All posts by allen

Lokal Color

Poblacion is a study in contrasts. The neighborhood—Manila’s latest creative center of gravity—is a chaotic mix of high-rise hotels, open prostitution, innovative nightlife, and prolific eateries. Lokal, a street art-inspired hostel, sits comfortably in the middle of all this, with the red light district on one side and glitzy high rises on the other, unconcerned with either extreme. Its liberal attitude and live-and-let-live philosophy is what makes this such an appealing place for artists and travelers. And Lokal aims to play host to both.


Poblacion 是一个拥有多重面目的区域,这个社区既是马尼拉最新的创意中心,也是荟集高层酒店、色情场所、热闹的夜生活和众多餐厅的大杂烩之地。Lokal 则是一家以街头艺术为灵感的旅店,它舒适地坐落在这一切的中心地带,一边是红灯区,另一边则高楼林立,但这都与它毫不相干。它自由开放的态度和互不干涉的人生哲学,使它成为艺术家和旅行者都有相当吸引力的地方。而 Lokal 的目标正是招待好这两拨人马。

The street-level entrance, an alleyway with a row of graffiti-covered walls and a candy-cane floor, calls to mind a carnival ride. Featuring the work of Filipino artists like Apok, Distort Monsters, and Chase, the corridor is visible from the busy sidewalk, drawing in passersby and rewarding them with an eclectic mix of art not found anywhere else.


街道的入口,有一排满墙涂鸦的小巷和一条红白相间的走廊,让人想起游乐园的狂欢。走廊上有菲律宾艺术家的作品,如《Apok》、《扭曲怪物》(Distort Monsters)和《追逐》(Chase)。这些作品从繁忙的人行道上就可以看到,用来吸引过路人,并以其他地方看不到的各种融合艺术来使他们一饱眼福。

Lokal’s third-floor lobby greets visitors with a large mural, the centerpiece of the hostel, painted by Egg Fiasco, Manila’s most internationally recognized street artist. A host of other works cover the hallways, like the letter art of notorious graffiti writer Nuno and the politically charged paintings of Ang Gerilya. There are 15 rooms here, ranging from single and double private rooms to dormitories for four to six people, with a total capacity of about 50. Each room features its own artwork as well.


Lokal 的三楼大厅以一幅巨大的墙绘迎接游客,这幅墙绘是旅社的中心建筑,作画者是马尼拉最负盛名的街头艺术家 Egg Fiasco。而其他的一些作品覆盖了走廊,比如臭名昭著的涂鸦作家 Nuno 的书信艺术和政治色彩浓厚的 Ang Gerilya 的绘画。这里有 15 个房间,有单人间、双人间、有 4 至 6 人的青年宿舍,总共可容纳约 50 人。并且,每个房间都有自己的艺术作品。

Don Angelo Bautista, the owner, says he was inspired by Sydney’s Kings Cross district, which revealed the possibilities that street art can offer a neighborhood. “There are about 20 hostels there,” he says. “Backpackers were exploring and taking pictures with the street art in the background. So I realized if I had art in my hostel’s rooms, they would take pics in front of that too and tag it. It’s a natural marketing tool.”

“Plus, I knew that if I hung art on the walls, people would snatch it. But if we painted right onto the walls, no one could take it,” he adds with a sly smile. “Most accommodations are known for pilferage.”


店主 Don Angelo Bautista 说,他受到了悉尼国王十字区的启发——它向人展示了街头艺术可以为社区提供的种种可能性。“那里大约有 20 家旅社。”他说。“背包客正在探索和拍摄以街头艺术为背景的照片。所以我意识到,如果我在旅社的房间里有艺术品,他们也会在前面拍照并贴上标签。这是一种自然营销手段。”

“此外,我知道如果我把艺术品挂在墙上,人们会直接上手拿走它。但如果我们把画直接画在墙上,就没有人会拿了。”他狡黠地笑着补充道。“大多数住宿旅店都以失窃而闻名。”

His inspiration for the hostel was much more than practical, however: “When you get into business without passion or creativity, you won’t be able to bring out your full potential. It’s a back and forth transaction.”

In his travels, Bautista has noticed that street artists are often used for commercial gain. He didn’t want to be a part of that cycle, bringing some in to help promote the neighborhood and then abandoning them. “I’ve seen a lot of street artists when traveling around the world, and I’ve learned they need to be protected,” he explains. Nearly all the art on the walls is Filipino. It’s an important point to him: his hostel is a way to connect with the local culture—hence the name—and shine a light on artists from home. “I want the locals to get a chance, the same way I got a chance to run the hostel.”  He envisions the hostel as a node for artists to take advantage of, whether simply as a place to paint safely, to stay when visiting the area, or a place to throw events.


然而,他对旅社的锦囊妙计还不止如此。“当你在没有激情或创造力的情况下进入商界,你就不能充分发挥自己的潜能。这是个来回交易。”

Don 在旅行中注意到,街头艺术家常常被用于商业目的。他不想成为这个循环的一部分,不想先请一些人来帮助推广这社区,然后再抛弃他们。“我在周游世界的时候看到过很多街头艺术家,我知道他们需要被保护。”他解释道。墙上的几乎所有艺术品都是菲律宾的。对他来说,这一点很重要:他的旅社是一种与当地文化联系的方式——也是这个旅店名字 Local 的来源(Lokal,音同 Local,意为“当地的”)——并且照亮了来自家乡的艺术家。“我希望当地人能有机会,就像我有机会经营招待所一样。”他把旅社想象成艺术家们可以利用的一个地点,不管是作为一个安全的绘画场所、还是作为参观该地区时的停留场所,或者是一个举办活动的场所。

Climbing the staircase to the treehouse-like rooftop reveals even more murals. A half dozen paintings grace the top of the building itself, and several more from across Poblacion are visible from this vantage point. “None of these murals were here before Lokal,” says Bautista, waving his arm at the surrounding buildings. “If you don’t have street art, then your neighborhood lacks character and color. Businesses that work with these artists should remember that without their talent, a wall is just a wall.”


爬楼梯到树屋状的屋顶,会发现更多的墙绘。五六幅油画装点着旅馆的墙壁,从这个有利的位置俯瞰,还能看到更多的画。“这些墙绘在洛卡尔之前都没有,” Don 一边说,一边向周围的建筑挥动手臂。“如果没有街头艺术的话,那么这个社区就缺乏个性和色彩。和这些艺术家一起工作的企业应该牢牢记住,倘若没有他们的才能,一堵墙就只是一堵墙。”

Website: lokalhostel.com

 

Contributor: Mike Steyels

Photographer: Jilson Tiu


网站: lokalhostel.com

 

供稿人: Mike Steyels

摄影师: Jilson Tiu

 

Climbing Higher with Bao

Street art in Hong Kong is still very young, and Bao is one its leading lights. Even though she’s only been painting for the past three years or so, she competes with the globe-trotting artists who headline festivals worldwide.

Her cartoon murals bubble and roll like waves, with characters spilling over one another in a constant rhythm. Inspired by Japanese manga comics at a young age, Bao could be found with a pencil in her hand for most of her life. But until recently, she was stuck behind a computer in an uncreative design job. “Our generation says, if you do art you can’t survive or make money. So they ask you to study design instead,” she explains. The artist eventually found herself bored with her job, so a couple of years ago she up and quit, deciding instead to travel overseas and try living off her art.


在香港,街头艺术还很年轻,而 Bao 正是其中一位领军人物。尽管 Bao 创作街头艺术只有三年左右,但她早已和全球各地参办艺术节的街头艺术家不相上下。

Bao 笔下活泼可爱的卡通墙绘,像波浪一样翻滚着,人和物以流动的方式漂浮着。从小深受日本漫画的启发,Bao 热衷画画,并且在生活中大部分的时间里,她都会手握一支铅笔。但其实直到不久前,她还在电脑后面做着一份毫无创造性的设计工作。“我们这一代人常说,如果你从事艺术行业,就不能生存或赚钱啦。所以很多人会让你改学设计。” 她解释说。最终,Bao 实在发现对自己的工作感到厌烦,所以几年前她放弃了,决定去国外旅行,尝试以艺术为生。

It turned out to be a good move. She discovered her talent for street art in Italy, thanks to some local artists, just as the scene started blossoming back home. Space Invader had visited, leaving behind his trademark pixelated characters, and when the government began removing them, it caused something of an outcry, bringing even more attention to the murals. This was also around the time when Hong Kong Walls, the city’s premiere street art festival, was launched.

Although things were off to a good start when she returned, it was still an uphill battle: “My first year back, I was trying to find walls to paint everywhere. Begging people. No one would give me walls!” Undaunted, Bao persisted, and these days clients come to her.


这个放弃的决定,结果证实下来还不错。她在意大利发现了自己在街头艺术方面的天赋,这多亏了一些当地艺术家。这边,得益于Space Invader 曾经来访,在意大利留下了他标志性的像素人物,但当政府开始逐步清除它们时,却引起了一片哗然,更大成都上引起了人们对街头墙画的关注。而与此同时,在她的家乡香港,正逢当地的街头艺术节——“香港墙涂鸦”(Hong Kong Walls)开始的时候,墙绘也开始新兴发展。

Bao 回港时,适逢香港墙上涂鸦不错的开始阶段,但这仍可说是一场艰难的战斗。“第一年,我一直在找墙,到处找,到处求人。但没人给我墙!” Bao 却不气馁,一直坚持,以至最近都有顾客找上门来。

While she paints mostly at home, she’s been attending more international festivals of late, recently landing a Simpsons-themed project in Bristol. Originally she wanted to paint her own mural, but they were out of wall space. When they returned with an offer to have her paint Bart and Homer characters, she jumped at the opportunity. She and two other artists painted the yellow cartoon murals, while the rest of the artists did separate projects. Her murals look a lot like the very early Simpsons characters, but that’s just a coincidence. “I don’t really watch the show, but I started to watch it when I got the mural and I quite like it,” she admits with a laugh. “The style isn’t a reference to any period, it looks like the old Simpsons, but it’s actually just my style.”


