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Flowers from Clay 陶土开花

December 4, 2019 2019年12月4日

Kanako Kitabayashi spends her days surrounded by clay. Trained in traditional pottery and sculpture, the Japanese artist creates pieces that are neither strictly functional nor inaccessibly abstract. Varying in size and texture—some include braided ropes, while others are covered in grass-like shoots—they seem to embody the Japanese aesthetic of wabi-sabi, the notion that flaws can add beauty. And they all seem to share a plumpness that’s slightly suggestive, even unsettling.

Viewers often remark that Kanako’s sculptures, which were recently on display at Diego, a gallery and fashion shop in Tokyo, look more like rocks and stones than pottery. They lack a perfectly geometric shape or polished surface, and they’re dyed in understated pale or earthen tones. In the grooves and on the surface of these “rocks and stones,” yarn, resin plates, glass, tulle, and other materials burst forth like tender shoots, or like new leaves stretching outward.


日本青年艺术家北林加奈子终日与陶相伴。从工艺到雕塑,她一路接受着正统的学院派训练,手中的陶器却既不实用也不高冷。那些大大小小的陶塑总是圆滚滚的,要么扎着小辫儿,要么长出小草;既有日式传统的侘寂之美,又带着一点儿调皮或是不安分。

常有人说北林奈子的陶塑不像手工艺品而像石头。这些陶器没有完美的几何外形,颜色是安静的青白色或原土色,表面保留着两三分粗砺 就是在这些“石头”的缝隙中或表面上,毛线、树脂、玻璃、绢网等材料像嫩芽一样破石而出,像枝叶一样自由伸展。

This sense of an artificially created nature is both a reflection of Japanese animism and an extension of the “soft sculpture” tradition of using pliable materials to mimic organic forms. Kanako’s threads, pearls, wires, strips of gauze, balls of feathers, and other objects call for a response different from detached appreciation. She seems to invite viewers to step into a miniature world and alight upon the details of each work—to touch the dimpled surface of baked clay, sit on a wire swing, or caress strands of yarn.


这种人为制造的天然感,既反映着日本传统中万物有灵的底色,又延续着软雕塑用非定形材料模拟有机体的脉络。面对这些作品中的那些丝线、小珠、铁丝、纱布、毛球等等,居高临下的“欣赏”姿态不再适用。这些作品邀请每一位观众把自身缩小再缩小,着陆到每一件作品的细处,去触摸陶土烧成后的坑洼表面,或坐在弧形的铁丝上荡个秋千,或与毛线的纤维肌肤相亲。

“Two years ago, at a show in France, viewers kept telling me that the style of my work was very Japanese, something I hadn’t thought about until then,” she says. “When working on a sculpture, I like to believe there’s a spirit living inside. I intentionally leave blank spaces to bring out the unseen elements, and maybe that’s part of what people mean when they call the work ‘Japanese.'”


“两年前在法国展出时,观众们纷纷表示我作品的风格‘很日本’,可在那之前我自己却从没有意识到这一点。”她说,“我做作品的时候总是相信物件中是住着灵魂的。我重视留白,希望把某些看不见的部分体现出来。可能这种感觉恰好与观众所理解的‘日本’这个词的某些内涵一致。”

Kanako was born and raised in Tokyo, and she now lives in the city’s Shinjuku district. “Shinjuku is very crowded, and the space between people is so slight that everyone’s are always on the verge of bumping into one another. In such close proximity to others, we can grow desensitized and feel cut off. It can be overwhelming.” This constantly crowded, overwhelming world has instilled in Kanako a solemn appreciation for the minor moments of everyday life, those unexpected discoveries that send a tingle down your spine.

“Such discoveries may be exceedingly small, hidden in the dust of everyday life. Or they can be short-lived, immediately forgotten once you look away,” she says. “Yet they latch onto the undefined spaces in our mind, and when the memories are one day triggered, they can surface again in a sort of déjà vu.”


北林加奈子在东京出生长大,住在新宿区。她说:“新宿总是有很多人,人与人之间保持着一种几乎要彼此碰到却还没碰到的非常微妙的距离。在如此近的距离下,我们反而会失去很多感受,觉得有很多东西无法触碰,如同过载。”正是这个纷纷拥拥的过载世界使她更加珍惜日常生活中的琐碎风景,郑重地对待那些让心里“‘呼’地动了一下”的不经意的发现。

“这些发现可能极其细小,隐藏在日常的尘埃中;也可能非常短暂,视线离开时就会被立刻忘记。尽管如此,这些发现仍然设法锁定了我们记忆中一些未定义的空隙。有朝一日若有什么恰好触发了这里的开关,那些记忆就会再次浮现,似曾相识。”

Kanako’s recent Tokyo show, Urn, represents a formal return to the point where pottery and sculpture meet. Each piece is an empty vessel with a body and lid, yet as in her previous work, what these urns contain is not so much of a material as of a spiritual nature. They are windows onto another world, a way for the living to look back on the dead. Each one offers a moment of kindness, bringing some quiet to the surrounding world and clearing a little space for memory.


上月, 她的新作《骨壶系列在东京的 Diego 画廊/时尚杂货店展出。这一系列在形式上回归到了工艺和雕塑的结合点,每件作品都是有身有顶的中空容器。不过一如既往,这些骨壶,即骨灰坛,作为容器所承载的更多的是精神怀想,而非物件用具。它们是现世连接他界的窗口,是生者追思故人的凭借。它们各自献出一份诚恳的好意,让周遭的世界安静下来,为怀念保留一点余地。

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Website: kanakokitabayashi.com
Instagram: @kanako_kitabayashi

 

Contributor: Yangyu Zhang
English Translation: Allen Young


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网站: kanakokitabayashi.com
Instagram: @kanako_kitabayashi

 

供稿人: Yangyu Zhang
中译英: Allen Young

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Don’t Make Do, Make 我们都有一双“勤劳的手”

November 29, 2019 2019年11月29日

 

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Why buy a lamp when you can build your own? That’s a question the team at the Hive Lab wants to get more people to ask. The workshop aims to shake consumers out of their readymade comfort zones and realize they don’t have to limit themselves to what’s on offer at Ikea or Taobao. Anyone can create their own things, from lamps to tables to bicycles. In fact, with a little training and the right tools, you too can do it yourself.

Founded by Yan Pu, Tseng Yi-Wen, and Hsiung Yun-Pei, the Hive Lab opened its doors in Shanghai in 2018, and since then it’s provided a place where DIY enthusiasts can use the kind of power tools they’re unlikely to have at home, like jigsaws, belt sanders, wood lathes, or even 3D printers. It also aims to lower the barrier to making your own things by offering courses in the basics of product design and wood- and metalworking. “We offer a completely outfitted shared workshop, a cozy office space, and all kinds of fun design courses and talks,” says Yan. “We believe that training in working with your hands, along with interdisciplinary dialogue and collaboration, are the keys to innovation.”


家里少一盏台灯?买新的还不如自己动手:这是“新蜂巢”创始人提倡的想法。这个工作坊旨在让消费者踏出舒适区,让他们意识到没有必要把所有的期望值限制于宜家或淘宝的商品上。而不管是台灯或者餐桌或者自行车,每一个人都能自己制造物什。只要接受些培训,你也可以自己为 DIY 代言。

由严璞、曾乙文和熊元培共同创立的新蜂巢,于 2018 年在上海开业。自那时起,它就为手工爱好者提供了一个可供使用电动工具的场所,那些不太可能在家里配备的器具,诸如带锯、砂带机、木工车床,甚至三维打印机,都可以在新蜂巢找到。此外,它还开设一些产品设计和木工及金工基础课程,让手工制作更易上手。“我们为大家提供了一个设备齐全的共享工作间,以及一个舒适的联合办公区域,各类有趣的设计课程和讲座,以及创意产品设计和研发。”严璞说,“我们相信,动手能力的培养以及跨学科的交流合作,对创新的产出来说至关重要。”

Maker spaces, as such communal workshops are called, are now a common sight in cities around the world, and Shanghai itself already has several, including Zowoo and Mushroom Cloud. The movement originated on the West Coast of the US in the early 2000s, when people immersed in an entrepreneurial startup culture sought a respite from the internet in the older pleasures of working with their hands. It’s both a product of, and reaction to, online living, and it covers a range of low-tech to high-tech activities. Just as some people brewed their own beer, tinkered on their own circuit boards, or made their own jewelry to sell on Etsy, others learned how to work a saw, and founded communal workshops to share the costs.

Yan, Tseng, and Hsiung met while studying in the UK, where they noticed how popular do-it-yourself culture was. Yan thought DIY spaces would be an opportunity back in China. “It occurred to me that this was a weakness in how China taught innovation,” says Yan. “So once I returned to China, I started making plans for a training space to promote DIY skills.”


现在这样的公共作坊被称为 “创客空间”,在世界各地的城市都很常见,上海也有一些,比如作物和蘑菇云。“创客运动” 这一概念起源于 21 世纪初的美国西海岸,当时人们沉浸在创业文化及精神中,寻求从互联网中获得的喘息机会,享受用双手工作的古老乐趣。它既是网络生活的产物,也是对网络生活的映射,它涵盖了从低技术到高科技的一系列活动。就像有些人自己酿造啤酒,自己制作珠宝在 Etsy 上出售一样,其他人也学会了如何使用锯子、建立了社区讲习班来分担费用。

三位创始人严璞、曾乙文和熊元培在英国留学时相识,他们在那里意识到 DIY 文化超高的受欢迎程度。严璞觉得回中国开设手工作坊会是一个好机会,“我认为这也是中国在创新能力教育上的一个短板。于是在回国后,我开始了筹划这么一个旨在提倡动手能力培养的空间。”

The Hive Lab is a space where people can come together to learn new skills. Designers and anyone else working on a DIY project can use the tools for a daily or monthly fee. Those who want to learn foundational skills can sign up for one of the lab’s many classes. One course teaches students to make a wooden lamp shaped like a puppy, while another lets them “hack” an Ikea product and create something individual. A collaborative course with MMT shows how to build a bicycle out of bamboo, while another collaboration with Yu Design Studio produces a wooden scooter. “Everyone is welcome, not just designers or enthusiasts,” says Hsiung. “We also encourage anyone who has no experience to come see for themselves, to make something that’s their own, and not passively accept what’s already on the market.”

This last comment points to the larger meaning that Yan, Tseng, and Hsiung see in DIY culture: more than a set of skills, it’s a philosophy of creativity. “As we see it, innovation doesn’t just spring from the mind but comes from testing, through constant experimentation and iteration,” says Tseng. “Design through making” is one of the team’s watchwords.


