All posts by david

What if Kobe Bryant was a Samurai?

From a samurai-fied Kobe Bryant to a skeleton warrior rocking Jordans, Vanz Chiang’s illustrations seamlessly combines elements of Japanese culture with modern-day NBA superstars. The Taiwanese artist’s fearlessness to mash together unlikely elements from different cultures has led to collaborations with local Taiwanese streetwear goliath Remix Taipei, renowned streetwear brand Mishka NYC, and American sportswear brand Champion.


从穿着武士装的科比,到穿着乔丹球鞋的骷髅头战士,台湾艺术家江振嘉(Vanz Chiang)将日本传统文化和NBA球星做结合,创作出一系列出色的插图作品。正是这种大胆文化碰撞的风格,促成了他与台湾本地著名街头时尚品牌Remix Taipei、著名服饰品牌Mishka NYC和美国运动服装品牌Champion的合作。

Being someone who’s never bought into the rigorous structure of traditional academic curriculums, Chiang would often absent-mindedly doodle away during class and daydream about being a manga artist. “I’ve never had a concrete plan for the future,” he says with a nonchalant shrug. “My line of thinking was simple: I just wanted to do the things I loved. I’ve been lucky enough to have been able to find a career in something I’m interested in even before I even finished college.”


因为不喜欢学校严格的课堂气氛,江振嘉上课时总是心不在焉地涂鸦,或是发白日梦,幻想着成为一名漫画艺术家。”我对未来从来没有具体计划。”他耸了耸肩说,”我的想法很简单,只想做自己喜欢的事情。我很幸运,在大学毕业前就找到了自己的事业,还是自己感兴趣的事情。“

Chiang’s collection of books offers a revealing glimpse into his varied interests and creative inspirations. Inside his Banqiao studio space, his bookshelf is filled to the brim, from literature about skate culture like Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine and the Supreme monograph to art books like James Jean’s Xenograph and The Skateboard Art of Jim Phillips. But by far, the art books that dominate his shelves are those by Japanese artists. Chiang credits the famous Japanese manga artist Takehiko Inoue as being one of his biggest influences. Inoue is best known for the wildly popular Slam Dunk, a sports-themed manga series about a high school basketball team, and Vagabond, a manga series about a wandering swordsman. The influence from these two series is immediately obvious in many of Chiang’s works. Aside from the illustrative styles, the narratives presented in the manga are equally important to Chiang’s creative processs. “The manga series I enjoy reading are usually ones that explore human nature and the meaning of life,” he comments. “I suppose that might be because I’m quite introverted and often like to overthink.”


一踏进江振嘉位于板桥的工作室,就能看到他的书架上摆满了各式书籍。从有关于滑板文化的《Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine》和《Supreme》到Jame Jean的 《Xenograph》和 《The Skateboard Art of Jim Phillips》。但是,占满他书架的主力军还是日本漫画书。江振嘉说,著名日本漫画家井上雄彦(Takehiko Inoue)是对他影响最大的人之一。井上的作品包括广受欢迎的《灌篮高手》,一部关于高中篮球校队的体育主题漫画;以及关于流浪剑客的漫画系列《浪客行》。在江振嘉的许多插图作品中,都能清晰看到这两部漫画的影响,除了对他画风的影响之外,对他作品在叙事上的影响也同样重要。”我喜欢的漫画作品通常是以探索人性和生命意义为主题的,但我想这可能是因为我比较内向,常常会想太多。“

A closer look around studio reveals the full scope of his love of Japanese culture: various Japanese paraphernalia – such as oni masks, samurai helmets, and even a katana – decorate the workspace. “I like things that are intricate and mysterious,” Chiang explains, motioning towards the sheathed katana on his desk. “Many aspects of Japanese culture fit these two criteria. But I like Western armaments as well. Their heavy armor and bulky weapons still possess an inherent beauty. Japanese weapons are still my favorite. Katanas are elegant and simple, yet so powerful. Japanese armor is also beautiful and well-designed.


环顾他的工作室,你能充分感受到他对日本文化的迷恋:各种日本摆设品,包括恶鬼面具、武士头盔,甚至还有武士刀。”我喜欢复杂和神秘的东西。”江振嘉一边摆弄着他收藏的武士刀,一边说。“日本文化的许多方面都符合这两点。其实,我也是西方武器的粉丝。那些重甲和大型武器有一种内在的美。但我更喜欢武士刀,优雅简单,但威力强大,还有日本的盔甲,设计十分精美。“

Though perhaps not as readily apparent as the influence from Japanese culture, Taiwanese culture also plays a role in his creation process. “The temples of Taiwan, which can be found almost everywhere, definitely influence me,” he says. “I’m inspired by the architecture and the artistic details of the deities. I also love dragons, which are present in almost every temple. If I pass by one, I’ll often stop and take in all of the work that went into the details.”


虽然,在他的作品中,台湾文化的影响可能不如日本文化明显,但也影响着他的创作。“在台湾,随处可见的寺庙是我的创作灵感。寺庙的建筑结构,神像的艺术细节,都让我备受启发。我也很喜欢龙,几乎在每个寺庙都能看到龙的身影。我常常会停下来,认真欣赏所有的细节,思考它们的创作过程。“

In recent years, Chiang has invested much time and energy into collaborative brand projects. In 2017, he plans to readjust his focus and produce more art for himself. He’s currently in the preliminary stages of planning an exhibition and is in discussions with a few galleries. As Chiang pencils in additional details onto a new Monkey King illustration he’s been working on, he eagerly says, “I’m really looking forward to opportunities for showing off more of my personal artworks this year.”


最近几年,江振嘉将不少时间精力花在和各品牌的合作上面。但在2017年,他计划将工作的重心转移到个人作品的创作上面。最近,他正在和几个画廊联络,安排将在今年举办的一些个人展览。访问结束后江振嘉继续着他工作台上画到一半的作品,一幅孙悟空形象的插画。“我很期待今年的展览,让更多人看到我的个人作品。”

Website: vanzchiang.com
Facebook: ~/VanzChiang
Instagram: @vanzchiang

 

Contributor & Photographer: David Yen


网站: vanzchiang.com
脸书: ~/VanzChiang
Instagram: @vanzchiang

 

供稿人与摄影师: David Yen

The 2017 Kathmandu Triennale

The first-ever Kathmandu Triennale will be kicking off this Friday. Organized by the Siddhartha Arts Foundation, the inaugural event aims to celebrate Nepal’s rich cultural history and its growing art scene. As an extension of the past two Kathmandu International Art Festivals, the Triennale shares a similar goal of showcasing the educational potential of art and opening up a dialogue around the various social issues of modern-day Nepal.


本周五,首届加德满都三年展(Kathmandu Triennale,KT 2017 )即将开幕,主办方为悉达多艺术基金会(Siddhartha Arts Foundation),旨在展现尼泊尔丰富的文化历史,及其日益繁荣的艺术文化。作为过去两届加德满都国际艺术节(KIAF)的延伸,三年展的目标也在于传达艺术的教育影响力,也针对现今尼泊尔的各种社会问题,为大家创造对话的平台。

The Triennale this year is built upon the successful 2009 and 2012 editions of KIAF. The metric that defines their success goes beyond the large turnout, positive reception, and notable artists who attended. It’s measured by the lasting impact these two festivals have left on Nepal as a whole. During KIAF 2012, Cambodian artist Leang Sackon’s 70-meter-long installation, The Naga, needed to be transported into Nepal from Cambodia. To allow passage through India, amendments were made to an outdated transit treaty between India and Nepal, which has led to many economic benefits for Nepal. The past festivals also invited various schools to attend guided tours of the festival with the goal of teaching the youth about the value of art. This initiative, along with other like-minded art education platforms, has begun to shift the conservative viewpoint of the Nepalese school system that previously only saw art as an extracurricular activity.