虽然 Bao 大部分时间是在家里作画,但她近期一直在参加更多的国际性活动,最近她获得了由布里斯托尔政府委托的一系列以《辛普森一家》人物为主题的作品。本来她只想自己选择主题来画墙绘,但因为种种空间限制,最终她负责了“辛普森一家项目”创作机会。当他们带着她画的 Bart 和 Homer 的人物回来时,她欣然抓住了这个机会。她和另外两位艺术家画了黄色的卡通涂鸦,而其余的艺术家则从事个人的不同工作。她的墙绘看起来很像早期辛普森笔下的人物,但那只是一个巧合。“我以前并不怎么看这个节目,但当我拿到画时我就开始看了,我还真的喜欢上它了。” 她笑着承认。“这画的风格并不像我任何时期的作品,它看起来像最初版的辛普森一家 (《辛普森一家》的第一季绘画风格和后续季有点不一样,人物形象更饱满可爱一些,但实际上这正是我的风格。”

The large-scale, full-color works represent a new stage for Bao. In the beginning, she’d do monotone pieces, sometimes just bold outlines on a blank surface. But as she’s gotten more comfortable with the medium, she’s started adding more and more elements. In Shanghai she recently did a five-story mural. Since she’s still rather new to things, she still uses paint brushes for outlines and only picks up spray cans to fill in larger pieces. Her background in design drudgery has come in handy too, helping her manage clients and organize work.


大规模且全彩的作品,代表了 Bao 一个新阶段的开启。一开始,她会做单调的作品,有时候只是在空白的表面上画一些粗体。但是,随着她对这种媒介越来越适应,Bao 开始添加越来越多的元素。她最近在上海了一面五层楼的墙。因为 Bao 对这样作画还比较陌生,她仍然用画笔画下轮廓,然后拿起喷壶来填充较大的部分。她原先在设计工作上的背景也派上用场,能够帮她管理客户和整理工作。

Street art has turned out to be a surprising source of income in a city with a notoriously high cost of living, allaying fears that art isn’t a viable career path. “There’s a living to be made now,” she says. But the public is still coming to terms with it. “I’ve only had good experiences, but I have friends who say people complain a lot. Some people hate it, they don’t care what you’re painting, they just don’t like it. Haters gonna hate.”


在一个以生活成本极高而出名的城市,街头艺术成了一个出人意料的收入来源,这减轻了人们对 “艺术不是一条可行的职业生涯” 的担忧。她说:“现在生计有了着落。” 但公众仍需要一个接受的过程。“我有些朋友告诉我说,对墙绘现在人们有很多抱怨。有些人讨厌墙绘,他们根本不在乎你在画什么,就是不喜欢它。愤世嫉俗的人看什么都不顺眼。” 

Website: simplebao.com

 

Contributor: Mike Steyels


网站: simplebao.com

 

供稿人: Mike Steyels

Tapping a New Generation

Deep in the mountains of Kalinga province, on the northern edge of the Philippines, live the Butbut tribe. For centuries they had little contact with outsiders, but over the last decade they’ve attracted widespread attention for their traditional tattooing techniques. That’s thanks largely to Apo Whang Od, a 102-year-old woman who for the last 87 years has practiced the art of batok, or hand-tapped tattooing. Now she’s transformed the tiny village of Buscalan into a mecca of sorts for travelers seeking unique tattoos.


在菲律宾北部卡林加省(Kalinga)的山林深处,Butbut 部落在此生活着。几个世纪以来,他们极少与外界接触,但在过去十年间,部落传统的纹身技艺逐渐引起外界的广泛关注,这必须归功于已经 102 岁的 Apo Whang Od。在过去的87年里,她一直在从事 Batok 这项手工纹身艺术,正是她将 Buscalan 这座隐世小村庄,变成寻求独特纹身的游客的朝圣之地。

Buscalan is a 14-hour drive from Manila, the final three hours of which are endless hairpin curves on roads cut into the steep Cordillera mountainside, overlooking seas of fog. It’s perched near the top of a towering mountain and surrounded by rice paddies for subsistence farming. The road ends before it reaches the village, but construction crews inch closer every day. The final stretch has to be hiked, down a valley and up a steep incline, past the carabao water buffalo that are guided up the narrow paths by their horns. On our last day, an excavator causes a landslide—a common occurrence, even without the construction—across the path between the village and the road. But it’s a brief interruption, and the villagers simply walk over the dirt to create a new, equally temporary path.

Given this terrain, it’s no wonder that the Spanish colonizers left villages like Buscalan undisturbed. The Kalinga remained relatively isolated until the US took control of the Philippines at the turn of the twentieth century. Under the pressure of an increasing Western presence, their tattoo culture seemed destined to be lost. Whang Od was the last Kalinga batok artist in the region, and her village had no plans to teach a new generation.


Buscalan 村庄距离马尼拉大约14小时的车程,最后三小时的路程是陡峭的科迪勒拉山山路。绕过无数个连续的发夹弯,伴随一旁的是云海萦绕的美景,而村庄就坐落于附近一座高山的山顶。四周放眼望去是稻田,用以种植部落村民的粮食,在到达村庄前,所谓的路就没有了。每天还有施工人员在努力修建通往村庄的道路,但进度很慢。最后一段路必须要徒步前往,向下走过一个山谷,再爬过一座陡坡,能看到一群水牛被牵着角沿着窄小的山路向上走。我们在村庄的最后一天,一台挖掘机导致了山体滑坡。事实上,即使没有挖掘机,这段通过村庄的山路也常常发生山体滑坡。但滑坡只是让人们的通行暂时中断,过了一会,村民又会踩着新覆盖的泥土,走出一条新的临时山路。

有了这样地形,也难怪当年的西班牙殖民者会放过 Buscalan 村庄。卡林加始终保持着相对与世隔绝的状况,直至二十世纪初期,美国占领菲律宾。随着西方文化的逐步入侵,村庄的传统纹身文化似乎注定要消失。Whang Od 是当地最后一批的 batok 纹身艺术家,村庄当时也没有计划要为这种传统技艺寻找新一代的接班人。

In the past, tattoos were given for a specific reason: men received them for acts of bravery, while women received them for beauty, fertility, or the valor of male relatives. Whang Od gave the last of such tattoos in 2007, when she tattooed her brother-in-law for killing an opponent in a nearby village. But the Kalinga had long ago begun losing interest in tattoos commemorating violence, and their craft was on the verge of extinction.

When Lars Krutak, a self-described tattoo anthropologist, visited the village in 2007, his encounter with Whang Od changed everything. Krutak’s Discovery Channel show, Tattoo Hunter, brought international attention to Buscalan village and the Kalinga tattoo tradition.


在过去,人们纹身总是出于一定的原因:男子纹身用来象征勇敢的精神,而女子纹身则是为了表达美、生育,或是表达男性亲属的英勇。2007 年,Whang Od 给她的姐夫的纹身,正是最后一个具有如此含义的纹身。当时,她的姐夫击杀了附近村庄的一名对手。但是,现在的卡林加早已不再推崇这种赞美暴力的纹身,这种纹身技艺也因此濒临灭绝。

2007年,自称为 “纹身人类学家” 的拉斯·克鲁塔克(Lars Krutak)来到村庄,他与Whang Od 的相遇带来了转机。克鲁塔克制作的《Tattoo Hunter》(《纹身猎人》)纪录片在探索频道(Discovery Channel)播放后,引起全球人们对 Buscalan 村庄和卡林加传统纹身的关注。

These days tattoos are given simply for their beauty, and visitors make the difficult journey by the dozens to meet Whang Od and a fresh crop of young artists. Traditional Kalinga tattoos are made with a simple wooden stick threaded with a plant thorn, which is dipped into soot water and then repeatedly hand-tapped into the skin with another stick, creating a mark.


现在,人们纹身纯粹是出于美观的原因。大批的游客长途跋涉到这里,去拜访 Whang Od 和当地一批年轻艺术家。传统的卡林加纹身是用木棒插上植物刺,浸入墨水,然后反复敲击刺到皮肤上,勾画出图案。

Sounds drift easily through the village and across the silent mountains around it. In Buscalan, wooden homes on stilts are packed tightly together, separated only by skinny concrete paths and stairwells. Families of pigs and chickens wander freely while children bathe in frigid water piped in from streams above. On weekends, the tapping of tattoos reverberates all about the village, while young artists work on the skin of tourists wherever there’s a free corner.

There are now 20 new artists, ranging from 9 to 28 years old, all women and girls except for one boy. (Traditionally, they were often women as well.) Everyone in this younger generation has learned on their own simply by observing Whang Od, without any formal training.