新蜂巢是一个人们可以聚在一起学习新技能的地方。设计师和其他参与 DIY 项目的人可以支付单节课或每月的费用,来直接使用工作坊配备工具。想要学习基础技能的学生,则可以报名参加工坊的专项课程,比如其中一门课程专门教授如何制作小狗形状的的木灯,另一门课程则带领学生改装宜家的产品,并创造出个性化的产物。而一项与 MMT 合作的课程,则展示了如何用竹子建造自行车;另一个与 Yu Design Studio 合作的课程,让学生参与了木滑板车的制作。“我们欢迎所有人参加,不光是设计师或者爱好者。”熊元培说,“事实上我们鼓励所有没有动手经验的人们也来体验,自己来动手创造出属于自己的东西,而不只是被动接受市面上已有的东西。”

这也恰恰点明了三位创始人在 DIY 文化中看到的更大意义:它不仅仅是一项技能,更是一种创造力的哲学。“在我们看来,创意本身并不是一拍脑袋而跳出来的,而是通过不断的试验和迭代而来。”曾乙文如是说。“通过动手来创造”,正是团队的宗旨。

If you can build your own lamp, if you can make a bike frame from bamboo, if you can repurpose your Ikea chair, what else can you do on your own? It’s about not accepting the world as it’s packaged and presented and sold. This insight has implications that go beyond furniture or home improvement projects. It could even—who knows?—be political. “DIY is also an attitude of challenging the status quo and solving problems in your own way,” adds Hsiung.


创客创造的,远不只家具。如果你已经能够亲手制作台灯、用竹子组装自行车架、手动改装宜家的椅子,你或许可以创造更多。这关乎一种理念:你可以向包装并陈列好的商品世界说“不”。而它的含义,早已超越了家具及改装课程。它甚至可能关乎政治态度——谁知道呢?“DIY 也是一个挑战现状、用自己的方式解决问题的态度。”熊元培补充道。

When the maker movement came to China a few years ago, it initially enjoyed strong support as part of a policy to boost innovation. Encouraging people to tinker and make their own things would, it was hoped, promote creativity throughout the economy. Yet China’s rapid development in manufacturing and technology as also inhibited maker culture, says Yan. “It’s spoiled people, because when anyone needs something their first instinct is to buy it new, rather than to think about how they could save money and time by making it themselves.” In the world’s most convenient country, where you can order anything you need on your phone, DIY is still far from the mainstream. Perhaps even more than in the West, here the maker movement is countercultural.

Nevertheless, Yan’s optimistic about the future. “As digital manufacturing technology improves, the speed of the internet increases, and demand for individualized products grows,” he says, “DIY will become more democratic and more common. I think this is the overall trend, both in China and abroad.” Why make do, when you can make?


几年前“创客运动”作为促进创新政策的一部分来到中国时,最初得到了强有力的支持。人们寄希望于鼓励动手修补、制作自己的东西,以助于促进整个经济产业的创造力。然而严璞说,中国在制造业和技术方面的快速发展,也反过来抑制了创客文化。“大众被惯坏了,大家需要什么第一反应就是直接购买新的就行,而不是想为了省钱省时间怎么自己动手去解决。”在这个世界上最便捷的国家,你可以在手机上订购任何你需要的东西,DIY 离主流群体还很远。与西方相比,这里的创客运动是 “反主流趋势” 的。

尽管如此,严璞对未来依然很乐观。“在未来随着数字制造技术和网络的加速升级,大众对个性化产品的需求与日俱增的情况下,DIY 在未来将会变的更加大众和普遍,相信这个大趋势无论在国外还是国内都是一样的。”自制代替购买,何乐而不为?

The Hive Lab is taking part in Shanghai’s FutureLab 2019 at the West Bund Art Center. Stop by their booth this weekend, or visit their studio in Jing’an.

 

Studio Address:
800 Changde Road, Bldg. B16
Jing’an District, Shanghai
China

Hours:
Monday ~ Sunday, 11am ~  8pm


新蜂巢目前正在参与上海西岸艺术中心举行的艺术与设计创新未来教育博览会(简称“教博会”或 FutureLab),本周末你就可去他们的展台参加工作坊。或前往静安寺加入他们的工作空间。

 

地址:

上海市静安区
常德路 800 B16
中国

营业时间:
周一至周日, 早上 11 点至晚上 8

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Website: www.thehivelab.cn
WeChat: thehivelab

 

Contributor: Allen Young
Photographers: Allen Young, David Yen
Videographer: Ni Zhaoyu
Chinese Translation: Chen Yuan


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网站: www.thehivelab.cn
微信: thehivelab

 

供稿人: Allen Young
摄影师: Allen Young, David Yen
视频摄像师: Ni Zhaoyu
中译英: Chen Yuan

Cultural Capital 好艺术需要好推手

November 12, 2019 2019年11月12日
Chi K11 Art Museum Chi K11 美术馆

“Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.” Andy Warhol’s famous line lies somewhere between sarcasm and sincerity, and it’s probably best taken as a provocation: he’s trolling us, daring us to defend a belief in art as a spiritual pursuit unsullied by lucre. You don’t have to be a romantic to insist that art and business are, in fact, very different creatures, though you also don’t have to be a cynic to recognize that art’s production and circulation depend on the market—artists, curators, and gallerists still have to eat, after all. Even if business isn’t really art, art has a business side that can’t be overlooked.

Arts management, as this business side is called, is the subject of a new series of workshops put on by the Department of Culture and Education of the German Consulate General in Shanghai—which we’ve written about before—in cooperation with WhyWhyArt. “Arts Management and Society” pairs experts in various fields from both China and the West to inspire the next generation of cultural professionals. Free and open to the public, the workshops are especially intended for students and industry insiders, and they highlight the important role that curators, gallerists, theater managers, museum directors, and others play in the art world. Not only do such professionals educate the public, they also help to discover rising stars. “Cultural managers can be talent scouts, finding ways to give exposure to the work of a new generation,” says Zane Mellupe, founder of WhyWhyArt. (She is also a founding member of the collective Island6.)


“好的商业是最迷人的艺术。赚钱是艺术,工作也是艺术,好的商业是最棒的艺术。”安迪·沃霍尔的这句名言让人觉得既像讽刺也像肺腑之言。或许,你最好把这句话当作一种挑衅:其似乎在刺激人们去捍卫我们一向的信念——将艺术视为一种不被金钱污染的精神追求。就算不是浪漫主义者,许多人也会坚持认为艺术与商业是截然不同的两码事;同样,就算不是愤世嫉俗的人也能认识到,艺术作品的生成与流通取决于市场——毕竟,艺术家、策展人和画廊商人也要谋求温饱。即使商业算不上是艺术,但艺术也有着不可忽视的商业一面。

德国驻上海总领事馆文化教育处WhyWhyArt 合作举办了一系列以商业领域所谓的“艺术管理”为主题的研讨会。“艺术管理与社会”(Arts Management and Society)系列研讨会汇聚了一批来自中国和西方不同领域的专家,旨在激发新一代的文化专业人才的灵感创想。这些研讨会对公众免费开放,特别适合学生和行业内人士,并强调了策展人、画廊运营者、剧院院长、博物馆馆长和其他职位在艺术界中的重要作用,他们的角色不仅在于对公众的引导,也在于发现新晋的艺术人才。“文化管理者也可以被称为星探,他们会想方设法帮助新一代艺术人才的作品获得更多曝光机会。” WhyWhyArt 创始人 Zane Mellupe 说道。(她也是上海艺术团体六岛创始人之一。)

Zane Mellupe | Image Courtesy of Goethe Institut China Zane Mellupe | 图片由 德国驻上海总领事馆文化教育处 提供
Oliver Hartmann | Image Courtesy of Goethe Institut China Oliver Hartmann | 图片由 德国驻上海总领事馆文化教育处 提供

This series of six workshops, which began in August and will run through December, explores topics such as “The Arts between Production and Consumption,” “The Impact of Arts Institutions,” and “The Functions of Culture and the Values of Art.” Each workshop consists of a recorded lecture by an European arts professional (originally part of a MOOC, or massive open online course, produced by the Leuphana University of Lüneberg) and a live discussion with one of six China-based arts experts: Gan Zhiyi, of the Shanghai Minsheng Art Museum; Jin Xing, of Jin Xing Dance Theatre; Lin Hongming, from the Shanghai Conservatory of Music; Huang Rui, from Thinking Hands; Zhang Huiqing, of the Shanghai Dramatic Arts Centre; and most recently, Venus Lau, of the Chi K11 Art Museum. The recorded lectures are delivered in English, while the live talks are given in Chinese, with simultaneous translation to Chinese sign language. These new Shanghai-based talks are available online on the platform Yizhibo, and they’ll eventually be followed by a video series on the Goethe website, establishing a sort of cross-continental dialogue with the original lectures. “I think both parties can learn from each other,” says Oliver Hartmann, head of the consulate’s Department of Culture and Education. “That’s why we’re trying to combine perspectives of cultural managers with the experiences of prominent figures from the Chinese art scene.”


此系列的六场研讨会从 8 月开始,将一直持续到 12 月结束,所探讨的主题包括 “作品和消费之间的艺术”、“艺术院校的影响” 和 “文化的功能与艺术的价值” 等等。每场研讨会都会纳入欧洲艺术专家主讲的录制讲座(吕内堡大学 Leuphana University 在 MOOC 及更多开放性教育平台上的课程)以及六位来自中国的艺术专家的现场讨论,他们分别为:上海民生现代美术馆的甘智漪、金星舞蹈团的金星、上海话剧艺术中心的张惠庆、上海音乐学院的林宏鸣、思想手设计·计划的黄锐,以及上海 Chi K11 美术馆的刘秀仪(Venus Lau)。录制讲座以英文讲授,而现场讲座则是以中文讲授,并配有中文手语同声传译者。上海的现场讲座现已在 “一直播” 平台上公开,同时你还将可以在歌德学院的官方网站看到这些视频。现场的讲座视频与录制课程相互呼应,构成大陆间对话的形式。“我认为双方都可以从彼此身上学习。” 总领事馆文化教育处负责人 Oliver Hartmann 表示,“因此,我们试图将文化管理者的观点与中国艺术界杰出人物的经验相结合。”

Successful cultural managers need much more than an eye for art and a grasp of trends. “Creativity, sensitivity, attention to detail, planning skills, an understanding of different cultural backgrounds, and strong organizational skills are a necessity,” says Mellupe. “So are writing skills, fundraising, budgeting, and the ability to reach audiences and ideally generate revenue.” Versatility is key.

Finding ways to fund cultural projects, or even make them self-sustaining, is a central part of the profession, but that’s not to say the goal is to turn a profit. On the contrary, only when financial pressures are tamed can artists fully devote themselves to their creative work. “Since I came to China nearly 20 years ago, many artists I’ve worked with have ended their art practice,” Mellupe goes on. “And for many, the reason was societal pressure to make more money.” Arts managers can help artists realize their visions by insulating them from the vagaries of the market. In other words, a solid understanding of art’s relationship to business could serve to keep the two separate.