2009年和2012年举办的两届KIAF十分成功,为今年三年展的举办奠定基础。前两届KIAF吸引了众多观众,获得了公众的热情参与,更有多位著名艺术家参展,更重要的是,它们的举办为尼泊尔留下了深远的影响。在KIAF 2012期间,柬埔寨艺术家Leang Sackon 为了将70 米长的艺术装置《The Naga》从柬埔寨运到尼泊尔,促使印度和尼泊尔重新修订了两国间过时的过境条约,为尼泊尔带来了长久的经济利益。在前两届KIAF中,主办方还邀请了当地学校组织有解说的参观活动,目标是让青少年更多地了解艺术的价值。这样的活动,正逐渐改变尼泊尔学校以往只把艺术看作课外活动的传统观念。

The Naga by Leang Seckon
The Naga by Leang Seckon

The central theme of this year’s Triennale revolves around the concept of “The City.” The primary exhibition, The City, My Studio / The City, My Life, will explore the idea of cities being nodes of creativity. Through presenting a mix of new and existing works of participating artists, the exhibition will examine the complex role and multiple functions of cities, showing how they’re interconnected into the heritage, lives, and creative processes of these individuals. The exhibition is also dedicated to all those who lost their lives in Nepal’s 2015 earthquakes.


此次三年展的中心主题是“城市”。主要展览《The City, My Studio / The City, My Life》(城市——我的工作室,城市——我的生活)探索了以城市为创意节点的理念。通过展示各国艺术家的作品,探讨城市的各种复杂角色和功能,展现出城市与艺术家个人在传统、生活和创作过程中的相互联系。此外,今年的三年展的举办也是为了致献在2015年尼泊尔地震中丧生的人们。

Born in Kathmandu, Ang Tsherin Sherpa is known for his contemporary reinterpretations of traditional thangka art.
Street artist Kiran Maharjan is one of the organizers of the Prasad Project, which aims to make a positive impact on Nepalese youth.
Cai Guoqiang is an award-winning Chinese artist who's known for his literally explosive works of art.

KT 2017 will be inviting over 50 artists from 25 different countries to participate in this year’s exhibitions, such as influential local artists Ang Tsherin Sherpa, Kiran Maharjan, Hit Man Gurung and many more. Prolific international artists like Cai Guoqiang, Francis Alÿs, Surasi Kusolwong will also be showcasing their work in the city. KT 2017 will take place between March 24th and April 9th at multiple venues across the city of Kathmandu. Check out the official Kathmandu Triennale website for more information.


KT 2017 将邀请50多名来自25个不同国家的艺术家参加今年的展览,包括当地艺术家 Ang Tsherin Sherpa和 Kiran Maharjan,几位著名的国际艺术家,如蔡国强、Francis Alÿs和Surasi Kusolwong等也会在这里展出他们的作品。KT 2017 定于3 月 24 日至 4 月 9 日在加德满都多个场地举行。登陆浏览加德满都三年展官方网站,就能了解更多相关信息。

Silencio by Francisco Alÿs

Websitekt.artmandu.org

 

Contributor: David Yen
Images Courtesy of the Siddhartha Arts Foundation


网站kt.artmandu.org

 

供稿人: David Yen
图片由Siddhartha Arts Foundation提供

To Infinity & Beyond

 

无法观看?前往优酷

Every little boy dreams of having a room filled with their favorite toys. As we grow older, that dream doesn’t necessarily disappear. In the last decade, the market for derivative toys has exploded in China. From horror flicks to sci-fi films, movie-themed figurines have long been one of the most sought-after categories of toys for collectors and hobbyists. Subsequently, a majority of the collectible figurines in the past were based solely off of characters from American and Japanese pop culture. In China, a few individuals began asking “Why have we never seen action figures based on Chinese culture?” This culminated in their decision to try and create a premium collection of high-quality collectible figurines that are culturally relevant to China. And so, Infinity Studio was born. We recently dropped by their Shanghai studio space and spoke to Dayu, one of the co-founders of Infinity Studio, to find out what goes into each one of their detailed creations.


相信男孩们的共同梦想就是拥有一柜子的玩具,即使长大成人后这个梦想也不曾退去。近十年,衍生品玩偶在中国大幅发展,其中最主要的一类便是电影衍生品,从科幻电影到恐怖电影应有尽有,充分满足了大家的收藏欲望。然而,大家主要购买的还是欧美动画或是日本动画的衍生品玩偶。这时有些人发现了问题:“似乎我们很少看到中国本土形象的衍生产品?”正是因为这个问题的存在,促使了这一群“大孩子”们自己动手,励志创造出最棒的中国元素玩偶雕塑作品,他们便是开天工作室最近,我们来到开天在上海的工作空间,和他们其中一位创始人大鱼碰面,聊了聊关于玩偶制作的细节和心得。

Neocha: It’s impressive how you guys are leading the charge in producing action figures relevant to Chinese culture, but how do you decide on the stories or subjects that you want to tackle?

Da Yu: In the past, we didn’t put much thought into it and we just made what we personally liked. Going forward, we’d like to toss this question to other hobbyists and collectors. They can decide what sort of action figures they’d like to see. If we face the problem of copyright, we’ll do everything we can to acquire licensing rights and make it happen. We just want passionate collectors to be able to own the action figures they want the most.


Neocha: 开天工作室目前致力于创作中国元素的雕像,那么在选题上你们是怎么决定的?

大鱼: 之前我们在题材选择上是随心所欲,做我们喜欢的东西。今后我们想把这个题材选择权交还给玩家,让玩家决定出什么题材,如果要争取版权的话我们也会去全力争取,让玩家能真正买到心中想要的玩偶。

Neocha: Your creations are digitally designed and 3D printed. What would you say the differences are between using modern technology versus traditional handcrafted techniques?

Da Yu: Regardless if it’s handmade or 3D, the inherent nature of the creation doesn’t change – they both require a keen sense of aesthetics and an accurate grasp of anatomical proportions. The creation method is different, but the advantage with using 3D printing is that we can quickly make changes and adjustments. We also aren’t limited by our workspace, and it’s easy to collaborate together on ideas. We also like the hand-sculpted stuff, but many of the talented artistans who have switched to 3D printing still produce amazing work.


Neocha: 你们的制作方式是电脑设计+3D打印,这样的方式对比传统的手工雕模和翻模制作有什么区别或是优势吗?

大鱼: 无论是手工还是3D,其实本质是一样的,都需要审美,对生物结构的精确把握,区别的只是手段。在这方面3D的优势是可以快速进行修改,和进行比例调整,不太受限于工作环境,便于协作。手雕的东西我们也很喜欢,有很多活好的手艺人,转用3D以后也都做得很棒。

Neocha: The details of your creations are mesmerizing, especially the eyes and the hands. What are some of the obstacles you’ve had to overcome to reach this level of detail?

Da Yu: 3D printing is a new technology that’s only been widespread in recent years. Naturally, there will be many things that we’re still figuring out. In the beginning, we wasted pounds after pounds of raw printing material that cost us 50RMB a gram; we didn’t install proper installation systems, so we unknowingly inhaled lungfuls of the hardener fumes, until we were on the verge of passing out; and when using the spray paint gun, a draft of air sent all of the paint into our mouths. These challenges didn’t matter to us. We were perseverant and willing to do anything if it meant we were a step closer to making our dreams happen.


Neocha: 我发现你们的作品,在细节部分十分的出彩,特别是眼睛和手部,在制作上你们一定经历了不少困难吧?

