All posts by david

A Tender Sadness

Nowadays, it’s all too common to see a piece of artwork get passed around the internet without any credits attached to the creator. One particular artist who often encounters this issue is sheep, a Chinese illustrator who purposefully stylizes his moniker with a lowercase “s.” But unlike most other artists, sheep doesn’t particularly mind – he’s more concerned with making art than the recognition that follows. His illustrations are peculiar; they’re beautifully illustrated, but the beauty is layered with a sense of melancholy and unease. The characters of sheep’s world are often depicted in their most vulnerable state, but they still remain eager on sharing their untold stories.


有些作品大家都看过却未必清楚知晓作者出处,sheep大概就是这样一个插画师,默默地画着自己的画,默默地做着自己的人形,他的插画不算明媚也没有正能量,却是另一种黑暗又悲伤的细腻美,敏感纤弱的人物都仿佛诉说着关于自己的故事。

On first glance, some of sheep’s work might reveal hints of a Japanese influence behind the aesthetic. He explains, saying that one of his biggest inspirations is Hyakki Yagyo, a Japanese folklore about a night where a hundred different demons roam the streets, but his influences actually come from other sources that extend beyond Japanese culture, such as the fictitious worlds depicted in the Chinese books Classic of Mountains and Seas and In Search of the Supernatural. “When I was still a student, the works of a few Japanese manga artists really resonated with me,” he says. “So in terms of the technique and subjects I experimented with back then, it was influenced by Japanese culture. But for my newer works, I never stop and think if anything feels Japanese or Chinese – I’m simply interested in creating art with an overall Eastern aesthetic, art that transcends the boundaries of time and geography.”


初见sheep的作品,很容易感受到一种日式氛围,但他的作品中的灵感来源也不仅仅来自日本百鬼,还有更多《山海经》和《搜神记》中的志怪传说。“早期学生时代会因为跟日本一些画家的作品产生共鸣感,所以技法和题材上会有意识在所谓的日式审美做尝试。反倒现在我创作的时候,也不会刻意去预设这是日式的,这是中式的概念了,就是整体的、我个人所想表达的东方的东西,无时代性和地域性。”就这个问题他如是说。

As we discussed his background and initial interest with Japanese culture, sheep shared that one of his favorite fairy tales as a child was Mimei Ogawa’s The Mermaid and the Red Candles. The story is about a baby mermaid that was left at a shrine and discovered by an old couple from a seaside village who never had children of their own. The couple, who ran a candlemaking business, took the mermaid in and raised her. As the mermaid grew up, she helped the family business by drawing pictures of the ocean on the candles. Soon, these drawing made their candles quite famous in the area. Rumors about good luck blessing those who bought and lit her candles at the nearby shrine began to spread, leading to more people buying the candles. Hearing these rumors, a businessman convinced the couple that mermaids were bad luck and bought the mermaid from them. After, he locked in the mermaid in a cage and quickly left with her on a ship. On the same night, a violent storm sunk the ship. From that point on, the couple’s candles became a symbol of bad luck. All of the fishermen who bought the candles in the past all suffered an ill fate. Their candle business soon ended. Not many years later, the city became deserted, eventually turning to ruins. Legend has it now, fishermen passing by the ruins of the town would sometimes see a faintly glowing red candlelight drifting around the shrine.


说到这里,我们又跟他聊了聊他最初对日本文化的了解,sheep跟我们分享了一个他小时候看的童话故事-小川未明的《红蜡烛与人鱼》:大概内容是说一条向往人类世界的人鱼,将自己刚出生的女儿送往了海边的神社。小人鱼被海边渔村一对没有儿女的老夫妇遇见收养。老夫妇靠卖蜡烛为生,人鱼姑娘长大后对大海充满憧憬,开始在蜡烛上画画,使老夫妇的红蜡烛名声远扬,成为出海人祈福的象征,神社香火也旺了起来。有一江湖商人闻此消息,欲重金买走人鱼姑娘,说人鱼是不祥之物。老夫妇迷失心窍,点头同意。商人把人鱼姑娘关在笼中,装运到海上。结果当晚雷雨暴风,巨浪滔天,货船沉没。从此,老夫妇的蜡烛成为灾祸之物,买过的渔民出海无一幸免,生意也再做不下去了。没过几年,山脚下那座小镇就成了一片废墟,不存在了。之后偶尔会有出海的人看到海上隐约的烛光一直飘到废墟神社前。

The Mermaid and the Red Candles doesn’t have a happy ending or a sense closure. There’s no repentance or redemption, but it does leave plenty of room for personal interpretations. And in a way, it’s similar to sheep’s artwork now, which all have concisely constructed narratives that still leave much to the imagination of viewers. In Narcissus, sheep’s latest compilation book of his recent works, he even features an illustration based on Ogawa’s story.


