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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

Waterscape / Memory of Spring

In the mountainous town of Hakone, a scenic waypoint between Tokyo and Kyoto, lies Lake Ashi. Boasting a stunning view of Mt. Fuji, numerous hot springs, and an abundance of natural hiking trails, the lake draws many visitors seeking a slice of tranquility. It’s here where the award-winning Tokyo-based design firm Moriuyiki Ochiai Architects unveiled their latest project.


美丽的芦之湖位于箱根,是一个地处东京和京都之间的山间小镇。这里除了富士山的壮丽景色,还有众多的温泉和自然远足径,吸引着许多寻求宁静的游客。Moriyuki Ochiai Architects,这家屡获大奖的东京建筑设计公司,在这里揭幕了他们的最新设计项目。

The Miruyiki Ochiai design team was tasked with renovating the domed foyer of an ex-botanical garden and turning it into a multifunctional space that’s able to accommodate a kitchen, dining space, and an area for live performances and art exhibitions. Using concrete, they laid out a new foundation for the space and constructed an octagonal amphitheater that serves as the centerpiece of this renovation project.


Moriyuki Ochiai Architects的设计团队需要改造一个旧植物园的圆顶大厅,将它变成一个由厨房,餐厅和一个展览演出区域组成的多功能空间。 团队用混凝土为整个空间构筑了新的基层,并建造了一个八角形的露天剧场,作为整个项目的标志性建筑。

With the goal of paying homage to water, which has lent its undeniable influence to the surrounding environment, they intended for the amphitheater stage to appear as if it were a well of water. To achieve this, they spread a transparent resin at the bottom of the amphitheater, which sits over an assortment of glass shards, mirror fragments, and metal plates. Tiered seating surrounds the spring, forming an intimate performance space. To further invoke imagery of water, specifically that of Lake Ashi, they injected a vibrant gradation of colors beneath the resin; this is to represent the different colors of the surrounding trees that reflect off the lake’s surface as the seasons change. The end result of Moriuyiki Ochiai Architect’s thoughtful redesign is a space that doesn’t detract from the beauties of the surrounding landscape. The project stands proudly as a symbol of the symbiotic bond that exists between man and nature.


由于水元素对当地环境有着十分重要的影响,因此,设计师以水井为灵感来设计了露天剧场的舞台。为了实现这一设想,他们在露天剧场的底部布满透明树脂,又在下面放满了玻璃碎片、镜子碎片和金属板。分层式的座位设计围绕着“水井”分布,形成一个小型表演空间。为了进一步突显水元素(尤其是芦之湖的水元素)这一意象,他们在透明树脂之下布满渐变的色彩层,以表达芦之湖四周的树木随季节变化映现在湖面时呈现的不同色彩。Moriyuki Ochiai Architects的这一设计并不会将人们的目光从周围的美丽自然景观中移开,恰恰相反,它代表了人与自然之间存在着的共生联系。

Website: moriyukiochiai.com
Facebook: ~/moriyuki-ochiai-architects

 

Contributor: David Yen
Photographer: Takumi Ota
Images Courtesy of Moriyuki Ochiai Architects


网站: moriyukiochiai.com
脸书: ~/moriyuki-ochiai-architects

 

供稿人: David Yen
摄影师: Takumi Ota
图片由Moriyuki Ochiai Architects提供

“Alpha Female” by Wild Beasts

 

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For the recently debuted music video of Wild Beasts’ latest single “Alpha Female,” taken from the UK band’s Boy King album, director Sasha Rainbow traveled to Bangalore, India to capture the city’s emerging female skateboardinging scene. “In places like Afghanistan, Cambodia, and India, skating has not been solidified as a male sport and therefore has had a massive cultural impact, teaching values about self-empowerment through skateboarding,” Rainbow described in a statement about the video. “Because of the current political climate in the West and attitudes of intolerance, and sexism across the world, I wanted to create a video that celebrates everyone who takes the risk to be themselves.”


英国乐队Wild Beasts最近推出了最新单曲《Alpha Female》的MV,这首单曲来自乐队专辑《Boy King》。MV导演Sasha Rainbow前往印度班加罗尔,拍摄下当地越来越盛行的女性滑板现象。 Rainbow 介绍这个影片时说道:“在阿富汗、柬埔寨和印度这些国家,滑板并没有被定义成一种男性运动,那这对社会文化的影响就更广泛了,通过滑板可以宣传自我赋权的价值。由于当前西方国家的政治气候,不宽容的态度以及世界各地的性别歧视,我希望能创作出一个视频影片,展现所有勇敢做自己的人。”

Challenging the male chauvinism that has long plagued India, the music video follows girls from Holystoked, a well-known Indian skateboarding collective; members of Girl Skate India, a platform that aims to cultivate more local skaters of both genders; and Atita Verghese, India’s first-ever professional female skater as they shred through city traffic and the backstreets of Bangalore. Check out the video above.