Hartmann concurs. “Making a profit is not the main concern,” he says. “Arts management is important not just because it supports artists in their creative work, but also because it has a social and educational value.”


成功的艺术管理者不仅需要有欣赏艺术的眼光和对潮流趋势的掌握。“创意、敏感性、对细节的关注、计划技巧、对不同文化背景的理解以及强大的组织能力都必不可缺。” Zane 说,“此外,还需要有写作技能、筹款、预算、吸引观众以及创造盈利的能力。”总而言之,就是要多才多艺。

想办法获得文化项目资助,甚至是让项目实现自我维持,这些都是文化管理者工作的核心,但这并不是说其目标就是盈利。况且,只有在没有财务压力的情况下,艺术家才能充分专注于自己的创作。“从我 20 年前到中国以来,和我合作过的许多艺术家都没有再进行艺术创作了。” Zane 补充道,“对于许多人来说,原因都是来自收入方面的压力。”而艺术管理者可以帮助艺术家实现他们的梦想,帮助他们对抗市场的变幻莫测。换句话说,对艺术与商业关系的深入理解,有助于保持两者相互的独立性。

Hartmann 点头表示同意,他说:“赚钱不是主要目标。艺术管理之所以重要,不仅因为它能支持艺术家的创作,更因为它具有社会和教育价值。”

Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供
Image Courtesy of Goethe Institut China 图片由 德国驻上海总领事馆文化教育处 提供

In Shanghai, where the line between malls and museums is distressingly blurry, training in arts management is all the more important. Museums here sprout up like mushrooms, and while a few boast excellent collections, several more struggle to cover their walls. (A few are unabashed real estate ventures.) The past decade alone has seen the creation of the Rockbund Art Museum, the Shanghai Minsheng Art Museum, the Yuz Museum Shanghai, the Power Station of Art, the Long, the Shanghai Himalayas Museum, Chi K11 Art Museum, the Shanghai Center of Photography, the Fosun Foundation, the Modern Art Museum, the HOW Art Museum, the Pearl Art Museum, the Silo of 80,000 Tons, the Powerlong Art Museum, and Tank Shanghai—and that’s only to list the larger institutions for the visual arts. Theatre, music, and the performing arts are likewise developing apace.


在上海,购物中心和艺术博物馆之间的界线越来越模糊,艺术管理方面的培训显得愈加重要。这里的博物馆如雨后春笋,尽管其中一些博物馆有非常出色的馆藏,但也有一些博物馆难以为继(其中有一些更是不折不扣的房地产企业。)。在过去十年中,就陆续出现了上海外滩美术馆、上海民生现代美术馆、上海余德耀美术馆、上海当代艺术博物馆、龙美术馆、上海喜玛拉雅美术馆、上海 Chi K11 美术馆、上海摄影艺术中心、复星艺术中心、艺仓美术馆、昊美术馆、上海明珠美术馆、民生码头8万吨筒仓、宝龙美术馆和油罐艺术中心——这些都还只是其中较大型的视觉艺术机构。戏剧、音乐、表演艺术机构也在同样快速发展。

Shanghai Minsheng Art Museum 上海民生现代美术馆
FutureLab

If art is sold as a product, that’s partly because audiences seem less interested in works that challenge or move them than they are in “punching the card,” as the Chinese expression has it: posting a selfie to show that they’ve visited the same popular spots as everyone else. “Many people don’t know how to interpret or understand what they see in an exhibition, performance or play,” Hartmann says. “So I think one important role for cultural managers is to educate audiences in their habits of perception, to show them how to engage with art and how to be patient and self-reflexive, especially when dealing with serious or conceptual art that can be fairly complex.” 

For Mellupe, creating in-person experiences is an important part of the mission of arts managers. “As people spend more time online, art forms that make people move are becoming more and more important,” she says. “Physical experiences are attractive and get people to leave the comfort of living on the internet.”


艺术品作为商品出售,部分原因在于观众对于打卡的兴趣远大于作品本身对他们的触动与震撼 —— 大部分人们还是会选择拍一张自拍,在互联网上晒出来,证明自己也和其他人一样参观了某个热门景点。“很多人不知道如何解释或理解他们在展览、演出或戏剧中所看到的作品。所以,我认为文化管理者的一个重要职责是培养观众的感知习惯,向他们展示如何与艺术互动,如何耐心欣赏和自我反馈,尤其是在面对严肃而抽象的复杂艺术时。” Oliver 说道。

Zane 认为,创造亲身经验是艺术管理者的重要使命之一。“随着人们上网的时间越来越多,能够带动人们的艺术形式变得越来越重要。”她说,“相比于虚拟网络的舒适区,亲身体验显得更有吸引力。”

Thinking Hands 思想手设计·计划
Shanghai Conservatory of Music 上海音乐学院
Shanghai Dramatic Arts Centre 上海话剧艺术中心

The future of art in China depends not only on painters and sculptors and videographers, but also on the people behind the scenes, curating the exhibitions, organizing the tours, producing the shows, and critiquing the work. And for art to be art, rather than just business, cultural managers will have to play a decisive role. “If we understand that painting and sculpture are not purely decoration, that plays or dance performances aren’t just about filling the theatre and making a profit, then we can recognize that art institutions are for supporting artists and for appreciating and promoting their work,” says Hartmann. “They provide platforms for free expression, the exchange of ideas, and cultural education.”


中国艺术的未来不仅取决于画家、雕塑家和摄像师,也取决于幕后策划展览、组织参观、制作表演和评论家。至于如何让艺术成为艺术,而不沦为纯粹的商业,文化管理者在这方面将发挥决定性的作用。“如果我们明白绘画和雕塑并不是纯粹的装饰,明白戏剧或舞蹈表演不只是要让剧院满座和赚钱,那么我们也能够明白,艺术机构的目的是支持艺术家,欣赏和推广他们的作品,为自由表达、交流想法和文化教育提供了平台。” Oliver 说道。

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Contributor: Allen Young
Chinese Translation: Olivia Li


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供稿人: Allen Young
中译英: Olivia Li

Whimsical Nostalgia 世界本来就是一场幻觉

November 5, 2019 2019年11月5日

Malaysian illustrator Kexin Tan believes that modern life makes us miss out on the simple pleasures. From the changing shapes of clouds to the subtle gradients of color in the evening sky, we’ve lost the ability to observe the world around us with a sense of wonder. For Tan, illustration is a form of self-exploration that’s helped her rediscover the beauty of everyday life. “There are many—too many—beautiful things in the world. Why not open our eyes and look closer?” she asks. “The piece of Nattō that sticks to a pair of chopsticks could be something beautiful, too. Seeing it clinging to the chopstick could give you a different sense of calm.”


马来西亚插画师 Kexin Tan 认为现代人的生活缺少简单纯粹的乐趣。人们不再关注天空中云朵的形状变化,夜空中色彩浮动的微妙……我们正在失去用好奇去看待这个世界的能力。对 Kexin 来说,插画是自我探索的过程,亦能帮助她重新发现日常之美。“世界上美丽的事物太多了,为什么我们不睁开双眼去仔细看看?纳豆粘在筷子上也可以是很美好的事情,看到它们,会让你有一种平静的感觉。”

Tan draws under the name Wabiko, an alias that has dual origins. The first is wa bi, which means “nose-picking” in Mandarin. The name popped into her head when she realized that she didn’t care how others perceived her, sharing the same indifference as someone who actually picks their nose in public. Second, the name alludes to the Japanese philosophy of wabi-sabi, which stresses the lack of permanence in life and the acceptance of one’s flaws.


作为画家,Kexin 化名为 Wabiko。这个名字有两层意思,“wa bi” 在中文普通话中是挖鼻的意思,当她开始意识到自己不必在乎别人他人的看法时,这个名字突然出现在她的脑海中,字面意思就像是那些在公共场合挖鼻孔的人一样;其次,这个名字也源自日本 “wabi-sabi”(侘寂)哲学的寓意,即生命非永存、接受事物的缺陷性。

Tan’s first solo exhibition, Memories Are Trapped and Kept, has been in the works for the past year. It’s inspired by the memories of people and moments that disappear like a dream, but are still kept within our subconscious and may one day reappear in our lives in the form of déjà vu.

“We often forget about certain chapters or moments in our lives, but they reappear when we see something, hear a familiar tune, or experience a scent,” she says. “We’re reminded of the feelings we used to have. Even though we’re like goldfish, always forgetting, those memories are trapped in our minds subconsciously and kept forever.”


Kexin 的个人作品首展《Memories Are Trapped and Kept》(《被困住和留住的回忆》)从过去一年到现在一直进行。其灵感是人们的一些记忆和经历,虽然像梦般转瞬即逝,却又一直留在潜意识中,也许在某一天就会以记忆幻觉 “déjà vu” 的形式在我们的生活中重现。

她说:“我们经常会忘记生活中的某些特定片段,但当那些事物重新出现在我的眼前,听到熟悉的曲调或闻到一种气味时,它们就会重新浮现在脑海。那一刻我们会想起曾经的感受。即使我们就像金鱼一样,总是会忘记,但是那些记忆却一直留在我们的潜意识中,被封存起来。”

Memories Are Trapped and Kept was held at APW Bangsar, one of the premier cultural spaces in greater Kuala Lumpur. A friend suggested the location, and it seemed like a perfect fit, given the site’s history as a printing press. “I felt it had a deep connection with memories, too,” Tan says. “Our life changes throughout time but the imprint of our memories is impossible to wipe away.”

This collection, like most of Tan’s works, plays with whimsy, nostalgia, and surrealism, yet it’s not always cheerful. One illustration, The Lying Android, depicts an expressionless female figure whose belly button is connected to a power socket. She exudes a cold, robotic demeanor, while her elongated Pinocchio nose and blacked-out eyes suggest lying and a desire to hide one’s eyes from the light of truth.


这次展览在吉隆坡著名文化场所 APW Bangsar 举办,选址来自 Kexin 好友的推荐。Kexin 认为这里是举办展览的理想场地,由一间旧印刷厂改造而成,“我觉得这个地方与记忆有很深的联系。我们的生活会随时间而改变,但我们的记忆深处的痕迹却不会消失。”

展览的作品与 Kexin 大多数作品一样,充满奇思妙想、怀旧情怀和超现实主义色彩,风格却不总是欢乐活泼。其中一幅插画《The Lying Android》(《说谎的机器人》),描绘了一个面无表情的女性,她的肚脐连接着电源插座,整个人散发出一股如机器人般冷冰冰的气息,在她的脸上,如皮诺曹般的细长鼻子和无神的眼睛暗示了她的谎言,不愿意让眼睛透露自己真实的一面。

Tan draws in a varied style that shows the influence of Salvador Dalí, René Magritte, David Hockney, Junji Ito, Suehiro Maruo, and particularly the Malaysian artist Roslisham Ismail. Her works are open to the viewer’s interpretation. To her, the world is an illusion: the past is like “a melted candy on the tongue,” with an aftertaste that’s “unreal” and fades like a dream. “I’m someone who tends to overthink, or maybe even obsess. I record the moments in my life—dreams, the universe in my drawings. Words really can’t describe my feelings.”