这个故事没有一般令人欣慰的圆满结尾,也没有十分需要令人悔改的警醒,但最后的一抹烛光却格外引人遐思,大概这也就像sheep现在的插画一样,说一个点到为止的故事,他的作品集《水仙》中也以绘本的形式诠释了这个故事。

Despite sheep’s impressive illustrative works, his interests and skills have gone beyond illustration alone. He originally comes from a background in ceramic design and has always been infatuated with sculpting. Eager to break the constraint of mediums, he began learning how to make sculptures and figurines by himself. His White Deer sculpture is even based off an earlier illustration of his. As part of the project, he also enlisted the help of photographer Ko Rou, to stage and set up a variety of scenes with the completed figurine.


陶瓷专业出身的sheep对人形和雕塑都很有兴趣,因为不想局限于平面创作,他也制作了自己的人形,靠他自己一点点耐心的自学,白鹿童子也从的画作里活化而出,他还与摄影师扣桑合作,完成了这组人形照片。

As our discussion meandered and we began chatting about the movie Ghost in the Shell 2: Innocence, sheep comments that he believes art often conveys messages that surpass the original intent of the work. “Creation is like eating. It’s to satisfy an appetite. Completing an idea gives you an unparalleled sense of gratification. When I’m creating, I don’t immediately define what concepts or ideas I want to convey through it. When other people view my work, they might be looking at an authentic piece of my soul, but to them, it could be completely meaningless.”


跟sheep聊到押井守的《无罪》,他觉得作品也会像这样传达一些超越内容本身的东西,“其实很多创作就跟本能吃饭等一样,是一种类似快感的欲望,完成脑中所想的这件事会带来不可替代的幸福感,所以我不会特别预设自己是要传达什么意义或者想法,其他人看到作品就是当时我所脱壳出的一部分我,反而他们其实某种层面来说是没有意义的。”

Weibo: ~/ssheepp

 

Contributor: Shou Xing
Images Courtesy of sheep & Ko Rou


微博: ~/ssheepp

 

供稿人: Shou Xing
图片由sheep与扣桑提供

SPRING IS NOT FOR SCHOOL

 

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Shenzhen-based streetwear brand ROARINGWILD is back with their latest volume of EYESIGHT, an ongoing project that showcases different interpretations of the ROARINGWILD brand spirit through the lens of different photographers. For the eighth edition of the series, they’ve enlisted the help of Wang Wei, a Beijing-based fashion photographer who works solely on 35mm analog film. Forgoing the gritty urban backdrops and modern techwear stylings of past collaborations for a mostly barren countryside and vibrant splashes of colors, Wang’s signature style shines through in this reimagining of the ROARINGWILD attitude, evoking a sense of youth and freedom that has come to define his work. See more photos from the collaboration below.


深圳街头时尚品牌ROARINGWILD携全新EYESIGHT系列回归。这个持续至今的项目旨在通过不同摄影师的镜头,展现对ROARINGWILD品牌精神的不同解读。作为该项目的第八个系列,他们邀请了王未掌镜,一位坚持只以35mm胶片摄影的北京时尚摄影师。全新系列抛弃以往系列的城市背景和机能风格,来到远离都市中心的郊外,在充满活力色彩的影像中,王未以其标志性摄影风格对ROARINGWILD品牌态度进行全新演绎,满溢年轻和自由气息。下面是此次合作系列中的更多作品。

Website: roaringwild.net
Facebook: ~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

Weibo
~/ROARINGWILD
~/wangwei5945

 

Contributor: David Yen
Photographer: Wang Wei

Stylist: Sen Wung
Videographer: Vonka Wu


网站: roaringwild.net
脸书~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

微博
~/ROARINGWILD
~/wangwei5945

 

供稿人: David Yen
图片摄影师: 王未

造型师: Sen Wung
视频摄影师: Vonka Wu

RACE Robotics Laboratory

Designed by Singapore-based architectural firm Ministry of Design, the new brand logo and facilities for the Robotics Applications Centre of Excellence have recently been unveiled. To support and advance RACE’s vision of educating and introducing robotic automation to modern industries, the newly debuted space has been designed with versatility in mind. The multifunctional laboratory is equipped to not only showcase their modular robots, but also accommodate hands-on training sessions and lectures.


