All posts by allen

Never out of Fashion

If Bertha Sun‘s illustrations look a bit like fashion sketches, that’s no accident. A Hong Kong-based illustrator and designer—and recently named one of Perspective magazine’s 40 under 40—Sun started out working in the textile industry, and she honed her skills sketching outfits and fabric designs. Maybe that’s why so many of her drawings feature either women striking a pose, or abstract patterns that wouldn’t look out of place on a summer dress.


如果说 Bertha Sun 的作品让你想到了时尚的设计草图,这并不是意外。这一位来自香港的插画家和设计师,在 2018 年登上了《Perspective》杂志“40位40岁以下的艺术家”。她在织品服装业开启职业生涯,同时不断磨练自己在绘画和织品设计方面的技巧。这也许解释了为什么在她的​​插画里,主角不是一位正在摆弄姿势的女性,就是一系列适合出现在夏日连衣裙上的抽象印花。

Sun’s been drawing since she was small, and she studied art formally in college at the Rhode Island School of Design. Rather than major in illustration, she opted to take a more practical route and study textiles, and went on to take a job in fashion. That field that gave her the chance to see her designs in the real world. “Textiles, to me, meant creating interactive artwork,” she says. “You can look at it, wear it, sit on it, or all of the above. Illustration back then played a smaller role in my work—I simply used it as application drawings.”


Bertha 小时候就开始画画,并进入罗德岛设计学院正式学习艺术。她并没有主修插画,而是选择了更实际的路线——织品设计,并在毕业后从事时尚工作。这个领域让她有机会在现实世界中实现她的设计。“对我而言,织品意味着创造互动性的艺术品。”她说,“你可以看它,穿它,坐在上面,或者同时做这三件事情。插画在我过去的工作里只占一小部分,我将它当作一种应用工具。”

After several years working in the fashion industry in Hong Kong and New York, Sun decided to set out on her own and expand to other media. Now her studio, Yet Another Name, handles branding and design for a portfolio of clients from the fashion world and beyond. As she puts it, she couldn’t resist the temptation of working in more than one kind of art: “I guess I just became greedy.” And that work led her back to illustration.


在香港和纽约时装界工作了几年之后,Bertha 决定自立门户,并将触手拓展到其他领域。现在,她的工作室 Yet Another Name 为来自时尚界及其他的广泛客户进行品牌规划和设计工作。正如她所说,她无法抗拒在多重艺术领域中工作的诱惑。 “我猜我越来越贪心了。”也正是这项工作,让她重新回归插画。

She works both by computer and by hand, switching back and forth for maximum control and freedom. “I like creating layouts on the computer so I can really play around, and I like doing the actual drawing by hand to get a more natural touch,” she explains. “It also allows room for happy accidents.” In the work shown here, she explores human figures, flowers, and abstract patterns and shapes.


平时她会使用电脑和手绘来工作,来回切换以获得最大的创作自由。“我喜欢在电脑上做编排,让我可以尽情玩耍发挥创意,而手绘能赋予作品更自然的质地。”她解释道,“这能制造很多惊喜。”在这里展示的作品中,她探索了人体、花卉和抽象的图案和形状。

For Sun, illustration is a way to freely explore both her emotions and her technique. “I’m always experimenting with ways to combine my love of patterns and shapes into my illustrations,” she says. Her sketches here are a series of studies in line and color, and the questions they raise are of a formal nature. “What effect does it give a piece when certain parts of the subject become just a flat shape? What happens when the patterned background swallows the foreground?” The answer is a series of works with a casual, offhand elegance.


对于 Bertha 来说,插图是一种自由探索情感和技巧的方式。“我一直在尝试将我对图案和形状的热爱融入插画中。”她的插画是一系列针对线条和颜色的研究,也是关于自己创作形式的提问:“当主体的某些部分变成一个扁平的形状时,会对作品产生什么效果?或当有图案的背景融合到前景时,又会发生什么?”答案即是一系列充满了漫不经心的优雅的作品。

Website: yetanothername.com
Instagram: @berfa

 

Contributor: Allen Young
Chinese Translation: Yang Yixuan


网站: yetanothername.com
Instagram: @berfa

 

供稿人: Allen Young
英译中: Yang Yixuan

Faithful Ambiguity

Calligrapher: Wei Qilin / 书法:魏棋林

Can a voice from over a thousand years ago speak to us in our language? Chloe Garcia Roberts makes a persuasive case that it can. Her new translation of Li Shangyin’s selected verse, published in a bilingual edition by NYRB Poets, has made one of the titans of China’s literary tradition freshly available in English. A poet in her own right and managing editor of the Harvard Review, Garcia Roberts has published a book of verse titled The Reveal, as well as an earlier chapbook of Li Shangyin’s minor poems called Derangements of My Contemporaries. She reaches across the centuries to bring Li startlingly close, and the figure that emerges is contemporary but irreducibly enigmatic, always withdrawing beyond our grasp.


千百年前的诗句,还能和我们隔空对话吗?

Chloe Garcia Roberts 觉得是可以的,她给出了一个有说服力的例子。由 Chloe 新译、NYRB Poets 出版的双语版诗选,向世人介绍了中国文学传统中最重要的诗人之一:李商隐。作为译者的 Chloe 在任《哈佛评论》(Harvard Review)的执行主编,并且她自己就是诗人,已有出版著作《The Reveal》和一本李商隐的小诗册《Derangements of My Contemporaries》(意为“我同时代人的烦恼”)。在她笔下,早已作古的诗人李商隐,仿佛就立于我们面前,充满魅力,却又神秘莫测。

Li Shangyin (813-858), also known by his literary name, Yi Shan, lived toward the end of the Tang dynasty. Over the course of his short life, he penned a series of strikingly beautiful compositions regarded as enigmatic even by the standards of his day. Tang poets such as Wang Wei, Li Bai, and Du Fu—to name the three most familiar to Western readers—prized suggestion and evocation; Li Shangyin, writing nearly a century after them, pushed this tendency to an extreme, and added a sensuality and allusiveness all his own. If poetry from this tradition is always hard to render in English, Li Shangyin poses unique challenges.

Garcia Roberts identifies two: “The first challenge is the language itself. The divide between poetic Classical Chinese and modern English is vast, particularly in sentence structure, the sparsity of pronouns, the layered symbolism and allusion,” she explains. “The second is Li Shangyin’s particular poetics. He is not by any means a poet who moves completely in tandem with the currents of his tongue. Instead he is constantly playing with, pushing against, subverting the language he writes in.” Translating him entails capturing not only the meaning, but also the occasional strangeness of his words.