Kexin 的绘画风格多样,从中可以看到来自萨尔瓦多·达利、雷内·马格利特、大卫·霍克尼、伊藤润二和丸尾末広的影响,其中马来西亚艺术家 Roslisham Ismail 对她的影响最为特别。她的作品开放性很强,令观众自行解读。对她来说,世界本来就是一种幻觉:过去就像“舌头上融化的糖果”,有着“不真实”的回味,像梦一样消散。“我是一个容易想太多的人,甚至会执迷不悟。我会在画中记录自己生活中的瞬间,如梦境和这个世界。我的感受很难用言语形容。”

Tan is aware of Malaysia’s slow development in the art world, but she’s optimistic about the future. As more people take an interest in art, she says, the “hungry” stigma often attached to artists is fading. She’s hopeful that Malaysians will eventually become more daring in their artistic pursuits.

“Now there are more and more platforms for artists to shine and showcase their work. I hope this brings out more talented and inspiring artists,” she says. “Don’t constrain yourself or create art for the sake of approval of others. Create because you want to.”


Ke Xin 觉得马来西亚的艺术界发展太慢,但她对未来保持乐观。她说,随着越来越多人对艺术产生兴趣,人们对艺术家“难以温饱”的印象也在改变。她希望,在马来西亚会有越来越多人能大胆地追求艺术创作。

“现在有越来越多的平台让艺术家展示自己的作品。我希望这能吸引更多有才华和有想法的艺术家。”她说,“不要束缚自己,也不要为了别人的认可而创作艺术,按照自己的想法来创作。”

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Website: wabikowabiko.com
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Contributor: Joanna Lee
Chinese Translation: Olivia Li


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供稿人: Joanna Lee
英译中: Olivia Li

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Brush & Kink 何为酷儿艺术?

September 18, 2019 2019年9月18日

What makes a work of art queer? Sometimes it’s a touch of camp, a nod to drag, an urge to turn convention on its head. Sometimes it’s a fiery voice, a call to storm the patriarchal prisonhouse of gender. Sometimes it’s a subtler note—a longing sigh, a wary glance, a pained admission of forbidden love.

And sometimes it’s just rainbows and sex. Hui Ma’s work delights in every sort of erotic conjunction, with women and men and trans and nonbinary folk, in couples and singles and groups, all hugging, kissing, touching, rubbing, licking, romping, cavorting, frolicking, and fornicating their way across scene after libidinous scene. There are bodies of every description and shape and gender and hue—especially every hue: the rainbow colors seem to run together, like a pack of Skittles that’s melted onto the page.


何为酷儿艺术?有时,酷儿艺术带着一股俗气,招摇的色彩、做作的变装风格、颠倒行为规范的冲动;有时它是一腔热血的呐喊,呼吁人们席卷父权制的性别藩篱;有时它则像一枚微妙的音符——夹杂着渴望的叹息、警惕的眼神和痛楚的爱的禁忌。

而还有些时候,酷儿就是彩虹加性爱罢了。马慧以各种各样的性结合为乐,她的作品展现了这些男女、跨性别和非二元性别人群,在淫溺之所里,成单成双或成群结队地,相拥、接吻、爱抚、摩擦、舔舐、嬉闹、玩耍、交媾。画面中的小人拥有多元的体型、性别和肤色,尤其是肤色:彩虹色彩勾勒身体的线条上流淌,像要流溢出来,仿佛是一堆融化的彩虹糖。

“My subject matter is desire and sexuality,” says Ma. Her most recent series, Paradise Lust, with its throngs of undressed bodies, almost looks like an homage to Bosch’s Garden of Earthly Delights—or better yet, an X-rated version of Where’s Waldo? As in the Waldo books, here too the artist has hidden “Easter eggs” throughout each painting, and the curious and patient viewer can spot the Birth of Venus, the Girl with a Pearl Earring, and various Japanese Edo-period prints, along with the Pink Panther, Sailor Moon, and Captain Marvel. The sprawling, often physically impossible settings are as much a nod to M.C. Escher as they are to the perspectival conventions of traditional Chinese painting.


“我的作品主题是欲望和性。”马慧说。她的最新作品系列《Paradise Lust》(欲望天堂)描画了一群赤裸相拥的人物,似乎是在致敬荷兰画家耶罗尼米斯·博斯Hieronymus Bosch)的《人间乐园》,或是一个成人版本的《聪明的沃利》——和这幅画一样,作者在每幅画中隐藏了很多“彩蛋”,好奇和耐心的观众可以从中看到《维纳斯的诞生》和《戴珍珠耳环的少女》,以及各种日本江户时代的版画元素,甚至还有《粉红豹》、《美少女战士》和《惊奇队长》。向四面延伸、超乎现实的环境既致敬了荷兰版画大师 M.C.Escher,也体现了传统中国绘画的透视风格。

These titillating tableaux, these perverse panoramas, these spectacles of salacity allow Ma to chart the breadth and variety of copulation. Yet bawdy as they are, they’re also strangely impersonal. Her figures are not individuals, but merely parts of a group, viewed from afar; in these paintings, the most intimate desires appear as a collective, almost abstract phenomenon. This effect is intentional, because in Ma’s view, sex links people across space and time. “I see sexuality not only as a personal experience, but also as a collective experience throughout history,” she explains. “The individuality fades in time, but the flesh, the experience, and the sensation are always there.” In Paradise Lust, she highlights the continuity of sex, rather than its subjective depth.

There’s also a political dimension to her choice. Instead of displaying, say, a single nude woman, like so many canonical works of Western art, Ma seeks to avoid the pitfalls of painting sexualized women, even as she celebrates a certain objectification. “I think it’s hard not to objectify the body you see,” she notes. And that being the case, why not make the objectification more universal, more democratic? “In my series, I depict not only female bodies, but also male bodies and even animals.” (Notably octopuses: in fact, in addition to the improbable and the impractical, the works contain a fair amount of the impossible and the unpalatable.) “I try to generalize the body form, and the fact that sex is enjoyable for all genders.”


马慧通过这不同寻常的景象、挑逗的造型、盛大的人体狂欢,淋漓尽致地展现了性的广泛和多样。然而,尽管画面大胆赤裸,却也充满抽离感。她笔下的人物不是个体,而只是被远观的一个群体中的一部分;即使是最亲密的欲望也像是一种近乎抽象的集体现象。这是马慧有意而为的效果,因为在她看来,性爱在空间和时间上联系着人们。“在我看来,性爱不仅是个人的事情,是历史中的集体经验。”她解释道,“个体会随时间衰老,但肉体、经验和感觉不会。”在《Paradise Lust》中,她展示了性的历史连续性,而不是其内在的深度。

她在创作时也加入了一定的政治色彩。比方说,她没有像大多数传统西方艺术一样,为了男性观众,特意描绘单身女性的形象,因为她试图打破“男性凝视”(“male gaze”,一种把女性定位于被看者,置于男性凝视主控操纵的现象,译注)的做法,尽管她也表现了一定的人格物化。“我认为不将你所看到的身体物化是一件很难做到的事情。”她说。既然如此,为什么不试着把“凝视”变得更普遍,更民主?“在我的作品中,我不仅画了女性的身体,还会画男性的身体,甚至是动物。”(尤其是章鱼:事实上,作品中除了完全不可能的事物之外,还含有相当数量的令人难以置信和不快的事物。)。“我试图让身体的形态概念化,让人们知道,性爱对所有性别的人来说都是一件快乐的事情。”

Ma grew up in Beijing and now lives in New York, where’s she’s working on her MFA at the School of Visual Arts. Her international education lets her draw on techniques and influences from both China and the West. “I studied Chinese traditional painting when I was little,” she says. “The way that water and ink interact with rice paper still fascinates me. I love its immediacy, its abstractness, and especially how the brush strokes illustrate power and passion.” It’s also an ideal vehicle for her themes. “The water-based medium is perfect for depicting the sensation of fantasy.” Like watercolors, desire rarely stays within fixed lines.

Sexuality has been a topic of fascination since she was a child—mostly, she says, because no one talked about it. She recalls searching for information about sex from Chinese romantic novels, only to be surprised to discover, much later, that her own experiences were nothing like the ones she’d read about in books. A curiosity about the gap between desire and reality drives her art today.


马慧从小在北京长大,现在在纽约视觉艺术学院修读艺术硕士学位。国际化的教育背景让她汲取了来自中国和西方两种文化中的创作技巧和影响。她说:“我自小研究中国传统绘画,水墨与宣纸的互动让我很着迷。我喜欢水墨画的即时性、抽象性,尤其是笔触对于力量与激情的表现。”水墨也是她表达主题的理想工具,“水性介质是描绘幻想的理想工具。”像水彩画,其中的欲望很少固定线路内停留。

性是一个自小就让她着迷的话题,主要是因为身边没有人会谈论性。她记得自己以前曾在中国的言情小说里搜索关于性的信息,在亲身体验后却惊讶地发现,现实的体验与她在书中描写的是完全不一样的。这种对欲望与现实之间的差异的兴趣塑造了她如今的艺术作品。

Paradise Lust is not entirely realistic,” she says, showing a knack for understatement. The setting seems to be a series of pleasure gardens whose occupants luxuriate among Greek columns, palm trees, and arches. According to Ma, though, the scenes take place not in some classical locus amoenus but on a eighteen-story rocket ship: each of the paintings in the series corresponds to a different level, as it charts its course to a pansexual Fire Island in the sky.


“《Paradise Lust》不完全是现实的。”她轻描淡写地说道。画中的背景似乎是一个个乐园,画中的人物在希腊石柱、棕榈树和拱门之间纵情享乐。马慧解释,这些场景并未发生在传统的乐园之地,而是在一艘十八层的火箭飞船上:系列中的每幅画都对应不同的楼层,一层层堆叠,构筑出空中的一个泛性恋的孤岛。

Otherworldly scenes like these may seem far removed from our terrestrial life, but Ma insists that fantasy can shape reality. For one thing, the variety of bodily entanglements suggests an equal variety of power dynamics. “The bedroom can be political too,” she says. “Who has the power in bed, who is taking charge? In a way, it defines the power dynamic in a couple. A queer woman could potentially break the gender binaries, and achieve equality in bed. Different positions give different kinds of pleasure without the necessity of defining who’s dominant.” 

Blending the carnal and the carnivalesque, and folding in a strong dose of politics, Ma’s works are a celebration of desire in all its forms. They may not be realistic, but since when are desires confined to the limits of the possible? As that rocket blasts off, you almost wish you, too, could leave the earth behind for a while, and hitch a ride to Ma’s cosmic queer utopia.