这个MV大胆视频挑战印度社会长期的男性沙文主义问题。视频中,镜头跟随着来自Holystoked(印度知名的滑板组织)的女孩,来自Girl Skate India (一家旨在培养更多本地男女滑板玩家的平台)中的成员,以及印度首个专业女子滑板运动员Atita Verghese,拍摄他们踩着滑板穿过城市和班加罗尔的小巷的身影。点开上方视频阅看。

Websites:
sasharainbow.com
wild-beasts.co.uk

Youtube: ~/WildBeastsVEVO
Spotify: ~/WildBeastsSP
VEVO: ~/Wild-Beasts

 

Contributor: David Yen
Video & Images Courtesy of rumble


网站:
sasharainbow.com
wild-beasts.co.uk

Youtube: ~/WildBeastsVEVO
Spotify: ~/WildBeastsSP
VEVO: ~/Wild-Beasts

 

供稿人: David Yen
视频与图片由rumble提供

Jewelry & Self-Expression

Established in 2015, H.SSHONE is a jewelry brand founded by twin sisters Evie Huang and Angie Huang. As long-time residents of Shanghai, the two sisters noticed the younger generation had a renewed interest in shiny stones and treasured metals. Working with a local jewel maker who specializes in Italian crafting techniques, their creations borrow from images of ancient European figures, icons, and emblems. Recently, we talked to the two sisters to learn more about their creative process and approach to jewel making.


H.SSHONE是由双胞胎姐妹Evie和Angie于2015年成立的珠宝品牌。两姐妹住在上海,他们留意到宝石及稀有金属开始在年轻一代中重回潮流。他们的设计借鉴了欧洲古代的人物形象,雕塑及徽章等元素,并在上海当地找了专做意大利手工珠宝的师傅合作。最近,我们采访了这对姐妹,来了解她们制作珠宝饰品的创意和过程。

NeochaFirst of all, what’s the meaning behind the name H.SSHONE?

H.SSHONE: The H.S in our brand name comes from the abbreviation of our Chinese names – Shitong Huang and Shiying Huang. The “shone” is the past tense of shine, which of course is related to the bright resplendence of jewelry. But besides that, our use of the past tense alludes to the historical aspects of jewelry, which spans thousands of years. Our brand name is a combination of these elements.


Neocha: 首先,H.SSHONE这个名字的含义是?

H.SSHONE: H.SSHONE中的 “H.S” 来自于我们两个名字的黄诗盈和黄诗彤的缩写。”Shone“是”shine“的过去式,当然就是代表闪耀的珠宝,至于为什么用过去式,是想隐喻珠宝长远的历史文化。H.SSHONE正是由这几个元素组成的。

Neocha: Who do you envision wearing your jewelry?

H.SSHONEOur collection aims to be chic, full of attitude, and approachable for both genders. We wants our jewelry to be a part of people’s lifestyles, easily able to be worn on a day-to-day basis . Generally, our customers have vibrant personalities and possess their own unique style.


Neocha: 你们觉得自己的设计受众是?

H.SSHONE: 我们的设计想做到精致时尚,有态度,并且男女皆可佩戴。我们希望它可以是生活方式的一种,是适合每天佩戴的首饰。我们的客户大多数是很有个性,追求独特风格的时髦人士

NeochaFor the first two collections, the two of you were greatly inspired by Egyptian and European aesthetics. Where did the inspiration come from for your latest collection?

H.SSHONEThe new collection, “Tomber Amoureux,” is actually inspired by everyday life. It originates from our love of life and all the beauties to be discovered in it. The collection is a combination of our observations and feelings.


Neocha: 最早的两个系列,可以看出你们的灵感源自古埃及和古欧洲的经典美学,那最近的这个系列的灵感又来自哪里呢?

H.SSHONE: 新的一季“Tomber Amoureux”的珠宝的设计灵感实际上就是来自日常生活。它源于我们对生活的观察及感受。它是有关我们对生活的热情,以及生活中的隐藏之美的。

Neocha: Living in Shanghai, how has this city influenced your style and jewelry designs?

H.SSHONEThe city itself is magical and filled with charm. There’s a lot of cultural exchange and so many different forms of artistic expression. This dynamic is endlessly inspiring. Also, the people who live in Shanghai have great taste and they’re constantly looking for ways to improve their standards of living.