新加坡建筑事务所Ministry of Design(MOD)近日公布了其为Robotics Applications Centre of Excellence(RACE)设计的品牌和空间体验,一个新的机器人设施,旨在宣传并推广使机器人引入现有的制造业自动化中。实验室空间的设计以灵活性为理念,多功能的实验室用来展示一系列不断变化的模块化机器人,并用于动手的培训和讲座。

To convey a sense of industrial futurism, Ministry of Design employed the use of powerful converging lines and bold geometric shapes in their design. Even prior to entering the main laboratory, their design concept is readily apparent – white lines slice and intersect through the jet-black lobby, creating an optical illusion that makes the ceiling, floor, and walls indiscernible from one another. Deeper inside the facility is the main laboratory area, which follows the same design motif as the lobby, with the use of dramatic lines and shapes to introduce a sense of dynamic energy. Aluminum tubes and linear LED strips are adjoined to form facets, which all connect together to form a metallic shell that encases the entire room. Beyond aesthetics alone, this outer layer of the room serves to conceal mechanical and electrical elements while still permitting easy access for users via the use of access hatches. See more images of the newly designed facility below.


为了传达工业未来主义的风格, MOD在设计中运用了极具视觉冲击力的白线和大胆的几何形状。在进入主实验室之前, 他们的设计概念就已经清晰显现——飞扬的白线穿过黑色的空间形成的网在视觉上营造出错觉效果,创造了一个地面、天花板和墙壁交融一体,难以区别的空间体验。再往里走是主实验室区域, 这里的设计遵循与前厅相同的设计主题,使用戏剧性的线条和形状来引入动感活力的氛围。铝管和定制发光二级管毗邻形成令人炫目的金属外壳, 包裹住整个空间。这一外壳除了有美学价值之外, 也遮盖了那些必备的机电设施,同时还方便用户通过舱门出入。通过下面的图片,进一步了解这个全新空间设计吧。

Website: modonline.com
Instagram@ministryofdesign
WeChat: ministryofdesign

 

Contributor: David Yen
Images Courtesy of Ministry of Design


网站: modonline.com
Instagram@ministryofdesign
微信: ministryofdesign

 

供稿人: David Yen
图片由Ministry of Design提供

In Tongues

 

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Producer and DJ Alexis Chan, who’s best known under the moniker Soda Plains, is an anomaly in today’s near-stagnant electronic music scene. Unafraid of breaking out of the expected mold of contemporary electronic music, the Hong Kong-born and Berlin-based musician’s avant-garde sounds transcend categorization. Despite the complexities of his productions, Chan’s still able to brilliantly infuse his signature sounds into dance floor-commanding DJ sets.


英国制作人和DJ Alexis Chan出生于香港,如今生活在柏林,Soda Plains是他更为人熟知的艺名。在当今电子音乐的发展趋向停滞的时候,他的音乐可谓是打破闷局的异类。他大胆突破现代电子音乐的一贯风格,由他所创作的前卫音乐超越了常规的音乐分类。尽管他的音乐编曲较为精妙复杂,但依然成功进军传统俱乐部场合。

Take a listen to some select tracks from In Tongues below:

 Soda Plains – Sem Tempo

 Soda Plains – Porcelain

 Soda Plains – In Tongues


下面是《In Tongues》专辑的几首精选歌曲::

 Soda Plains – Sem Tempo

 Soda Plains – Porcelain

 Soda Plains – In Tongues

Chan’s latest project, In Tongues, serves to further his ambitious artistic vision. Working with Brazilian choreographer Negroma, In Tongues is a ten-track album that accompanies a 30-minute live performance. The project was inspired by the concept of xenoglossy, which is a psychic phenomenon that suddenly gifts an individual fluency in a new language. At the performance’s debut earlier this year, Negroma’s interpretive dance and Chan’s darkly atmospheric score introduced the audience at Berlin’s 3hd Festival to dramatic narratives that touched on subjects of identity and change.