To see the entire series as a single, unbroken image, click here.


像这样虚构的场景似乎与真实生活相去甚远,但马慧坚持认为,幻想可以塑造现实。一方面,各种身体的纠缠暗示各种力量的抗衡。“卧室也会充满政治色彩。”她说,“在床上谁掌握力量,谁是主导?在某种程度上,它体现了情侣之间的力量抗衡。一个女同性恋可能会打破性别二元,在床上实现平等。不同的姿势带来不同的快感,没有必要确定谁是主导。”

马慧的作品融合了肉体和狂欢,并蕴含丰富的政治元素,展现了各种形式的欲望。可能不太现实,但是对欲望而言,又有什么是不可能的呢?当这支火箭起飞时,你大概也会希望自己能够离开地球一段时间,随火箭抵达马慧所构筑的那个太空中的同性恋乌托邦。

点击这里,查看整个系列的无损长图

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Website: huimaillustration.com
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Contributor: Allen Young
Chinese Translation: Olivia Li


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Contributor: Allen Young
Chinese Translation: Olivia Li

Artificial Bliss 人造的塑料欲望

August 30, 2019 2019年8月30日
Duck (2017) 140 x 160 cm / Acrylic on canvas 《鸭子》(2016) 140 x 160 厘米 / 布面丙烯

Flexible, accessible, and strong, less a necessity than an object of desire, plastic is as seductive as it is destructive. It’s the perfect symbol for the hazards of materialism, and it’s a source of inspiration for Sun Yitian, one of China’s most intriguing artists under 30. Her paintings range from the abstract to the hyper-realistic, and always bring together the tacky, the humorous, and the ironic.


灵活多变、随手可得又坚韧可耐,虽然不是必需品却让人渴望拥有——塑料,令人着迷的同时也具备有害性,这似乎正是物质主义中欲望与危险的出色映证。但同时,塑料也是孙一钿的作品灵感来源之一。她是目前中国三十周岁以下最炙手可热的艺术家之一。她的创作从抽象到超现实,涉及相当广泛,并总能把附庸风雅、幽默讽刺的主题出色的融合在一起。

Right Hand (2017) 53 x 45 cm / Acrylic on board 《右手》(2017) 53 x 45 厘米 / 木板丙烯
Left Hand (2017) 53 x 45 cm / Acrylic on board 《左手》(2017) 53 x 45 厘米 / 木板丙烯

Sun grew up as an only child in Wenzhou, a place where you can find anything you can imagine, from luxury goods to lousy knock-offs. Consumer products gave her lively imagination something to play with, as did busy streets, flashy billboards, and loud TV shows.

Her artistic epiphany came at a young age. “When I was five, I drew a princess on my handbook,” she remembers. “I left a star-shaped space on her skirt and glued the drawing to the window. The sunlight shone through it, causing a shiny effect on the skirt. My classmates thought it was amazing. That’s when I fell into the trap of art.”

At age 15, Sun moved to Beijing to study at the high school affiliated with the Central Academy of Fine Arts. “I felt like a shrimp going into a vast ocean,” she says. “Everyone was into art, literature, philosophy.” It was this environment that prompted her to cast a critical eye at everything around her, and she began to see human creations as low-quality versions of the natural world. In fact, her subject matter can be understood as the intersection of these two lines: the natural and the artificial. She often depicts elements of nature, but in their most artificial form, playing with loud colors and textures.


孙一钿在温州长大,是家中的独生女。在温州,你能找到任何能想象到的事情,从奢侈品到劣质山寨货,各种商品应有尽有。满目琳琅的货架、繁忙的街道、炫亮的广告牌以及嘈杂的电视节目为她带来了鲜活的想象空间。

小时候的她便对艺术开了窍,“五岁的时候,在本子上画了一位公主。” 她回忆道,“我特意在她的裙子上留下了一个星形的空缺,然后把她粘在窗户上。当阳光照射过来,裙子就会熠熠闪亮。当时同学们都觉得这幅画太棒了。从那时起,我就爱上了艺术。”

15 岁时,孙一钿搬到北京,就读于中央美术学院附属高中。“我感觉自己就像一只小虾,突然闯进了广阔的海洋。”她说,“在那里,所有人都很热爱艺术、文学和哲学。”这种环境促使她学会以持批判的态度看待周围的一切。孙一钿开始将人造物视为劣质版本的自然世界。而她的创作对象可以被理解为自然和人造这两个世界的交汇点。她经常以人造物的形式来描绘大自然的元素,用抢眼的色彩和纹理来进行重新演绎。

Let Me Hug You (2015) 133 x 200 cm / Acrylic on canvas 《让我抱抱》(2015) 133 x 200 厘米 / 布面丙烯
Parrot (2017) 200 x 130 cm / Acrylic on canvas 《鹦鹉》(2017) 200 x 130 厘米 / 布面丙烯

In her latest series, A Twinkle, Sun represents a type of man-made reproduction of nature that’s plastic in both the literal and the metaphorical sense: she paints all kinds of blow-up toys, ranging from goofy animals to human figures. Cheap inflatable products like T-rex costumes and flamingo pool floats are often treasured ironically by millennials. Her paintings are a nod both to contemporary attitudes and to older traditions of pop art and photorealism.


在她的最新系列作品《一钿》(A Twinkle)中,孙一钿用人工的手法重新打造了一个从表面到喻意上都是塑料的自然世界。她画了几种充气玩具,包括蠢萌的动物和人物形象。充气玩具其实造价低廉,也没有实际用途,但令人感到讽刺的是,在社交媒体的大环境下,霸王龙和火烈鸟套装常常是千禧一代在互联网上追捧的物件。而这一系列的画作正展现了当今时代的观念,同时致敬流行艺术和照片写实主义的绘法。

Pink Dinosaur with Blue Wing (2016) 230 x 230 cm / Acrylic on canvas 《有蓝色翅膀的粉色恐龙》(2016) 230 x 230 厘米 / 布面丙烯

One of the most remarkable pieces is the large portrait Pink Dinosaur with Blue Wings, which combines colors to striking effect. The pink hue violently dominates the canvas, dissolving from bright ruby to pastel and shaping the object according to light’s reflection. The dinosaur’s nose and horn are simply marked by an abrupt color change to red. Sun gives the animal a perfectly rounded eye, depriving it of any realistic expression.


其中最引人注目的作品之一是巨幅的《有蓝色翅膀的粉色恐龙》,通过色彩打造醒目的视觉效果。强烈的粉红色调占据画布,从明亮的红宝石色逐渐过渡到柔和的粉红色,根据光线反射勾勒出充气玩具的轮廓,用突兀的红色来表现恐龙的鼻子和角的部分。孙一钿给恐龙画了一双圆润的眼睛,避免了任何写实的表达。

Spikes (2018) 230 x 230 cm / Acrylic on canvas 《刺》(2018) 230 x 230 厘米 / 布面丙烯
Spikes (2018) 50 x 50 cm / Acrylic on canvas 《刺》(2018) 50 x 50 厘米 / 布面丙烯
When You Look into My Eyes (2015) / Acrylic on canvas 《When You Look into My Eyes》(2015) / 布面丙烯

Another notable painting is Spikes, a close-up on the spiky parts of two different inflatable toys, one pink and one yellow. What’s fascinating about this piece is the way Sun explores the qualities of the material she’s depicting, giving the viewer a tactile sensation of the opaque, smooth surface of the toy. You almost think you can squeeze it to feel how fully it’s inflated.

In all her pieces, the wrinkles and seams on the plastic surface are visible, as are the little imperfections typical of mass-production. The objects have shiny surfaces and deep shadows behind them, details which add a hyper-realistic touch. Only upon close examination does the viewer realize that they are in fact acrylic paintings. To achieve this result, Sun buys the inflatable toys on Taobao, sets up a proper studio and photographs them from multiple angles. Based on these pictures she starts the long painting process.


另一件瞩目的画作是《尖峰》(Spikes),两款充气玩具分别用粉色和黄色对突出的尖刺进行特写。这件作品令人着迷之处在于孙一钿对所描绘的材料的探索,成功让观众感受到这种不透明、光滑的材料的表面触感,似乎可以用手挤它,来感受其中的充气乐趣。

在所有作品中,塑料表面的皱褶和接缝清晰可见,就连批量生产过程中的那些常见的小缺陷也表现了出来。所有物体都有着亮泽的表面,在背后投下深色的阴影。这些细节增添了超现实感,只有走近仔细察看,观众才可能发现画中的丙烯原料。为了达到这种效果,孙一钿先是从淘宝上购买充气玩具,搭一个合适的摄影棚,再从多个角度拍摄,最后根据照片,开始漫长的绘画过程。

A Tender Panter (2017) 150 x 150 cm / Acrylic on canvas 《不咬人的豹子》(2017) 150 x 150 厘米 / 布面丙烯
Leopard Print (2017) 150 x 150 cm / Acrylic on canvas 《豹纹》(2017) 150 x 150 厘米 / 布面丙烯

The paintings indeed look like works of photorealism, but Sun maintains that they’re merely the product of her detached perspective: “I don’t think my works are in the realm of photo-realism. I just want to observe things objectively and from a higher ground,” she says.

The same series complements these representational works with an array of abstract compositions—geometrical shapes or simple color gradings, studies in the manipulation of light and form. That manipulation is the basis of her technique.


这些作品看上去像是用多种媒介打造的写实绘品,然而孙一钿坚持认为,它们只是她超然而客观的个人视角:“我不认为我的作品属于照片写实主义绘画的范畴。我只是想从更高的角度,客观地观察事物。”

作为这些具象作品的补充,孙一钿在同一系列中又加入了多幅抽象作品。一系列几何形状和单一颜色渐变,对光和形式的操纵研究构成了她创作技巧的根基。

Deep in the Fire (2016) / Acrylic on canvas 《火焰深处》(2016) / 布面丙烯
Interval (2017) 120 x 120 cm / Acrylic on canvas 《隔间》(2016) 120 x 120 厘米 / 布面丙烯
Stripes (2017) 120 x 120 cm / Acrylic on canvas 《条状物》(2016) 120 x 120 厘米 / 布面丙烯

Despite her youth, Sun’s works show a remarkable confidence, and her paintings have been exhibited extensively both nationally and internationally. A Twinkle was a breakthrough for the artist, as the series connects twentieth-century trends to contemporary cultural contexts. In her precise hands, these cheerfully disposable toys take on a haunting permanence.