在这个小村庄,所有的声音都很容易穿过寂静的群山,传达到各个角落。在 Buscalan,仅用柱脚支撑的木屋紧紧挤在一起,只用窄小的混凝土小路和楼梯间隔开来。放养的猪和鸡自由自在地走来走去,小孩用山上河流抽取的冷水洗澡。周末的时候,纹身的敲击刺声在村庄里此起彼伏,年轻艺术家在各个角落里为游客纹身。

现在村庄里有20名新纹身艺术家,年龄分别从 9 岁到 28 岁不等,大部分都是女性,只有一位是男孩(传统上,纹身师也往往都是女性)。这些年轻纹身师都是通过观察 Whang Od 工作学会纹身的,全都没有接受过任何正式的训练。

The village overlooks a vast canyon, and on the opposite slope a distant line of identical vans can be made out bringing a constant procession of visitors toward the village. With this view, Emily sits beneath a thatched-roof hut pasted with graffiti stickers and photos of tourists, while a long line of customers awaits her attention. The oldest of the new generation and the granddaughter of Whang Od, she works with a deep but comfortable focus, oblivious to the crowd.


村庄下面是一个巨大的峡谷,在对面的斜坡上,可以看到一排排样貌单一的面包车,源源不绝地运送游客到村庄。Emily 就坐在一座茅草屋顶的小屋中,里面贴满各种涂鸦贴纸和游客照片,游客排着长队,等待她来给自己纹身。Emily 是新一代纹身师中年龄最大的,也是 Whang Od 的孙女。她专注、平静地工作,仿佛对外面的人群浑然不觉。

In another part of the village, a crowd of locals gathers for the funeral of a 105-year-old man who has just passed away. They dig a hole next to his home and bury him there in casket. Flat gravestones lie directly in the paths that criss-cross the village. The man’s death leaves only Whang Od and one other centenarian, who still works as a rice-wine maker.


在村子的另一头,当地人正聚集起来,参加一位刚刚去世的 105 岁老人的葬礼。他们在老人家旁边挖了一个洞,用来埋葬棺材。一块块平坦的墓碑直接就铺放在村庄里纵横交错的村路上。现在,村庄里的百岁老人只剩下 Whang Od 和另一位老人,这位老人至今还从事着制作米酒的工作。

Whang Od continues to work as well, although she says her right arm gets tired and her knees ache now. Work is practically all she does these days, aside from rest. Her own crowd gathers around as she squats and hammers her signature three dots. She works sporadically, taking breaks and smiling happily for photos and making jokes in her native Kalinga.


Whang Od 也还在继续工作,但她说自己的右臂已经开始会累,膝盖也有点疼。除了休息之外,她几乎所有时间都在工作。在村民的围观中,她蹲着身子,敲击出她的经典三点纹身。纹身的时候,她时不时会休息一下,露出微笑让别人拍照,并用她的母语卡林加语谈天说笑。

As the sun sets and work comes to an end for the day, Whang Od sits at home with a blanket covering her weathered, tattooed skin. She’s pleased with the popularity batok tattoos have found: even if they’ve lost most of their traditional and spiritual significance, their beauty is still appreciated.

Whang Od’s favorite design is a snakeskin pattern, which she says is one of the oldest. “I’d be happy if all the kids today got tattoos,” she says, noting that tourism has created a livelihood for everyone in the village. Her earnings go to daily needs like sugar and rice, as well as the education of her grandchildren. Instead of farming or searching for work elsewhere, villagers can earn a living in Buscalan, making tattoos, selling souvenirs, or working as tour guides or homestay hosts. “When I stop tattooing for good, I hope tourists won’t stop coming to our village. If they do, my efforts will have gone to waste.”


当太阳落下,结束一天的工作后, Whang Od 坐在家里,披上一块毯子,裹住自己身上开始褪色的纹身。她很开心 batok 纹身技艺能再次流行起来,尽管纹身本身的传统和精神意义很大程度上已经消失,但纹身之美仍然被人们所赞赏。

Whang Od 最喜欢的图案是一种蛇皮图案, 她说这是最古老的纹身图案之一。“如果现在所有孩子都能有纹身,我会很高兴。” 她说,旅游业为村里创造了收入,她的收入也足够满足日常需要, 比如买糖和大米,还能供她的孙子上学。村民们可以在 Buscalan 村庄里谋生,纹身、卖纪念品、做导游或开设寄宿家庭,不用离开村庄去耕作或寻找工作。“当我不再纹身时,希望游客不会就此忘记我们村庄。否则,我的努力将会付之流水。”

Contributor: Mike Steyels
Photographer: Martin San Diego


供稿人: Mike Steyels
摄影师: Martin San Diego

A Moment’s Encounter

Some photographers find their calling at an early age, playing around with a parent’s camera and taking snapshots of their friends. Not Su Yang, who also works under the name Jan Sol. As a child, he never felt drawn to photography, and he didn’t really start taking pictures until college. “I was studying advertising, and a professor told us to carry around a camera, so we could capture inspiration on the fly,” he says. “I liked taking shots of scenery everywhere, and when I put them online, to my surprise a lot of people liked them, which motivated me to keep going.” Eventually, magazines and fashion brands took note and started seeking him out for collaborations—and before long, almost by accident, he’d become a professional photographer.


有些摄影师很早就对摄影产生兴趣,喜欢摆弄父母的相机,拍摄他们朋友。但对苏洋来说却并非如此。小时候的他从未对摄影格外感兴趣,直到上大学他才真正开始拍照。他说:“我当时在学广告,那时候老师会建议我们随身带一个小相机,可以随时抓到一些灵感。然后我就喜欢到处拍一些风景,没想到传到网上还挺多人喜欢的,这就给了我一些动力继续拍下去。” 杂志和时尚品牌最终注意到他的作品,并开始与他合作。就这么偶然间,他很快成为了一名专业摄影师。

Unsurprisingly for a fashion photographer, most of Su’s work features human subjects. Yet that wasn’t always the case. “When I first started out, I didn’t like to take pictures of people at all,” he says. “I was far more interested in the world around me than in other people—and not just in terms of photography.” Shots of scenes and landscapes seemed let him more easily express his moods.

Later, as he started taking fashion assignments more regularly, he began to study the works of classic photographers and became fascinated with how they captured their subjects at a particular moment. “Only then did I start to practice, and the more I shot human subjects, the more interesting I found them.”


作为一名时尚摄影师来说,他的作品自然大多是人像作品,但他说,“其实最开始拍照的时候,我是一点都不爱拍人的。” 他说,“我当时对周遭环境事物的兴趣远远大过对人的兴趣,不仅仅是在摄影上。” 对他来说,场景和风景照片更适合传达情绪。

后来,因为时装项目越来越多,他开始研究著名摄影师的作品,对他们在瞬间内捕捉人物的技术入迷万分。“那时候起我自己也才开始进行练习,之后就是越拍越觉得人物非常有意思。”

Even Su’s noncommercial photography carries the imprint of his background in fashion. He often shoots his models alone in a room, sitting half-naked on a bed or on the floor, sunlight filtering onto rumpled bedsheets. The models have an air of self-conscious vulnerability as if they’re aware of how exposed they are—and aware too of how unnatural their position is, how strange it is to be sitting for a photograph. Su seems almost to be reminding us how carefully staged the moment is.   

In one photo, for example, two models, chests bared, look directly at the camera, their eyes meeting the viewer’s gaze. Yet their candor is at odds with their tension in their arms and the affectation of the props in front of them—a dinosaur figurine, a dragonfruit, and an open pomegranate. This combination of intimacy and artifice resembles nothing so much as a fashion shoot.


甚至连苏洋的非商业摄影也带有时尚摄影作品的痕迹。他的作品常常是他与一名模特呆在一间房间里就完成拍摄的。模特半裸地坐在床上或地板上,阳光投射在皱巴巴的床单上。镜头下的模特展现出一种害羞不安的脆弱,仿佛他们清楚知道自己暴露于镜头前,也意识到自己的姿势有多不自然,意识到这样坐着被人拍照的自己有多奇怪。几乎可以说,苏洋是要提醒我们,照片所捕捉的这一刻正是经过精心安排的。

例如,在以下的照片,两名模特裸露上身,直视相机,他们的眼睛直接迎向了观众的目光。然而,与模特坦率的眼神相对应的,是他们双臂的姿势及面前道具(恐龙公仔、火龙果与剥开了的石榴)所呈现的,这种半亲密半虚构的感觉难免让人联想到时尚摄影。

For Su, taking photos of human subjects offers than just an glimpse of a life at a moment in time. It forges a link between photographer and subject. “It’s about you participating in an interactive relationship—in the relationship between you and someone else. Your every move affects it,” he notes philosophically. “Whenever I shoot people, I’m actually constantly learning new ways to interact or connect. This is something really wonderful, even a bit zen.”


对于苏洋来说,拍摄人像照片不仅仅是对生命中某个时刻的一瞥,更是在摄影师和模特之间建立联系。“这个过程不仅仅是你单方面地去捕捉一些画面和角度,而是你本身就参与在这一个互动关系——你与他人的关系之中,你自己的一举一动都牵动着它。” 他指出,“我后来会认为我自己在拍摄人物的过程中其实是在不断学习与人交流或者交往的一个途径,这个事情非常奇妙,甚至有些禅意。”

His most recent project, Shanghai Passengers, is a study in the fleeting connections forged by the outsiders who pass through China’s largest city. “In recent years, Shanghai has had more interaction with the broader world. Every day a lot of people come and go, either stopping by for a few days or staying on for a year or two.” These visitors come with diverse backgrounds, and they mold their identity in response to their surroundings. “I find this fascinating. It’s like peering out from a box into a room, and this room is a part of the city.”