李商隐(813 – 858),字义山,生于中唐,其诗作风格成于晚唐,虽然生命未足半百,却产出了惊人的作品,即使按当时的评判标准,这些作品也算是深奥莫测在晚唐,李商隐算是最具代表性的诗人之一,与另一同时期的诗人杜牧合称“小李杜”。

而西方读者最为熟悉的三位诗人:王维、李白和杜甫,皆出自盛唐时期,各具风格,把唐诗推向了前所未有的盛名之巅;晚他们一个世纪后出现的诗人李商隐,则将唐诗又推向一个高峰,他的诗作富含典故,且更具感官冲击。如果说唐诗这一传统的题材,已经很难用英语来诠释,那么义山诗更是一个极大的挑战。

Chloe Garcia Roberts 也认同这个观点:第一个挑战就是语言本身。古汉语诗歌和现代英语的分野很大,尤其是在行文结构、代词使用、层层递进的象征和典故等方面。她解释道。其二,就是李商隐独特的诗学思想。他决不是个随波逐流的诗人。相反,他不断地斟酌、反驳、颠覆他所写的字句。因此要译他的诗,不仅要抓住他的意思,而且要突出他的奇文瑰句。

Even readers who don’t understand Chinese will be struck by how different the two versions look. The original poems are compact blocks of text, often just a few lines in length, with a uniform number of characters per line (five or seven). The translations, by contrast, typically run twice as long and have shaggily uneven verses.

Classical Chinese has a conciseness that’s nearly impossible to replicate in English, and this poses a dilemma for the translator: do you try to capture the brevity through a string of isolated monosyllables, or fill in the spaces with explanation that’s absent in the original? Garcia Roberts seeks to steer a course between the two extremes. “Where I could, I tried to shave down the English to its sparest possible form,” she says. “However, I did try to maintain a balance, to avoid veering into a parody of the economy of language on one side or over effusion in rendering the lushness of Li’s images on the other.”


即使是不懂中文的读者,看到原诗和译文后,想必也会为这两个版本所震撼。原诗是对仗整齐的五言或七言诗,常见为四句(绝句)和八句(律诗)。而相较之下,英译诗的长度则通常是原来的两倍,而且长短不一。

古汉语的简明性,英语几乎不可能原样复制,这就给译者带来了一个两难的问题:是要用一串孤立的单音节词来重塑简洁,还是加入原文中所没有的释义?Chloe 试图在两者之间找到平衡点。如果可以的话,我试着把英语尽可能精简了。她说,不过我确实努力保持中立,一方面避免陷入对古文‘惜字如金’的拙劣模仿,一方面避免过度渲染义山诗的靡丽幽婉。

An example of her approach is “Retirement,” a short meditation on yearning for home. Here’s the original, followed by her translation.

端居

远书归梦两悠悠
只有空床敌素秋
阶下青苔与红树
雨中寥落月中愁

Retirement

Distant letters, dreams of returning
Both are few and far away.

All I have: an empty bed
Set against a pale autumn.

Down the steps:
Green moss, red trees.

Inside the rain: sinking emptiness.
Inside the moon: anguish.

The English version expands the original’s four lines into four stanzas, yet it still feels pared-down. Garcia Roberts achieves this not by using shorter words or being overly clipped, but by eliminating verbs: the poem consists of sentence fragments linked by colons. In this, she finds a clever substitute for the original’s succinctness, a sort of mirror that obliquely reflects a feature with no obvious equivalent in English.


例如《端居》一诗,抒发诗人滞留异乡,远别亲故之情。下为中英两版对照:

端居

远书归梦两悠悠
只有空床敌素秋
阶下青苔与红树
雨中寥落月中愁

Retirement

Distant letters, dreams of returning
Both are few and far away.

All I have: an empty bed
Set against a pale autumn.

Down the steps:
Green moss, red trees.

Inside the rain: sinking emptiness.
Inside the moon: anguish.

 

英文版将原文的四行扩展为四小节,但依然感觉篇幅精简。Chloe 此举的成功,并不是因为使用了较短的、或是删减的单词,而是因为剔除了动词:这首译诗,通篇都由冒号连接的句子片段组成。在这一点上,她找到了一个巧妙替代原著简洁性的方法:即通过“:”这个简单的标点符号,代替原文中的隐喻方式,在英语中反映古诗词里并没有直接说明的意象。

If brevity is one challenge Li Shangyin poses, ambiguity is another. Often his poems are open to multiple readings—not just differing interpretations, or even various translation possibilities, but distinct ways of parsing the text. Take the first two lines of one of his many untitled pieces:

来是空言去绝踪
月斜楼上五更钟

Come is a hollow word.
Go severs all traces.
Moon slants over building roofs.
Bells of the fifth watch.

This is a literal rendering of the Chinese, almost a gloss, yet it’s not necessarily the most self-evident translation. Compare the very different lines by A.C. Graham, in one of many alternate versions of various poems included in an appendix:

Coming was an empty promise, you have gone, and left no footprint:
The moonlight slants above the roof, already the fifth watch sounds.

Graham starts from a very different understanding of the poem: you said you’d come but didn’t, now you’ve disappeared without a trace. By adding “you” and putting the verbs in the past tense, he sketches out a miniature narrative. Garcia Roberts, by contrast, takes come and go to refer to the words themselves, not actions taken by anyone in particular. She avoids creating an explicit backstory, trusting readers to draw their own connections.

The difference between these translations doesn’t lie in their fidelity: both are plausible readings of the poem. It’s a question of how explicit they make what’s implicit, and which aspects of the original they seek to convey—the meaning of the lines, or their brevity, their elusiveness.


如果说保持“简洁性”是对翻译者的一大挑战,那么对李商隐诗中似是而非的“歧义性”就是另一座大山。他的诗被反复阅读——不仅沿伸出对其内容的不同阐释、不同译本,还有对文本进行解析的不同方式。在他众多名为“无题”的作品中,此诗的前两行就可视为佐证之一:

来是空言去绝踪
月斜楼上五更钟

Come is a hollow word.
Go severs all traces.
Moon slants over building roofs.
Bells of the fifth watch.

这四行字句是汉语的直译,几乎是注解,然而解读含义却尚不明确。比较 A.C. Graham 的译本,在他的附录中,对这句诗就有不同的翻译:

Coming was an empty promise, you have gone, and left no footprint:
The moonlight slants above the roof, already the fifth watch sounds.

A.C. Graham 的翻译,源于对这首诗截然不同的理解,即:你说你会来,但却没有来,现在你消失得无影无踪。通过添加主语、用动词的过去时态,A.C. Graham 把简单的两句话勾勒出了一个微型故事。相比之下,Chloe 则着重诗中的“来”“去”二字本身,而没有特指任何人。Chloe 避免构建一个明确的故事背景,她信任读者,让他们和词句产生自己的联系。

这些译本之间的区别,并不在于它们是否忠实于原作:他们都是对原作合理的解读。区别在于,翻译的人想要揭示多少背后的隐喻,想要侧重对哪一方面的阐释——是语句的含义,还是它们的简洁性,或是其朦胧的妙处。

This “elusive and haunting quality” is what first drew Garcia Roberts to Li’s poetry. His lines are often tantalizingly hard to pin down, even with China’s long tradition of exegesis. “Maybe similar to the exercise of taking apart an engine to see how it works, my translations at first were simply attempts to better learn, from the inside out, how his poetry could be at once so moving and so unknowable.”

