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Calligraphy in Action 当书法遇上嘻哈文化

November 1, 2018 2018年11月1日

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

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

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

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

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

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

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

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

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

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

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

尽管 Mami 热爱叛逆感十足的嘻哈和涂鸦,但她依然喜欢传统文化。谈到这个话题时,她非常有诗意地说道:“传统是一棵树。它的根是不变的。但当它的年轮一圈圈往上增长,树的枝干会裂开,叶子也散开了。我希望我的工作能成为那棵树的一部分。”
Instagram: @66mami66


Contributor: Mike Steyels

Instagram: @66mami66


供稿人: Mike Steyels

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Tactical Apparel 时尚与机能只能二择一?

October 29, 2018 2018年10月29日

When functional clothing becomes fashionable, it often takes on a new meaning. Skate sneakers, army fatigues, surf wear: all these were designed for a specific purpose but went on to find a much larger market. This is a fact that Feng Chen, the co-founder of Taiwanese label 4dimension, is well aware of. His company designs clothing to be sturdy, protective, and versatile—but how it’s used is up to the wearer.

功能性服装不一定只关乎用途,时尚也可以是它的一种含义。比如滑板鞋、军装、冲浪服这类服饰,最初都是为了满足特定目的而设计,后来都逐渐拓展出更大的客群。关于这一点,台湾知名机能品牌 4dimension 主理人陈丰,有着深刻的体悟。4dimension 服装结实耐穿,不仅具备防护作用,还拥有多功能的设计,穿戴者可以自由掌握其用途与功能。

“We think good material is the cornerstone of a brand. We do the research and pick materials we want by specific function—such as waterproof, fast-dry, or ripstop fabrics—then build our design on these functions,” explains Chen.

4dimension creates pieces that offer multiple options, like their recent bag collaboration with streetwear powerhouse Kith. One pack can be worn around the waist or flipped around and slung over the shoulder. Pockets and pouches are created specifically for various devices and gadgets, and although most people won’t need all of them, they’re functional—and Chen views function itself as a form of beauty. “We do not do excessive design,” he says. “Everything from the fabric down to the details is based on the concept of ‘less is more,’ and is meant to maximize function with the least design.”

“我们相信,优质的原料是品牌的基石。我们会先做研究,根据不同功能来挑选出我们想要的面料,譬如是防水、快干或防撕裂面料,然后在这些功能点之上,再进行设计。” 陈丰解释说。

4dimension 的产品以多功能用途着称,比如他们最近与街头时尚品牌 Kith 合作的包袋系列。同一款包袋,既可以佩戴在腰上,也可以单肩斜挎。其中还有为各种设备和工具专门设计的隔层和小袋,虽然大多数人不会全部用上,但它们是有功能性的。在陈丰眼里看来,功能本身就是一种美的形式。“我们不会做过于复杂的设计。” 他说,“从面料到细节的设计,一切都遵循 ‘少即是多’ 的理念,目的是在最简单的设计之上,最大限度地提供最丰富的功能。”

Direct inspiration comes from tactical gear—clothing originally made for military purposes. 4dimension’s modular bags are based on the MOLLE system, an acronym for modular lightweight load-carrying equipment.

Of course, 4dimension’s garments aren’t made for black ops or mountaineering missions, but good design can make urban life much more comfortable, especially given Taiwan’s climate. “Taiwan is an island, so the weather here is always unpredictable,” says Chen. “This drives us to think about what kind of clothes we design. We combine the street culture we love with the functional wear we need.”

品牌设计的灵感来源于军用服装。4dimension 的模块化手袋是基于战术装备的 MOLLE 系统(Modular Lightweight Load-Carrying Equipment),即模块化承载系统设计的。

当然,4dimension 的服装不是专为秘密行动或户外登山而设计,而是旨在通过设计,让穿戴者在城市中更舒适地生活,尤其是在台湾这样气候的地方。“台湾是一座小岛,这里的天气总是变幻莫测。” 陈丰说,“这促使我们去思考应该设计什么样的衣服,将能够满足实用需求的功能性服装,与我们所热爱的街头文化相结合。”

Not only does Taiwan’s climate influence the brand’s designs, but its textile industry also plays a role. Having high-quality, low-priced materials close at hand has made it easy for the company to grow. When Chen and his business partner, Kevin Lim, wanted to move beyond their limited initial offerings, they didn’t have to look far. “We can’t afford custom-made fabric from a supplier,” says Chen, “but we can find the material we need in the fabric market right here in Taipei.”