大鱼: 用3D设计和3D打印制作模型是近年来才出现的一种开发方式,中间肯定是有非常多的未知性,比如50多元一克的3D打印材料,我们打费了好几斤,翻模的时候固化剂刺鼻的味道没几分钟就使人头昏脑涨,一开始涂装间没有通风设备,结果一开喷枪都被风倒灌进嘴里了。但我们觉得这些都不是事儿,比红军长征爬雪山过草地差远了,我们心中有坚定的,可以为之付出一切的目标,为了这个什么困难我们都会克服。

Neocha: In China, how has the action figure and toy figurine scene developed over the years?

Da Yu: A decade ago, the high-end market for action figures was quite niche and completely dominated by overseas brands. In the last two years, domestic brands have started to emerge. Us Chinese people aren’t exactly behind when stacked up against other overseas competitors. In terms of progress, I feel like standardizing regulations, proper licensing, and branding is king.


Neocha: 你觉得目前国内的雕塑这一块发展如何?

大鱼: 雕像这个高端小众市场,前十年基本都是国外品牌,近两年国内品牌逐渐冒头。咱们勤劳的中国人民其实干这种东西是不输国外的。但要说今后的发展,我觉得正规化,正版化,品牌化才是王道。

Neocha: Recently, you guys got the licensing rights for Naruto. Do you feel like this is a deviation from your original goals? Will the products from your Naruto collection be sized the same as your Three Kingdoms figurines?

Da Yu: We plan to establish a separate brand that creates derivative work from anime like Naruto and Neon Genesis Evangelion. Eventually, we hope to turn Infinity into a collective of brands rather than a single brand. Everyone has their own preferences, so we want to satisfy toy figure enthusiasts of all types. We’re still waiting for the production committee before we begin on working on any Naruto merchandise, but we definitely won’t make them as big as our Three Kingdom figurines. They’re too big and difficult for collectors to store them. Our mentality is to make toys that all collectors can easily afford and easily display.


Neocha: 近期开天工作室还拿到了“火影忍者“的版权,这个会不会与你们的初衷不符呢?火影忍者的产品还将会是和三国系列一样的大尺寸雕像吗?

开天: 火影包括,EVA这些日漫二次元IP,我们会演化出一专门的子品牌,未来会形成一个开天工作群的概念,毕竟萝卜白菜各有所爱,我们希望尽可能的满足各种玩家的爱好。火影目前还处于制作委员会监修阶段,但绝对不会做成三国这种大比例的雕像,这种太大了,玩家不好收纳。我们希望做玩家买得起放得下的良心之作。

Neocha: Certain Western large brands are creating their own original designs aside from their licensed derivative products, such as the Court of the Dead collection made by SIDESHOW. Do you guys have plans of doing something similar?

Da Yu: We’re already creating original work, but they won’t just be figurines. The plan is to extend our ideas into different types of content, such as a comic. I feel like different creative fields are all interconnected, so we want to enrich our content through the use of different mediums. We definitely want our creations to be immersive and impactful. But the most important thing of all is to tell a great story.


Neocha: 欧美的一些雕塑大厂比如SIDESHOW的作品除了拿IP做衍生品之外也会出一些原创设定的造像,比如死亡法庭系列。那么你们将来会不会也尝试制作一系列的原创造像?

大鱼: 原创我们已经在做了,不仅有雕像产品,还会配合漫画等内容载体,文化创意行业都是相通的,我们希望用各种丰富的内容载体,让我们的作品更加有代入感,有故事,有张力。

Website: kaitianstudio.com
Facebook
: ~/InfinityStudioOfficial
Weibo: ~/InfinityStudio

 

Contributor: Sonic Yuan
Photographer: George Liu ZhenSonic Yuan
Videographer: Sonic YuanBing Ying


网站: kaitianstudio.com
脸书
: ~/InfinityStudioOfficial
微博: ~/InfinityStudio

 

供稿人: Sonic Yuan
图片摄影师: George Liu Zhen
视频摄影师: Sonic YuanBing Ying

Translocation of Self

 

无法观看?前往优酷

In speaking with Taiwanese musician and visual artist Chiu Pi, I observed a sense of humility that’s rarely seen in the youth of today. His worldly outlook and viewpoints appear to be condensed and infused into his art, and only when examining his work as a whole, will people be able to get a better understanding of him as a person. His music has been dubbed as mystical and minimalistic avant-garde, but these classifications don’t quite do justice to his genre-bending work. In the span of two short years, he’s released 17 albums, made various televised appearances, and produced many commissioned commercial projects. Even in his success, Chiu Pi remains quite humble, shy even. For our interview, using the same unconventional wisdom that’s become a trademark of his art, he recontextualized our questions and presented it as a stream of consciousness narrative, which served as the preface to his answer.


邱比身上有一种在青年人身上难得一见的谦恭,好像他对事物的态度他的感官都藏进他的创作中,综上所述你才能得出一个立体的邱比的印象。他的音乐被贴上“仙气”或是极简前卫这样的字眼,但都不足以概括一贯克制的邱比。两年间他创作了十七张唱片,上节目,也创作了一些商业合作作品,但似乎在主流媒体世界里小有成就的邱比依然是那样谦恭与腼腆。回答我们的问题的时候,他总以一个关键词开始,再围绕着这个关键词去阐述他的想法,我想这种意识流的回答方式也正是他潜移默化藏进作品中的东西。

Listen to two selects tracks and read our interview with Chiu Pi below.

 Chiu Pi – PY
 Chiu Pi – Dance Floor (Diamond Lil Remix)


这里先插播两首我们最喜欢的邱比的歌,边听边看下面的访问吧。

 邱比 – PY
 邱比 – 舞池 (Diamond Lil Remix)

Neocha: Your new book was published not long ago. What have you been working on ever since?

Chiu Pi: Willpower” – Inevitably, I always play the supporting role in life. Real inner peace and harmony doesn’t come from logic, but from faith and from the potential of self, a voluntary system of intuition.

Throughout the month of March, I’ll be at Taipei’s Kyushu Temple Forest for Scout, a solo exhibition tied to my first book End of Comfort. I’m honored to be joined by Huang Chenghuang. At the exhibition, we’ll be discussing George Gurdjieff’s The Fourth Way and I’ll also be teaching five courses on the Gurdjieff movements, which are a series of sacred dances, to help those who might be interested in working towards a deeper understanding of self. I also recently worked on the soundtrack for HTC’s virtual reality space that was exhibited at the National Palace Museum.


Neocha: 你的新书前不久发布了,那你最近在忙些什么?

邱比: “意志” —— 我总是无可避免的成为了人生的配角,真正的内在平静与祥和,不是从逻辑中得到,而是信仰中执行,从自我的潜能中,自愿并执行那份高直觉的力量。

整个三月份,我在台北纪州庵文学森林举行《Scout》,它将是以我的首部书《最后安慰》为核心发展出来的个展。我很荣幸邀请了黄承晃老师谈葛吉夫和第四道,并且我也将在展期内教授五堂神圣舞蹈课,帮助有志于用更深刻的方式工作自己的人,找到一个适应学习的工具。上个月为故宫的HTC虚拟实境合作计画配乐,在后续故宫发表的影片上皆听到。

Neocha: Having dabbled in theatre, music, dance, writing, and other artistic fields, do you prefer any over the rest?

Chiu Pi: “Maps” – Take me on a journey. Take me on your travels. The dying god hangs off a cliff. His last words: “Take me. Go experience the world in place of me. Maybe we can drift ashore together.”