Her versions don’t dispel that unknowability but instead bring it admirably into English. This is no simple task, as a vague sentence is often much harder to render than one whose meaning is precise. “The cryptic nature of his work was an element that I wanted to recreate in the English,” she explains. “There are certainly instances where ambiguity of meaning made my job easier, but there were also instances where the task of rebuilding such ambiguity in an approximation of the exact way it exists in the Chinese cost me a lot of anguish.”


Chloe 说,李商隐诗中的只可意会不可言传”之感,就是最初吸引她的原因。义山的措辞往往让人感觉难以诠释,即使文言中早已着悠久的训诂传统。我的翻译起初只是试着更好地学习他的诗,从内而外地学习,这些又动人肺腑又难以言喻的诗句,他究竟怎么做到的。就像拆开一个引擎来看看它是如何工作的那样。

她的翻译没有消除李商隐诗中的朦胧感,反而将这点充分体现在英文中。这并不简单,因为模棱两可的语句,往往比意义明确的句子更难翻译。他诗作的神秘性,正是我想用英语来重现的一个元素。她解释说,在某些情况下,暧昧的意义确实让翻译更容易一些。但也有一些情况,要重现文言文中模糊的词义,简直让我绞尽脑汁。

Calligrapher: Wei Qilin / 书法:魏棋林
Calligrapher: Wei Qilin / 书法:魏棋林

The hardest poem to translate, she says, was “Night Rain Sent North.” Not coincidentally, it’s also one of the simplest. “I’ve always thought of this poem as a perfect Möbius strip of time. It is typical of Li Shangyin in his poetry to move his reader across vast distances, both temporal and physical, but in the last line of this poem he does this so quickly as to almost give us whiplash.” Once again the original is a short block of text, while the English version unwinds into several lines.

夜雨寄北

君问归期未有期
巴山夜雨涨秋池
何当共剪西窗烛
却话巴山夜雨时

Night Rain Sent North

You ask the date of my return.
No date is set.
The autumn pools on Ba Mountain
Welling with night rain.

How will that moment ever be: Together,
Trimming a candle at the west window,
And me, recounting
This rainy spell on Ba Mountain?

In just a few short lines, poem seems to flip time upside down: the speaker, on a rainy night on Ba Mountain, longs to return to a loved one—often understood to be the poet’s wife—and is carried away by that longing to imagine a future moment when they’ll both be together and looking back, not without nostalgia, on this same rainy night. Longing bleeds into memory, and the poem ends where it began.


而 Chloe 说最难翻译的诗,就是《夜雨寄北》。好巧不巧,它也正是最简单的一首之一。我一直认为这首诗是像完美的莫比乌斯连环,环环相扣。通过诗句,李商隐会带着读者穿越时空的距离,这很典型。但在这首诗的最后一行,他又把人们拉回了现实,短短几行,时速之快,几乎像是鞭挞驱赶着人们在时空中穿行。原文又是一小段文字,而英文版则再次分成了几个小节。

夜雨寄北

君问归期未有期
巴山夜雨涨秋池
何当共剪西窗烛
却话巴山夜雨时

Night Rain Sent North

You ask the date of my return.
No date is set.
The autumn pools on Ba Mountain
Welling with night rain.

How will that moment ever be: Together,
Trimming a candle at the west window,
And me, recounting
This rainy spell on Ba Mountain?

寥寥的几行诗,却似乎颠倒了时间框架:在巴山的一个雨夜,倾诉者切切地盼望着,想要回到爱人——也许是友人——的身边,这种情感如此深切,以至于他想象出一个未来的场景:他终于回到故地,两人重聚,一起回首这个雨夜。这种渴望渗透记忆,而诗结尾的地方,又与开头相连。

Li Shangyin has found a distinct and compelling voice in Garcia Roberts. Rather than explaining away his ambiguities, she presents him in all his seductive, suggestive charm. The fragments of meaning she offers, like shards of a glass for the reader to piece together, reflect a flitting, disarmingly beautiful light.


通过 Chloe Garcia Roberts 的译诗,李商隐的作品在当下仍然引人入胜,别具一格。她的译本没有过度诠释诗的幽隐意蕴,反而将这种诱人的魅力完全呈现出来。她提供了一些有意义的碎片,却像是吉光片羽,让读者试图把它们拼凑在一起,反射出一种瞬息即逝的、令人无法抗拒的美丽光芒。

Websitechloegarciaroberts.com

 

Contributor: Allen Young
Photographer: Xu Anrong


网站chloegarciaroberts.com

 

供稿人: Allen Young
摄影师: Xu Anrong

Times New Romance

Best known as the Malaysian winner of the second season of Asia’s Next Top Model who now walks runways around the world, Sheena Liam has also crafted a name for herself as an embroidery artist. Her delicate, minimalist art is sewn through with images of freedom and self-care.

She first picked up needlework from her mother in childhood, but only later on in her modeling career did she revisit the old-fashioned craft. It started out as a peaceful, expressive activity to keep herself occupied during downtime between jobs, but she slowly began taking it more seriously, and before she knew it she’d made a series.


人们记得 Sheena Liam 这个名字,是在她荣获了第二季超级名模大赛Next Top Model)马来西亚赛区冠军之后。她在追求全职模特生涯的同时,也为自己打造了一个刺绣艺术家的名号。她手下精致的极简艺术刺绣,一针针缝进了自由和自爱的女性形象。

小时候,在母亲的影响下,Sheena 第一次拿起针线。但直到后来她开始了模特生涯,才重新拾起了这门工艺。一开始,刺绣只是一种令人平静而又富有表达力的手工,Sheena 目的是让自己在工作间隙中保持忙碌。但渐渐地,她开始更认真地对待刺绣,不知不觉中一个系列的作品已经完工了。

“I was never really drawn to it as a practice until I started seeing all these other artists breaking boundaries with embroidered work, and I realized we weren’t bound to tradition and stagnant designs,” Liam says. Like the carefree movement of the hair detail, each piece is open to interpretation. “I’m not pushing any agenda on anyone.”  


直到我看到那些用刺绣来打破界限的大批艺术家们,我才真正为它吸引,我意识到我们并不受制于传统和死板的设计了。”Sheena 说。就像一针一线穿引发丝的动作,每一个细节都可以被细细解读。我不会催促任何人做任何事情。

The figures in her works are often based on Liam herself, stitched with dark-green thread that stands out against the off-white linen. They can take anywhere from four days to a month to complete, depending on their size and complexity. “Sometimes I’m doing something completely new, so it takes some trial and error before I have a finished product I’m okay with,” she explains.