影响品牌设计的不仅只有台湾的气候,当地纺织行业也起到了重要作用。能就近从当地获得高品质却低价的材料,这一点有助于公司获得发展。当陈丰和合作伙伴林禹丞 (Kevin) 想进一步发展产品线时,他们不必到其它地方去寻找原料。“我们买不起来自供应商的定制面料,但是我们可以在台北的面料市场就找到我们需要的材料。” 陈丰说道。

Although 4dimension can be categorized as tech wear or streetwear, Chen sees no need for labels: “The internet has broken the rules people used to rely on. There are no boundaries. Designers and brands can do anything they want.”


虽然 4dimension 可以同时被归类为机能服装品牌(Tech Wear)和街头时尚品牌,但陈丰觉得没有必要为品牌贴上标签:“互联网打破了人们过去依赖的规则。这里没有界线,设计师和品牌可以做他们想要做的一切。”


Contributor: Mike Steyels



供稿人: Mike Steyels

Malaysian Colors 作为马来西亚人

October 22, 2018 2018年10月22日

Bright. Bold. Brilliant. Just a few words that might come to mind when you see Daniel Adam’s photography. Currently based in Kuala Lumpur, Adam is inspired by social issues in Malaysia and by the visual stimulation of the country’s daily life, which he saturates with color and turns into something fresh. This is especially true in the vibrant photographs of his Batik series.

In this series, Malaysians of all colors, shapes, and sizes, predominantly women, are clothed in richly patterned fabric dotted with floral motifs and set against a backdrop of the same material. There aren’t any elaborate props, just designs and tones that catch the eye.

鲜艳、大胆、精彩——当你看到 Daniel Adam 充满活力的摄影作品时,脑海可能也蹦出这几个词。Daniel 现在生活在吉隆坡,他以日常生活中看到的视觉刺激以及马来西亚当地社会问题为灵感,创作出一系列满溢色彩与创意、令人眼前一新的作品,譬如他最近的摄影系列《Batik》(《蜡染》)。


Adam first started dabbling in photography at the age of 14, armed a compact camera and a budding curiosity about the medium. His curiosity soon grew into passion, and he went on to take a degree in photography at Falmouth University in Cornwall before moving back to Malaysia late last year.

After returning from the UK, Adam felt something was missing. Having spent so much time outside of his home country, he was out of touch with his culture, and wanted a way to reconnect to his roots. For an artist, what better way to do so than to channel his feelings creatively?

Thus the Batik series was born.

Daniel 第一次接触摄影是在 14 岁的时候,带着一部小型相机,他开始好奇地探索着摄影这一种媒介。这种好奇心很快发展成一种热爱,之后,他前往英国康沃尔(Cornwall)的法尔茅斯大学(Falmouth University)修读摄影专业,直到去年年底回到马来西亚。

从英国回来后,Daniel 总觉得若有所失。在国外生活了这么长的时间,他感觉与自己的文化逐渐脱节,他想要重新与自己的文化根脉相联结。对于一个艺术家来说,还能有什么更好的方法来表达情感呢?


Batik is a cloth-dyeing technique that originated in Indonesia, and it’s used both for traditional garments like sarongs and everyday wear such as men’s shirts. Patterns are first drawn on the cloth with a pencil and then redrawn with a hot wax made from beeswax or paraffin and sometimes mixed with plant resins. The wax acts as  a “dye resist,” so that when the fabric is soaked in dye, the treated areas retain their original color, forming a contrast and thus creating the pattern.

The wax is applied to the cloth using a pen-like instrument called a canting or tjanting (in old Dutch orthography) for small dots and fine lines, a stiff brush for larger patterns, or a copper block stamp called a cap for very broad areas. After soaking, the wax is finally scraped or boiled off, and the process is repeated if there are multiple colors involved in the design. Malaysian batik differs from Indonesian Javanese batik in its larger and simpler patterns and its emphasis on brushwork. Most designs are derived from nature and are symbolic.


涂蜡时会用到不同的工具。用以绘出小点和细线的笔,是一种名为 canting 或 tjanting(古荷兰语)的笔尖式蜡染工具,而硬毛刷则用来画较大图案,被称为“盖子”(cap)的铜块印章,则用来印画更大面积的图案。浸泡后,蜡最终会被刮掉或煮掉,如果布料的设计涉及多种颜色,就要多次重复这个过程。


Daniel sourced his batik pieces from a corner shop in Chinatown for RM10 apiece, and then just started shooting. His models are set against giant sheets of batik, with clothes and headpieces made of the traditional fabric. But the portraits themselves are far from traditional, with faces of Malaysians with skin and features that show the many branches of the country’s family tree.

This blended aesthetic is fully intentional. Instead of photographing only the three “main” races of Malaysia—Chinese, Malay, and Indian—Adam wanted to break down racial barriers by including people of mixed heritage, like Chinese-Malay, Indian-Chinese, or Eurasian. What became the unifying point was Malaysian-ness itself, and batik stood in as its flag.