他最近的项目《Shanghai Passengers》(《上海过路人》)探讨着外来人在这座大都市参与的那些短暂互动关系。“我觉得上海近几年来与外界发生的联系越来越多,每天都会有很多人来来去去,短暂停留几天或是来呆个一两年。他们来自不同的文化社会背景,来到上海之后自然而然有一个自我身份与环境融合的过程,我觉得这个东西很有趣,像是从一个盒子里窥视一个房间,而这个房间又是城市的一部分。”

Recently Su has begun re-evaluating his relationship to his art. “For the last year or two what I’ve focused on is pausing and returning to my own life, immersing myself in my relationship to my surroundings, and trying to get out of the ruts of my previous photography.” 

Oddly enough, his philosophical view of photography as source of human connection has led him to turn his lens back to scenes without people. “I’ve become interested in real things again. I’ve returned to landscapes and documentary photography,” he says. “It’s like a circle, and you’ve reached a certain point again. But then you discover it’s really different from last time.”


最近,苏洋开始重新审视自己与艺术的关系, “近一两年更多是停下来重新回归到自己的生活里,融入到自己与周遭的关系里,尽力抛除以前拍摄时候的 ‘惯性’。”

奇怪的是,他这种将摄影视为人际关系源泉的想法却使他将镜头再次转向没有人物的场景。他说:“我又开始感兴趣那些最真实的事物,所以也会再度去拍一些风景或是纪实类摄影,这就像一个圆,又回到了某一个位置,但你会发现。这次和上一次又很不一样。”

This newfound interest in things is less a move away from human subjects than an attempt to hone a style. Whether he’s shooting for a fashion brand or working on his own projects, Su seeks to make his photography distinctively his own. “Now I understand my work as conveying a sense that it’s mine,” he says. “It’s a pretty individualized thing.”


重拾对事物的兴趣并不意味着他要减少人像作品,而更多的是磨练风格的尝试。无论是时尚品牌委托的拍摄还是个人项目,苏洋都试图让自己的摄影作品与众不同,正如他说:“现在我对作品的理解,就是传递一些自己的气息,它带有强烈的个人化特质。”

Website: jan-sol.com
Instagram: @jan_sol

 

Contributor: Allen Young


网站: jan-sol.com
Instagram: @jan_sol

 

供稿人: Allen Young

Bespoke Editions

Hapjeong-gu is one of Seoul’s newest hip neighborhoods. Not long ago, it played second fiddle to Hongdae, the artsy, university area one metro stop away, and it was known mainly as a former center for the book publishing industry. But as Hongdae fills up with hot dog stands and chain cafés, Hapjeong-gu is coming into its own as the new center of cool.

One of Hapjeong-gu’s most unusual attractions is B-platform, a space for learning how to appreciate the printed word—both the content and the vessel. In their cozy space, the owners not only let you judge a book by its cover, they even teach you how.


合井洞,如今是首尔新兴的时尚街区之一。在此之前,它一直活在弘大(Hongdae)的阴影下,这个距离合井洞仅一站地铁距离的大学区,向来以浓厚的艺术氛围着称。而合井洞之前最为人熟知是作为一个图书出版业中心,但是随着各种热狗摊贩和连锁咖啡馆充斥弘大,合井洞正逐渐成为新的潮流热点。

合井洞最独特的景点之一就是 B-platform,这是一个让你学习去欣赏从内容到载体,关于印刷艺术之中各个面向的地方。在这个舒适的空间里,老板会鼓励、甚至教导你如何 “以貌取书”。

One of their main attractions is their studio, where they conduct workshops and seminars about bookbinding, illustration, engraving, printing, and the creative process, as well as run a monthly gathering for art book collectors and enthusiasts. In the main room, the store offers a varied range of art books and illustrated publications from all around the world.


B-platform 最大的吸引力之一是他们的工作室。除了举办各种关于装订、插画、雕刻、印刷及其创意过程的工作坊,每月还会定期举办艺术书籍收藏家和爱好者的聚会。在内部的商店里,你还能购买到各种各样的艺术书籍和来自世界各地的插图作品。

Kim, a self-taught photographer, joined the project after meeting the founder, Seoran Son, in a seminar. A retired sculptor herself, with a broad experience in artistic environments Son shared Kim’s view and ideas for this space. They run B-Platform mostly on their own, with just two employees to handle the website and design. Besides their own projects, they have worked with international publishers like Rotopol, based in Kassel, Germany, and they designed and printed the catalog for a hotel in their very own press. This catalog, which looks more like a work of architecture than a work of literature, reflects their motto: “A book, whatever its content—illustration, photography, literature—should also be appreciated as work of art in itself.”


Kim 是一位自学成才的摄影师,他与创始人 Seoran Son 在一次研讨会碰面后,决定加入这个项目。Son 是一名退休的雕塑家,长期浸淫在艺术环境之中。Son 和 Kim 两人对于这个空间的想法一致,他们身体力行来经营 B-Platform,只雇用了两名员工来负责网站和设计。除了本身的项目,他们还与位在德国卡塞尔的 Rotopol 等国际出版商合作,为一间酒店设计并印制宣传画册。这本宣传画册看起来更像是建筑作品,而不是文学作品,这正好反映了他们的理念:“一本书,无论内容是插图、摄影还是文学作品,都应该被视为艺术品。”

Image Courtesy of B-platform

I cannot help but stare at a wooden showcase with beautiful volumes arranged neatly inside. “That’s our own collection of rare books. Instead of selling each one of them separately, we display them all together. That way, not only one person can enjoy them all, but they’re also accessible to everyone,” says Kim. They also rent out the bookcase for events.

As a space for art, B-Platform supports both emerging and renowned artists, and in only two years of existence, they have displayed the work of over 30 Korean and international artists and publishing houses in their gallery space, collaborating with some of them in limited editions that are also on display.


在工作室里有一个木制陈列柜,上面整齐排列着各种美丽的书籍,实在让人移不开目光。“这是我们自己的稀有书籍珍藏。我们不想分开出售它们,而是将所有书都放在一起展示。这样一来,就不只有一个人,而是所有人都可以欣赏到它们。” Kim 解释道。这个陈列柜平时也开放出租,用来举办活动。

作为一个艺术空间,B-Platform 同时支持新锐艺术家与著名艺术家,在短短两年的时间内,他们已展示了30多位国内外艺术家与出版社的作品,并与其中一些人合作,推出限量版作品,就展示在工作室内。

Just two blocks away are two big bookstore chains, one that sells new titles and one that specializes in secondhand books. “We were worried at first, but to be honest, it hasn’t affected us at all. We offer limited editions, pieces of art, something to collect and to take care of.” Their books are meant to by explored by curious hands, not forgotten on a shelf. They’re waiting to show their hidden treasures, their exquisite binding, their quiet performance in paper in ink.


距离 B-Platform 仅两个街区之外,伫立着两家大型的连锁书店,一家出售新书,一家专门从事二手书。“起初我们也很担心,但说实话,这并没有影响到我们。毕竟我们是专注在限量版书籍和艺术品的领域,都是一些值得收藏和留存的书籍。” 而这些珍藏的书本,不适合被遗忘在书架上,而是要让满怀好奇心的人们去尽情探索。那些隐藏在书页内的宝藏、精美的装帧、以及在墨水与纸张中铺展开来的宁静世界,正等待着你。

Address:
3F Dongmak-ro 2-gil 22
Mapo District, Seoul
Korea

Hours: Thursday–Sunday, 1 pm–9 pm

Website: www.b-platform.net
Instagram: @bplatform
Facebook: ~/bplatform
Twitter: ~/bplatform1

 

Contributor: Ainhoa Urquia Asensio
Photographer: Ken Lee
Additional Image Courtesy of B-platform


地址:
韩国
麻浦區 首尔
3楼 Dongmak-ro 2-gil 22

营业时间: 周四至周日, 下午一点至九点

网站: www.b-platform.net
Instagram: @bplatform
脸书:~/bplatform
Twitter: ~/bplatform1

 

供稿人: Ainhoa Urquia Asensio
摄影师: Ken Lee
附加图片由 B-platform 提供

The Affairs

In an age of distracted reading, when articles are regularly left unfinished, who doesn’t feel a bit nostalgic for the pre-digital days, when newspapers printed on actual paper were our main source of information?

Fines Lee misses those days too, and he especially misses “the reading experience you’d only get from the papers.” That’s why, after toying with the idea for five years, the Taiwanese media veteran founded The Affairs, a print-only monthly. Given that his peers around the world are moving away from traditional media toward new platforms, such a decision took courage.

Yet Lee is used to going against the herd. He started his media career two decades ago as an online news editor, then went on to found a blogging platform as well as an online magazine called The Big Issue Taiwan. Now, with The Affairs, he seems to have completed his trajectory from new media to old. As diverse as these experiences are, he says the skills from one arena carry over to the next, and that “traffic flow, page layout, and visuals” are still his bread and butter.


在信息爆炸已成背景的今天,碎片式阅读已成习惯的今天,文章读不完已成常态的今天,谁不怀念从前只从报纸上获取信息的日子呢?

台湾媒体人李取中也怀念那些 “只能通过报纸得到的阅读体验”。斟酌了五年后,他提出自己的答案: 成立每月发行的The Affairs 周刊编集报刊。在现今全球同行纷纷转行到数字媒体的时代,成立报刊这个念头需要很大的勇气。

但是,李取中这些年已经习惯了逆风而行。从他 20 年前开启职业生涯的网站新闻编辑,后来成立博客网站、创办台湾版《大志》(The Big Issue Taiwan)杂志、到现在的《The Affairs 周刊编集》报刊,他一路从 “新” 探索到 “旧”。虽然平台不尽相同,但他说早年做网络媒体的经验积累,让他对阅读的 “动线规划、版面设计和视觉” 都有所要求,而这部分的擅长也被他带入了纸媒。

In 2017, when The Affairs published its first issue and tested the waters on the Taiwanese crowdfunding site zeczec.com, it attracted over NT $8.2 million (around US $270,000), far more than the campaign’s original goal. Clearly, Lee wasn’t the only one who longed for an old-fashioned newspaper in the era of new media.