In the seven years between high school and college, I was part of U-theatre and performed in various places like the Taipei Art University. I performed many scripts I wrote myself during this time. The performers I trained, went on and held avant-garde theatre performances in many places. In the past three years, I released an album in Mandarin Chinese, wrote hundreds of sheets of original music, and worked with Rolling Stone Records to establish a Taiwanese electronic music label. When I graduated from high school, I wanted to study philosophy. When I graduated from college, I wanted to establish my own theatre troupe and perform at all the biggest art festivals. None of these dreams happened but I’m not disappointed. I suppose it might be because I don’t know what I’m truly passionate about yet.


Neocha: 尝试了戏剧,音乐,舞蹈,文字等多个艺术领域,你心里会存在偏重的一方吗?

邱比: “地图” —— 带我去游览,带我去游历,垂死的上帝高挂在挣扎之崖。 他的遗言:“带我去吧,尽你所能的代我去经验世界。或许我们能一起靠岸。”

高中到大学七年间,我在优人神鼓,台北艺术大学等学校钻研表演艺术,在当时也搬演了许多自己撰写的剧本,我训练的演员在各地进行前卫剧场的演出,过去三年我发行了华语唱片,写了近百首原创的乐谱,今年滚石唱片更恰好成立了台湾的电子音乐厂。在高中毕业之际我希望念的科系是哲学系,在大学毕业时我希望创立自己的剧团在各大艺术节巡演,这些梦想我通通都没有实现。但我却不应该失望,因为或许我还不知道我真正热爱的是什么。

Neocha: From releasing your first album, to the Shoot For The Stars collaborative album, then to televised appearances – how have these experiences affected you or your creative process? Do you have any revelations regarding independent music?

Chiu Pi: “Environment” – Bring music straight to the consumers. It was a dream at first, but now it’s reality.

Music and environment are intrinsically linked. When something demands to be noticed in the environment, that same thing should translate over to music production. Being able to appreciate your surroundings is the same as being able to appreciate music. I take particular care to the environment when I’m working with vocals, which gives my music a fun and surreal quality to it. In the past, my productions emphasized a sense of space. I feel like the management of virtual spaces and the possibilities of music in the future will be closely related. Space has to become a solid. Space has to become definite. Space must contain levels. The next step is translocation, the translocation of our inner selves. This is my new understanding of music.


Neocha: 从第一张专辑到寻光计划再到后来的电视节目录制,这些经历对你自身以及你的创作有什么影响吗?或者你对独立音乐创作环境有什么新发现?

邱比: “环境” —— 把音乐直接传到消费者的耳里,首先是一个梦想,现在它已成为事实。

音乐跟环境息息相关,也就是说一个环境应该注意的事,正是音乐创作上该注意的事,欣赏一个环境的方式也是欣赏音乐的方式。在人声的处理上我特别在意环境立体感,它让音乐有一种音乐有一种在听觉上进行虚拟实境的趣味,过去的音乐在录音上,混音上强调空间感。我觉得音乐未来的可能性和虚实环境的管理有关。空间必须变得具体下来,空间必须变得明确下来,空间必须变得有层次。接下来,就是易位 – 内心环境的易位,这是我对音乐的新领悟。

Neocha: It’s difficult to imagine you living in an environment that restricts your freedom. Can you talk about your experience with conscripted army service?

Chiu Pi: “Self-discipline” – What’s our plan? I suggest that we stop accepting or presenting ourselves with fear as a tool for self-progression. Please consider this alternative: Let yourself grow. This benefits everyone.

The higher-up officers would impose their dogmatic ideals. But this was an opportunity to develop yourself and test yourself on whether you can adhere to their guidelines. In this sort of environment, your own thoughts become mentors. Your mind is autonomous. In everyday life, negative thoughts are useless. For example, these thoughts might be that I’ve always been a lazy person by default or I’ve always been a quitter. The first step to living freely is to stop consuming, the most negative part of the two examples are the words “always.”


Neocha: 总觉得很难想像制式生活里的邱比,可以说说你当兵期间的生活吗?

邱比: “自律” —— 我们的计划是什么?我建议要停止接受或对自己描绘基于恐惧的进步建议。请选择这一种建议:让你自己进步,这对大家都有好处。

每一个“教条”都是被长官所限制的,因此你可以借此机会发展,并检验你是否能在受限的“教条”下多守规,从这样的关系里面,你让你的每一种念头都成为你的导师,你的念头会告诉你- 你的自律之道。在进行制式生活中,你的负面思维是无用武之地的,例如:我本来就是一个懒惰的人,我本来就是一个以放弃为操守的人。自由生活的第一步是停止消耗。上述句子中最负面的是属“本来”二字。

Neocha: Was there a certain point in time where you felt like you were “complete,” or do you feel like you’ve always been yourself?

Chiu Pi: “Self” – Don’t attempt to prophesize results, but do keep it in mind. If I let you down, it’s a sign, a sign that you need to save me.

When does a person feel happy or content? Most of the time, it’s when a person is able to unleash the full potential of their personal value. But is this value measured? By who and in what ways? When do I know I’ve exerted the most of my value? A person that’s inline with their “self” should not lack integrity, even for a moment. Once a person recognizes that they understand their “self,” then they’re complete. Prayer is something that stops the flow of ideas; it splits two different schools of thought. Praying is the crevice between thoughts, and the response to prayers come from the resolution of your own work.


Neocha: 对你来说有没有一个时刻让你觉得自己完整了,还是说邱比一直是这样的邱比?

邱比: “自我” —— 不去预测结果,只是在意恰当。我让你失望是一个标示,一个你需要拯救我的标示。

人什么时候会觉得幸福,圆满呢?大多数时候是:你能够自如的发挥你的最大价值。但这个最大价值是需要被检验的吗?由谁,怎么检验,我如何知道我是否已发挥了我的最大价值?一个自我的人不应该有一刻缺乏完整,一旦他宣称自己具有“自我”,他就必须是一个持续完整的人。祈祷是一个停止念头的运动,它将两个念头分开,祈祷是念头之间的空隙,对祈祷的回应是根据你工作时候的信念。

Neocha: Does your new book End of Comfort have any special meaning to you? What sort of books do you normally read?

Chiu Pi: Future” – Love is an endless revelation.

Three messages: 1. I’m worthy of God’s love. 2. Teaching the value of artificial intelligence. 3. Being an authentic version of myself.

The name End of Comfort is meant to be about mysticism. This is my favorite personal work so far. It comes from my soul. Normally, I like to read books that force you to think. I recommend the books Record of Words and Deeds of Wang Fengyi and Biocentrism: How Life and Consciousness are the Keys to Understanding the True Nature of the Universe by Bob Berman and Robert Lanza.


Neocha: 你的新书《最后安慰》对你来说有什么特殊的意义吗?你平时会读什么样的书?

邱比: “未来” —— 爱在无尽启示中。

三种讯息:1. 我是值得上帝爱的那种人。 2. 教导人工智能人类的价值。 3.一个真实不虚的人的氛围。

《最后安慰》是一本“神秘学的书”。它是我目前最欢喜的作品,这本书是我精神的婚恋。我平时喜欢读思考工具类书籍。推荐:《王凤仪言行录》和罗伯兰萨的《宇宙从我心中升起》。

Website: chiu-pi.portfoliobox.me
Weibo: ~/chiupi
Instagram: @chiu.pi

 

Contributor: Shou Xing
Photographer: Lin Junhong

Images Courtesy of Chiu Pi


网站: chiu-pi.portfoliobox.me
微博
: ~/chiupi

Instagram: @chiu.pi

 

供稿人: Shou Xing
摄影师: 林俊宏

图片由邱比提供

The Hand of God

 

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In August and September of every year, many states in India celebrate Ganesh Chaturthi, one of the most significant Hindu festivals of the year. It celebrates the birth of Ganesha, one of the most-worshipped deities in Hinduism, who’s known as the remover of obstacles, the patron of arts and sciences, and the deva of wisdom. In 1983, the celebration was transformed by renowned social activist Bal Gangadhar Tilak from private household affairs to the gala-style celebration that we see today.