Daniel 在唐人街的街角小店以每件 10 马币的价格购买蜡染面料,然后直接开始拍摄。他让模特穿上色彩鲜艳的服装与头饰,然后站在巨幅的 batik 蜡染布前。然而不同于传统的肖像摄影,他的这一系列作品展现了来自不同种族、文化的马来西亚人们的面孔和特色。

这种多元化的美感正是 Daniel 的创作意图。他不想只拍摄马来西亚的三大种族,即华人、马来人与印度人,他希望打破种族壁垒,拍摄那些不同种族的混血儿,如中马混血、中印混血或欧亚混血儿,表达出他们之间的统一点,即他们作为马来西亚人的身份,而 batik 蜡染可以说是这一主题的鲜明代表。

“I wanted to showcase diversity,” Daniel says about his series and his inclusion of every kind of race in the photographs. “I want to take away all the barriers and labels that we put on each other—for everyone to see that we just belong to one community. This beautiful and traditional art form, this design—it’s Malaysian, so it’s all linked, it brings everyone together. It’s not just about educating others and myself on batik. It’s about this connection, that we’re all Malaysian.”

“我想展示出多元化。” Daniel 解释这个系列的创作初衷以及他为什么要拍摄不同种族的人群,“我想把人们所设立的所有隔阂与标签都去掉,让每个人明白,我们全都同属一个社区。而这种美丽的传统艺术、它的设计,代表了马来西亚,它是所有人的连接点,将大家联系在一起。这不仅仅是在向别人和我自己宣传 batik 蜡染,更重要是让人们联结起来,我们都是马来西亚人。”

It didn’t take long for this series, initially a self-education and reconnection project, to become a full-blown celebration of Malaysian diversity. On Hari Merdeka, the Malaysian Independence Day, celebrated every year on August 31, the Batik Series was on full display alongside works by two other fellow local photographers, Emma Khoo and John Kam, in an exhibition at APW in Bangsar, a suburb of Kuala Lumpur. This exhibition aimed to illustrate what it means to be Malaysian: differences were recognized, celebrated, and brought together in a single exhibition.

It was truly a moment of reconnection, as Adam fondly remembers. “It was really nice for opening night—especially since we only planned it a week and a half before the event!” he says. “You got to see different people from different cultures and religions coming together and mingling—that’s the Malaysia that you expect to see.”

很快,这个充满教育意义和促进社会团结的项目,也成为了对马来西亚多元文化的一次盛大展示。每年 8 月 31 日是马来西亚独立日(Hari Merdeka),为了庆祝这个国家最重要的日子,《Batik》与其它两名当地摄影师 Emma Khoo 和 John Kam 的作品一起,在吉隆坡的郊区孟沙 APW 的展览中共同展出。本次展览旨在表达“何为马来西亚人”的主题。在这个展览中,多元化得到了承认并被呈现出来,且将来看展的人们牢牢凝聚起来。

这是真正意义上的重新联结。Daniel 开心地回忆道:“开幕夜真的特别棒,尤其那是我们在活动举办一周半之前才开始筹备的!来自不同文化和宗教的人们全都聚集在一起,这正是我们所期望看到的马来西亚。”

The Lokal Lifestyle 如果你是艺术家也是旅行者

October 17, 2018 2018年10月17日

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。”


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.


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。”
Instagram: @lokalhostel


Contributor: Mike Steyels
Photographer: Jilson Tiu

Instagram: @lokalhostel


供稿人: Mike Steyels
摄影师: Jilson Tiu


Climbing Higher with Bao Bao 的街头艺术

October 12, 2018 2018年10月12日

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,更大程度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。”
Instagram: @simplebao


Contributor: Mike Steyels

Instagram: @simplebao


供稿人: Mike Steyels

Tapping a New Generation 102 岁,她的职业是纹身师

September 14, 2018 2018年9月14日

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 他与人类之间隔着一个相机

September 6, 2018 2018年9月6日

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。


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.



For Su, taking photos of human subjects offers more than just a 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’。”


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.”


Instagram: @jan_sol

Contributor: Allen Young

Instagram: @jan_sol

供稿人: Allen Young

Bespoke Editions 稀有书籍图书馆

September 3, 2018 2018年9月3日

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。

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

Hours: Thursday–Sunday, 1 pm–9 pm

Instagram: @bplatform
Facebook: ~/bplatform
Twitter: ~/bplatform1


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

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

Instagram: @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 《周刊编集》

August 3, 2018 2018年8月3日

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.


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, 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.


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。”



Contributor: Jiang Yaling
Images Courtesy of The Affairs



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

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Uncommon Sense 凡几的生活哲学

July 26, 2018 2018年7月26日

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

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

Instagram: @common.rare
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


Instagram: @common.rare
微信: CommonRare


供稿人与摄影师: Whitney Ng

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