“The advent of new media doesn’t necessarily mean the end of traditional media, but it does mean their role will change,” he says. “Print can’t just convey information—it also has to provide an aesthetic experience, with physicality, weight, and quality.”

This line sums up Lee’s goals for his paper. In addition to current affairs, each beautifully laid-out issue has sections on business, culture, design, exploration, opinion, and more. Alongside the text are commissioned works by well-known artists like Japanese illustrator Noritake and British photographer Benedict Redgrove.


2017 年中旬,《The Affairs 周刊编集》创刊号发布,并在年底于台湾众筹网站啧啧(zeczec)试水,两个月时间内获得多于目标好几倍的八百多万新台币(近 27 万美金),证明了在新媒体时代,渴望纸质报刊的不仅是他和编辑团队而已。

在这位见多识广的媒体人眼里,“新媒介的出现不一定会消灭旧媒介,只是角色需要调整,” 他说,“纸媒不能单纯扮演信息传递的角色,它背后传递的意义还有美感和体验,和物理性、重量和质感。”

这句话也总结了李取中对其报刊的标准。在每一期排版精炼的《The Affairs 周刊编集》上,除了时事,还有商业、文化、探索、评论等主题板块。字里行间也不乏知名艺术家的委约作品,比如日本插画家 Noritake 和英国摄影师 Benedict Redgrove

In issue 12, for instance, you can read an editor’s interview with Spanish illustrator Manuel Marsol, a personal essay about an international fling during the 2002 World Cup, and a long read from The Guardian about the recent history of Chinatowns around the world, among many other stories. Content is either written in-house, contributed freelance, or translated from publications abroad. Although the last of these takes up the largest chunk for now, the ideal quota, according to Lee, is one third for each.

Much thought has also given to Lee’s other criteria: physicality, weight, and quality. He and his team looked at a dozen different paper stocks before choosing a sustainable, FSC-certified white newsprint to fit with their social values. They also chose offset printing with an extra “roasting” procedure to increase ink absorption and bring visual depth to the words and images.


以第十二期举例,你可以读到来自编辑部对西班牙插画家 Manuel Marsol 的采访、专栏作家记录的 2002 年世界杯番外篇(关于他的朋友因日韩世界杯陷入跨国情缘的小故事)、还有英国《观察者日报》(The Guardian)授权的全球唐人街的演变报导。内容来源分为三种型态——采编、外稿和编译,虽然目前编译部分偏多,但李取中说理想上它们会各占三分之一。

李取中所强调的 “物理性、重量和质感” 标准也都经过认真考虑。从十多种纸张选择中,他和团队挑选了与自身的社会愿景呼应的 FSC 认证新闻高白纸;同时,他们也选择了商用轮转机,比普通印刷机多了一道烘烤的过程,提高油墨吸附度,以增加图片与文字的视觉深度。

With all this effort, what kind of experience are they looking to bring to readers?

Lee is aware that his paper—which, on full spread, is about four times the size of an A3 and 20 times the size of an iPhone 7—“is not like a magazine that you can bring anywhere. Reading it requires time, space and preparation.” In other words, a reader must devote attention—a modern luxury.

In this, The Affairs might actually have a leg up on digital media. One reader notes that he usually can’t finish an article on his phone, even if it’s just 2,000 to 3,000 words long, but he usually can in Lee’s paper, where articles usually range from 5,000 to 6,000 words. Another reader, who also supported the crowdfunding campaign, says she finds it “very different from any other newspaper [she’d] seen,” and doesn’t mind the large fraction of translated articles, which she considers a strength. “In a time of information overload, people have a greater need for someone to curate the content they get,” she says.


付出这一切努力,他们想为读者带来什么样的体验?

李取中知道,这份打开后几乎是 A3 纸四倍大、iPhone 手机 20 倍大的报纸  “不像杂志一样可以随身带着,而需要充裕的时间、空间和准备。”  换句话说,读者需要投入注意力集中在这个现代的奢侈品。

这一方面,他们也许比数字媒体做得更好,正如一个读者对他说的: 在手机上读文章,两三千字都不一定看得完,但在《The Affairs 周刊编集》上连篇幅有五六千字的长文也看得完。另外一个支持过众筹项目的读者也说: 这和过去认识的报纸很不一样。她并不介意其中非原创的部分,甚至觉得这是它的优点,“在信息爆炸的时代,大家更是需要一个好的平台帮你策划接收的内容”。

Beyond the quality of the paper stock, Lee also hopes The Affairs can play a social role that’s different from that of other media. “Traditional media emphasize the role of systems in people’s lives—nation, society, ethnicity, etc.,” he says. “I want to take readers out of those systems.” Instead, he hopes that the paper people will turn people’s attention toward “creative works of human culture, whether in film, publishing, art, etc., as well as the relationship between humans and nature, or between humans, plants, and animals.”


当然,除了“有质感的新世代报纸” 这个标签,李取中也希望《The Affairs 周刊编集》能扮演与传统媒体不同的角色。“传统媒体在观察事物的角度时会着重在体制上——国家、社会、民族等等——对人的影响。但我希望把人从体制中抽离。” 他希望读者能通过报纸的视角关注 “人类文化衍生出来的创作物,比如电影、出版、艺术等等,以及人与自然,人和动物、植物的关系。”

 

When can readers outside of Taiwan get to see how The Affairs views the world? Lee says that for now the paper’s goal is to increase its publication frequency from monthly to bi-weekly, so that the headlines are more up-to-date with world affairs. First, though, he wants the paper to “gain a strong foothold in Taiwan.”

Ultimately, this old media platform aspires to offer a new point of view. “If readers come away with a slightly different outlook on the world from reading our paper,” he says, “well, that’s exactly what we’re trying to achieve.”


那么其他华文读者什么时候能透过《The Affairs 周刊编集》看世界呢?李取中说,近期希望可以尽量加快速度,发行频率从每月调整到每两周,让头条消息可以更贴近世界的动脉。在那之前,他还是希望 “报纸能在台湾立足。”

这家 “旧” 媒体最终想宣扬的是一种新视角,“如果读者可以透过这份报纸,稍微对世界产生另一种观察,这就是我们希望达成的。”

Website: theaffairs.com

 

Contributor: Jiang Yaling
Images Courtesy of The Affairs


网站: theaffairs.com

 

供稿人: Jiang Yaling
图片由The Affairs 周刊编集》提供

Uncommon Sense

Common Rare is a Shanghai-based creative team headed by Taiwanese-Americans Tiffany Wong and Vivian Sze. After falling in love with the craft fairs they saw in the States, the duo set out to create a similar experience in China, organizing events where creators and artisans could sell their work. Since 2016 they’ve hosted a series of arts-and-crafts markets in Shanghai, featuring independent brands that share their conviction that “small things matter.” In addition to their events, the pair also runs a bilingual media platform dedicated to stories from creative start-ups in China and around the world.


凡几 (Common Rare) 是一个由台湾裔美国人 Tiffany Wong 和 Vivian Sze 领导的上海创意团队。他们爱上了之前在美国常逛的那种工艺市集,想在中国创造类似的体验,于是这个双人组合开始组织让创作者和艺术家可以贩售自己作品的活动。自2016年以来,他们在上海举办了一系列艺术和手工艺品市集,很多独立品牌参与其中,共同分享着他们的理念 “小事情也很重要”。除了举办活动,他们还经营一个双语媒体平台,专门讲述来自中国和世界各地的创意新创企业的故事。

Tiffany Wong
Vivian Sze

Common Rare made their debut in Christmas 2016 with “Not Your Typical Holiday Market,” a bazaar that showcased a festive collection of crafts, handmade homewares, artisanal food, interactive art, and live entertainment. In subsequent events, they’ve brought on new vendors to reflect seasonal themes and visions. Their springtime “Industrial Bloom Festival” featured nature-based products, while their 2017 Christmas market, “Into the Woods” offered whimsical gifts.

In 2018, Common Rare officially rang in summer with “The Sweet & Salty,” a market featuring hand-crafted sweet and savory delights from 50 independent businesses. The two-day event, a collaboration with the group Woodstock of Eating, took place at Shanghai’s historic Colombia Circle, a refurbished American colonial social club originally built in 1924.


凡几的首次亮相是在2016年的圣诞节活动 “这不是圣诞市集” (Not Your Typical Holiday Market)。这是一个集合节庆工艺品、手工家居品、手作餐点、互动艺术和现场表演的市集。在随后的活动中,他们带进新的摊商以响应季节性的主题。“春季工业盛会” (Industrial Bloom Festival) 以自然的当令产品为特色;2017年的圣诞活动 “森林里的圣诞市集” (Into the Woods) 则提供各种有趣的节日送礼选择。

2018年,“The Sweet & Salty 上海甜点节” 让凡几正式步入夏日的序曲,共有来自50个独立品牌手工制作的甜品和咸食参与,为期两天的活动是与伍德吃托克(Woodstock of Eating)团队的合作,在上海历史悠久的哥伦比亚公园举办。

Wong and Sze’s down-to-earth approach and eye for detail have also caught the attention of brands like Nike, which collaborated with them on a creative market inspired by the classic Nike Cortez shoe. Each unique brand and designer at the two-day bazaar was handpicked to represent the “Cortez lifestyle” and its iconic red, white, and blue aesthetic.