尽管年纪尚轻,但孙一钿的作品展现出非凡的自信力,频繁并广泛地在国内外进行展出。《一钿》是她的一次突破:整个系列将二十世纪的艺术元素与当代文化背景联系了起来。在她精准的画笔下,这些有趣的 “一次性” 玩具令人过目难忘。

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Contributor: Tomás Pinheiro
Chinese Translation: Olivia Li
Images Courtesy of Bank Gallery / Mab Society


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供稿人: Tomás Pinheiro
英译中: Olivia Li
图片由 Bank 画廊与 Mab Society 提供

The Universality of Art 拆不掉的墙

August 23, 2019 2019年8月23日

All around the world, French artist Julien Malland, who goes by the artistic name Seth Globepainter, brings dull and neglected walls to life by painting them with magnificent murals. He often portrays children, their faces turned away or covered in rainbows, as if they’re about to cross into a fantastic new world. Seth’s colorful street art shows a nostalgia for childhood and a sensitivity to context, and frequently involves the participation of nearby residents.

Born in 1974 in Paris, Seth first started tagging in the 1980s, and by the mid-1990s he was an active member of France’s graffiti circles. He went on to travel the world and discovered that through painting he could connect with people from different cultures. His travels led him to host eight episodes of the documentary series Les Nouveaux Explorateurs, in which he introduced different countries through graffiti.


在世界各地,法国艺术家 Julien Malland(又名 Seth Globepainter)以令人震撼的壁画,让那些沉闷、被荒废的墙壁重现活力。他的作品描绘的大多是小孩,他们扭过头或将脸埋在彩虹中,仿佛即将跨入一个梦幻的新世界。Seth 丰富多彩的街头艺术展示了对童年的怀念和环境敏感性,还常常会包括附近居民的参与。

Seth 于 1974 年在巴黎出生,从 80 年代开始创作涂鸦签名 tag,到了 90 年代中期,他已经成为法国一名活跃的涂鸦艺术家。之后 Seth 的足迹遍布世界,在旅途中,他发现画画可以让自己和来自不同文化背景的人相交流。有了这些旅行经历,他被邀请主持一个 8 集的系列纪录片《Les Nouveaux Explorateurs》(《新探索者》),通过涂鸦介绍不同的国家。

Seth has been coming to China for a long time, and his other nickname, Mr. Qi, is a translation of sorts of his artistic name. (In French, ‘Seth’ is a homonym for sept, or seven, which in Mandarin is qi.) When he first visited the country, he encountered a new and unique reaction to his work. “China doesn’t have a street-art culture like other Asian places, such as Japan or Thailand,” he explains. “Chinese people have a totally fresh curiosity when it comes to this form of expression, and that’s what’s motivated me to continue working in the country.”


Seth 来中国已经有很长一段时间,他的另一个外号“柒先生”是他艺名的中文翻译。法语里,“Seth”与“sept”谐音,意为 7,中文为“柒 。当他第一次到访中国时,他发现当地人对自己的作品有一种截然不同的独特反应。“中国不像日本、泰国和其他亚洲地区那样有着街头艺术文化。”他解释说,“中国人对于这种艺术表达(涂鸦)有新鲜感和好奇心,这也促使了我继续在中国创作。”

In Shanghai alone, he’s created over 20 murals in public areas. Most of these he painted in old shikumen, the city’s traditional lane houses, many of which have been torn down to make way for high rises. Seth often paints amid the rubble, after the evacuation but before complete demolition, portraying characters from the lanes’ former bustling life. “I like to walk in these old parts of the city. That’s where I can find the last vestiges of old China, the one that has always fascinated me. My paintings are a way to debate the rapid transformation of the country.”


单是在上海,他就创作了 20 多幅墙绘,大多数都画在上海的传统弄堂建筑老石库门上,其中许多已被拆除,给高楼大厦让位。Seth 常常在居民迁出后,大楼被完全拆掉之前的瓦砾中创作,刻画出弄堂居民之前熙熙攘攘的生活。“我喜欢在上海的老城区逛,在那里,我可以找到始终让我着迷的、旧中国的痕迹。我的作品其实是对中国快速转型的讨论。”

In 2018, he spent two months in the city for a residency at the Museum of Contemporary Art (MoCA). On a half-destroyed portico on Kangding Road, Seth painted two kids in the red scarves worn by all primary school students in China. It’s a simple but meaningful element that every Chinese person immediately recognizes and remembers. One block away, he painted another mural with a more melancholic air: a girl holding a tiny house in her arms. Her eyes are shut and she has a mournful expression as if trying to hold on to the home that she had to abandon.


2018 年,他作为上海当代艺术博物馆(MoCA)的驻地艺术家,曾在这座城市生活过两个月的时间。在康定路一座半毁的门廊上,Seth 画了两个戴着红领巾的小学生。在中国,所有小学生都会佩戴红领巾,这是一个简单而有意义的元素,每个中国人都能马上认出并记住。而在一个街区之外,他又画了一幅风格更为忧郁的壁画:一个小女孩手中抱着一幢小房子。她闭上了眼睛,透露出一种悲伤的表情,仿佛在试图抓住她不得不放弃的家。

All of Seth’s works in these old neighborhoods were eventually covered or destroyed by the authorities. Yet he isn’t distressed about this fact: “I’m very interested in the fate of my paintings. If they are destroyed by the authorities or preserved by the communities, that says a lot about the places where they were made.”


Seth 在这些旧街区的作品最终都被当局覆盖掉或拆毁。然而,他并不心疼:“我很关心我的画的命运,不论是被当局销毁或被当地社区保留下来,这都能让人对当地有所了解。”

In Fengjing, a historic town near Shanghai, Seth’s works are still standing. They play with the architectural traits of the buildings and local history: a triangular roof forms a bamboo hat, representing rural culture; a window gives shape to another beloved home and, while held tight by a girl, it represents youth migration to urban centers. This series shows how Seth establishes an intense dialogue with the local population, which is for him the purpose of creating in public spaces: “Painting is a pretext. What counts is the exchange between the inhabitants and the artist,” he says. In Fengjing, Seth enlisted a local calligrapher to help him with the quotations from ancient philosophical texts that he incorporated into some of the murals.


在上海附近历史悠久的枫泾古镇,Seth 的作品存留至今。这些作品充分利用了当地建筑的特征和当地历史:一个三角形的屋顶形成一个斗笠,代表当地的乡村文化;一扇窗户构成了新家的轮廓,被一个女孩紧紧抓住,象征青年人迁移到城市中心。这个系列展示了 Seth与当地居民所建立的深层对话,这正是他在公共空间创作的目的:“绘画只是一个借口。重要的是居民和艺术家之间的交流。”他说。在枫泾,Seth 招募了一位当地书法家,帮他将中国古代哲学文献中的引文,加入到一些壁画中。

One of Seth’s more fascinating projects in China is Back to School. In order to bring art to the lives of kids from poor villages all over the country, he selected ten of the best street artists in the world—all of whom already had a connection with the theme of childhood—to create large murals in schools. This colossal project, which he carried out with the Shanghai-based curator Cao Bin, involved finding schools, understanding different communities, working with the authorities, and transporting the heavy equipment necessary to paint the huge walls.


Seth 在中国最引人入胜的项目之一是《Back to School》(回到学校)。为了让艺术走进中国各地贫困村庄的孩子的生活,他找了世界上十位最优秀的街头艺术家,他们的作品都与童年主题有关,然后邀请他们到学校里创作大型壁画。他与上海策展人曹彬一起开展了这个庞大的项目,包括寻找学校、了解不同的社区、与当局合作,以及运送在大幅墙壁上创作所必要的重型设备。

In a village near Mount Siguniang in Sichuan, Seth himself painted a mural five stories high depicting a local girl in the process of drawing a sketch that was given to him by the children of the school. He concentrated on the patterns and details of her traditional Sichuan costume, an elaborate painting work that wittily contrasts with the other childlike elements of the original sketch.


在四川四姑娘山附近一个村庄,Seth 自己在一幅五层楼高的墙壁上创作了一幅壁画,描绘了一个当地女孩画画的情景,而那副画中画则正是当时学校的孩子送给 Seth 的。他细致描画出女孩身上的传统四川服装的图案和细节,与原来那幅充满孩童风格的简单草图形成有趣的对比。

Each artist established a relationship with the local community and integrated their experiences to the murals. Not just the children but also their parents interacted with the artists, sharing music, food, and other aspects of their culture. “The presence of the artist was equally important for the grown-up population,” Seth notes. “They revisited their traditional roots. I believe they knew they’d live with the mural for a long time, so it was important to create a strong bond with its creator.”


每位艺术家都会与当地社区建立一定的关系,将自己的经历融入壁画的创作中。不只是孩子,小孩父母也会与艺术家有所互动:分享音乐、食物和他们其他方面的文化。“艺术家的存在对于成年人来说同样重要。”Seth 说,“这会让他们重新审视自己的传统根源。他们知道自己会与这些壁画一起生活很长一段时间,所以很有必要和壁画的创作者形成一个稳固的连接。”

Seth doesn’t spell things out for the viewer. His art is more intelligent than obvious, more suggestive than provocative. He evokes tradition while tactfully alluding to social and political issues, sparking a range of reactions among locals. No matter where he paints, he attributes the ownership and responsibility for his works to the local population. “I leave my work to those who live around it,” he says. “It all belongs to them.”


Seth 不会将作品的内涵直接挑明给观众。他的作品充满智慧,却不是一目了然;更多的是暗示,而非不言而喻。他引用传统,又巧妙地影射社会和政治问题,激起当地观众的反应。无论在哪里画画,他都将他的作品的所有权和责任交托给了当地居民。“我将自己的作品留给附近生活的居民,作品的一切都属于他们。”Seth 说。

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Website: seth.fr
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Contributor: Tomas Pinheiro
Translation: Olivia Li
Images Courtesy of Julien Malland


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网站: seth.fr
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供稿人: Tomas Pinheiro
英译中: Olivia Li
图片由f Julien Malland 提供

Bare Masculinity 袒露男性气质

August 12, 2019 2019年8月12日

The light filters softly in through the window on the figure of a young man. Face half-covered, with a calm and slightly defiant expression, he looks as though he knows something he doesn’t want to reveal. The photo is part of Comfort Boy Zoom, a series of portraits of men in varying states of undress taken by Yan Yufeng. Asked why so much of his work features semi-naked men, he laughs. “That’s a misunderstanding,” he says. “That’s just one of my projects. Maybe everyone remembers it because it’s been going on for a while now.” It’s memorable not for the suggestive subject matter, but for the way the portraits blend confidence and vulnerability, withholding and revealing in equal measure. “The subject is an exploration of masculinity,” Yan explains. “And the models decide whether or not they wear clothes.”