最新作品《In Tongues》越发显现出他雄心勃勃的艺术视野。他与巴西舞蹈指导Negroma合作的《In Tongues》专辑收录了10首歌曲以及30分钟的舞蹈表演,专辑灵感源自“特殊语言能力”(xenoglossy)的概念,指的是人们流利地讲一种他自己没有从未学习或接触过的语言的现象。在今年早些时候的首演中,Negroma极具表现力的舞蹈和Chan音乐的黑暗氛围的结合,为柏林 3hd Festival 艺术季的观众带来了充满戏剧性的表演,诠释有关身份和变化的主题。

“When I make music now, I try to avoid the repetitive structure you find in most club songs,” Chen says in an interview, “If I played a song straight from In Tongues in a club mix, it would sound strange, wouldn’t it?. That’s the reality of it. But at live shows, I do plan on taking different layers of sound from the album and mixing it together with drums and percussions.” Later this week, Soda Plains is hosting a workshop and playing two shows in China. On May 18th, the workshop will take place at Shanghai’s Dada; the night after, May 19th, Soda Plains will be playing a club set at the same venue. On May 20th, Soda Plains will be playing at Dada Beijing. Click here to RSVP and for ticketing info.


Chen在接受采访时说:“我现在做音乐的时候,也想着要去避免俱乐部音乐里标志性的那种不断循环重复的结构。说到演出的话,我现在会挑选一些《In Tounges》里的曲子,然后把它们混合到俱乐部的环境之中。听上去是不是有点奇怪?但的确就是这样的。在现场,我会把专辑里那些层次感很强的部分和鼓点和各种节奏部分结合起来一起播放。”本周,Soda Plains将在中国举办一次专题讨论会,还会有两场演出。星期四的讨论会将在上海的 Dada举行,而星期五晚上则会在同一地点进行演出。随后,星期六, Soda Plains将在北京Dada演出。点击这里查看票务和RSVP信息。

Soundcloud~/sodaplains
Bandcamp: sodaplains.bandcamp.com
Facebook: ~/sodaplains

 

Contributor: David Yen
Images & Video Courtesy of Soda Plains


Soundcloud~/sodaplains
Bandcamp: sodaplains.bandcamp.com
脸书: ~/sodaplains

 

供稿人: David Yen
图片与视频由Soda Plains提供

Mono no Aware

In Japanese, the term mono no aware describes an empathy towards the impermanence of things, a sadness that comes from the awareness and acceptance of the inevitability of change. Inspired by this term, photographer Gabriella Achadinha and illustrator Marilize Eckard joined forces, collaborating on a mixed media project that intends to encapsulate this feeling. “The phrase has become an aesthetic sensibility in Japan, an understanding that this beauty can only be ephemeral,” explains Achadinha. “Traveling personifies this, no matter how many photographs one takes, the more time slips the less of that experience can be recalled.” By applying acrylic paint onto Achadinha’s photos of Seoul and Tokyo, Eckard sought to visualize the fleeting nature of existence, turning each snapshot into vivid, dream-like scenes.


在日本,”mono no aware” – 物哀一词描述的是一种对世事无常的认知并了解到改变的必然性而产生的悲伤。正是受到这个词的影响,影师 Gabriella Achadinha和插图画家Marilize Eckard两人一拍即合,联手结合媒体项目打算封存这种短暂存在的本质。“这个词在日本已经成为一种美感,这种理解美丽是短暂的美感” Achadinha解释到:“旅行充分体现这一本质:不论你拍了多少张照片,当照片拍的越多,你能回忆的体验越少。Eckard运用丙烯酸涂料,改变Achadinha去东京和首尔旅行的照片,做出失真的效果,从而产生了鲜艳、朦胧的景象。

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.


今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.


在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

For the chosen winner, in addition to seeing their design brought to life and made available as a limited-edition item throughout Asia, they’ll also receive a grand prize of $2,000 USD and the opportunity to co-host a global House of Vans workshop with their respective mentor. Submissions are open from now until July 31st. Click here to learn more. Be sure to submit an entry before it’s too late!


比赛获胜者除了其设计会被用在品牌于整个亚洲限量发售的全新产品上之外, 还将获得2000美元的奖金。比赛投稿现在已经开始,将一直持续到731日。点击这里,了解更多。记得在截止日期前递交你的参赛作品哦!