Tiffany 和 Vivian 两人脚踏实地的做事方法和对细节的要求引起了像耐克这样大型品牌的关注,他们在一次的创意市集上合作,灵感来自经典的 Nike Cortez。市集中每一个独特品牌和设计师都经过精心挑选,以能符合 “Cortez 生活方式” 及其标志性的红、白、蓝三色美学。

After two years sharing life’s simple pleasures through their media platform and market events, the Common Rare team have launched their very own online store, appropriately named The Common Store. Their goal is to cast a spotlight on independent brands based in China that make homewares, skincare products, fashion, jewelry, magazines, and other lifestyle products.

The Common Store aims to be a permanent platform for customers to explore and support small-scale creators beyond each event. Their WeChat store currently features over 15 brands, including their very own Common Rare handmade soap range, created in collaboration with Hong Kong-based skincare brand Savon 1993.


两年以来,凡几通过媒体平台和市集活动致力于分享生活中的简单快乐,目前还推出了自己的线上商店,名为 The Common Store。他们的目标是聚焦中国的独立品牌,生产家居用品、护肤品、时装、珠宝、杂志和其他生活风格产品。

凡几希望能成为消费者在活动之外探索和支持小规模创作者的永久平台。 他们的微店目前拥有超过15个品牌,包括他们与香港护肤品牌 Savon 1993 合作的 Common Rare 手工皂系列。

Wong and Sze are a two-person powerhouse, and they know by heart the stories behind every brand in the Common Store. What started out as a small idea between longtime friends has evolved into a platform for slowing down and finding joy in the small pleasures in life.

From now until August 12th, those in Shanghai will be able to see the Common Store come to life during its three-week-long pop-up at the Rockbund Museum’s Associate Mission Building. Products from Asia-based creatives, including Zowoo, Form Maker, PÂTE, and LOST Magazine, will be on sale, as will creations from over 30 other independent clothing, skincare, accessory, furniture, and homeware brands. The Common Store pop-up is open daily from 11:00 am to 7:30 pm, and its products are also available on Weidian


Tiffany 和 Vivian 是一个小而强大的团队,他们清楚地了解凡几里每个品牌背后的故事。长期是朋友关系的两人当初萌生的一个小小想法,现在已经演变成一个平台,让你我能慢下步调,寻找到生活中的小乐趣。

从现在起到8月12日,凡几的限期快闪店在上海洛克外滩源开幕,借此你将能更真实接触到凡几的品牌哲学。在这为期三周的活动中,来自亚洲各地的创意品牌包括 ZowooForm MakerPÂTE 和独立杂志 《LOST》,以及其他30多个独立服装、护肤品、家居品牌的产品将开始贩售。Common Store 快闪店于每天上午 11:00 至下午 7:30 开放,其产品也同步在微店上市。

Dates: July 21, 2018 ~ August 12, 2018
Hours: 11 am ~ 7:30 pm

Address:
Rockbund Waitanyuan
Room #104
No. 169 Yuanmingyuan Road
Huangpu District, Shanghai
People’s Republic of China

Website: common-rare.com
Instagram: @common.rare
Weibo:~/CommonRare
WeChat: CommonRare

 

Contributor & Photographer: Whitney Ng
Additional Images Courtesy of Common Rare


日期: 2018年7月21日——2018年8月12日
营业时间: 上午11点至下午7点半

地址:
中国
上海市黄埔区
圆明园路路169号
104室
洛克外滩源

网站: common-rare.com
Instagram: @common.rare
微博:~/CommonRare
微信: CommonRare

 

供稿人与摄影师: Whitney Ng
附加图片由凡几提供

Captured Creatures

Whenever you arrive in a new country or city, there are certain things you have to do, rituals you perform to experience a new culture or find new inspiration: visiting a museum, savoring a cup of local coffee, finding a lookout point and watching the sunset, picking up a knick-knack at a flea market. For Beijing-based artist Chai Mi, one of these little rituals, whenever she arrives somewhere new, is to visit the local zoo. Since she began performing her multimedia work Captured Creatures, Chai has visited over 30 zoos in several countries.


一个人每到新的国家或城市,都会有一些必须完成的事情。这些事在生活中就好像一种仪式,我们能通过它们去体验新的文化、得到新的灵感。例如去一间博物馆、喝一杯当地的咖啡、找到最高的观景台去欣赏日落的景色,或者去跳蚤市场买些有趣的东西。而北京艺术家柴觅的小仪式,则是每到一个地方就会去一趟当地的动物园。在《困生》多媒体项目期间内,她已经去了世界各国 30 多个动物园。

Chai’s art involves multiple media, including painting, animation, installation, and live performance. Captured Creatures, her third work of “audiovisual theater,” combines moving images, contemporary dance, and sound design. By creating an experimental atmosphere, she wants to draw viewers into a state that gives them a new perspective on the relationship between people and animals, and between living things and the environment.

Her recent performance of the show at Nanchang’s Snarte Space was her fourth. Chai arrived four days before the show and spent each day from morning to night constantly rehearsing or preparing the stage. Yet on the hectic evening before opening night, Chai readily agreed to an interview. We spoke about the creative concept behind Captured Creatures and about how the show has developed.


柴觅的艺术总是涉及多种媒介,包括绘画、动画、装置、现场演出等。《困生》是她的第三个影音剧场演出作品,结合了现场影像、当代舞蹈及声音设计。她想通过这种实验性的氛围,让观者进入情境,从不同的角度去看人与动物,以及生物与环境之间存在的关系。

这次《困生》在南昌的空间已经是第四次演出。柴觅提前四天就到现场准备,从早到晚一直在布置和排练。在紧张的演出前夕,柴觅爽快地同意了这次采访。于是,我们就与她聊了《困生》的创作概念和这个项目的成长过程。

 

无法观看?前往腾讯视频

Neocha: How did the idea for Captured Creatures come about?

Chai Mi: Usually my works come about in a fairly accidental way, as a result of some perhaps very trivial thing or feeling. The idea for Captured Creatures came about when it occurred to me one day that I had really happy memories of going to the zoo as a child. I decided to visit one again and see what it was like, but when I got there I couldn’t find that childhood happiness. Instead, I found several other feelings. So it got me wondering, why did I react the way I did? I wanted to find answers to those questions, so I started going to zoos, taking a camera along with me to record what I experienced. I went to more and more of them, and I found there’s a certain subtle connection between every city and its zoo. In Captured Creatures, I hope to be able to let everyone see or sense the relationship between people, animals, and the natural and built environments. That’s how this piece came about.


Neocha: 《困生》的主旨是怎么产生的?

柴觅: 一般来说我作品的开始都挺偶然的。从一个可能很小的事情或感受出发,模模糊糊地就开始了。比如《困生》这个项目,有一天我突然想起来小时候觉得去动物园是一件很开心的事情,所以我决定去动物园看看,去了却发现以前开心的感觉找不到了,反而产生很多其他情绪。于是我开始思考,为什么会有这些感觉?我想去追寻这些问题的答案,开始去动物园用相机记录那些我感受到的东西。去过越来越多动物园,我发现每个城市与其动物园之间都会有一些微妙的联系。我希望通过这个作品可以让大家看到或者感觉到人、动物、环境、建筑之间的关系,所以就有了《困生》这个项目。

Neocha: You’ve performed Captured Creatures in Kuala Lumpur, Beijing, and La Rochelle. This performance in Nanchang is the fourth. How does each one differ?

Chai Mi: Underlying each performance is a fundamental structure, a graphic model I’ve laid out that’s based on the relationship between people and animals. Let me explain. On a graph, I draw two circles, one for humans and one for animals. These two circles are positioned in one of four possible relationships. In the first, the two are separate—they don’t touch each other. In the second, the circles intersect and share a common area. In the third, the circle for animals is larger than the one for humans, and it encloses it. In the fourth, the circle for humans encloses the one for animals.

Each performance has four parts, one for each possible relationship. For each part, I come up with a style of performance that corresponds to that relationship, and the dancers perform accordingly. But the order of the parts, and the details of the dancers’ movements, vary from performance to performance.

A second difference is that I constantly update the source images—the images of animals, images of spaces, and the live real-time composition effects. An attentive observer may note that the animals in each performance are rather different, as is the length of time an image might appear on screen, because here there are a lot of impromptu components.

A third difference is that every time, the collaborating dancers bring their individual styles. I’ve found that every dancer has their own body language, just as each person has their personality. This performance has a degree of freedom, but at the same time it also has rules, and in each performance, the scope of freedom bumps up against the boundaries of the rules.


Neocha:《困生》之前曾在马来西亚吉隆坡、拉罗谢尔、和北京演出过,这次在南昌是第四次。每一次演出有哪些不同?

柴觅: 这个演出背后有一个最基本的结构,即我基于人和动物的关系,所设定的一个图形化的模型。我大概形容一下吧,我会在图形上把人和动物都做成两个圆形。这两个圆形会产生四种位置的关系。第一种是人的圆形和动物的圆形是分离的,它们互不干预对方。第二种是这两个圆形相交,它们有共同的一个区域。第三种是动物大于人,动物圆形是盖住人的。第四种是人的圆盖住动物的。

每一场演出都有四部分,每部分对应一种可能的关系。而每个部分,我都会对相应的关系去设计一套对应的演出方式,然后舞者会按照相关的条件去演出。然而,这四部分的顺序以及舞者的动作都会改变,因此每场演出都不一样。

其次还有不一样的,是源自演出所使用的影像素材的不断更新,包括动物影像、空间影像以及现场的实时合成效果。细心的人可能会发现每场演出里面的动物都不太一样,各个影像出现的时间点也不同,因为这里面有很多的即兴成分。

第三个不一样,是我每次合作的舞者带来的不同。我发现每个好舞者都有一套自己的身体的语言,就像每个人都有自己的性格一样。这个项目有自由度,但同时也有一定规则,每一次演出是都在自由的范围内碰撞规则的边界。

Neocha: Could you talk a little bit about the projection and lighting effects? What role do they play?

