All posts by david

Performing Sculpture

December 19, 2016 2016年12月19日

Widely regarded as one of the most innovative artists of the 20th century, Alexander Calder’s creations modernized and reimagined the possibilities of sculptural art. Transcending time and mediums, his lasting influence is still evident today. Performing Sculpture, a playful photo series that pays homage to the iconic American artist, debuted just last year on BROWNIE.

作为20世纪最具创意的艺术家之一，Alexander Calder的作品以现代化的风格重新演绎雕塑艺术的无限可能性。他作品的影响力跨越时间与媒介时至今日依然显而易见。《舞蹈的雕塑》是一组致敬 Alexander Calder 这位传奇美国艺术家的摄影作品系列，在去年首次发表于BROWNIE网站。

Shot by Tan Yuxi, a Chongqing-born and Shanghai-based photographer who was inspired after seeing Calder’s exhibition at Tate Modern, Performing Sculpture is comprised of ten image pairings that consist of wires, disc-shaped props, and women in colorful one-piece swimsuits; it’s a whimsical reimagining of Calder’s creations. Beyond vaguely alluding to the nature of interpersonal connections between us as humans, Yuxi has left the narrative purposefully ambiguous and open to interpretation.

该系列创作者谭羽希是一名出生于重庆，现居上海的摄影师。《舞蹈的雕塑》是她在伦敦泰特现代美术馆(Tate Modern)看到Alexander Calder的展览后大受启发而创作的，她以线、唱片圆盘形状的道具及身穿连体泳衣的女性为元素创作出10组摄影作品，以异想天开的风格对Alexander Calder的雕塑作品进行创新构思。除了隐晦地影射人际关系本质，谭羽希故意模糊作品要表达的想法，而让观众自己来定义作品背后的意义。

“When someone looks at this series, they can extract their own meanings out of it,” Yuxi says. “I feel like that’s the purpose of this project. It’s possible that some people won’t have any thoughts about it, but to me, them not finding any meaning in it is part of the work. So to that effect, I’m purposefully omitting what I want to express and the meaning behind it.”

谭羽希解释：“当不同的人看到这个作品，或多或少都有自己能想到的东西，我觉得这就是作品的意思。其实可能会有人没有任何想法，但对于我，没有想法也是表达内容的一种。所以我不会说我要表达什么，或者想传递的信息是什么。”

Despite femininity and females being the main narrative-driving force behind this project, Yuxi considers Performing Sculpture to be a slight departure from some of her previous works. The main differentiating factor was the number of models involved in the shoot. Coordinating multiple subjects at once was a fairly new and challenging experiencing for Yuxi, a challenge that pushed her out of her comfort zone. But as with many other great artists, she regards all difficulties as invaluable learning experiences.

尽管女性主题和女性依然是这个作品背后的主要叙事动力，但谭羽希认为《舞蹈的雕塑》与她以前的作品还是有所不同的。最主要的差别在于参与拍摄的模特的数量。同时协调多名拍摄对象对她来说是一件相当具有挑战性的事情，是一次全新的经历，这也迫使她不得不走出自己的舒适区。但是，正如其他优秀的艺术家一样，在她眼中，困难是宝贵的学习经验。

Similar to the masterful manner that Calder’s able to use sculptures to bring his creative vision to life, Yuxi’s talent lies in her ability to use photography and the female form as the vessel for her creative energy. “I enjoy shooting females,” she says. “Perhaps it’s because I find them to be endlessly interesting. I want to know what they’re thinking and why they do what they do.”

正如Alexander Calder 以巧妙绝伦的方式通过雕塑作品让自己的创意构思唤发蓬勃生命力，谭羽希的天赋也在于她能够让摄影和女性主体变成展现她的创作能量的载体。“我很喜欢拍女人，”她说道，“也许是因为对于我来说，女人更有趣。我想知道她们在想什么，她们为什么这样做。”

Prints from Tan Yuxi’s Performing Sculpture are now available from the BROWNIE online shop.

谭羽希《舞蹈的雕塑》印制品现已于BROWNIE网上商店发售。

Website: yukivigo.com
Instagram: @yukivigo

 

Contributors: David Yen, Banny Wang
Images Courtesy of BROWNIE

网站: yukivigo.com
Instagram: @yukivigo

 

供稿人: David Yen, Banny Wang
图片由BROWNIE提供

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Of Light & Time

December 16, 2016 2016年12月16日
Cubic light (2015) Photographer: Tong Cheng / 《立方的光》(2015) 摄影师: Tong Cheng

Constructed of light and found objects, the work of Wang Lingjie and Hao Jingfang is at once of time and timeless, infinite yet infinitesimal. They offer a tiny glimpse of a higher consciousness, a wisdom that surpasses our constraint of time and space. At once logical and poetic, their works radiate an innate peacefulness. A result perhaps, of a complex and lengthy creation process that involves endless discussions, deliberations, and decisions.

王令杰与郝经芳的作品由光与拾获物品构成，代表瞬间和永恒，既无限大又无穷小。他们的作品用智慧带我们超越时间和空间约束，使我们从微小的一瞥中窥见更高的觉知。作品既富有逻辑又充满诗意，散发出一种内在的宁静。这是经过复杂与漫长的创作，不断探讨，推敲，与选择以后获得的丰硕结晶。

Below Above / Beyond Beneath (2016) / 《斜面》(2016)
Below Above / Beyond Beneath (2016) / 《斜面》(2016)

Otherworldliness belies their work. Walking into Below Above / Beyond Beneath, their contribution to the 2016 Shanghai West Bund Art & Design fair, visitors encountered a pitch-black space with nothing but two horizontal beams of light that crosses a mist-filled space. Consciously, it’s apparent that it is a room, yet it is also somehow elsewhere. Upon making it to the opposite side and turning around, outlines of other visitors would emerge from the mist, almost as if they were arriving from another dimension.