她作品中的人物通常是以自己为原型,用深绿色的线缝制,与米色的亚麻布形成鲜明的对比。根据大小和复杂程度的不同,完成一幅作品可能需要四天到一个月的时间。有时候我正在做一些全新的尝试,所以在我完成一个作品之前,我需要一些反复试验。

Each piece explores a moment in a woman’s life, from simple daily routines, like changing clothes or getting ready for a girl’s night out, to subtle moments of empowerment, like independently braiding or cutting off one’s hair for the first time. Just as she does in her modeling, her figures convey a mood or feeling through posture and pose. The free-flowing hair adds a gentle movement to contrast with the static figure, making the whole piece come alive. Though the style is minimalist, the figures are rich in detail.

“The actual embroidering is my favorite part of the process, so I try to prolong it by adding as much detail as possible,” she says. “The hair can be frustrating because I don’t have a set formula or technique. Every piece is different, and sometimes at the hair stage, which I usually do last, I might ruin a piece I’ve spent hours on.”


每一件作品都探讨了女性生活中的一些时刻,从简单的日常事务:比如换衣服或为“女生之夜”做准备的时候,到女性的微妙时刻:像是第一次自己梳长辫或剪头发的时候。就像她在当模特时做的那样,通过女性的姿势和姿势,传达出一种情绪或感觉。自由飘逸的头发增加了形象的柔和度,与静态的刺绣形成对比,使人整个活了起来。虽然风格极简,却不乏丰富的细节。

着手刺绣是我最喜欢的部分,所以我尽量增加细节,以延长这个时刻。头发可能会困难一点,因为我没有固定的公式或技巧。但每一件作品都是不同的。我通常会最后再做头发的部分,因为很有可能我可能会毁掉之前用了几个小时做的作品。

Inspiration comes from anything: a song, a general mood, or even a feeling. Liam compiles images from the internet onto her mini mood board and has even sought inspiration in life drawing classes. “You get to explore other different types of bodies and poses through the models,” she explains.

As someone who’s made a career out of being someone else’s canvas, here she has the freedom to express her own creativity.


对 Sheena 来说,灵感来自任何东西:一首歌,一种心情,甚至一种感觉。她把互联网上的图片编辑到自己的迷你心情板上,甚至还在绘画课上寻找灵感。“你可以通过模特来探索其他不同类型的身体和姿态。”她解释说。

作为一个模特,这个以身体作为他人“画布”为职业的人,Sheena 在刺绣上得以自由地表达自己的创造力。

In April 2017, Liam decided to share her work on Instagram under the handle @times.new.romance, a play on the name of the popular font. The handle suggests a romantic feeling of viewing peaceful modern moments fleeting by, in keeping with her art—but perhaps this writer has put too much thought into it. “I just thought it was a nice name for an account,” Liam says. The account eventually gained widespread attention from media, art-lovers, and fans, leading to her first solo exhibition, a milestone in any artist’s career.

In October, the embroidery works were presented at Item Gallery in Paris in a show also titled Times New Romance. As it happens, Liam dismissed the idea of a solo show when she was first approached about it. “I didn’t think too much of my embroidery to start with,” she says. “Honestly, it was a lot of people putting a huge amount of faith in me from the start that propelled me to work on a body of cohesive work. I had collectors and other artists who took care of me, so I could work in the capacity that I did.”


2017 4 月,Sheena 决定在 Instagram 帐号 @times.new.romance 上分享她的作品。这个名字让人联想到一种浪漫的感觉,当下平静的瞬间飞逝而过,与她的艺术同出一辙——但也许这是笔者过虑了。我只是觉得这是个很好用户名。” Sheena 说。这一说法引起了媒体、艺术爱好者和粉丝的大批关注,也让她开办了首次个展,这对任何一位艺术家的职业生涯来说,都算是一个里程碑。

今年 10 月,这些刺绣作品在巴黎 Item Gallery Times New Romance”的展览上展出。在 Sheena 第一次听说要办个展时,她却拒绝了。我一开始就没有想太多我的刺绣。老实说,很多人从一开始就对我抱有很大的信心,这促使我创作了一系列的作品。有一些收藏家和其他艺术家对我很是照顾,所以我可以充分发挥我的能力。

So what’s next for Sheena Liam’s art?  

“I’m not sure. I’ve held out on a lot of projects because I wanted to be focused on creating pieces for my show. But maybe now I can relax a little and have more fun with it. If offered the right space and gallery, I’d consider a show in Malaysia. But I don’t have any pieces anymore, so it’ll probably take a few more years.”


那么对作为艺术家的 Sheena Liam 来说,下一步又是什么呢?

我不确定。我做了很多项目,因为我想把精力集中在展览上。但或许现在我可以放松一下,去玩得更开心。如果我有合适的空间和画廊我想去马来西亚看场演出。但现在我没有更多刺绣作品了,可能还需要几年的时间来酝酿吧。

Website: www.timesnewromance.net
Instagram: @times.new.romance

 

Contributor: Joanna Lee


网站: www.timesnewromance.net
Instagram: @times.new.romance

 

供稿人: Joanna Lee

The Night We Never Met

Cities change at a rapid clip. Blink and your favorite spot is gone. You’re lucky if you even get a chance to say goodbye. When you do get fair warning, you’ve got to make the best of the time you have left. Club Hawaii has weathered the constant upheaval of Singapore’s development frenzy for so long that some claim it’s the oldest remaining nightclub on the island. But time is creeping up on it, too. While it’s not closing its doors, it will get a significant renovation.


城市总是以超乎想像的速度在变化,一转眼,你最喜欢的那个地方可能就消逝不见了。如果你有机会能向它说再见,那你是少数的幸运儿,但一句诚心的忠告:你最好充分利用这段所剩不多的时间。

夏威夷夜总会(Club Hawaii)长期下来随着新加坡狂潮般的发展,经历了许多改变。这一间有人说是当地历史最悠久的夜总会,正日渐月染地受到时间侵蚀,虽然没有关闭营业,但一场重大的改造正在计划中。

That news caught the attention of AikBeng Chia, a photographer who first experienced the venue back in 2000 but didn’t return for over a decade when he started shooting then. Hawaii had remained in a sort of stasis, and the impending change triggered a sense of nostalgia for him. With the owner’s permission, he set out to immortalize its unique vibe before the old made way for the new.


这个消息引起了 AikBeng Chia 的注意。当时已经是一位摄影师的他,在 2000 年第一次来到夏威夷夜总会,自此已经十多年没有来过。这座俱乐部一直处于停滞的状态,迫近的改造计划引发了他的怀旧感。在获得老板同意的情况下,他想要在一切被翻新之前,把这里旧有的独特氛围转化为永恒。

Worn orange booths, red cushioned walls, rainbow LEDs: he captured all of it, this whole familiar space that envelops a cast of characters he’d grown to consider friends. A largely elderly clientele listens to a collection of female singers on stage, many of whom immigrated from China. Some customers busy themselves at the pool table or huddle up at the bar. Others lounge in the booths. “It’s filled with characters,” Chia says. “From loan sharks, bookies, and gangsters to retirees, uncles, and aunties. It’s an interesting mix.” He shoots them in various ways, either with their permission after sharing a beer (or two) , or sneaking shots without their knowledge. “Obviously, I can’t photograph the gangsters,” he laughs.