每年八月和九月,印度多地会举办大型庆祝活动,迎接一个盛大的节日—象神节 这个节日的出现是为了纪念象头神迦尼萨(印度教中一位重要的神明的诞辰,迦尼萨是创生和破除障碍之神,艺术和科技的灵感之神,也是智慧的象征。这个节日的出现要追溯至1983年,那时印度社会活动家 Bal Gangadhar Tilak 将这个节日从私人的家庭式庆祝活动转变为现如今公众性质的大型庆典活动。

As part of the festival, people bring idols of Ganesha home; build pandals, which are temporary structures specifically made to host larger idols; and gather in public spaces to celebrate over the course of ten days. In the days leading up to the festival, before being stationed at the intended pandal, giant statues of Ganesha can already be spotted around the city. The actual festival is even more of an impressive sight: traffic stands at a complete halt, the roads glimmer in the saffron of marigold, shankha conch shells are blown, and the drums don’t stop beating. People dance and cheer in sheer joy at seeing Lord Ganesha.


在这个节日里,人们将象头神神像带回家,并专门搭建临时“神棚” (Pandal)来供奉如此巨型的象头神像。大家出门聚在一起庆祝这个节日,前后大约十天,十分热闹。在节日开始之前,人们会举着巨型象头神在城市里巡游,最后才将它放置于神棚里。 节日的时候,整座城市的交通会临近瘫痪状态,道路两旁摆满橙黄色的万寿菊,人们吹着螺号打着鼓,气氛十分热烈。大家跳舞,欢呼,沉浸于将象头神带回家的快乐中。

However, the workshops that are set up and prepare months prior to the festival are often forgotten. Artists and laborers work from day to night for weeks on end, toiling away to perfect the details of each idol. Typically, these idols are made of gypsum plaster, with larger idols reaching heights of around 30 to 40 feet. Their smaller counterparts are eco-friendly, being made with china clay or mud. Some of the even smaller idols are made with non-traditional materials like papier-mâché, pencils, or even cardamom.


然而在庆典开始之前,神像艺术家和工匠们还要花几个月的时间来筹备。他们在工作坊内日夜工作,一点一点细致地打造着这些象头神像。通常,大型神像是用熟石膏制成,可达30至40英尺高。小神像则环保一些,用高岭石或泥制作。 有时工匠们还会选用特殊材料打造更小而精致的神像,例如用废纸、铅笔,甚至可以用豆蔻来制作神像。

“We sculpt these idols starting from the base and that goes on until the tip of the crown,” an artist commented as he chiseled away at the statue. “This is the most time-consuming part of the process. Once the sculpting phase is over, we’ll then apply a certain amount of heat to the statue, especially around the joints, so that it can harden.”


“我们从底部开始雕刻这些神像,一路往上,直到神像的头冠” 一位神像艺术家一边雕刻一边向我们解释道。“雕刻是整个神像制造过程中最耗时的部分。 雕刻结束之后,我们要给雕像加热,特别是各部分连接的位置,这个步骤让它更加牢固。”

One of the most incredible parts of the creation process is when colors and lines are introduced to the bare statues. The idols are painted by hand from top to bottom with small brushes. Gleaming shades of reds and blues are applied to the attire, the symbolic lotus of Lord Ganesha’s right palm is drawn, the lines of the ear lobes are added, and Ganesha’s crown is made to shine. Every small detail is given its rightful share of attention. “I’m very particular about the eyes,” an artist says as he paints a small Ganesha idol that he planned to take home. “I take the maximum amount of time in getting them right. To me, that is where all the beauty and the energy of the idol is.”


整个制作过程中,最奇妙的是勾线和上色的部分。工匠们用小刷子由上到下为神像上色。他们将神像的服装画上带有光泽的红色或蓝色,在神像的右手手掌上画上有宗教象征意义的莲花图案,再为神像画上耳垂,接着,迦尼萨的头冠被涂上闪闪发光的金色,上色的过程中每一个小细节都恰到好处。“我绘画的时候会特别留意眼睛,会用大量的时间来研究怎么把它的眼睛画好,对我来说,眼睛是整个神像的美和精神的所在。”一名艺术家解释道。他正在给他的小象头神像上色,完成后他打算将它带回家。

Visiting the workshop was an inspiring experience. It was a place where people from different walks of life joined together and worked as one. To me, these artisans’ sense of dedication, faith, and unity are what truly make these idols come alive. This year’s Ganesh Chaturthi will begin on August 25th and end on September 5th. Mark your calendars if you want to see the festivities in person!


拜访这间神像工作坊是一个具有启发性的经历。在这里,我看到来自不同背景的人在一起融洽地工作。正是这些神像艺术家的奉献,信念和团结才让这些神像充满了灵魂。今年的象神节将于8月25日-9月5日举行,不想错过这个节日的话,现在就圈起你的日历吧。

Videographer, Photographer & Contributor: Omkar Phatak


供稿人,图片摄影师与视频摄影师: Omkar Phatak

Tokyo After Dark

With an affinity for neon-lit alleyways and rain-slicked streets, Japanese photographer Masashi Wakui roams the nocturnal cityscape of Tokyo, capturing the Japanese capital in all of its luminous splendor. Wakui’s unique post-processing style instills his photos with a cinematic moodiness that has become his signature aesthetic. His colorful images blur the boundary between reality and fiction, often more closely resembling scenes out of Akira or Ghost in the Shell than real life. Check out more photos from the talented photographer below.


日本摄影师Masashi Wakui专注于捕捉东京迷幻的城市夜景,尤其是布满霓虹灯的小巷和反着光的潮湿街道。在Wakui的镜头下,东京仿佛是一座永远发着光的不夜城,这些场景看起来游离于现实和虚幻之间,给人一种电影般的氛围感。独特的色彩处理和光线的运用为Wakui的照片带来一种强烈的个人风格,有时甚至有点像日本动画片《亚基拉》和《攻壳机动队》中的场景。下面和我们一起看看这位摄影师更多的作品吧。

Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

Contributor: David Yen


Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

供稿人: David Yen

Short Flashes

For most people, commuting through rainy weather is a dreadful thought. Traveling by bicycle or motorcycle in the rain is even worse: tires splash mud and grime onto your shoes and clothing, the road is slippery and dangerous, and water wreaks havoc on both bicycle and motorcycle parts alike. In the photo series Short Flashes by Wiktoria Wojciechowska, the Polish photographer manages to capture the utter misery of Chinese cyclists commuting in the rain.


对于大多数人来说,在阴雨天气上下班是一件很不愉快的事情。而在雨中骑自行车或摩托车就更糟糕了——轮胎溅起的泥浆和污垢会弄脏鞋子和衣服,路面变得湿滑危险,雨水还会侵蚀自行车和摩托车的配件。在摄影系列《Short Flashes》中,波兰摄影师Wiktoria Wojciechowsk,用镜头捕捉了中国人们在雨中出行时的痛苦。

Synonymous with rainy weather in China, the flamboyantly colored raincoats depicted in Short Flashes are an all-too-common sight in every Chinese city. But for Wojciechowska, who had never been to China prior to her moving to Hangzhou, these colorful cyclists immediately piqued her interest when she arrived. She began shooting the project as a means of curing the loneliness she experienced, and it also served as her personal method of connecting with a culture and people that she was still unfamiliar with.