Neocha: 生活在上海,这个城市给你们的设计风格带来什么影响呢?

H.SSHONE: 上海这座城市充满魅力。你能经常在这里接触到各国文化的交流和不同形式的艺术碰撞,这样的多元性总能带给人们源源不断的灵感。而且,住在这里的人大多都品味不错,也不断追求着提高生活品质。

NeochaWhere do you see H.SSHONE heading in the future?

H.SSHONE: We hope our jewelry can reflect the personality of the wearer. Each design is actually quite consistent with our personal style; they’re minimal, but carry a sense of elegance and power. We very much hope that whether you’re a man or a woman, you can take our jewelry, find their own interpretation of it, and use it to express themselves in a unique way. We want our customers to not only feel satisfied by our designs; we want the spirit of our products to help them voice their identity.


Neocha: 你对H.SSHONE的未来有什么期望?

H.SSHONE: 很希望我们的珠宝能投射出佩戴者的个人性格。我们的设计风格基本都是统一的,简约优雅但充满力量感,但我们希望男士和女士都能佩戴这些珠宝,并诠释出自己的风格,用它来彰显自己独特的个性。希望产品在被客户喜欢之外,其背后的精神还能帮大家找到自己。

Weibo~/hsshonejewelry
WeChat
: stoneashanghai
Instagram: @hsshonejewelry

 

Contributor: Juno Liu
Photographer: Crown Wang
Stylist: Shou Xing
Hair & Make-up: Zhang Jiajia & Sean Sheng
Photography Assistant: Paul Gardette


微博: ~/hsshonejewelry
微信
: stoneashanghai
Instagram: @hsshonejewelry

 

供稿人: Juno Liu
摄影师: Crown Wang
造型师: Shou Xing
化妆&发型: Zhang Jiajia & Sean Sheng
摄影助理: Paul Gardette

Neocha x VSCO Preset

Photographer: Leon Yan

In keeping with our longstanding mission of providing a voice for the burgeoning, yet often times overlooked, creative class of Asia and celebrating the region’s rich history and culture, we’re proud to announce that Neocha has partnered with VSCO to release a limited-edition Neocha (NC) x VSCO Preset for the Lunar New Year.


在日新月异的今天,为时常被忽视的亚洲创意圈及其所涉猎区域的丰富历史文化发声一直是我们的持续不懈的夙愿。在此,我们自豪地宣布,Neocha与VSCO倾力合作为迎接中国农历新年的到来推出了一款Neocha (NC) x VSCO特制滤镜系列。

Designed to produce dynamic and memorable images that bring to life the untold stories of Asia, the Neocha preset introduces a subtle warmth into photos and enhances the vibrancy of reds, oranges, and yellows.


Neocha特制滤镜系列可营造出生动且令人印象深刻的画面以呈现出不为人知的亚洲故事,该套滤镜可为画面增添微妙的暖色调,并通过红、橙、黄的明度增强让照片更富活力。

Photographer: David Yen
Photographer: Whitney Ng
Photographer: Adam J. Schokora

As part of the preset launch, we collaborated with some of our favorite photographers around Asia to showcase the versatile capabilities of this new collaborative preset. From candid street snaps in Seoul to casual hikes through Indonesia, the Neocha preset is an easy way to enhance images for photography enthusiasts of all calibers and is suitable for a wide range of scenarios. NC embodies the enduring commitment of Neocha’s partnership with VSCO in celebrating culture and creativity in Asia. It’s available now for free and can be downloaded from the VSCO in-app store.


作为上线前的预热,我们与一些自己喜爱的亚洲摄影师们合作,以他们丰富的创意为大家展现了这款特制滤镜的更多可能性。从首尔的随性街拍到印尼的休闲徒步,Neocha滤镜系列为摄影爱好者们提供了一种更为简单明了的方式来修饰大场景画面。NC的推出象征着Neocha与VSCO共同合作并致力于为亚洲创意文化发声的长久许诺。该系列现可在VSCO app中免费下载。

Photographer: Kimi Juan
Photographer: Yik Keat Lee
Photographer: Elaine Li
Photographer: Takayashi Yasui
Photographer: Chanipol Kusolcharttum
Photographer: Ken Lee

100 Days of Bloody Dairy

 

无法观看?前往优酷

An inquisitive swan hiding inside a banana, the liquefied remains of a melting cat being lapped up by another cat, and an endless parade of refrigerator-dwelling penguins – these are just some of the surreal happenings in Bloody Dairy, a project conceived by animator and motion graphics designer Min Liu. Inspired by #The100DaysProject, an initiative that aimed to galvanize a person’s creativity by having them perform an action for 100 consecutive days, the Taiwanese artist challenged herself to publish a unique animation every single day.