破旧的橙色摊位、红色软垫墙、彩虹 LED 灯——他捕捉到了这一切。这整个熟悉的空间充满一群朋友般的角色:一批听众主要是老年人的女歌手在舞台上演唱,台下大多是来自中国的移民。有些顾客在台球桌上忙碌着,或者挤在吧台。有些人就在位子上小歇一会。“它充满了各种角色。” Chia 说,“从放高利贷的人、赌博公司的人、流氓、到退休人员,叔叔和阿姨。这是一个再有趣不过的组合。”他会用不同的方式拍摄他们,在分享一两杯啤酒后获得许可,或是就在他们不知情的情况下偷偷拍摄。 “当然,我没办法拍到流氓。”他笑着说。

The series is entirely digital, and he adds grains and color grade to give it the feel of film. Since film is a dated medium, it immediately evokes a sense of the past. Maybe that’s why people often refer to film as “warm.” It may be heretical to shoot digital that looks like film in some circles, but Chia is unconcerned with purist nitpicking. Photography is a form of therapy for him.


该系列全是通过数码处理,他加上更多颗粒感和后期调色,赋予了胶片的感觉。由于胶片本身就是一种过时的媒介,它能立刻唤起了一种怀旧的气氛。也许这就是为什么人们经常感觉胶片拍出来的照片“温暖”的原因。用数码相机拍摄却去模拟胶片,这对于一些在摄影圈的人来说可能是异端,但 Chia 并不关心这种太矫枉过正的挑剔。摄影纯粹是他的一种治愈自我的方式。

As a professional illustrator, Chia felt stuck creatively, so he decided to pick up photography in 2008, at age 40 using an early model iPhone. And he got hooked. Today he uses a Leica Q digital camera, but he’s still fond of shooting with his iPhone (now an XS Max). “Photography is a way for me to manage my depression,” he says. “Sometimes it works, sometimes not.”


2008 年,当时40岁的 Chia 作为一名专业的插画家,他觉得自己在创作上遇到瓶颈了。于是他开始使用早期的 iPhone 去拍摄,从此他就迷上摄影。今天他使用的是 Leica Q 数码相机,但他仍然喜欢用 iPhone 拍摄(现在他用的型号是 XS Max)。“摄影是我控制抑郁症的一种方式。”他说,“有时有效,有时不行。”

He shot the Club Hawaii series in collaboration with filmmaker Nicky Loh. They call it The Night We Never Met, because each started the same project without the other’s knowledge until they coincidentally bumped into each other in the street.


他与电影制作人 Nicky Loh 合作拍摄了夏威夷夜总会系列。 他们称之为《我们从未见过的夜晚》(The Night We Never Met),因为两人都在双方不知道的情况下开始了这个项目,直到他们在街上巧遇彼此。

Although it’s about a single nightclub, it speaks to the city at large: “Singapore is constantly changing. Recently a 100-year-old flea market closed down to make way for commercial buildings. So this is Singapore.”


虽然这个系列只关于一个夜总会,但它想传话的对象是整座城市:“新加坡不曾停下改变的脚步。最近,一个有百年历史的跳蚤市场为了兴建商业大楼而关闭了。新加坡就是这样的地方。”

Websitewww.aikbengchia.com
Instagram: @aikbengchia

 

Contributor: Mike Steyels


网站www.aikbengchia.com
Instagram: @aikbengchia

 

供稿人: Mike Steyels

Bauhaus in Shanghai

Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe-Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

Graffiti Abstraction

The murals of Taiwanese artist Debe balance deep dives into abstract patterns with a healthy respect for letter work. Kaleidoscopic, geometric wormholes and melting clouds swirl around graffiti-style words, while ripped paper edges and stark, angular shifts of color cut across his work. His pieces vibrate with energy, hypnotically drawing the eye into or along the wall.

Despite having no formal art or design training, Debe creates paintings with a studied personal style, avoiding the trends that dominate the world of street art. The swirling mandalas and interlocking shapes are an evolving element in his work. “Abstract shapes are a way for me to transfer my emotions. Whether I’m angry or anxious, I throw it up on the wall,” he explains.


台湾涂鸦艺术家 Debe 的作品,如同一片抽象图案的汪洋,还有艺术字体穿插其中。万花筒般的虫洞、融化的云层簇拥着涂鸦风格的文字,撕破的纸张边缘和突兀、棱角分明的色彩,从中贯穿而出。他的作品总是跳动着蓬勃的能量,令人着迷,目光不由得随着墙上的作品游走。

尽管没有接受过正式的艺术或设计训练,但 Debe 成功摆脱了街头艺术世界的主流风格,创作出极具个人风格的绘画作品。旋转的曼陀罗图案,相互扣联的几何图案是他在作品中不断发展的元素。“抽象图案是我表达情绪的一种方式。不管我是生气还是焦虑,我都能将这些情绪在墙上画出来。”

Originally inspired by a local graffiti crew named Soul Skool and an online forum called Art Crimes, Debe began lurking along train tracks in his hometown Taoyuan during high school in 2005. He would experiment on tunnel walls with a local aerosol brand called PP. “When I was really young, my mom said I loved drawing on walls and the furniture, so maybe I was just meant to do it,” he laughs. The trackside walls were covered with pieces by other artists who further inspired him, like Dabs, one of the island’s best-known graffiti writers.


关于 Debe 的创作,最初的影响来自于当地一个名为 Soul Skool 的涂鸦团队和一个名为 Art Crimes(艺术罪)的在线论坛。2005 年在家乡桃园读高中时,Debe 常常偷偷沿着火车轨道涂鸦,用名为 PP 的本地品牌气雾漆,在隧道墙上进行实验创作。“小时候,我妈妈说我喜欢在墙壁和家具上乱画,所以也许我天生就注定做这个的吧。”他笑着说道。轨道旁的墙面上布满了其他艺术家的作品,这些艺术家中包括了台湾最有名的涂鸦艺术家之一 Dabs,也正是这些艺术家进一步启发了他。

Local recognition first came from Debe’s posts on Wretch, a now-defunct Taiwanese social media platform. “I’m still trying to figure out how to connect the culture from home with my graffiti and street art,” he says. “Taiwanese society has always felt too traditional to me.”


Debe 最开始在台湾受到关注,是源于他在“无名小站”上发的帖子(目前这个社交网站已停止服务)。他说:“我一直努力试图将这里的文化与我的涂鸦和街头艺术联系在一起。我总觉得台湾社会太传统了。”

He got early international acclaim in 2013 by painting in the first POW! WOW! Taiwan and Hong Kong Walls festivals. Now that the world knows his work, he gets to travel, painting in distant cities like Montreal and Brooklyn. It’s a good thing being an artist has worked out for him: “I used to do odd jobs, like working in a convenience store or a factory, but never for longer two months. I was never able do a ‘normal’ job well.”