在中国的各个城市,每逢下雨天,你总能在街上看到人们穿着色彩张扬的各式雨衣,骑着自行车穿梭于城市的大街小巷。而这个在中国很常见的场景,对于Wojciechowska这个初来乍到的外国人来说,却一点也不普通。Wojciechowska住在广州,但这也是她第一次踏足中国,所以这里对她来说依旧是一个非常陌生的环境。为了缓解一个异乡人的孤独感,以及拉近和这座陌生城市的距离,Wojciechowska选择拿起相机,开始了这个名为《Short Flashes》的摄影项目,记录着雨衣之下形形色色的人们。

Reminiscent of street photographer Bruce Gilden’s infamous technique of leaping out in front of strangers with his camera and a bright flash, Wojciechowska also used a flash for her candid portraits, but with an approach considerably less aggressive than Gilden’s. With her DSLR and speedlight, she would patiently wait on the side of the road until the right subject came along. The use of a speedlight and a slow shutter speed allowed Wojciechowska to both freeze each subject while still conveying a sense of movement. Like other talented photographers, Wojciechowska has ingeniously transformed the mundanities of daily life into an undeniably compelling photo series. In 2015, she won the Leica’s Oskar Barnack Newcomer Award for Short Flashes.


这一组照片让人想起街头摄影师Bruce Gilden那“臭名昭著”的摄影方式:突然跑在陌生人面前,用相机和耀眼的闪光灯拍下照片。同样地,Wojciechowska也是将热靴闪光灯直接对准了她的摄影对象,虽然她的方式没有Bruce Gilden那么“野蛮”——她会先将单反相机和闪光灯在路边架好,然后耐心等待合适的摄影对象出现。使用闪光灯和较慢的快门速度让她在清晰定格人物的同时,让照片营造出动感。一如其他才华横溢的摄影师,Wojciechowska巧妙地从日常生活的场景中捕捉到一系列出色的照片。2015 年,她凭借《Short Flashes》赢得了Leica Oskar Barnack Award 摄影奖。

One particular quote from Wiesław Myśliwski’s novel A Treatise on Shelling Beans resonated within Wojciechowska’s mind as she shot the project: “There are infinitely many of these faces I carry inside myself. Conceived in short flashes. I don’t know whose, where, or when. I know nothing about them. But they live in me. Thoughtfulness, gazes, sorrows, pallor, grimaces, bitterness – they live in me, detained like on photographies.” Short Flashes is available for purchase from independent publisher Bemojake.


当Wojciechowska 拍摄时,她的内心会想起Wiesław Myśliwski 小说《A Treatise on Shelling Beans》中的一句话:“在我的内心,存在着无数张面孔,就像是用闪光灯近距离拍下的人像照片。我不知道他们是谁,身在哪里,或是在什么时候。我对他们一无所知。但他们就存活在我的内心——他们的沉思、凝视、悲伤、苍白的面孔、鬼脸或是怨恨——他们就像照片一样,印在我的内心。”《Short Flashes》目前正在独立出版社Bemojake的网站发售。

Website: wiktoriawojciechowska.com

 

Contributor: David Yen


网站wiktoriawojciechowska.com

 

供稿人: David Yen

Long(ing) House

 

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Malaysian Borneo may not be as vast as its Indonesian counterpart, but it is every bit as mysterious. As you go deeper into its interiors, traversing the thick and untamed rainforest, you’ll find cultural treasures like the traditional longhouses of the Kelabit people, which have been well-preserved and protected from our encroaching modern civilization.


婆罗洲地跨马来西亚与印度尼西亚两国。虽然马来西亚管辖的领域不如印尼管辖的领域那样广阔,但它的神秘魅力丝毫不差。当你穿越茂密的原始雨林深入探索,就能发现许多文化瑰宝,譬如加拉必族的传统建筑——长屋,它远离了现代文明世界的影响,得以完好地保存下来。

I’m off to meet the craftswoman Sina Rang at her homestay in Bario, in the heart of Sarawak, one of the two Bornean states of Malaysia. Before I hop on the 14-seater Twin Otter, I’m asked to weigh myself with all my hand luggage. The outcome of this measurement is quickly noted down. I follow the bubbly mix of locals, tourists from West Malaysia, a couple of foreigners… and a few cages of chicken as we’re invited to take our places onboard. I’m the last one to enter and the door shuts directly behind me, cutting off my route of escape. The vehicle reminds more of a stuffy mini-van than a plane. What comes next is an unnerving feeling as the air-van starts moving before I can sit. I eventually clutch at 1A, a seat just behind the pilots – the cockpit has no doors – as one of them quips, “You got the first class ticket! Congratulations.” We take off effortlessly into the clear skies, towards the ominously dark clouds amassing on the horizon.


我出发去巴里奥(Bario)拜访当地的手艺人Sina Rang,约在她的民宿会面。巴里奥位于沙捞越的中心区域,这里是马属婆罗洲领土上的两个行政区域之一。我们搭乘 14 座的双水獭飞机前往巴里奥。在登机之前,我被要求先去称一下自己加上随身行李的重量,他们快速地将测量结果记录在案。然后,我就跟着当地人、几个来自马来西亚西部的游客、几个外国人……还有几笼鸡一起上了飞机。我是最后一个登机的,舱门在我身后直接被关上,切断了我想要逃跑的最后可能。在我看来,这更像一辆拥挤的小型面包车,而不是一架飞机。我开始感到不安,因为在我坐下来之前飞机就开始移动了。我的座位是 1A,就在飞行员后面,驾驶舱是没有门隔着的,其中的一位飞行员还打趣道:“恭喜你拿到了头等舱的机票!” 之后飞机毫不费力地成功起飞,上升至晴朗的天空中,但朝着一团积聚在地平线上的乌云飞去,给人一种不祥的预感。

We fly over grids of never-ending palm plantations, which go on for miles until reaching one of the national parks – the last frontier of modernity. The jungle finally takes over. We pass the two peaks of the Batu Lawi, known as sacred mountain protectors, which seems to angrily react to our presence by conjuring an unforgiving storm around our toy plane. The foreigners scream, and I quickly regret the privileged view I’m getting into the cockpit. I’ve been warned that in the worst-case scenario our tiny aircraft can glide and glide. I’m still quite doubtful but these planes had flown before on not much more than a pair of wings and a prayer, and it seemed like we weren’t lacking in the latter – the Kelabit people of Bario are fervent Christians. “Are you scared?” shouts one of the pilot, with a grin more suitable for the captain of the Flying Dutchman. We finally get behind the curtain of clouds – the pilots must have seen this clearing on their radar – and the rice paddies twinkle just as we’re about to land in the valley etched against the Kelabit Highlands. I smiled in relief at the other foreigners. To us, the outsiders, this journey felt like a rite of passage or a cleansing of sorts, but the locals have been at the mercy of this formidable jungle for centuries. Their relationship is symbiotic, and the Kelabit regard the forest with both understanding and respect.


