Bert (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bert》(2019) 91 x 46 厘米 / 笔墨、硫酸纸

In Latin, the word circa means “around” or “nearby,” and in English, it is used for approximations. This exhibit is exactly that—a study in approximations. Each of the finished works contains a world of its own. The characters silently play their parts, and each silhouette is a recreation of something that once existed, and now, through its passage in the depths of memory, has been altogether transformed into something new. Circa is Gonzales’s examination of memory’s fickle nature and the many ways we perceive and process our experiences. Truth blends with emotions, sensations, and even imagination, ultimately creating a past that is always changing.

在拉丁语中,“Circa”的意思是“在周围”(around),而在英语中,“around”又用来表示近似。这个展览就是一个关于“近似”的研究。每一副完成的作品都包含了一个属于自己的世界。那些人物无声地扮演他们的角色,每一个剪影都是对曾经存在的事物的再创造。而现在,通过它在记忆深处的通道,已经完全转变为某种新的东西。“Circa”是 Lui 对记忆变幻无常的本性、以及我们感知和处理经验的检查。真相与情感、感觉甚至和想象融合在一起,最终创造了一个不断变化的过去。

Guided (2019) 18 x 24 in / Pen and ink on tracing paper 《Guided》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

Exhibition Dates: April 12, 2019 ~ April 27, 2019


Artist Space, Ground Level
Ayala Museum Annex
Makati Ave. (Corner of De La Rosa Street)
Metro Manila, Makati City


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Instagram: @lui_gonzales


Contributor: Elle Lucena
Chinese Translation: Chen Yuan

活动名称: “Circa”
展览日期: 2019年4月12日——2019年4月27日


Makati Ave. (Corner of De La Rosa Street)
Artist Space 1F


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Instagram: @lui_gonzales


供稿人: Elle Lucena
英译中: Chen Yuan

The Routesetter 他的“壁虎漫步”

April 10, 2019 2019年4月10日



The rise of indoor rock climbing gyms over the past two decades has led to an explosion in the sport’s popularity, allowing those with limited access to the outdoors to also take part. But the high cost of infrastructure, equipment, and space that these gyms require have largely prevented rock climbing from penetrating many developing countries. Today, the US, Japan, and many European countries are at the forefront of the global climbing scene, but passionate athletes in Cambodia have their noses to the grindstone as they work towards representing their country on an international stage.


Seyha Nano, a 22-year-old athlete from Siem Reap, is one of the top climbers in the country, but he started from humble beginnings. Like many children from Cambodia’s countryside, Nano grew up scaling large trees for fun. “I use to live very close to a river, and I liked to climb coconut trees and jump down to the water,” he recalls. When he was finally introduced to rock climbing by one of his secondary school teachers, he quickly fell in love with it.

来自暹粒市、22 岁的 Seyha Nano 是柬埔寨顶尖的攀岩运动员之一。他出身卑微,和大多柬埔寨农村小孩一样来自农村,从小 Nano 最大的乐趣就是爬各种大树。“我以前住在河边,喜欢爬上椰子树,然后往下跳到水里。”他回忆起。后来,一位中学老师带他去攀岩,很快地他就爱上这项运动。

Taica, a Japanese company that’s actively involved in the Cambodian climbing scene, took notice of Nano’s talents early on and backed him as a sponsor, footing the bill for equipment and training. With their support, Nano was able to focus on developing his skills. He rapidly rose through the ranks and began securing gold medals in competitions across the country.

Today, as one of Cambodia’s top climbers, he’s traveled all over East Asia to compete and train with elite climbers from around the world, and he’s immensely thankful for these opportunities. “If I’d never started climbing, I wouldn’t have been able to travel to so many places and see how other people live, and how things can be different,” he says. These interactions with veteran climbers, he believes, have provided him with knowledge that he can inject into the local climbing scene.

Taica 是一家积极参与柬埔寨攀岩运动的日本公司。这家公司很早就注意到 Nano 的攀岩才华,并开始赞助他,为他支付设备和培训费用。有了他们的支持,Nano 终于能够专注于训练自己的技巧。他的排名迅速上升,并开始在全国比赛中赢得金牌。


Despite becoming one of the most recognized figures in the Cambodian climbing scene, Nano remains hard at work toward even more ambitious goals—to expand the sport’s popularity and nurture a new generation of climbers in the country. On any given day of the week, you can find him at Phnom Climb, setting routes, training, or teaching younger athletes. “Right now we don’t have good coaches in Cambodia, but I think I can become a coach here and train young climbers to be really good in the future,” he says.

尽管在过去几年间,Nano 成为了柬埔寨最知名的攀岩运动员之一,但他仍然不断努力,朝着更雄心勃勃的目标前进——在当地推广攀岩运动,并为国家培养新一代的攀岩运动员。无论是一周间的哪一天,你总是能在 Phnom Climb 找到正在设置攀爬路线、或是在对年轻运动员进行培训和教学的他的踪影。他说,“现在在柬埔寨并没有特别好的教练,但我想成为一名教练,培养年轻的优秀攀岩者。”

Rock climbing has come a long way in Cambodia since Nano began, even recently gaining recognition in the country’s Ministry of Sports. But despite the progress, it still doesn’t stand up to traditional sports like football or volleyball. “When I talk about climbing to Cambodians, they think I’m talking about hiking, and still don’t really understand the concept when I explain it,” he shakes his head. This unfamiliarity with the sport means Cambodia still has a lot of ground to make up for if it hopes to send a delegation of athletes to the Olympics, but Seyha is eternally optimistic. “Right now we only have three members on the national team, but in the future, I’m sure we’ll have a great team that can compete in the Olympics.”

从 Nano 投入这项运动开始,柬埔寨的攀岩确实成长了许多,最近甚至获得国家体育部的认可,但是与足球或排球这些传统运动相比,依然有很大进步的空间。“当我跟柬埔寨人聊起攀岩时,他们总是以为我在说爬山。当我向他们解释这项运动时,他们都一脸茫然。”他摇摇头说道。对这项运动的陌生也意味着,如果柬埔寨希望有朝一日能派运动员参加奥运会,他们还需要作出更多努力,但 Nano 始终十分乐观。“现在我们国家队只有三名队员,但在未来,我相信我们一定可以组成一支出色的队伍去参加奥运会。”

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Instagram: @sorseyh


Contributor, Photographer, and Videographer: Jeremy Meek
English Translation: Olivia Li

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Instagram: @sorseyh


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

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