香蕉里冒出一只东张西望的天鹅,像雪糕一样融化了的猫,从冰箱中列队而出的企鹅。这些荒诞有趣的场景都来自于《Bloody Dairy — 一个由台湾动画师及动态图形设计师Min Liu创造的短动画合集。最初做Bloody Dairy是受到#The100DaysProject 的启发,一个通过不间断创作100天来激发艺术家创意的项目。 Min Liu借此挑战自己,在连续的100天中每天发布一个独特的小动画。

“When I started this, I just wanted to do something fun and push my sanity,” Liu recalls. And so, with a typo while registering her Instagram account, Bloody Dairy was born. The resulting work of the project – which is entirely dual-chromatic, combining red, black, and her adept useage of negative space – was difficult as expected. “I had to finish and upload an animation before 12 am every day, which left me no time to overthink it,” she says. “With a limited time frame and compositional limits – since Instagram only supported square videos at the time – it was interesting to see what I can create inside that little box.” During those 100 days, the inspiration for her delightfully absurd animations ranged from of random musings of everyday life to observations of her two cats. “Cats are aliens,” she remarked. “Just look at them.”


“开始做这个项目的时候,我只想画一些好玩的东西,同时逼迫大脑保持创作的敏锐度。” 她说。由此便诞生了Bloody Dairy》, 叫这个名字也是因为注册Instagram的时候打错字而弄巧成拙 。我只用红黑两个颜色,再结合背景的留白去绘画,这样的创作方式比我想象的更困难。“ 我要在每天半夜12点之前上载我当日的作品,这让我没有时间多想。” 她说,“由于时间有限,而且当时Instagram也只能上载正方形的素材,这样的限制让事情变得更有趣,看看我能在这个小盒子里变出些什么。” 在这100天中,我除了从日常生活中随机找灵感以外,便是观察我的两只小猫。“猫根本就是外星生物,看看它们就够了。”

As for other sources of inspiration, Liu revealed that one of her favorite artists is Junji Ito, a Japanese manga artist who’s notorious for his disturbing horror stories. Taking this into consideration, it’s not surprising to, at times, see her work give nod to the macabre. From a character unzipping her flesh to reveal spines and rib bones to a beheaded female holding her own soon-to-explode floating head tied to a string – Liu’s work doesn’t quite traverse into the unsettling like Ito but is tastefully sprinkled with her signature style of dark humor.


说起灵感来源,Liu还提起一个她非常喜欢的艺术家“伊藤润二”,一位日本著名的恐怖漫画家。这样说来一点都不意外,Liu的作品流露着和伊藤类似的诡异感。譬如说一个用拉链拉开后背皮肤露出脊椎骨的女人,或是用绳牵着自己即将爆炸脑袋的诡异女子。Liu的作品虽然不像伊藤那么极度令人不安,但有她自己独特的黑色幽默感。

Not immediately obvious in Bloody Dairy, but for Liu’s past and ongoing collaborations, it’s evident that music also plays a prominent role in her creative process. She animated the award-winning music video for “Wide Awake,” a 2016 track by Brooklyn-based electronic-rock band A Love Like Pi; designed promo visuals for multiple Taiwanese bands as part of Taiwanese Wave, a New York music festival dedicated towards up-and-coming Taiwanese musicians; and is currently working on Italian rapper Mecna’s new music video.


虽说在Bloody Dairy中不是很突出,但观察Liu的其他作品,你可以明显地看出音乐是在她创作中占很重要地位的。例如她其中一个获奖作品Wide Awake,就是为来自布鲁克林电子摇滚乐队 A Love Like Pi 的一支单曲创作的音乐录影带。Liu还为Taiwanese Wave制作了几个本地乐队的宣传动画,Taiwanese Wave是一个在纽约致力于发掘台湾的新生音乐力量的音乐节。除此之外,Liu也正在为意大利说唱歌手 Mecna 绘制她的音乐录影带。

At the end of the 100-day long project, she compiled all of the GIFs from Bloody Dairy into a three-minute long short film under the same name, which went on to win numerous awards from various film and animation festivals. “I’m still on the path to finding my own style, but I think I’m at a good place now,” Liu humbly says. “I’m still quite new in this field but I’ve learned a lot from all the people who I’ve worked with.”