我们飞过无边无界的棕榈园,在数英里之后到达一个国家公园——这里是现代文明社会的最后边界,再往前就进入了原始丛林。飞机经过了被称为”圣山保护者“的巴杜拉威山(Batu Lawi)。这座高山似乎对我们的到来感到十分愤怒,在我们飞机四周聚集起一股无情的风暴。飞机上的外国人开始惊叫,而我很快就后悔自己有“头等舱”的特权。有人曾告诉我,在最坏的情况下,我们这架小型的飞机会不断滑行。我心里有点忐忑,不过这架飞机之前的确都是靠一双机翼和人们的祷告成功飞行的,而我们显然不缺乏祷告,因为巴里奥的加拉必族人们都是虔诚的基督徒。其中一名飞行员向我喊道:“你害怕吗?”他脸上的笑容让我联想到传说中那一艘永远无法返乡的幽灵船——“飞翔的荷兰人”(Flying Dutchman)的船长。我们最后成功穿越了厚厚的乌云,我想飞行员一定在雷达上就看到了现在眼前这片晴空吧。即将着陆于加拉必族的山谷的时候,我看到了下面一片片熠熠闪烁的稻田。我看着身边其他外国人,如释重负地微笑了。对我们这些外来者来说,这段旅程感觉就像一个仪式或净化之旅,但对当地人来说,数个世纪以来,他们一直受着这片原始丛林的恩惠。他们和自然之间的关系是共生共存的,加拉必族人尊重和敬仰这片丛林。

Bario has only one phone provider and it’s not the network I’m on – I’m cut off from the rest of world. The Kelabits, however, are immensely hospitable, generous and life-loving, instantly making me feel like I’m at home. The communal spirit still dominates the Bario Asal (asal in Malay means “original”) longhouse where I stay at. The concept of open home, where neighbours freely mingle with each other is refreshing to a city dweller like me. The Kelabit people embraced Christianity and reconciled old traditions with the new ones. They adjusted, hopeful that their ways of life will survive, but the youngsters flock where the jobs are, often leaving the remote Bario village behind in search of opportunity.


巴里奥只有一个通讯运营商,而我的手机不属于这一网络,所以我彻底与外面的世界断绝了联系。然而,加拉必族人非常好客,他们既慷慨又热爱生活,瞬间让我感觉非常自在。我住进了名为Bario Asal (Asal 在马来语中是指“原始”) 的长屋,在这里,集体主义精神仍占主导地位。这里的居住环境是开放式的,邻居们可以自由地来往,像我这样的城市居民对于这种概念感动十分新奇。加拉必族人信奉基督教,他们调和着古老的传统文化与现代的文化。这里的人希望通过这种调整,让他们的生活方式流传下来。现在的年轻人都涌出去找工作,为了获得工作机会,他们往往要离开这个偏远的巴里奥村庄。

I listen to the olden-day stories from the residents of Bario Asal who retired and came back, such as Gerawat Nulun, a well-travelled man who studied on an exchange program at Harvard in the past. My host, Sina Rang, also lived outside of the village for a period of time. Now, she’s trying to bring more tourists to Bario, inspire other residents to start homestays, and revive their traditional crafts. And she’s not alone in this dream. There’s hope that their efforts will create jobs and bring the young people back. With the current reality of Bario Asal, the longhouse feels like it’s named quite appropriately, as there is much the Kelabit long for: a longing to sustain their way of life, a longing to see their cultural heritage preserved, and a longing for those who have left to not forget their roots.


我从一些退休后回归的Bario Asal居民那里听了很多从前的故事,包括Gerawat Nulun,他是一个去过很多地方旅游的人,之前也曾参加一个哈佛大学的交流项目。我的屋主Sina Rang也曾在村庄外面生活过一段时间。现在,她正在努力吸引更多的游客来到巴里奥,她鼓励其他居民开始经营民宿,复兴他们的传统工艺。她并不是唯一一个这样想的人,大家都希望这一努力能创造就业机会,吸引年轻人回到这里。看着目前Bario Asal的境况,“长屋”(longhouse)的名字仿佛承载了当地人长久以来的许多渴望(longing):渴望维持他们的生活方式,渴望见证他们的文化遗产得以完好保留,以及渴望那些离开了的人不会忘记自己的根。

Contributor, Photographer & Videographer: Gloria Kurnik


供稿人,图片摄影师与视频摄影师: Gloria Kurnik

The Making of ALP Guitar

 

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For years, China has established itself as the manufacturing mecca of the world. The words “Made in China” are almost guaranteed to be stamped on a product in your immediate vicinity while products that boast they’re designed in China are much more elusive. However, many creators in China are eager to make the distinction and prove that the Middle Kingdom is also a country of innovation. Among those committed to this task is ALP Guitar, a Hangzhou-based guitar brand who recently invited us to take a behind-the-scenes look at how their instruments, which are all proudly designed and manufactured in China, are made.


一直以来,中国被称为世界的制造中心。印有“中国制造”的产品几乎触手可及。但相比之下,号称由中国设计的产品却并不多见。然而,在中国的许多创作者都渴望能改变这一现状,证明中国也是一个具有创新精神的国家。而ALP 吉他正是其中一员。这一个总部位于杭州的吉他品牌最近邀请我们进入他们的制作后台,看看他们的乐器是怎么做出来的。

All of ALP Guitar’s products have one unifying trait: portability. Although there are existing Western brands that sell portable guitars, they mostly produce acoustic and classical guitars; options for high-quality, travel-friendly electric guitars are far and few and ALP aimed to fill this niche back in 2015. Despite being highly portable, their ingenious design doesn’t compromise the functionality or playability of the instrument. The smart designs features a headless neck and collapsible body, but still retains many functions normally reserved for regular-sized guitars, such as their inclusion of a vibrato system. In addition, the foldable and adjustable body allows musicians to hold it at a height that they can comfortably strum. “Our mission is for music to be easily accessible and taken anywhere you go,” says Lin Zunyi, the founder of ALP Guitar. “We want our brand and instruments to embody the passion for music.”


所有的 ALP 吉他都有一个特质——便携性。虽然现在也有欧美品牌制作便携式的吉他,但它们大多只生产原声吉他和古典吉他;而高品质的便携电吉他的选择则少之又少,而 ALP 吉他早在2015年就立志要填补这一部分的市场。ALP 吉他不仅十分便捷,同时通过巧妙的设计,确保了吉他的表现或手感。ALP 吉他采用无头琴颈和折叠式琴体的巧妙设计,保留了颤音系统等常规吉他的许多功能。此外,折叠式和可调节的琴体允许弹奏者把吉他放在自己舒适的高度进行弹奏。ALP吉他的创始人林遵义说:“我们的使命是让音乐随手可及,跟着你去往任何地方。我们希望我们的品牌和吉他能体现出对音乐的热情。”

Although ALP Guitar was officially launched in 2015, the first iteration of their portable guitar was actually completed in 1998 by Zunyi’s father – the idea was unfortunately scrapped at the time due to technological and financial limitations. After his father’s retirement in 2013, the idea was revived and brought to life. It was unveiled in the same year at Shanghai’s Music China, a music instrument trade expo dubbed as the largest in Asia.“At the time, our product was actually still quite rough and difficult to pluck,” Zunyi recalls. “But my father was adamant in showing it to the public. To our surprise, many people took notice and expressed interest. The overwhelming support motivated us to continue and to refine the guitar.”


虽然ALP吉他正式推出是在2015年,但早在1998年,林遵义的父亲便有了最初的构想。但由于当时的技术和资金限制,这个想法不得不被暂时搁置。2013年,他的父亲在退休后才重拾这一构想,并将其付诸行动。他在同年的上海国际乐器展推出了自己设计的吉他。这是亚洲最大型的一个音乐乐器贸易博览会。“当时,我们的吉他还不完善,也不好弹奏。”林遵义回忆道。“但我的父亲坚决要向公众展示它。出乎我们意料,在展会现场,这款吉他的关注度非常高,很多人都表示了兴趣。这些支持促使我们继续进一步完善这款吉他。”

Following the positive reception at the trade show, they launched a successful crowdfunding campaign on Taobao Zhongchou and were subsequently invited to participate in the Taobao Maker Festival. They’ve now also expanded beyond their initial focus on electric guitars, currently boasting nine different products of four different models, including a bass guitar and a classical guitar, all of which employ similarly ingenious foldable designs. Looking over one of their newly packaged guitars, Zunyi says, “Eventually, we hope that people’s preconceived notions of Chinese products being inferior can be dispelled.”