2013年,他的作品亮相第一届的 POW!WOW!艺术节台湾站Hong Kong Walls 艺术节,开始受到国际范围的赞誉和关注。现在他开始获邀到世界各地去旅游、创作,包括蒙特利尔和布鲁克林这样遥远的城市。对他而言,成为一名艺术家是一件好事:“我以前经常打零工,比如在便利店或工厂工作,但从来没有超过两个月。我一直都没办法做好所谓‘正常’的工作。”

Multi-color, wildstyle pieces have always been Debe’s focus, but when he just starting out he also liked to tag around town. Back then the police didn’t really even care and would simply tell him stop or to paint over his tags. But now that Taiwan has become a destination for traveling graffiti writers, the authorities have started to catch on. He still likes to tag now and then, but he mostly prefers more thoughtful interventions. “I’d rather paint some fun emojis on an advertising poster or something,” he says. “Something that inspires people, or makes them smile or think in a different way.”


色彩缤纷、风格狂野的作品一直是 Debe 的创作重心,但刚开始的时候,他也喜欢在街上到处喷上自己的签名 Tag。那时的警察对此也不会太在意,最多叫他停下来或盖掉自己的 Tag。但随着台湾成为旅行涂鸦艺术家的热门打卡地,当地政府也已经开始重视起来。Debe 还是喜欢时不时地到街上创作签名 Tag,但现在会更喜欢经过思考的创作。他说:“我宁愿是在广告海报或什么上画一些有趣的表情之类的内容,一些能激励人们的东西,能让他们笑一笑,或是以不同的方式思考的作品。”

Websitedebetwomuch.com
Instagram: @debetwomuch
Facebook~/debetwomuch

 

Contributor: Mike Steyels


网站debetwomuch.com
Instagram@debetwomuch
Facebook: ~/debetwomuch

 

Contributor: Mike Steyels

Jimei x Arles 2018

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.


11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。

点击箭头,欣赏他们的更多作品。


 

沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.


沈玮的照片富含一种假象性的寂静,就像静止的肌肉一般。其中一张作品,显示他正在进入一个水池,整个画面透露出一股诡异的张力。

在另一幅作品中,刚盛开的樱花花蕾似乎随时要跃出画面。而在两幅特写的自拍像里,一幅睁开眼睛,一幅闭着眼睛,让黑暗掩盖一半的面容。沈玮对光线和色彩的精心操控,令静态的画面充满了饱满的力量。


 

邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.


邵睿璐的照片是一道视觉谜语,解答让人猜不透。也许在半空中悬挂的各国硬币是在表达国际金融和经济环境的不确定性;也许两张构图如同苏巴朗(Zurbarán)作品的静物照是对死亡的悲观思考—上一张照片中新鲜的桃子,在下一张照片中已经腐烂,积满灰尖,报纸也已经被替换。邵睿璐以这些不寻常的题材,提出了那个在你脑海里挥之不去的问题。


 

苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.


乍一看,苏杰浩的作品像是单纯由色彩和形状的集合,很容易让人误认为是抽象画。仔细观察,你会发现这些其实都是生活中的普通场景:一把尺、一道彩虹、一个被雪覆盖的屋顶。最后三张照片来自他的影像作品《早晨的风暴》,虽然看上去不那么抽象,但依然神秘。凭借着他出色的构图,苏杰浩创作出一系列充满美感、引人入胜的画面。


 

廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.


在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


 

戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.


戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


 

杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.


当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


 

刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.


香港艺术家刘卫在她的《明日记忆》系列中,利用了香港旧照片和电影剧照,加上赛博朋克(cyberpunk)风格的元素。最终的效果很逗趣,同时也隐含了严肃的寓意:她是否在暗示这座城市的历史与她经过后期处理的照片一样虚假?抑或她是在暗示香港的未来与过去并非那么不同?刘卫的作品,让人对虚幻和时间产生了暧昧不清的思索。


 

胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.

 


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


 

雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.


和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


 

黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


反思和重复,是黄永生作品的基础。宝丽来头像、树叶标本、窗口反射的日落:在每一张作品中,黄永生让我们在几乎相同的图像中,观察那些微小的差异。与之相反,在此次展出的最后一张照片里,他又用家猫、游船和纯黑色方块三张图片并排拼成一张图像,似乎在挑战我们,能不能在看似无关的图像之间找到共同点。

Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

Contributor: Allen Young


网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

供稿人: Allen Young

Thinking inside the Square

Walk a bit too briskly down Anfu Road and you might miss Square Gallery, one of Shanghai’s newest art spaces, and easily its least spacious. Tucked away inside a residential alleyway, it doesn’t advertise itself, even if its fresh coat of white paint makes it stand out amid the old bicycles and hanging laundry. It’s a small structure, the size of a cramped living room, that juts out from an 100-year-old apartment building—the sort of jerry-rigged addition you find throughout the city, probably built when some enterprising homeowner decided they wanted a bit more room. Now that room houses an impressive international collection of contemporary paintings and drawings. Some hang on the walls, while others are stacked two or three deep on the shelves. When you’ve got such a tiny space, you’ve got to be creative about how you use it.


倘若你快步走在安福路上,那你有可能就会没看见这家小小的 Square Gallery(广场画廊),它是上海最新的艺术空间之一,跻身在一条住宅里弄内,外观毫不张扬,但新涂的白色油漆外墙,还是让它在一堆旧自行车和晾出窗外的衣物中脱颖而出。这家画廊很小,仅如一个狭小的客厅,从一幢有一百年历史的公寓楼里突出来。像这样的 “建筑” 在上海随处可见,过去时候的房主如果想拓展更多空间,就会搭建这种简陋的小房间。

而现在,画廊展出了一系列令人印象深刻的国际当代艺术作品,这些作品一部分悬挂在墙上,一部分则堆在货架里层。既然空间有限,在空间利用方面自然要充分发挥创意。

Square Gallery is the work of Shi Jianfang, an independent curator and artist who moved to Shanghai in 2018. He sits inside nearly every day from 11 to 10, welcoming the passersby who approach shyly, as though they’re not sure they’re even allowed down the private lane. “My space really is very small, and if several visitors arrive at the same time, some have to wait a bit outside. But for art, waiting builds anticipation,” he says. Those bold enough (or patient enough) to venture inside are rewarded with an expertly curated collection leaning heavily toward street art.


2018 年,艺术家兼独立策展人施谏昉搬到上海后,成立了 Square Gallery。每天早上 11 点到晚上 10 点,他都会呆在画廊里,欢迎到访的参观者。这些参观者有时会面露怯意,好像不确定能不能踏入这个住宅小巷。“实际上我的空间很小,如果碰到同时有几组客人来,他们也许需要在门口等待一会,但为了艺术,等待也许也会是种‘期待’吧。” 施谏昉说道。而那些勇于(或有足够耐心)走进画廊的人,将最终能一饱眼福,看到多为街头艺术作品的画作群展。

Shi grew up in Jiangsu Province and moved to Kiev for college and graduate school. When he returned to China with degrees in painting, he moved to Suzhou, where a local initiative offered artists free studio and living space in return for a few of their works. One year later he opened his first gallery there, Square Art Space—a precursor to Square Gallery—and eventually set up a sort of artist-in-residence program, inviting artists he’d met on his travels to stay and work in Suzhou for a month. “In Suzhou we set up a platform where international artists living in China or working here for a short time could interact and make art,” he explains. “Through exhibitions and other events, global artists share their creative experiences and their impressions of China with a Chinese public.”