Website: vans.com/customcultureasia

 

Contributor: David Yen
Images Courtesy of Vans


网站vans.com/customcultureasia

 

供稿人: David Yen
图片由Vans提供

23 Temple Street

Hong Kong’s Temple Street is without a doubt one of the most iconic locations in Kowloon, known for being home to one of the busiest night markets in the territory. Using Google Street View, South Australian artist Joshua Smith traversed the famous street and stumbled upon a building on the corner of Temple Street and Hi Lung Lane. Inspired by an explainable appeal of the structure, the miniaturist set off recreating the building in its exactness over the course of three months by using a combination of reference photos from friends visiting Hong Kong, photos provided by locals, and of course, Google Street View. The result is an intricate diorama of 23 Temple Street, constructed with fiberboard, cardboard, wood, plastic, spray paint, wires, and chalk pastels. His 1:20 scale counterpart includes an array of mind-blowing details, such as a traditional Hong Kong street shrine on the sidewalk, complete with offerings of oranges; various street poster ads, shoddily pasted all over the exterior of the building; and even his own graffiti, sprayed on the rolling metal doors. Check out the entirety of his replica below.


作为香港最繁忙的夜市之一,庙街无疑称得上是九龙最著名的地标之一。来自澳大利亚南部的艺术家Joshua Smith 利用 Google 街景, 深入探索这条著名的香港街道时,无意中发现了庙街和熙龙里拐角处的一栋大楼。这栋位于庙街23号的大楼建筑结构极具特色, 激发了这位微缩模型大师的创作灵感。他在三个月的时间里,参考去香港旅游的友人所拍摄的照片,当地人们拍摄的照片以及 Google 街景照片,按1:20的大小将这栋大楼制作成一个比例准确的微缩模型,使用的材料包括纤维板、纸板、木材、塑料、喷漆、电线、粉笔粉彩。这个1:20的微缩建筑模型拥有众多精妙的细节, 譬如在人行道上的香港传统街头神龛, 前面还摆着人们用来供奉神灵的橘子;各种各样胡乱粘贴在建筑的外表上的街头海报广告;他甚至在金属门上加上了自己的涂鸦细节。一起来看看他的这个微缩模型作品吧。

Website: iknowjoshuasmith.com
Facebook: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist

 

Contributor: David Yen
Images Courtesy of Joshua Smith


网站: iknowjoshuasmith.com
脸书: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist

 

Contributor: David Yen
Images Courtesy of Joshua Smith

Cabinet of Curiosities

 

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Curiosity is the foundation of discovery and knowledge, and everyone’s sense of curiosity is manifested in different ways. Curiosity can even be linked to our innate penchant for collecting objects, but the appeal of collecting is different for everyone. For some, it’s a way of preserving the past, and for others, a way to satisfy their desire to showcase their taste to the world. And this intrinsical aspect of human nature is how the first cabinets of curiosities came about. In the early days of its origin, these collections were used by European royalty and noblemen to establish their socioeconomic ranking in the community. As time went on, they evolved, becoming what many consider to be one of the early ancestors to our modern-day museums.


好奇是人类探求知识的第一力量,每个人的好奇心都有着不同的表达,由此还衍生出一种特殊的收藏癖。人们似乎总是热衷于将自己心爱之物存放于心安之所,或用于展示或炫耀。“好奇柜”这种特殊的陈列方式便是如此,最初它满足了欧洲贵族们的猎奇心、好胜心与好奇心,再由此最终演变成了现代的博物馆,是供所有好奇者前往探究的场所。

Strange at times, but incredibly enchanting – the nature of cabinets of curiosities and the nature of modern-day Shanghai feels like they have many things in common. However, chances are, no one anticipated that China would host a cabinet of curiosities of its very own. Stereotypically, many view the Chinese people as being more conservative and close-minded, but in reality, they’re more adventurous than most of the world gives them credit for. Granted, the Chinese people’s views of what concepts and aesthetics are “good” have been shaped for years and can be considered a minor obstacle for such an experimental exhibition. But Da Shi, the curator of Cabinet of Curiosities’ China debut, is optimistic and eager to lead the way and show that the Chinese audience is ready to expand their minds and feed their curiosity.