在这次展会中获得如此热烈的反应后,他们在淘宝众筹上成功发起了一个众筹活动,随后更被邀请参加淘宝造物节。现在,他们的产品种类已经超越了他们最初重点——电吉他,目前共拥有四种不同类型的九个不同产品,包括低音吉他和古典吉他,全部采用巧妙的折叠式设计。看着他们最新包装的吉他,林遵义说,“最终,我们希望能消除人们将中国制造等同于劣质产品的这种想法。”

Website: alpguitars.com

 

Contributors: Leon Yan, David Yen
Videographer & Photographer: Leon Yan


Websitealpguitars.com

 

供稿人: Leon YanDavid Yen
视频摄影师与图片摄影师: Leon Yan

Us and the Cosmos Beyond

The imaginative universe that Ryo Hsu has crafted is wonderfully eccentric, a surreal world with astronauts exploring a strange stretch of outer space that’s populated with mysterious shapes and floating popsicles. Despite boasting an impressive body of work, the Shanghai-based illustrator and graphic designer has never received a formal art education and has been completely self-taught. Hsu originally worked as a professional hair stylist but never quite felt creatively fulfilled in the role. His ongoing love of illustration and design, combined with his dedication and fearlessness to experiment, eventually led him to take a leap of faith and pursue his creative interests full-time. Recently, we had the chance to speak to this multifaceted autodidact to find out about some of the underlying concepts in his work and what inspires him.


来自上海的插画家和平面设计师Ryo Hsu从未接受过正式的艺术教育,却创作了一系列令人印象深刻的作品。在这之前Hsu是一名专业的发型师,但发型师的工作未能让他充分发挥自己的创意才华。因为一直以来对插画和设计的热爱,投入和冒险精神,Hsu大胆决定改行,全身心投入自己感兴趣的创意事业。Hsu创造的插画天马行空,那是一个超现实的幻想世界。在这里,宇航员探索着充满神秘形状和浮动冰棍的奇妙空间。最近,我们有机会采访到这位拥有多方面才华的艺术家,了解他的作品中所蕴含的一些概念和创作灵感。

Neocha: Can you tell us about how you got started with design and illustration?

Ryo Hsu: I think it stems from my childhood infatuation with manga and comics. I’ve never stopped drawing, and eventually, I was introduced to digital software, which led to me to experiment with new approaches. In the beginning, I had trouble finding an aesthetic that would translate what I envisioned into a visual format, so I just kept experimenting and trying out different mediums.


Neocha: 你是如何开始接触平面设计和插图的呢?

Ryo Hsu: 可能是源自我小时候喜欢画漫画的经历。画画在我的成长中一直没有停止过,直到我接触到数字软件后,开始新的尝试。但一开始并没有找到能将内心所想完全表达出来的风格,各种喜欢的类型都会去尝试一些。

Neocha: Who or what do you consider to be your biggest influences?

Ryo Hsu: Aside from visual influences, music is the most impactful factor for me. I’ve loved rock music since I was a young kid, and I played in a band. It’s been ten years now, and bandmates come and go; I often just jam by myself. Music is an abstract art to me – it’s intangible. You can’t see it or touch it. Comprehension is completely dependent on an inner level. My artwork is often the result of imagery that pops up in my head from when I would listen to music. Even though I love rock music, I listen to a bit of everything. When I’m working, I most often listen to post-rock, dream-pop, and so on; these genres aren’t convoluted by the presence of vocals or lyrics, so a lot of it is up to my own imagination. As for influences of other artists, Tadanori Yokoo and Dali probably influence me the most. I’m also quite interested in astronomy, sci-fi, surrealism, and I buy a lot of books related to these matters. My artistic style came about naturally. It’s a combination of all of these interests.


Neocha: 你觉得对自己影响最大的人或事物是什么?

Ryo Hsu: 除了视觉,对我创作影响最大的恐怕是音乐,因为我从小很喜欢摇滚乐,然后就开始玩乐队,现在算来也有10年了,只是乐队分分合合,大多时候都是自己在玩。音乐本身是一种抽象的艺术,看不见,摸不到,必须完全靠精神去领悟。所以我的作品往往来源于我在听到某些音乐时脑海里所产生的画面感。虽然喜欢摇滚乐,但基本上什么都听,而创作时常听Post-rock、Dream-pop之类的音乐,因为这类曲子没有过多人声和歌词干扰,也就给我带来很多想像的空间。说起艺术家的话,横尾忠则和达利对我的影响是很大的。另外我也对天文、科幻、超现实主义非常感兴趣,会买很多关于天文类的书籍,所以当有一天我开始试着将我所听到的音乐与这些结合起来便是目前的风格。

Neocha: Space is a prevalent theme in your surreal and abstract illustrations. Can you tell us more about that? What is your fascination with space and what does space mean to you?

Ryo Hsu: I’m pretty obsessed with astronomy. I have a lot of astronomy-related books at my house. On clear nights, I like to observe constellations and ponder about the life forms that may exist in distant galaxies or if we’re the only living organisms out there.


Neocha: 太空是你的超现实和抽象插图作品中的一贯主题。能跟我们介绍一下这个主题吗?你为什么对太空如此迷恋?对你而言,太空意味着什么?

Ryo Hsu: 我对天文类的内容非常着迷,家中有天文图鉴和相关知识的书籍,也常常喜欢在晴朗的夜空辨识星座和行星,去猜测离我们遥远的星系有着怎样的生命,还是我们只是宇宙中唯一有生命的群体。

Neocha: What are some recent projects that you’re working on?

Ryo Hsu: Besides my professional work, I like to doodle and sketch in my free time. I recently published a small zine with Bananafish with all the random daily drawings I’ve accumulated. Also, I was fortunate enough to have my work selected for the Chinese version of the Japanese sci-fi novel The Next Continent.


Neocha: 你目前手头上有哪些项目在进行?

Ryo Hsu: 除了正式作品外,我只要有时间,平时都会画点小插画,最近把自己累积的一些日常插画与香蕉鱼合作出了一套小豆本,同时自己的插画也有幸被选中作为日本硬科幻小说《第六大陆》中国版的封面。

Neocha: What is the message that you intend to communicate through your personal work?

Ryo Hsu: In the world as we know it now, humans seem to be the masters. But looking outwards, we’re just a tiny blue planet in the solar system. Even beyond that, there are so many unknown mysteries in the universe and places that we probably won’t be able to reach in many lifetimes. But the pioneers of our world are always endlessly looking to further the exploration of extraterrestrial knowledge. My work aims to express the loneliness between people, the sense of isolation between us the rest of the universe, and the longing to understand the unknown. The universe is deep and infinite. There is so much that we don’t know and so much more for us to explore.


Neocha: 你希望通过自己的作品传递什么样的信息?

Ryo Hsu: 在我们目前已知世界中,人类仿佛成为了主宰,但放眼望去,我们不过是太阳系中的蓝色小小星球,在这之外还有更多未知的世界,也许我们几辈子都无法到达更远的地方,但我们的先驱者总是不懈地去探索地外文明。我的画作中一方面会表达人与人之间的孤独感,人类与之宇宙的孤独感,另一方面也有着对未知世界的憧憬。宇宙深邃无穷,总有各种未知等待我们去探索。

Website: ryohsu.com
Behance: ~/ryohsu

 

Contributor: David Yen


网站: ryohsu.com
Behance: ~/ryohsu

 

供稿人: David Yen