在100天动画项目结束了之后,Liu把Bloody Dairy里所有的小动画集合起来,制作了一条三分钟长的同名动画短片。这部短片带她去到一连串的电影节和动画艺术节。 “我还在不断确立自己的个人风格” Liu谦虚地说  “我在这个行业中其实还是个新人,我从和我一起工作的人身上学到了不少东西”

From now through February 5th, works by Min Liu and other various Taiwanese artists will be on display at the Visual Taipei exhibition as part of Graphic Design Festival Paris; the exhibition is an extension of the successful showcase that debuted last year at World Design Capital Taipei. Later this year, she also has plans of releasing a sticker pack for the LINE messaging app. “Motion graphics has been booming these last few years,” Liu says excitedly. “I can’t wait to see how the industry progresses in the future.”


从现在起直到2月5日,Min Liu和几位其他台湾艺术家的作品将会在Visual Taipei展览,这也是巴黎平面设计展的一部分,作为去年在台北世界设计之都成功首展之后的一个延伸。今年,Liu还有计划和LINE通讯软件合作推出一个贴纸系列。“这几年动态影像发展地很快”,Liu兴奋地说道,“我很期待看到这个行业未来的发展。”

Websites:
min-liu.com
bloody-dairy.com

Instagram: @bloodydairy
Vimeo~/minliu

 

Contributor: David Yen
Video Courtesy of A Love Like Pi & Min Liu


网站:
min-liu.com
bloody-dairy.com

Instagram: @bloodydairy
Vimeo~/minliu

 

供稿人: David Yen
视频由A Love Like Pi与Min Liu提供

Wallflowers: Lombok Island

Exhausted by the corporate rat race, Jonah Meyers left behind a 20-year long career to pursue his longstanding passion for photography. Originally, the Singapore-based photographer was interested with traditional documentary photography, but later felt frustrated by the lack of control; this led to a revised approach for his Wallflowers: Lombok Island photo series. “I would say that I’m not striving to reveal the essence of each individual as a documentary subject,” he explains. “Rather, my goal is to present a more abstract representation of each person while still maintaining their cultural identity.”


厌倦了大企业里的尔虞我诈,Jonah Meyers离开了自己长达20年的工作,追寻自己长期以来所热爱的摄影。Meyers 目前生活在新加坡。最初,让他感兴趣的是传统的纪实摄影,但这种没有掌控力的摄影却让他感到十分挫败。从此,他改变了自己的摄影方式,并由此创作出《Wallflower:Lombok Islands》系列摄影作品。 他这样解释自己的作品:“我没有试图将我的摄影对象当作纪录片的主角来揭示其本质。相反,我的目标是通过一种抽象的方式对展现每个人,同时保留其文化身份。”

Meyers’s first visit to Lombok, an island east of Bali, was six years ago. Blown away by the local hospitality, sense of community, and vibrant colors of the island, he returned in 2016. He ended up spending several months on the island, on and off over the course of the year. “I would spend weeks at a time walking the remote villages of the island, meeting people and talking to them about the project,” he recalls. “Half the work is looking for subjects and convincing them to work with me.” With the assistance of a local Indonesian translator, he photographed the willing locals of Lombok against a variety of vibrant backdrops, and per the intent of Meyers, it’s difficult to ascertain the line between fiction and reality when viewing these portraits.


龙目岛位于巴厘岛以东,Meyers第一次到访龙目岛是在六年前。当地人们的热情、社区归属感以及鲜艳的色彩令他震撼不已,在2016年他又再次踏上龙目岛。在一年间,他多次到访龙目岛来创作这一摄影作品系列,前后一共在这里生活了几个月的时间。他回忆说:“我会一次花几周的时间行走于岛上偏远的村庄,接触当地人,与他们讨论这个摄影项目,其中一半的工作是要寻找拍摄对象,说服他们和我一起工作。”在当地的印尼语翻译的协助下,他让愿意站在他镜头前的当地人站在一系列色彩热烈的背景前进行拍摄。按照Meyers的拍摄理念,他的肖像作品在虚幻与现实之间的界限是模糊的。

“As a traveller, when I visit a very foreign place like Lombok, which is so far removed from what I know, the experience can feel surreal – as if you’re attending an extravagant theatrical production with elaborate set pieces and costumed performers,” says Meyers. “I think, subconsciously, I was attempting to capture the sense of magical realism one experiences when they are exposed to such a foreign place. With that being said, for me, it’s very important not to impress the viewer with a distinct message, but rather allow viewers to approach the material with their own interpretations. I think the work is most effective when the images invoke questions rather than answers.”