Chai Mi: I’m fascinated by light and shadow. In this piece the projector is like a sun: it’s the most important, or rather the only source of light. Only when there’s light can we show images, and light is itself temporal. Watching the animals flickering across the walls, you enter a state of contemplation. A question then arises: are they real or not? At first, you think they’re not, but after watching for a bit you can no longer tell, and the images take on an illusory reality. The dancers are real, and in the performance, they’re right there in front of you, but when the performance is recorded on video, everything becomes an illusion. The subtitle of Captured Creatures is “spacetime illusion.” It highlights temporality, spatiality, illusion, and reality, and the possibility of combining or switching between them.


Neocha: 可不可以谈谈作品中的投影和光线效果?它们有什么作用?

柴觅: 我对光影本身很着迷。在这个项目里投影就像一个太阳,是一个最重要,或者说是唯一的光源。有光的时候我们才能显出影像,光本身就有时间性。看到墙上不断出现的动物影像的时候,人会进入一种观看状态。一个问题于是出现:那是真的还是假的?一开始你肯定觉得是假的,但看多了之后你会不再分辨真假,它本身就是一个虚幻的真实存在。而舞者又是真实的,演出时他们就在我们面前。但当演出成为录像,一切就又被虚幻化了。《困生》还有个副标题叫《时空幻象》,它就是在强调时间性、空间性、虚幻性和真实性,以及它们之间互相转换、结合的可能。

Neocha: Why do you use live performance in this piece?

Chai Mi: I wanted to create a work that could share my experiences. Around 2012 I started doing some pieces with live performance and quickly realized that it can easily immerse the audience in an atmosphere. This kind of immersion is very different from painting, video, or installation pieces because when a performance occurs in a space, that space seems to suddenly become a world filled with related experiences. With this performance, I’m not trying to tell you anything, teach you anything, or lead you anywhere. I want to achieve an arbitrary state, a state that’s confusing and suddenly divorced from reality. In such an atmosphere, it’s easier for people to gain a new understanding. It’s a bit like blurring your previous understanding and making you enter that blurriness. When you come out you just might have a new view on things.


Neocha: 对于这个项目,你为什么采取现场演出的形式?

柴觅: 我很希望去创造一个作品能够分享我一些感受。我大概 2012 年开始做一些跟现场演出相关的作品,很快就发现这种艺术形式很容易让观众融入到一个氛围里面来。这种融入感和绘画、录像、装置等作品很不一样,因为当一个演出发生在一个空间里的时候,就像是突然把这个空间变成了一个充满着相关体验的世界。我通过这个演出不想告诉你什么,去教你什么,或者去引导你。我想得到随想的一个状态,突然脱离现实的,会有一点点懵懵懂懂的状态。在这样的一个氛围里会比较容易让人去产生一个新的认知。有点像是把你原有的认知全都模糊化,然后让你进入这个模糊里。当你出来的时候可能就会重新对事物构建一个新的想法。

Neocha: How do you view zoos today? Do you plan to focus on animals in your work in the future?

Chai Mi: When I travel to developed countries, I see that not many people go to zoos. A lot of zoos are gradually merging with parks and don’t even charge for entry. I’ve also been to a lot of zoos in developing countries, and those are like playgrounds—everybody’s consuming the animals as entertainment. But do we really need to go to zoos? Now there are a lot of park-like animal preserves. There’s no need to put animals in cages, since we can experience them in their natural state.

As for the second question, very possibly. I’ve recently started thinking about the relationship between women and animals. What’s interesting is that humans really like white animals, albino animals. It seems things become especially fascinating when they’re rare, weak, and pure—which is how women have been imagined at certain times in history. Some pieces may come out of that, though it’s hard to say—a work needs constant thought before it takes a definitive shape.


Neocha: 目前你对动物园有什么看法?你会继续往动物方向进行创作吗?

柴觅: 当我去一些发达国家时,发现没有那么多人去动物园了,很多动物园慢慢地变成了公园的一部分,而且是不收门票的。我也去了很多发展中国家,那里的动物园更像是一个游乐场,大家更多的是在探奇、狂欢和消费动物。不过,我们真的需要去动物园吗?现在有很多公园形式的动物保护区,不必再把动物关进笼子里,可以去体会大自然的状态。

至于第二个问题,很有可能。我最近开始思考女性和动物之间的关系,有意思的是,人类特别喜欢白色的动物,有白化病的动物。当一个东西变得稀有、柔弱,又纯洁, 似乎是特别迷人的,类似于历史上某些时候对于女性的观念。可能会有一些相关的影像作品出现,现在还不好说,作品需要在不断的思考下确定形态。

Website: www.chaimiart.com

 

Contributor & Photographer: Julia Golysh


Website: www.chaimiart.com

 

供稿人与摄影师: Julia Golysh

Arts and Crafts

When does a craft become art? For Feng Cheng-Tsung, whose bamboo-and-rattan sculptures draw on a tradition of Taiwanese handicrafts, the line between the two is unclear. In last year’s Fish Trap House, he used techniques learned from the Thao people of central Taiwan to create an installation piece that seems to float above the shoreline of Sun Moon Lake. This summer he’s erected a similar handmade structure outside Taipei’s Museum of Contemporary Art, which will be on display until July 22. In both installations, Feng breathes new life into a traditional handicraft, creating airy structures with a singular beauty.


工艺何时才能成为艺术?艺术家范承宗运用台湾传统工艺创作出竹藤雕塑,对他而言,工艺和艺术两者的分野并不明显。他在去年的《筌屋》里向台湾中部的邵族部落取经,创作出看似漂浮于日月潭湖岸的装置艺术作品。今年夏天,他在台北当代艺术馆外面架起一件类似的手工装置,该件作品将会展示到 7 月 22 日。艺术家在这两件装置作品,创造出如空气般轻盈的结构,呈现独特美感,替传统工艺带来新气象。

When he was commissioned to create an installation on the shore of Sun Moon Lake, Feng had no clear idea of what he would make. His sole requirement was that the piece reflect the local culture, so he and his team toured the area and met with nearby indigenous communities. “I saw the Thao people’s fish traps and thought they were very beautiful,” he says. They met an elder from the Ita Thao tribe, the last of his people who could still make such basket-like traps, and he taught them his technique. “Later we analyzed the fish-trap making process and transformed it into a large-scale installation piece. I invited 20-odd tourists at Sun Moon Lake to make it with us,” he recalls. “The elder came, too, and was happy to see everyone eagerly learning the craft he’d preserved.”


当范承宗接到委托要替日月潭创作地景装置的当下,他并不知道自己要做些什么,日月潭风景管理处只告诉他希望创作能反映当地文化。因此他和团队探访当地,并和在地原住民部落族人见面。“我看到邵族人渔筌,觉得很美。” 他们见了伊达邵部落的一位长者,他是部落里最后一位懂得制作渔筌的人。这位长老亲自教授范承宗和他的团队这项技艺。他回忆道,“之后,我们将渔筌的制作过程分析,转换成一件大型装置艺术,邀请了二十几位到日月潭的游客一起制作。长老也来了,看到大家开心的在学习他保留下工艺,他很是欣慰。”

The sculpture has two window-like holes: one at the top and one looking out over the lake. “When people enter, they can look through the window and see the scene we framed, which is one of the most beautiful views over the lake,” Feng explains. “There are no built structures like restaurants, hotels, or high rises—it looks just as Sun Moon Lake did long ago.” Feng will be returning later this year to create another installation piece—this time one that floats on the water’s surface.


这件地景雕塑有两个像窗户的圆洞,一个在头顶,另一个则望向湖面。“人们走进去之后能透过圆洞看见我们框起的最美的一块小小的景色。” 范承宗解释道。“画面里没有任何饭店旅馆大楼之类的人造物,就像很久很久以前的日月潭吧。” 艺术家今年也会在这创作另一件装置作品,只是这次的作品将会漂浮在湖面上。

Taipei’s Museum of Contemporary Art provides a very different setting for Feng’s sculpture, titled “Trap.” Rather than framing a natural lakeside landscape, it sits next to a solid brick structure, offering a sort of frail monument to impermanence. And rather than enclosing visitors in an intimate space, it rises above them in a vault. The work highlights traditional crafts by taking them out of context, placing them in dialogue with a neoclassical building that’s less than a century old. Light and translucent against the museum’s red brick, Feng’s “Trap” makes a striking contrast.


台北当代艺术馆则提供给范承宗的竹编雕塑另一种不同的环境。这件名为《筌》的作品,这次不再框住湖边自然风景,而是座落于坚固的红砖建筑旁,给了这件作品某种脆弱、易逝感。跟日月潭的《筌屋》不同,当代艺术馆的《筌》不把参观者关在一个私密空间,而是像一座拱顶罩住他们。这件作品使传统工艺离开原本的脉络,让它和不到一百年的新古典风格建筑产生对话,借此彰显这项工艺。当代艺术馆的红砖立面更加凸显这件作品的轻巧和通透性。

Feng’s studio, Studio Kao Gong Ji, is named after a fifth-century BCE text documenting how various tools were made. (The Kao Gong Ji is known in English as the “Artificer’s Record.”) “It contains a line that I think is a wonderful explanation of what craftsmanship is,” says Feng. “‘A favorable heaven, an auspicious earth, beautiful materials, skilled craft: combine these four and you can achieve quality.’” He explains: “The line says that a good object contains its age, its environment, its local roots, and an awareness and grasp of beauty.”