魔都上海本身奇妙摩登而神秘的特质与好奇柜不谋而合。谁都想不到现今的中国居然会有人来办一场“好奇柜”博物展,看似保守的中国人,事实上内心却是猎奇的很。人们固化的思维与审美就像一座大山一般挡在了前面,而策展人大石就是这么一个开山怪,劈开巨山打通了一条直达人心最原始的好奇欲所在的道路。

Da Shi, curator of the Cabinet of Curiosities / 好奇柜策展人大石

For some visitors, their initial impression of the exhibition is that it’s eclectic or even terrifying. Some have even said some of the works revived memories of their childhood fears, which is understandable, considering that one of the most disturbing installations that left many spooked was made with what appears to be real human skin. An infatuation with death and its mysteries appear to be a common theme throughout the exhibition, with skeletons and other macabre elements making frequent appearances, which of course, include inner organs and other anatomical parts.


好奇柜给人的第一印象应该是猎奇与恐怖,有不少人都将其堪比为“童年阴影”。最让人惊讶的人皮作品,它的仿真程度着实是可以吓着不少观众,还有数不胜数的骷髅元素预示着死亡的神秘,作为一场有着Cult元素的展览,器官内脏也是必须有的。

To bring the exhibition closer to the standards of a modern museum gallery, Cabinet of Curiosities exhibition is also showing a variety of other artworks, not only just the morbid and grisly, despite much of the exhibition being just that. Artist works span a wide spectrum of themes, such as a modern reimagining of the phenakistoscope, an artificially cultivated plant installation, and a meticulously designed mechanical installation. Each piece of work not only embodies the curious nature of their creator but also aims to ignite the curiosity of visitors. For humans, curiosity is something that’s been hardwired into our brains and embedded in our consciousness. I suppose that’s why, even through the test of time, cabinets of curiosities still remain so fascinating. Click here to purchase tickets for the exhibition and satisfy your inner curiosity.


好奇柜的展品类型之多是其看点之一,并且要形成博物展的概念,那就不会仅限于猎奇与恐怖,展览中的确还有很多有趣的艺术作品,比如现代动画的老祖宗“魔术幻灯”(Phenakistoscope)、人工栽培的植物装置、设计精巧的器械装置舞台等。所有的展品无一例外的表达着创作者的好奇,同时也满足了观者的好奇。只要是有人类的地方,好奇柜的形式不论再过几千几万年还是能同样受人欢迎。购票请点击此处

Event: Cabinet of Curiosities
Exhibition Dates: April 16, 2017 ~ July 16, 2017

 

Address:
Duoyunxuan Art Center
No. 1188 Tianyaoqiao Road 3F
Xuhui District, Shanghai
People’s Republic of China

 

Contributor: Sonic Yuan
Videographer: Sonic Yuan, Bing Ying
Photographer: David Yen


动名称: “好奇柜”
展览日期: 2017年4月16日——2017年7月16日

 

地址:
中国
上海市徐汇区
天钥桥路1188号3楼
朵云轩艺术中心

 

供稿人: Sonic Yuan
视频摄影师: Sonic Yuan, Bing Ying
图片摄影师: David Yen

Sony World Photography Awards 2017

Photographer: Dongni, 1st Place: Professional Architecture

For this year’s iteration of the Sony World Photography Awards, Chinese photographers dominated across multiple Professional categories of the competition. More Chinese photographers were represented on the list of finalists and grand prize winners than any other countries in the world. In the Professional Architecture category, Dongni, a creative director from the city of Shenyang, took the grand prize with Space & City, a striking photo series that deconstructs and reconstructs the urban landscape to form her vision of modern cities, all presented from a birds-eye vantage.


今年的索尼世界摄影大赛(Sony World Photography Awards)上,中国摄影师在多个分组中都表现出色。在这项全球顶级摄影大赛中,中国成为了大奖得主名单上人数最多的国家。在“专业组建筑类”中,沈阳市的创意总监冬尼凭借作品《空间城市》获得冠军。这组航拍作品通过解构和重建城市景观,呈现出她眼中引人入胜的现代城市理念。

Photographer: Dongni, 1st Place: Professional Architecture

In the Professional Sport category, Yuan Peng, a member of the China Photographers Association, took the grand prize with his documentary photo series The Twins’ Gymnastics Dream, which offers an intimate look at the hopes and struggles of Liu Bingqing and Liu Yujie, two young twin sisters in the Shandong province who have grown up and trained together in a Chinese sports school since the age of five.