Meyers说:“作为一个旅行者,当我参观像龙目岛这样对我来说非常陌生的地方时,一切都与我以往的认知如此不同,以至于在这里的体验充满超现实的感觉,就好像你参加一场大手笔的戏剧制作,里面有精心设计的道具和盛装打扮的表演者。我认为,潜意识里,我是要试图表现出人们转身于陌生境地时那种魔幻现实的感觉。对我来说,那就意味着不能告诉观众一个明确的信息,而是允许观众自己来理解这件作品。我认为最好的作品应该能引发疑问而不是给出答案。”

Website: jonahmeyers.com

 

Contributor: David Yen


网站: jonahmeyers.com

 

供稿人: David Yen

India’s Street Art Revolution

A mural in Pali Village by Phomes, Notes, and Tofu for St+art Mumbai 2014 / Photographer: Akshat Nauriyal

For many countries, graffiti is viewed in a negative light, often regarded as distasteful acts of vandalism. In India, this isn’t quite the case. Defacing property is, of course, illegal, but people in India have become much more receptive to street art. Many will take up artists on their offers of having their walls painted, seeing it as receiving a beautiful piece of art for free. But even with societal acceptance, graffiti still isn’t considered as a conventional form of art. And thus, the street art scene remained fairly underdeveloped and stagnant. But 2014 became a milestone year for the scene – This was the year that India saw its first-ever street art festival


在许多国家,人们对街头涂鸦的看法一直都比较负面。街头涂鸦往往被视为令人反感的破坏公物行为。而在印度情况却恰恰相反,当然破坏公物依然是违法的行为,但印度的人们对街头艺术却越来越包容;还有很多人甚至会邀请艺术家在他们的墙面上涂鸦,认为这算是免费获赠了一件美丽的艺术作品。但即使社会愿意包容,涂鸦仍被认为是一种非传统的艺术形式。因此,街头艺术在印度依然缺少发展,也并未受到重视。但2014年却成为了街头艺术发展的里程碑——印度举办了国内首个街头艺术节。

Reflection by Avinash & Kamesh / Photographer: Pranav Gohil
Shahpur Jat by Yantr / Photographer: Akshat Nauriyal

The 2014 festival, dubbed as St+art Delhi, was organized by Hanif Kureshi, Akshat Nauriyal, Arjun Bahl, Thanish Thomas and Giulia Ambrogi, who all come from different backgrounds. They were united by their love of alternative cultures and a shared interest in wanting to provide people in India a different way to experience art by making it interactive and approachable. The enthusiastic response to the 2014 festival led the five Delhi-based vanguards of creativity to form the St+art India Foundation, a not-for-profit organization that serves as a platform to advance their vision of making art accessible to the public and helps give voice to emerging artists. “[St+art Delhi 2014] was born out of a collective exhaustion from gallery spaces in general and the realization of the immense potential in making art public,” says Giulia Amborgi, festival curator for St+art India. “We saw an opportunity and did the first project without thinking about what comes next.”


来自不同文化背景的创意人Hanif Kureshi, Akshat Nauriyal, Arjun Bahl, Thanish Thomas 和 Giulia Ambrogi共同举办了德里街头艺术节-- St+art Delhi 2014。他们因为热爱非主流文化而走在一起,他们都渴望能通过更有互动性和更易接触的艺术来为印度的人们带来一种全新的艺术体验。他们在2014年创办的街头艺术节反响十分热烈,因此,这五名生活在德里的创意先驱又成立了一个非盈利组织St+art India Foundation作为平台推广他们的理念——创造更贴近大众的艺术,帮助新兴艺术家发声。St+art India的策展人Giulia Ambrogi表示:“St+art Delhi 2014源于我们对传统画廊空间的厌倦,我们意识到,在公共场合创作艺术有着巨大潜力。看到了这样一个机会后,我们马上就着手开始了第一个项目,也没有多想下一步要做什么。”

Hendrick Beikirch & Anpu Varkey / Photographer: Enrico Fabian
Mahatma Gandhi by Hendrick Beikirch & Anpu Varkey / Photographer: Enrico Fabian

The first mural St+art introduced to Delhi in 2014 was a large-scale mural of Gandhi, which was painted on the facade of the Delhi Police Headquarters. Created by German street artist ECB (aka Hendrik Beikirch) and local artist Anpu Varkey, this piece became the bedrock of their amicable relationship with the Indian government. “We always try to make sure that the images an artist works on are respectful towards the cultural concepts and the many taboos – especially those related to religion – that are embedded in Indian culture,” says Ambrogi. “Therefore, there have been very few occasions of any real problems or resistance by the public. In fact, most of the time what happens is the opposite.” As part of 2016’s St+art Delhi, they even worked together with the Minister of Urban Development and turned New Delhi’s long-neglected Lodhi Colony into India’s first public art district.