光线透过窗户,投落在一名年轻男孩身上。半遮掩的脸上,表情平静又略带挑衅,像是藏着一个不想透露的秘密。这张照片来自严玉峰的摄影系列《Comfort Boy Zoom》,其中有许多男性私房照。谈到为什么他的大部分作品都是半裸男人时,他笑着说:“我觉得这是个误解。这只是我的其中一个拍摄项目,可能因为这个项目延续时间比较长,所以大家比较记得。”这个系列之所以令人难忘,不仅在于当中的性暗示主题,更因为这些肖像作品那种兼备自信和脆弱的矛盾性,以及在表象之下有所隐藏的神秘感。“模特穿不穿衣服都是由他们自己决定的,这个主题主要还是对男性气质的探讨。”严他解释道。

Yan grew up in Chengdu and studied printmaking in college in Milan. He began taking photos only a few years ago, in 2015, as part of a school project. He found he had a knack for it, and before long he’d turned his hobby into a profession. Now he lives in Shanghai and shoots for fashion brands such as Angel Chen, Ponder.er, and Untitlab, and magazines such as ELLE Men. When he’s not taking pictures for clients, he works on building his portfolio.

And whatever he says, that portfolio is dominated by half-naked men. They recline on couches, lie draped over chairs, stand baring all—though in many of the photos, the sensitive areas have discreetly been blurred out. Often a rectangle of sunlight falls across a chest, a geometrical counterpoint to the human subject. Yan’s genius lies in his knack for using light to give his photographs an unexpected depth.


严玉峰自小在成都长大,大学时去了米兰就读版画专业。直到 2015 年,因为学校的一个项目,他才开始涉足摄影。很快他就发现自己在摄影方面颇具天赋,这个爱好就变成了职业。现在,他居住在上海,为 Angel Chen、Ponder.er 和 Untitlab 等时尚品牌拍摄,还有 ELLE Men 之类的杂志。不用给客户拍照时,他就会进行个人创作。

虽然他表示自己不只是拍摄半裸的男性,但作品确实大都是这个题材。这些男人或靠着沙发、倚着椅子,或赤裸地站着,不过敏感位置都已被他模糊处理掉。在他的照片中,常常会有一抹方形的阳光落在模特胸前,与他们的身体形成具有几何感的对比。严玉峰的摄影,其过人之处就在于利用光线让照片呈现意想不到的深度。

For Ponder.er 《Ponder.er》合作拍摄
For Dear Boy Magazine 《Dear Boy Magazine》合作拍摄

A portrait of the photographer Liu Shuwei, taken at his Shanghai home, is set against the fading rays of a late afternoon sun. Another, more immediate light illuminates Liu from the front, and almost seems to radiate out from his body. The fine balance between these sources of light is what gives the portrait its electric energy.


他给摄影师刘树伟在上海家中拍摄的照片里,渐隐的夕阳映衬着他的身影。与此同时,另一个更直接的光源从正面照亮他的面孔,看上去就像有光线从他的身体辐射出来。不同光源之间的出色平衡使他的肖像作品充满扣人心弦的力量。

Even more dramatic lighting is at play in Yan’s black-and-white self-portraits, floating against a black backdrop and edited to leave only isolated strips of bare skin. The result is a series of almost geometric compositions—monochrome arrangements where the human figure has been sublimated into an abstract shape.


而在他自己的黑白自拍中,他又运用了更具戏剧性的布光:设景的黑色幕布再加之后期编辑,最后只留下了几片裸露的肌肤。最终,呈现出一系列几何风格的构图——通过单色构图,将人的形体升华为抽象的形状。

Given his close attention to form, it’s surprising that Yan says he’s led largely by instinct. “What I think about most [when shooting] is whether I like the photo or not,” he says. “Whether it’s a travel photo, a still life, or a portrait, if it ultimately carries out its mission, it’s a good shot.”


严玉峰的照片虽然看上去形式感很重,但令人惊讶的是,他说他拍照主要还是出于直觉。“我考虑最多的还是这张照片最后我自己喜不喜欢吧,我觉得一张好的照片,这个‘好’的定义每一个人都不太相同,不管是旅游照还是静物,人物的拍摄,照片最后完成了它本来的使命了,就是一张好照片。”他解释道。

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Contributor: Allen Young
Chinese Translation: Olivia Li


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供稿人: Allen Young
英译中: Olivia Li

 

Queer Notions 用纷繁画面,打破陈旧观念

August 7, 2019 2019年8月7日
Familial《Familial》

Surrealist images dealing with real-world issues. Joyous pictures confronting difficult subjects. Photographs resembling digital collages. Leonard Suryajaya‘s artwork is a study in self-love buffeted by confusion and conflict. His photos are full of intricate details and mesmerizing subject matter. These large format film photographs are drenched in colorful costumes and linens, arrays of fluttering paper cut-outs, powerful locations, and a heavy dose of humor. They balance opposing elements to create tension and mystery. And there are clearly stories within all the symbolism and otherworldliness, which compels viewers to decode the images, making his work almost participatory.

Suryajaya, who currently lives and works in Chicago, was raised in Indonesia, where he was a minority three times over, in race, sexual preference, and religion. He grew up ethnically Chinese in a majority Malay population, queer in a conservative town, and Buddhist at Christian schools in an overwhelmingly Muslim country. Although things have improved for Chinese Indonesians since he was a child, when 1,000 Chinese were killed in riots in 1998, discrimination there remains. And despite going to a school surrounded by kids of his own ethnicity, he was still taunted by his classmates, who called him and his family “false idols.” Recently, his home country has been retreating into conservatism in terms of religion, sexuality, and morea fact that has made him feel increasingly distant from home.


超现实主义的影像,寓意现实世界的种种问题;滑稽风趣的画面,碰撞出复杂的主题。Leonard Suryajaya 的作品看上去像数字拼贴而成的照片,探讨了夹杂着混乱与冲突的自我怜爱。在他的照片里,充满了错综陈杂的细节和引人入胜的主题。那些大格式的胶底照片被五颜六色的服饰和亚麻布填满,在漫天飞舞的剪纸,以及充满视觉冲击力的布景背后,透露出一股浓浓的幽默感。平衡与对立的元素,营造出紧张和神秘的气氛。显然,所有这些象征主义和精神内涵都在明确地讲述着每一个故事,迫使观众对画面进行解码,也因而使得他的作品具有很强的代入感。

Suryajaya 目前在芝加哥工作和生活,而在他的出生地印度尼西亚,无论从种族、性取向还是宗教,他都可以算得上是 “少数派”。拥有华人血统的他,在一个主要由马来人构成的保守小镇中长大,作为佛教徒,他曾就读于一所基督教学校,而马来西亚却又是一个以穆斯林为主导的国家。在他小时候,印尼华人备受歧视,在1998 年曾有 1000 名华人在骚乱中丧生。现在,虽然情况已经有所改善了,但当地对华人的歧视依然存留。尽管他是在华人学校上学,还是会常常被嘲笑为 “false idol” (虚假的偶像)。近年来,印尼在宗教性取向、和其他方面开始再度退回到保守主义,这让他感到自己与这个国家越来越疏远。

Salem《Salem》
Mom and All of the Jewelries She Bought Herself with Her Own Money《Mom and All of the Jewelries She Bought Herself with Her Own Money》

Only when Suryajaya moved to California in 2006 to study art did he begin to feel free enough to explore his identity. And although in the US he was able to open up, it wasn’t the escape he imagined. “Xenophobia, discrimination, and attitudes of social/cultural superiority are present everywhere,” he says. “To say I was surprised is an understatement.” He directly tackles this difficult terrain in his work, especially the ongoing False Idol series, which he describes as “a body of work tracing my immigration process through my same-sex marriage. The permanent residence application takes about four to five years, so I plan on concluding the series when I find out if I get to stay in America or not.”


直到 2006 年,Suryajaya 搬到加利福尼亚修读艺术专业,他才得以真正自由地探索自己的身份。虽然在美国他能够更加开放,但他并未获得想象中的解放。“无论在哪里,都充满着各种仇外心理、歧视和社会/文化优越感。”他说,“这是我完全始料不及的。”他将这些复杂的问题直接诉诸于作品中,特别是他正在创作的《False Idol》系列。他将这个系列描述为 “记录我通过同性婚姻移民整个过程的作品。申请永久居留大约要四到五年,所以我打算在确定自己能否留在美国之前完结这个系列。

Kinfolk Lipsync《Kinfolk Lipsync》
Candyman《Candyman》

He didn’t hit his stride until he came out to his family eight years after arriving in the US. “For my growth as a human being and an artist, being able to admit to my mother that I was queer was really what I needed,” Suryajaya explains. “Since then, I’ve become more adventurous, celebratory, conflicting, and layered in my visual language, as opposed to trying to make things simpler by sweeping them under the rug.” His husband is one of the most frequently recurring models in his work, which also includes family, friends, colleagues, and lovers.


在美国的第八个年头,他向家人出柜,此后,他的创作获得了真正的释放。Suryajaya 解释说:“无论是作为一个人,或是作为艺术家,想要真正成长,我就必需向我的母亲承认同性恋的身份。从那时起,我的视觉语言就变得更大胆,风格更活泼,也有更多碰撞和层次,而不再是一味对所有事情避而不谈。” 除了他的丈夫,家人、朋友、同事和前任也常常作为模特出现在他的作品里。

Good Neighbors《Good Neighbors》
Two Bodies《Two Bodies》

One piece, Good Neighbors, finds him posing with another artist in comical polka-dot face paint as part of a response to racist incidents he encountered among his colleagues and followers. In his characteristic way, Suryajaya uses levity to engage viewers on a volatile subject: “A simple way to describe that piece is that I’m saying, ‘Hi guys, we come in peace, bearing flowers despite looking funny.’”


在他的作品《Good Neighbors》(好邻居)中,他与另一位面上画着滑稽波点的艺术家合影,以此回应他在同事和粉丝中遇到过的种族歧视事件。Suryajaya 以他独特的方式,通过搞怪,让观众探讨一个短暂的主题:“简单来说,那幅作品其实就我在说,‘嗨,虽然我们看起来很搞笑,但我们是为和平而来,还带着花呢。’”

Welcome Room (Florida)《Welcome Room (Florida)》
Homeland Security《Homeland Security》
Breakfast《Breakfast》

Other pieces depict women of various ages and ethnicities from his hometown in Medan, Indonesia, including his family members, wearing different costumes and staged in ritualistic poses. “The goal here was to show how the ideals of femininity can vary, particularly within Indonesia. Acknowledging that women are as powerful as men, if not more powerful, is important to me. I respect women, and try to acknowledge that I have more privilege as a male-bodied person.”