施谏昉在浙江嘉兴长大,后来去了基辅修读大学和硕士学位。获得绘画学位后,他回到中国,搬到苏州生活,当地企业为艺术家提供了一种驻地政策,即以作品换取免费工作室和生活空间。一年后施谏昉开设了自己的第一家画廊 Square Art Space,即 Square Gallery 的前生,后来还创立了一个艺术家驻场项目,邀请他在旅行中遇到的艺术家在苏州生活和创作一个月。“我们在苏州建立一个在中国生活和来中国短期创作的国际艺术家创作交流的平台,通过展览、分享会等活动形式给中国观众带来一个多国家文化背景下艺术家的创作经验和在中国的体验。” 

The artists he picks come from China, Europe, Africa, Latin America, and beyond. A trip to Barcelona let him acquire work by two well-known street artists, Konair and El Xupet Negre. “I wandered into a gallery in the Ciutat Vella and instantly fell in love with a piece by Konair. I decided to buy it, and just as I was leaving, Konair came in and the gallery owner introduced us,” he recalls. They hit it off over coffee, and six months later Shi invited him to attend Suzhou’s first graffiti art show. Konair suggested he also invite El Xupet Negre, whose iconic black pacifiers cover walls throughout Barcelona.


施谏昉邀请的艺术家来自中国、欧洲、非洲、拉丁美洲等地。一次去巴塞罗那的旅行更是让他收获了两位著名街头艺术家 Konair 和 El Xupet Negre 的作品。“我在巴塞罗那期间闲逛一家位于老城中心的画廊时,对 Konair 的其中一件作品 ‘一见钟情’ 后决定买下,正要离开时他来了,画廊主介绍他与我相识。” 他们一起去喝咖啡,交谈得很愉快。半年后,施谏昉邀请 Konair 作为艺术家身份来参加由他策划的在苏州的第一场涂鸦当代艺术展。 Konair 向他推荐了 El Xupet Negre,他所创作的黑色奶嘴涂鸦在巴塞罗那随处可见。

In 2018, Shi decided to move his project to Shanghai, drawn to the city’s unparalleled cultural scene. “Shanghai is a multicultural city where people from around the world are constantly moving to live and work,” he explains. “It’s a very cosmopolitan, inclusive place filled with possibilities of every kind. There’s no better place to exhibit works by outstanding international artists.”


2018 年,施谏昉决定将他的项目搬到上海,因为这座城市无与伦比的文化氛围深深地吸引了他。“上海是一个多元文化的城市,世界各地的人都来到上海工作生活。这是一个国际化的、包容的、充满各种可能性的地方,在这里展示来自全世界各地优秀艺术家的作品再合适不过。” 他解释道。

Shi welcomes visitors, and he enjoys the intimacy of the space, because it lets him talk with them face to face. “I like the people who visit to interact with me. All I ask is that they have an interest in art and treat each of the works with respect. What I don’t like is people who just breeze through and glance around.”


施谏昉欢迎人们进画廊参观,他喜欢这个空间的亲密性,因为他能与参观者面对面交流。“事实上我更希望进来参观的大多数人是可以与我产生交流的,前提是对艺术感兴趣,尊重艺术家和画廊的每一件作品。‘走马观花’ 式的参观是我不接受的。”

The space may be small, but Shi’s ambitions are big. He’s clear about what he aims to achieve: “To get more people to embrace, appreciate, and collect contemporary art. To get more outstanding artists from around the world to ‘dwell’ in Square Gallery, and to become a long-lasting, healthy, active, and creative collection gallery and exhibition space for contemporary artists from around the world.”


施谏昉的画廊空间虽然小,但他的野心却很大。他清楚自己的目标是什么:“让更多的人能够接受当代艺术、并且欣赏与收藏。让更多的来自世界各地的优秀艺术家作品‘入驻’到 Square Gallery,并成为一个长期的、健康的、充满创意和活力的国际当代艺术家作品集合画廊和展示平台。”

Address:
Anfu Road, Lane 229, No. 17
Xuhui District, Shanghai

Hours: Tuesday through Saturday 11am to 10pm

WeChat: SquareArt
Weibo~/SquareGallery_
Instagram: @squaregallery_shanghai

 

Contributor: Allen Young


地址:
上海市徐汇区
安福路 229 弄 17 号

营业时间: 周二至周日、上午11点至晚上10点

微信: SquareArt
微博~/SquareGallery_
Instagram@squaregallery_shanghai

 

供稿人: Allen Young

Feel the Mojoko

As a teenager in the early ‘90s, Mojoko would wander the streets of Hong Kong, reveling in the constant barrage of flashing lights and neon signs. “Hong Kong was sensory overload,” he recalls. “The video game arcades were the coolest.” Although he went to Europe for college and didn’t return to Asia for nearly a decade, that part of his life left an indelible mark. As his identity as an artist developed, that chaotic array of pop culture images came to define his style.


90 年代初期,还是青少年的 Mojoko 常常游荡香港的街道上,陶醉于闪光灯和霓虹灯招牌熠熠闪耀的光芒。他回忆道:“香港是一个让人感官‘超载’的城市,最酷的就是电子游戏机房。” 虽然他远赴欧洲求学,快十年才重回亚洲,但那些少年时的回忆却在他生命中留下了不可磨灭的印记。成为艺术家后,他把那些曾风靡一时的文化图像混乱组合,塑造出他的个人风格。

Mojoko is a collage artist and illustrator. His works are crowded with movie posters, old logos, brand icons, and comic book images inspired by the futuristic sheen of his hometown, with the hypnotic glow of underground arcades and the glitzy advertisements of a hyper-capitalist society. At first he sought out those images stamped on his childhood brain, but the quest for vintage from his day quickly evolved into a passion for even older images going back as far as the middle of the twentieth century.


Mojoko 是一位拼贴艺术家和插画家。他的作品充满了各种电影海报、旧标识、品牌图标和漫画图像,灵感正是来自于香港——这座充满未来感的城市,以及那些地下游戏厅的迷幻光芒、超资本主义社会的炫目广告。起初,他只是想寻找童年回忆中的那些图像,慢慢地,他开始热衷搜集上世纪中期那些更老的图片。

“There were thousands of game halls in Hong Kong, and some were really dodgy. You could smoke and hang out there all day,” he says. “Revisiting or discovering treasures from those days really gets me buzzing. I recently discovered an old TV Times from Hong Kong with ads for things I had totally forgotten about, like Rolex in Chinese and Rambo with Chinese subtitles. It was a weird mix of pop culture from the West.