St+art于2014年在德里推出的第一幅涂鸦作品是一幅巨型的甘地肖像,画在了德里警察总部外墙上。这幅由德国街头艺术家 ECB (即 Hendrik Beikirch)与当地艺术家Anpu Varkey创作的涂鸦作品成为了他们与印度政府建立友好关系的基石。Ambrogi说:“我们总是努力确保艺术家所创作的作品的图像能够尊重印度当地根深蒂固的文化概念和许多禁忌,尤其是与宗教有关的问题。因此,我们一直很少遇到大的问题,或有来自公众的抗议。事实上,大多数会发生的情况恰好相反。在 2016 的 St+art Delhi 街头艺术节,他们甚至与城市发展部部长合作,将新德里长期被忽视的Lodhi Colony 地区改造成为印度的第一个公共艺术区域。

Mirage by Borondo/ Photographer: Akshat Nauriyal
I AM REALLY A LOST CAUSE by AKACORLEONE / Photographer: Akshat Nauriyal

With the belief that an artistic exchange is key to begin a dialogue between different cultures, St+art has brought in many international street artists to create alongside local talents over the last three years, including invitees from Spain, France, Serbia, Japan, USA and more. They converse with potential international artists months prior to the project, briefing them on nuanced aspects of Indian culture and describing the location they’ll be working at. “This exchange is fundamental to open up minds and create fluidity in each art piece, for both international and Indian artists,” Ambrogi explains.“We try to make the pieces relevant for the people who eventually are the owners of the work, but on the other hand, we also try to create something that is unique and responds to the environment in which and for which it’s been created.”


St+art 认为艺术的交流是开启不同文化对话的钥匙。在过去三年,他们邀请了来自不同国家的街头艺术家与本地艺术家一起进行创作,受邀者分别来自西班牙、法国、塞尔维亚、日本、美国等地。在项目开始之前几个月,他们会与可能合作的来自全球各地的艺术家进行讨论,向他们详尽细致地介绍各方面的印度文化,说明要进行创作的地点。Ambrogi解释道:“这种交流是开阔思维的关键,让每一件艺术作品充满流动性,对于其它国家的艺术家和印度当地的艺术家而言同样如此。我们试图使每一件艺术作品都能与它最终的拥有者存在关联性,但另一方面,我们也在尝试创造独一无二的作品,使其能反映出它创作所处的环境,而艺术作品也正是为这些环境所创造的。”

Time Changes Everything by DAKU / Photographer: Akshat Nauriyal
I'm hacked by Swati & Vijay / Photographer: Pranav Gohil
Chaos Star by Okuda / Photographer: Akshat Nauriyal
Dust Stream by DALeast / Photographer: Akshat Nauriyal

Besides Delhi, they brought the festival to Bangalore and Hyderabad last year. “We chose Bangalore for two reasons: on one hand, it’s home to most Indian street artists and is also a fairly receptive city for all things, underground and others in term of art and culture. The other reason is thanks to Amitabh Kumar, one of the artists who is always with us in our festivals and who runs a brilliant project called ‘Art in Transit’ with the Srishti School of Art, Design, and Technology, one of the pioneering art colleges in India.”


除了德里,他们还在去年将这一街头艺术节引入班加罗尔和海得拉巴。“我们之所以选择了班加罗尔是基于两个原因: 一方面,这里是大多数印度街头艺术家的聚集之地,在艺术和文化方面,这座城市对所有事物的包容性比较好,包括地下文化等等。另一个原因是其中一名艺术家—— Amitabh Kumar,他一直都有参与我们的街头艺术节,还与班加罗尔的 Srishti School of Art, Design, and Technology 学校一起经营着一个很出色的“Art in Transit”艺术项目,这所艺术院校是印度的顶级艺术学院之一。”

Usual Unusual by Do & Khatra / Photographer: Pranav Gohil

“As for Hyderabad, it was the first time in which a state government approached us to do our street art festival,” Ambrogi says. “We found it to be a perfect location. Being the new capital of Telangana, it’s seeking out a new contemporary identity for itself. It’s a city that is looking towards being a smart city, the next big hub for technology and culture. It’s led by open-minded and progressive politicians.”