在其他作品中,他在家乡棉兰(Medan)拍摄了各种年龄和种族的女性,包括了他的家人。她们穿着不同的服饰,摆着充满宗教意味的姿势。“这些作品的目的是为了展示不同气质的女性,特别是在印度尼西亚。承认女性跟男性一样强大,抑或甚至更强大,对我来说很重要。我尊重女性,但也不得不承认,作为男性,我确实比她们享受到了更多特权。”

Feminine Conference《Feminine Conference》
Deafening Silence《Deafening Silence》
Arisan《Arisan》

But for all his social commentary and visual vocabulary rooted in Indonesian cultural signifiers, all Suryajaya really asks is that viewers abandon any preconceptions and be honest with themselves. You don’t need to understand it all to identify with it. “All I remember from my time in Indonesia is wanting to run away,” he says. “It would be close-minded to think I could only be understood by my culture specifically because my experiences have shown me that my cultures rejected me. The whole point is to pick up on what interests you initially and then spend time deciphering and seeing different narratives and possibilities. The aim for me is to be able to connect as humans.”


但是,尽管他所有的社会观点和视觉语言都植根于印尼文化符号,但 Suryajaya 希望观众能摒弃所有成见,并诚实地解读。你并不需要熟悉这些文化才能理解他的作品。 “我在印度尼西亚的时候,一心只想要逃跑。”他说,“如果以为只有懂印尼文化才能理解我的作品,那是一种狭隘的想法。因为经历让我明白,我被自己的文化拒绝。重要的是,了解最初吸引你的点,然后花时间去解读,洞察不同的叙述和可能性。我的目标,是希望被作为一个人来解读。”

Cracker Oath《Cracker Oath》
Musing《Musing》

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Website: leonardsuryajaya.com
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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

Muscle Boys 谁的青春期不像“匹诺曹”?

July 26, 2019 2019年7月26日
The Real Boy 7 (2014) 80 x 100 cm / Oil on canvas 《正道仔 no. 7》(2014) 80 x 100 厘米 / 布面油画

When she first began painting, Shang Liang created carefully arranged, realistic depictions of everyday scenes in a mild color palette. Fifteen years later, her works have different air: one of abnormal power and force. She paints muscular characters that seem to burst out of the frame of her large canvases. They can be human or inhuman, but they all possess the same larger-than-life muscles. 

Born in 1981 in Beijing, Shang was raised in a military community in the same city. She attended the Central Academy of Fine Arts (CAFA), where she studied oil painting under Liu Xiaodong, one of China’s greatest painters. Several years later, searching for new means of expression, she returned to CAFA for a master’s degree in experimental art, and there she developed a distinctive, slightly surreal style.


刚开始画画时,商亮喜欢用柔淡的色调,描绘各种精心设计、写实风格的日常场景。15 年后,她的作品呈现出截然不同的风格:充满怪异力量感的画面。她笔下肌肉发达的角色像是要从画中冲出来一样。这些角色既有人类也有非人类,但无一例外,都拥有夸张的发达肌肉。

商亮 1981 年出生于北京,从小在当地一个军区大院长大。后来入读了中央美术学院,师从中国著名画家刘小东学习油画。几年后,为了寻找新的表达方式,她又回到中央美术学院,修读实验艺术硕士学位,并在那里形成自己独特的、偏超现实主义的绘画风格。

The Real Boy 25 (2016) 158 x 129 cm / Oil on canvas 《正道仔 no. 25》(2016) 158 x 129 厘米 / 布面油画
The Real Boy 21 (2016) 166 x 129.5 cm / Oil on canvas 《正道仔 no. 21》(2016) 158 x 129 厘米 / 布面油画

This distinctive style began to appear when she became interested in the subject of adolescence: “I think there is obscurity about this period in life,” she explains, “teenagers have confused emotions and uncertainty about what they will become. It’s a period of intense transformation and development, both in the body and the mind.” More than anything else, adolescence is an important moment for developing a moral sense. Teenagers are complicated beings, innocent and still quite vulnerable to the influences around them.


这种独特的风格起源于她对青春期这个主题的兴趣:“我认为人在这个时期是模糊的。”她解释说,“对于自己将会变成什么样,青少年会觉得困惑和不确定。无论是身体还是心灵,这都是一个经历激烈变化和发展的时期。”更重要的是,青春期是形成个人道德观念的重要阶段。处于这个时期的少男少女是非常复杂的,他们既单纯烂漫,对周遭影响又相当敏感。

The Real Boy 19 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 19》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 6 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 6》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 1 (2016) 80 x 60 cm / Oil on canvas 《正道仔 no. 1》(2012) 80 x 60 厘米 / 布面油画
The Real Boy 20 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 20》(2016) 100 x 80 厘米 / 布面油画



In 2012, Shang began to work on The Real Boy series, portraying slender teenage boys with hypertrophic abdominals, chests, and arms. Some are flexing their muscles so hard that veins pop out on their skin. Their faces still reveal tenderness and immaturity, but their expressions and body language suggest a longing to become powerful, muscle-bound men. 

Some paintings in this series feature boys with long, pointy noses, a clear reference to Carlo Collodi’s classic children’s tale Pinocchio. Like the puppet who dreamed of becoming a real boy, the characters in these paintings have to prove themselves mature without straying from the path of honesty and morality. This series dramatizes the challenges and conflicting impulses of adolescence. 


2012 年,商亮开始创作《正道仔》系列,描绘一些有着大腹肌、粗壮胸部和手臂的十几岁少年。其中一些男孩用力展示自己的肌肉,以致于手臂上青筋爆突。他们的面孔仍然显露出温柔和稚嫩,但他们的表情和肢体语言却流露出成为肌肉结实的男人的渴望。

在此系列的一些画作中,有些男孩有着又长又尖的鼻子,这显然是在借鉴 Carlo Collodi 的经典儿童故事《木偶奇遇记》中的匹诺曹。就像梦想成为真正男孩的木偶人一样,这些画中的男孩必须在遵守诚实和道德的原则上,证明自己是成熟的男人。这个系列戏剧化地展示了青春期的各种挑战和矛盾的冲动。

The Real Boy 14 (2015) 80 x 100 cm / Oil on canvas 《正道仔 no. 14》(2015) 80 x 100 厘米 / 布面油画
The Real Boy 21 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 21》(2015) 40 x 40 厘米 / 布面油画
The Real Boy 18 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 18》(2015) 40 x 40 厘米 / 布面油画

Shang’s following series, Good Hunter, developed naturally from The Real Boy: it’s as if the same characters had grown both in physical form and in confidence. The new characters seem to have exaggerated internal strength, with bodies developed into cartoonish muscular form. Their faces, however, retain the same boyish expressions or have no expression at all. The oversized canvases, bigger than a human body, suggest an intimidating superhuman strength. Standing before these characters, the viewer may feel small, or even oppressed. The exaggerated manliness combined with a complete absence of women seems to be an allusion to patriarchal systems built on oppression and misogyny.


接下来的延伸系列,商亮创作了《好猎手》:画里的人们仿佛还是同一个身份角色,但在身体上发育了,也变得更自信。这些新的少年形象似乎在夸大自己内在的力量,身体有着卡通般的夸张肌肉。然而,他们的面孔却保留着同样的孩子气,或索性面无表情。超大尺寸的画布,比真人更大,代表一种超乎常人的力量。站在这些男孩形象面前,观众可能感觉自己很渺小,甚至充满压迫感。这种夸张的男子气概、女性形象的完全缺席,似乎是对建立在压迫和厌女的基础上、父权制的暗示。

The Good Hunter 11 (2015) 100 x 100 cm / Oil on canvas 《好猎手 no. 11》(2015) 100 x 100 厘米 / 布面油画

In Boxing Man, her latest series, Shang departs completely from realistic human anatomy, and a new character emerges: one with a boxing glove in the place of the head and no sexual organs.  None of her characters ever really have an adult face, and here they are frightening and inhuman creatures. As she explains: “It’s not human. It’s a new species. You can guess how it senses the world, what it feels, and what it thinks.” With the metaphor of strength and power becoming a head on their own, Boxing Man appears as the culmination of all underlying issues found in her previous series: the struggle for the ultimate strength, the torture of moral dilemmas, and the blind pursuit of power. 


在她最新系列作品《拳击人》中,商亮完全脱离真实人体的描绘,创作出全新的角色:一个以拳套代替头部且没有性器官的角色。在她笔下,没有一个角色是成年人的面孔,相反,它们都是一些可怕和非人形的生物。对此,她解释道:“这不是人类,而是一种新物种。你可以去想象它是如何感知这个世界的,以及它的感受和它的思考方式。”在《拳击人》中,这些角色的头部被用来象征力量和权力,因此,整个系列似乎是对她之前所有作品的潜在主题的总结:奋斗以求的终极力量、囿于道德困境的折磨,和对权力的盲目追求。

Boxing Man 7 (2018) / Oil on canvas 《拳击人 no. 7》(2018) / 布面油画
Boxing Man 8 (2018) / Oil on canvas 《拳击人 no. 8》(2018) / 布面油画

As references for her characters, Shang looks to bodybuilding and fighting TV shows. She also refers to classical sculptures by Michelangelo. To achieve a certain luminosity, she places different layers of paint one over the other. Red, dark-red, and brown are predominant colors, evoking oxygenated and deoxygenated blood and bruises. Her brushstrokes have a notable strength, which comes, no doubt, from her practice of Chinese calligraphy. There are also elements of taiji embedded in the movements and curves of the characters.

Although she has unconsciously absorbed traditional Chinese elements, Shang’s underlying subject matter is not specific to any country or culture. Her work can be seen as a critical commentary on traditional ideas of masculinity. It is fascinating that this appraisal comes from a female artist. If boys face excruciating difficulties when expected to assume the role of a man, what do girls feel when they, too, are expected to succeed?

 

Selected works from Good Hunter and Boxing Man are on display in a solo show at MadeIn Gallery until the first of September. 

 

Address:

MadeIn Gallery
Longteng Avenue, lane 2879, no. 106
Xuhui district, Shanghai
www.madeingallery.com


为了角色的创作,商亮观看了各种健美和格斗类电视节目,并参考了米开朗基罗的古典雕塑作品。为了打造光亮感,她将不同的颜料层层叠涂。以红色、深红色和棕色为主的色调,令人联想到各种氧合血、脱氧血和瘀伤。得益于曾习过中国书法,商亮的笔触十分有力。角色的动作和曲线,也融合了太极拳的元素。

虽然她在创作中无意识地糅合了中国传统元素,但商亮的作品主题并无针对任何一个国家或文化。她的作品可以看作是对男性气质的传统观念的批判。让人深思的是,这种评价来自一位女艺术家。如果男孩被要求扮演男人的角色时,就会面临极度的困难,那么当女孩们被指望着人生有成的时候,她们又会作何感想呢?

 

来自《好猎手》和《拳击人》系列的精选作品日前正在上海没顶画廊举办的个展中展出,展览将于 9 月 1 日闭幕。

 

地址:

没顶画廊
上海市徐汇区
龙腾大道2879号106室
www.madeingallery.com

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Website: shangliang.co

 

Contributor: Tomás Pinheiro
Chinese Translation: Olivia Li


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网站: shangliang.co

 

供稿人: Tomás Pinheiro
英译中: Olivia Li

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