在专业组运动类,中国摄影家协会会员袁鹏凭借纪实作品《双胞胎的体操梦》获得冠军大奖。这组作品让观众见证了刘冰清和刘玉洁两姐妹的希望与努力。这两名来自这山东省的双胞胎姐妹,自五岁以来一直在体育学校接受训练。

Photographer: Yuan Peng, 1st Place: Professional Sport
Photographer: Yuan Peng, 1st Place: Professional Sport

Meanwhile, the Sony World Photography National Awards segment of the competition is now in its fourth year. This program, which aims to discover the best photographs taken by local photographers across the world, has expanded its scope this year to include the countries of Cambodia, Nepal, Pakistan, Qatar, Saudi Arabia, Sri Lanka, and the United Arab Emirates for the first time, allowing even more talented photographers to showcase unique perspectives of their respective regions. Scroll down and check out some more of our favorite shots from around Asia from this year’s competition.


索尼世界摄影大奖创办至今已是第四年。这项全球性大赛旨在挖掘世界各地摄影师在当地拍摄的优秀摄影作品。今年,大赛首次扩展至柬埔寨、尼泊尔、巴基斯坦、卡塔尔、沙特阿拉伯、斯里兰卡和阿联酋,让更多才华横溢的摄影师展现他们在各自国家所拍摄下的独特视野。下面再来看看今年亚洲各地的优秀摄影作品吧。

Photographer: Moin Uddin Ahmed, 3rd Place: Bangladesh National Awards
Photographer: Mark L. Vicente, 1st Place: Philippines National Awards
Photographer: Chun Kin Tong, 1st Place: Hong Kong National Awards
Photographer: John Tao, 3rd Place: Taiwan National Awards
Photographer: Prabha Jayesh, 3rd Place: India National Awards
Photographer: Amri Arfianto, 2nd Place: Indonesia National Awards
Photographer: Ly Min, 1st Place: Cambodia National Awards
Photographer: Tuy Tran Van, 2nd Place: Vietnam National Awards
Photographer: Polpich Aey Komson, 1st Place: Thailand National Awards
Photographer: Deveni Nishantha Manjula, 1st Place: Sri Lanka National Awards
Photographer: Trần Minh Dũng, 3rd Place: Vietnam National Awards
Photographer: Fanjing Lu, 3rd Place: China National Awards
Photographer: Mohammad Amir Hamja, 1st Place: Bangladesh National Awards

Websiteworldphoto.org

 

Contributor: David Yen
Images Courtesy of World Photography Organization


网站worldphoto.org

 

供稿人: David Yen
图片由World Photography Organization提供

Xooang Choi on the Human Anatomy

Surreal and hyper-realistic, these seemingly contradictory traits have become the signature aesthetic of Xooang Choi‘s sculptures. His approach of incorporating anatomically correct human features – which have all been crafted with excruciating attention to detail – onto his nightmarish creations make each sculpture that much more harrowing. From the head of a Great Dane sewn onto the neck of a life-sized man to a pair of wings formed by disembodied hands, the South Korean artist seems to know no bounds in deforming and contorting familiar human bodies and body parts into deeply disturbing works of art. But through invoking discomfort, Choi’s goal is to draw attention to important societal issues such as human rights, discrimination, and isolation. Scroll down and see more of Choi’s haunting sculptures below.


看似矛盾的虚幻与现实相结合,成为了韩国艺术家Xooang Choi雕塑作品的标志性超现实主义风格。他所精雕细琢的人像拥有符合现实比例的身体,与梦魇般的元素相结合后,每一件雕塑作品更具震撼力。大丹犬的头像被缝接在真人大小的人类身体上,无数的手臂堆叠成一双翅膀——他在作品中无所顾忌地扭曲、变形人们所熟悉的人体和身体部位, 最终呈现出令人不安的作品。这些雕塑看上去可能令人不安,但Xooang Choi的真正意图是引起人们对人权、歧视和孤立等重要社会问题的关注。接下来,再来欣赏他其它的一些雕塑作品吧。

Facebook: ~/xooang.choi
Instagram: ~/xooang

 

Contributor: David Yen
Images Courtesy of Xooang Choi


脸书: ~/xooang.choi
Instagram: ~/xooang

 

供稿人: David Yen
图片由Xooang Choi提供