Ambrogi继续说道:“至于海德拉巴,这是第一次有政府主动联系我们去举办街头艺术节。并且我们发现这里真是举办艺术节的完美之地,作为特伦甘纳邦的新首府,海德拉巴正寻求一个现代化的身份,成为一座智慧城市与下一个科技和文化枢纽。而带领这座城市的正是有着开放心态和进取精神的政治家。”

Remember by Ullas Hydoor / Photographer: Akshat Nauriyal
Day & Night. You & You by Okuda / Photographer: Pranav Mehta

In every city that St+art has passed through, the reception has been highly positive. But when their projects take place in areas where art and culture are especially lacking, such as Lodhi Colony and ICD in Delhi or Maktha in Hyderabad, they notice a much larger and longer lasting impact. Beyond their original goal of democratizing art, St+art‘s deliberate location choices are attempts to initiate a dialogue about the changes taking place in many of these cities, which include societal issues such urban neglect and gentrification. In October of this year, St+art India will be bringing their festival back to Mumbai; as part of the festival, they plan to invigorate Dharavi – notoriously known as the largest slum in Asia – by reshaping it into an art district much like what they did for the Lodhi Colony. St+art also has plans of introducing urban design and other forms of contemporary art for this year’s festival to provide an even more well-rounded experience for all attending.


St+art在所到的每个城市都获得了很积极的反响。但当他们在一些艺术和文化极其匮乏的地区——譬如德里的 Lodhi Colony和 ICD,或者是海德拉巴的马卡塔——举办他们的艺术项目时,他们发现这些艺术项目往往能带来更大更持久的影响。除了最初创造大众化艺术的目标,St+art的特意选址是要试图引发有关许多城市所发生的各种变化的对话,其中包括对城市的忽视和中产阶级化等社会问题。 在今年 10 月,St+art India将再次回到孟买举办街头艺术节,作为艺术节的一部分,他们计划复兴达拉维地区——亚洲最大的贫民窟,它正在如Lodhi Colony一样,被改造成为艺术区。St+art还计划为今年的街头艺术节引入城市设计和其它形式的当代艺术,为参与者带来更全方位的艺术体验。

Background Subtraction by Daan Botlek / Photographer: Pranav Gohil

Website: st-artindia.org
Facebook: ~/startindiafoundation
Instagram: @startindia

 

Contributor: David Yen
Images Courtesy of St+art India FoundationAsian Paints & Enrico Fabian


Vietnam, Land of the Dragon People

 

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In November of last year, Belgium-based filmmaker Sjoerd Samuel Tanghe spent a month travelling Vietnam and filming all that he saw along the way. With over 60 hours of footage at the end of his trip, he put together Vietnam, Land of the Dragon People, a stunning four-minute long short film.


去年十一月,比利时电影制片人Sjoerd Samuel Tanghe花了一个月的时间在越南旅行,一共拍摄了超过60小时的影像素材;他将这些影像剪辑在一起,制作成一部时长4分钟的迷人短片——《Vietnam, Land of the Dragon People》。

Compared to his personal and commercial work in the past, Vietnam, Land of the Dragon People is quite different. “Because of social media, the ongoing trend now is that everything must be summarized in less than a minute,” he lamented. “Some of my other projects might be flashier, bombastic, and full of energy. But for this project, the pacing is much slower. I wanted to show all the things I saw in an authentic way.”


相较于他过去个人与商业的作品,《Vietnam, Land of the Dragon People》有着截然不同的风格。他感叹:“由于社交媒体的发展,现在的趋势是一切都必须被概括在不到一分钟的时间里。我以往的作品可能更为华丽、夸张,且更有活力。但是,这部短片的整个节奏会更慢一些。我希望能以真实的方式呈现出我所目睹的一切。”

Being as it was his first time in Vietnam, Tanghe decided to travel through the entire country, starting first from the south and working his way up into the north. His journey was mostly improvised, barring a few specific destinations. Tanghe was most interested in exploring an authentic side of Vietnam, away from the tourist-ridden locations, and to discover for himself the way of life there. With an open-mind, he sought to travel off the beaten path and experience all that the country has to offer; this included trying out balut, a local Vietnamese delicacy, that Tange says to have been the most memorable part of his trip. He adds: “If you don’t know what it is… please don’t Google it.”


因为这是他第一次去越南,Tanghe决定在这趟旅程中穿越整个国家,从越南南部开始,一路往北走。除了一些特定的目的地,他的旅程大都是即兴决定的。Tanghe最感兴趣的是探索越南真实的一面,离开那些热闹旅游景点,亲自发现当地的生活。带着这种开放的心态,他专门寻找那些鲜有人知的冷门地方,以体验真正的越南,包括尝试越南当地的美食“Balut(毛蛋)”,Tanghe表示,这是他此行最难忘的回忆。他补充说:“如果你不知道这是什么……千万不要事先上网搜索。”

Website: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe

 

Contributor: David Yen
Video & Images Courtesy of Sjoerd Samuel Tanghe


网站: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe

 

供稿人: David Yen
视频与图片由Sjoerd Samuel Tanghe提供