Feng is guided by this ethos of grounding creative work in a specific time and place. The results are works of art—or craft—that draw their beauty from a painstaking, thoughtful creation process. His current project is a four-part exhibition on the food, handicrafts, farming practices, and daily life of the people in and around Taitung.


范承宗将工作室取名为考工记工作室。《考工记》写于春秋战国时期,是一本记载如何制作各式工具的古书。“里头有写到段我认为对工艺很棒的诠释。” 艺术家说。“天有时,地有气,材有美,工有巧。合此四者,然后可以为良。” 他解释说,“这段话在说一个好的物件,包含了时代、环境、自然风土以及对材料美感的觉察与掌握。”

范承宗以这段话为准则,根据不同时节和环境进行创作。而他创作出的艺术品,也可称做工艺品,因为创作过程经过仔细思量而产生美感。艺术家目前正进行四项展览计划,主题关于食物、手工艺品、农耕习俗和台东人的日常生活。

“For me, the borders between art and craft—or design as well—are blurry and hard to distinguish clearly,” says Feng. Within those borders, though, he notes that each has different strengths. From design, he’s learned the value of planning and an analytical mindset, and from art, he’s learned the value of openness and abstraction. Yet craft occupies a central place in his work. “Personally, I think craftsmanship definitely needs to involve attention to materials and to production process and methods. If a piece doesn’t have this, I have a hard time calling it craft.”

By that definition, Feng’s fish traps are certainly examples of “craft,” but they’re also works of art. He transforms traditional practices into something beyond tradition, structures that catch the visitor in a moment of wonder.


“艺术和工艺,或者再加上设计,对我来说的边界是模糊而难以清楚分割的。” 范承宗说。在这些边界里,他发现每个领域都有不同的力量。他从设计里学到规划和分析性思考的重要性,从艺术里学到开放和抽象的价值。然而,工艺是他的创作核心。“我个人认为,工艺其不可或缺的部分,正是对材料和制作过程和方法的关系,若一件作品少了这部分,我就比较难以将它和工艺做联想。”

根据这样的定义,范承宗的渔筌无疑是工艺品,而且也是一件艺术品。他让传统技艺超越了本身的传统意涵,而转换成能够让参观者惊叹不已的装置作品。

Website: chengtsung.com
Instagram: @lasicfan

 

Contributor: Allen Young


网站: chengtsung.com
Instagram: @lasicfan

 

投稿人: Allen Young

Private Symbols

A close-up of Control of Attention

There’s something familiar about Mark Arcamo’s paintings, a whiff of avant-garde anarchy that recalls the early twentieth century. Jumbles of letters and images crowd together in a chaos reminiscent of Hannah Hoch, while the faceless figures and floating geometric shapes—constants throughout his work—partake of the dream logic of Salvador Dalí or René Magritte.

Arcamo, a contemporary Filipino artist, doesn’t preface his work with the fiery manifestoes of the surrealists or the dadaists, and he may not share their revolutionary temperament. Yet in a quieter way, he does share something of their methods: he too explores a psychological landscape using a private symbolic language all his own.


Mark Arcamo 的画作有一种熟悉感,散发一股20世纪初前卫、自由至上的味道。叠合交错的字母和图像使人想起达达主义艺术家汉娜·霍克(Hannah Höch)的拼贴作品,而贯穿其作品的那些不露面的人像与浮动的几何形状,又展现着超现实主义画家萨尔瓦多·达利(Salvador Dalí)或雷内·马格利特(René Magritte)的梦幻逻辑。

当代菲律宾艺术家 Arcamo 不像超现实主义或达达主义者那样利用作品去引出激进的宣言,他也没有他们那种革命家性格。然而,他以一种更低调的方式,分享着相同的创作手法:用自己独特的符号语言去探讨内在的精神世界。

Synthetic Soul 1
Synthetic Soul 4

When choosing his subject matter, Arcamo lets his instincts guide him. “I usually start by collecting random images from books, magazines, the internet, screenshots of movies, television shows, and documentaries, or anything that catches my attention, then I let the goblins in my head take over,” he says. “I’m attracted to the idea of my work having an unpredictable outcome.”

Those images include a series of recurring elements: torsos, chess pieces, men in suits, and—most notably—abstract solids: cubes, cylinders, and pyramids, suspended in mid-air or propelled outward in a sudden blast. “Every element in my work elicits an emotional and intellectual response from me,” he says.  Others may not share his personal symbolic vocabulary, but that doesn’t bother him. “As an artist, I want my art to be open to interpretation,” he says.


在选择题材时,Arcamo 总是听任自己的直觉。他说: “我通常都是先在书本、杂志、互联网、电影屏幕截图、电视节目、纪录片或任何吸引我注意的事物上随机收集一些图像,然后任由创意和想像力发挥。最让我着迷的一点是我的作品成果总是无法预期。”

这些图像包括一系列重复的元素: 人体躯干、西洋棋、穿着西装的男人和那些最显而易见的抽象固体形状——悬浮在半空中或呈爆炸状的立方体、圆柱和金字塔等等。他说: “我作品中的每一个元素都能引起我在情绪和思想上的反应。” 其他人可能并不理解他个人的符号语言,但他并不在意。“作为一名艺术家,我希望我的艺术能够让观众有自己的理解。”他说。

Iridescent
Relent
Lustrous

Gray dominates many of these works, sometimes complemented by a matte red or blue, as in Self-Deceived 2. The human figures in particular are nearly always gray, which makes them feel like something from the past—photographs or statues, or recollections that flash by only in fragments. It’s almost as though Arcamo had set out to paint the gears and springs of memory, the mechanisms of mental life.


在他的许多作品中,灰色是主要色调,有时也会辅以黯淡的红色或蓝色,譬如《Self-Deceived 2》这幅作品。画面中的人形几乎全都是灰色,仿佛他们都来自过去的年代,如同闪过脑海的旧照片、雕像或回忆的碎片一样。这几乎就像 Arcamo 要画的是回忆世界的齿轮和弹簧,或者说,精神生活的组成零件。

Self-Deceived 2
Mindsight
Control of Attention

Arcamo loved art as a child, and he studied it formally in college. After graduation, he honed his technique working as a muralist for commercial clients. That’s when he began painting in acrylic. “It allowed me the freedom to experiment and manipulate images. It dried faster and made the job easier to finish,” he says. “At the time, I was also developing my own style—visual collage. As the work dries quickly, I can work in multiple successive layers without muddying the colors.”


Arcamo 从小就喜欢艺术,并在大学里修读了艺术专业。毕业后,他作为壁画师,曾给客户创作作品。也正是那时候起,他开始用丙烯颜料画画。 “这种颜料让我可以自由地去试验和处理图像。它干燥的速度更快,所以我也能更快完成作品。 ” 他说,“同时,我也在慢慢地确立自己的艺术风格——视觉拼贴。因为颜料干得更快,我可以同时连续完成多个图层,也不用怕弄脏颜色。”

Synthetic Soul 3
Synthetic Soul 2
Image Source 2

In his recent work, some of which debuted at the 2018 Art Fair Philippines, Arcamo has taken a turn toward the abstract. Image Source 2, for instance, shows a field of white that partly covers a sepia-toned portrait, while narrow strips of other images litter the canvas. The work has rougher edges, without the careful human outlines of his earlier paintings. Gone too are the shattered shapes suspended in dramatic three-dimensional perspectives. In their place is textured, layered flatness that paradoxically seems to have more depth. Compartmentalized is similarly abstract, and bolder in its use of color.


他最近的一些作品于 2018 Art Fair Philippines(菲律宾艺术博览会)首次亮相,看得出来 Arcamo 的创作开始走向抽象。譬如,在《Image Source 2》中,他以一片白色覆盖深褐色人像,而从其它图像剪裁出的窄条则布满了画布。在这幅作品中,和他早期绘画那些精致的人体轮廓不同,画面的边界更为粗糙,也没有了那些在三维视角中戏剧性地悬浮着的几何碎片。取而代之的是有纹理的、分层的平面色块,然而看上去却有更深的层次感。而另一幅作品《Compartmentalized》也采取类似的表现方式,同样抽象,但用色更为大胆。

Compartmentalized

These new collages, like his previous work, make use of a modernist visual idiom. Largely abandoning the human form, they nevertheless remain accessible and engaging. Arcamo seems to be searching for a new balance between color and composition, and the insight his work points to is one that, a century ago, avant-garde artists knew well: sometimes abstraction, more than representation, can deepen a work’s emotional power.


和他之前的作品一样,这些拼贴画新作也同样利用了现代主义的视觉语言。它们在很大程度上放弃了人类的轮廓,但仍然能让人理解,也十分引人入胜。Arcamo 似乎在寻找色彩和构图之间的新平衡,他的作品响应着一个世纪前,前卫艺术家的理念:有时抽象比写实更能加深作品的情感力量。

Medicated Peaceful Moment

Instagram:  @md_arcamo

 

供稿人: Allen Young


Instagram:  @md_arcamo

 

供稿人: Allen Young