“But I find the real chemistry happens in collage when you mix the old with the new. There’s some funny ’50s Chinese pop culture material which I didn’t even know existed before I started digging. Also Malaysia and Indonesia have some really progressive magazines and music from the ’50s and ’60s to draw upon.”


“香港有成千上万间游戏厅,有些真的不是很正规。你可以在里面抽烟,呆一整天。” 他说,“重温那些日子的珍贵回忆,让我心情很激动。我最近找到一份旧的香港报纸,上面广告推销的产品有很多我都已经完全忘记掉了,比如中文标识的劳力士(Rolex)和配了中文字幕的电影《第一滴血》(Rambo),看上去像是与西方流行文化的奇怪混合。”

“但是我发现,当你把旧的和新的混合在一起,组成拼贴画时,才能真正看到两者之时的化学反应。在我开始挖掘之前,我都不知道原来 50 年代的中国流行文化中有一些那么有趣的材料。包括五六十年代的马来西亚和印度尼西亚,也有一些非常前卫的杂志和音乐,它们也都是我创作的素材。”

Although his collages are pieced together digitally, all the material comes from physical sources stored in stacks of boxes all over Singapore, where he’s lived for 15 years. He also paints, creating the same collage effect, but using a comic-style with monotone linework. When he creates mural-sized pieces, he usually scales them up with wheat paste paper.


虽然他是通过电脑创作拼贴画的,但所有素材都来自现实生活,被他存放在新加坡家中的一堆箱子里。他已经在新加坡生活了 15 年。除了拼贴画创作,他还绘画,通过绘画创造漫画风格与单色线条的拼贴画。当他要制作壁画大小的作品时,他通常会先用小麦糊纸将素材放大。

While his work can be a little risqué, full of suggestively clad female stars and violent supervillains, Mojoko has begun trying to make more child-friendly art. He decided that the gallery he founded, Kult Gallery, wasn’t the right place to present his new trajectory, so he handed it off to the next generation and started the magazine EYEYAH!, which aims to educate kids with progressive artwork. “Becoming a dad changed my career, but not my art. I still can’t make kids’ artwork,” he laughs. “But that’s where the magazine comes in, where we use the tricks of advertising for good instead of selling shit we don’t need.”


Mojoko 的作品风格比较大胆,总是出现衣穿性感的女明星和暴力的超级恶魔,但他已经开始尝试创作更适合儿童的作品。他觉得自己创立的画廊 Kult Gallery 不是展示这些新作品的合适场所,于是他把画廊交给了别人打理,自己又创办了《EYEYAH!》杂志,旨在向小孩推广前卫艺术作品。“成为一名父亲后,我的职业生涯也发生了转变,但我的艺术创作没有变。我仍然无法创作儿童艺术。” 他笑着说,“但这就是杂志的用武之地,我们可以利用广告来推广好的东西,而不是去卖一些我们不需要的垃圾。”

Website: mojoko.net

 

Contributor: Mike Steyels


网站: mojoko.net

 

供稿人: Mike Steyels

Calligraphy in Action

Calligraphy’s beauty lies in the energy behind each stroke, and performances that show the motion of the brush bring to light one of the art form’s normally hidden aspects. Mami, a calligraphy artist from Japan, figured this out years ago, and her live calligraphy shows, performed in a kimono, pay tribute to the movement inherent in this tradition.


书法的美丽在于每一笔划背后的能量,而现场书法表演正可以揭示这个通常不被人看到的一面。来自日本的书法艺术家 Mami,在几年前就想到了这一点。她穿着和服现场表演书法,向这个深根在传统里的动态艺术致上敬意。

The idea for calligraphy performances came to her in a very unexpected way. “I was really drawn to the way rappers and DJs were able to express themselves within a culture they liked,” Mami explains. “I wanted to do calligraphy, but I wanted to do it like them. In those days [2010], live painting was just starting to take root in Japanese clubs, so I rode that wave.”


这个现场书法表演的想法诞生于一个意外。 “我真的很喜欢说唱歌手和 DJ 能够以自己的方式来表达他们喜欢的文化,” Mami 解释道。 “我想做书法,但想要像他们一样的方式。差不多在 2010 年左右,现场绘画才刚刚开始在日本的一些具乐部里扎根,所以我就顺着潮流走。”

Hip hop’s appeal for her runs even deeper, since graffiti plays an important role in her style. “I’ve liked hip hop since I was 12, and found the graffiti on CD jackets fascinating. And when I was 16, some graffiti suddenly appeared on the road between my house and my calligraphy class. I felt very close to graffiti then,” she recalls. It didn’t take long for her to start drawing a line between them, so to speak.


嘻哈文化对她的影响相当深远,在她的创作中经常出现涂鸦艺术的踪迹。 “从12岁开始,我就很喜欢嘻哈音乐,常常着迷于 CD 封套上的各种涂鸦。当我 16 岁时,在我家和书法课之间的路上突然出现了一些涂鸦,我觉得我和涂鸦又拉近了距离。” 没过多久,她就开始自己动手涂鸦了。

Mami is part of a worldwide network of “calligraffiti” artists who bring together street art and calligraphy. Many of them, like her, developed their styles individually, only later realizing there was a global scene. A couple of years ago, a book titled “The Art of Writing Your Name” attempted to bring this nebulous scene together, and it featured Mami within its pages.


Mami 是书法涂鸦calligraffiti)的全球网络成员之一,他们将街头艺术和书法结合在一起。这其中很多人都发展出了自己独特的风格,后来才意识到它具有一种全球性,Mami 也是如此。几年前,一本名为《The Art of Writing Your Name》的书试图将全球书法涂鸦这些界限模糊的场景融合在一起,Mami 也是其中受访报道的一位。

Her interest in art began very early on. “I started noticing that I could make others happy with the pictures I drew when I was only four years old,” she says. Before age ten, she was already doing calligraphy, which her parents and teachers introduced to her. She went on to study the history of calligraphy at university.


Mami 对艺术的热爱很早就开始了。“当我只有四岁的时候,我就发现我可以让别人对我的画感到满意。”她说。经由她父母和老师给她介绍,Mami 在十岁之前就已经开始学书法了。在大学里,Mami 继续学习了书法史。

Despite her love for the rebellious nature of hip hop and graffiti, Mami has a clear appreciation for tradition. When speaking on the topic, she’s downright poetic: “Tradition is a tree. Its roots don’t change, but as its age-rings multiply, its branches split and its leaves scatter. I would love for my work to become a part of that tree.”


尽管 Mami 热爱叛逆感十足的嘻哈和涂鸦,但她依然喜欢传统文化。谈到这个话题时,她非常有诗意地说道:“传统是一棵树。它的根是不变的。但当它的年轮一圈圈往上增长,树的枝干会裂开,叶子也散开了。我希望我的工作能成为那棵树的一部分。”

Website66mami66.com
Instagram: @66mami66

 

Contributor: Mike Steyels


网站66mami66.com
Instagram: @66mami66

 

供稿人: Mike Steyels