他们的作品有一种超越世俗感。他们2016年在上海西岸艺术与设计展展示的作品“斜面“，在漆黑中没有别的，仅用两条平行的光束穿过雾朦的空间。你走进去，知道它就是一个房间，但又好象置身于别处。当你走到房间的另一头，转过身来，看到迷雾中显现的人群的轮廓，仿佛是来自另一个世界。

In a universe where everything moves at all (2015) Photography: Tong Cheng / 《在一个万物运动的宇宙中》(2015) 摄影师: Tong Cheng
In a universe where everything moves at all (2015) Photography: Tong Cheng / 《在一个万物运动的宇宙中》(2015) 摄影师: Tong Cheng

This tension between this world and another is found in an ascetic, minimalist form. In their works, blacks and whites dominate, a choice made explicitly by Wang, says Hao. Stripped back to essentials, their art echoes a Taoist duality, akin to “a kind of philosophy,” says Wang. Yet, far from simple, their works are the result of their daily travail, of countless trials and failures, of a sometimes painful, yet constant dialogue with their work in progress.

这两个世界之间的张力以克制与简洁的形式表现。在他们的作品中，王令杰刻意地选择黑与白为主色。他们的艺术返璞归真，反映了道教的二元性，“是一种哲学”，王说。然而，看似简单的作品，却是通过无数的试验和失败，忍痛割爱，每日不断的努力、取舍以后的结果。

Sun Drawing (2012) / 《太阳》 (2012)
Sun Drawing (2012) / 《太阳》 (2012)
Sun Drawing (2012) / 《太阳》 (2012)

Discipline and dedication rule their approach to creation. Sun Drawing, a series of daily marks left by the sun on heat-sensitive paper, is a past piece of work that characterises their signature approach; it’s revealing their ongoing fascination with the passage of time, as well as light, as they continuously attempt to capture their ephemeral essence.

他们自律地全身心投入他们的创作。他们的系列作品《太阳》，源自每一天在热敏纸上纪录的太阳的轨迹。这种持续性方式是他们作品的一个特征。试图捕捉稍纵即逝的光与短暂时间，这实在使他们着迷。

Creak and groan (2016) / 《吱呀》(2016)
Creak and groan (2016) / 《吱呀》(2016)

It is surprising then that the works themselves are not sterile but filled with lightness and vitality, maybe because they are the reflection of the artists themselves. So that when the works are experienced, they inadvertently express their creators’ curiosity about the world, as well as the joy and wonder of the creation process.

令人惊讶的是，他们的作品不会枯燥乏味，而是轻盈，充满活力的。这也许是因为这些作品是艺术家本身性格的反映。因此，当你在感受作品的时候，会不知不觉地感觉到他们对这个奇妙世界的好奇，以及他们在创作中所获得的乐趣。

Rainbow (2016) / 《彩虹》 (2016)

Never loud, showy or pretentious, their works are quiet, unobtrusive, yet singular in their view. For Wang Lingjie and Hao Jingfang, to make art is to be true to oneself, as Hao sums it up, “I wanted to do something for myself… to find my own inner peace.”

绝不张扬或装腔作势，他们的作品平静低调，却表现了他们的独特观点。对于王令杰与郝经芳，艺术是真实地表达自己，郝说，“艺术是为了自己…为了寻找自己内心的平静。”

Cubic light (2015) Photographer: Tong Cheng / 《立方的光》(2015) 摄影师: Tong Cheng

Website: wanglingjie.com

 

Contributor: Kiwi Qin

网站: wanglingjie.com

 

供稿人: Kiwi Qin

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1972

December 14, 2016 2016年12月14日

In post-war Japan, cities victim to firebombings were left in a state of ruin and despair. But in the wake of devastation, some Japanese architects optimistically saw opportunity; they saw a chance to prove the country’s resilience, rebuild their cultural identity, and transform the nation into an improved version of its previous self. During this period of time, the influential architectural movement known as Metabolism was born, revolving around the concepts of organic growth and megastructures. The idea was that buildings didn’t have to be static; instead, they could be ever-changing, adapting and transforming according to different needs. One of the most iconic buildings of the movement—the Nakagin Capsule Tower—can still be found today in Tokyo’s Ginza District. Built by the famous architect Kisho Kurokawa, the unique structure consists of 140 removable capsules plugged into two concrete cores and is the main subject of Noritaka Minami’s photo book 1972, named after the year that the building was officially completed.

戦後の日本、爆撃の被害を受けた都市が廃墟と化し、絶望的な状況に陥りました。しかし、そのような焼け野原に好機を見出した建築家達がいました。日本の回復力を示し、文化的アイデンティティを再構築し、国を元の姿の改良版に変えるチャンスだと考えたのです。この当時、有機的成長およびメガストラクチャーの概念を中心に展開する影響力の高い建築運動「メタボリズム」が生まれました。それは、建物が静的なものである必要はなく、様々なニーズに合わせて絶えず変化し、順応し、変形できるものという発想でした。この運動の最も象徴的な建築物の一つが、今も東京・銀座に建つ中銀カプセルタワービルです。有名な建築家、黒川紀章設計のこの特異な構造は、2本のコンクリートコアに繋がった取り外し可能な140戸のカプセルで構成され、この建物の竣工年にちなんだミナミ・ノリタカ氏の写真本『1972』の主題なのです。

Noritaka Minami is a Japanese-born and America-raised photographer who only began documenting the building in 2010. At the time, there was a sense of urgency to complete the project. “There was a very real possibility that it would be demolished and replaced with a more ‘conventional’ apartment complex,” says Minami. “As of today, the building does not face imminent destruction, but still faces a very uncertain future in regards to its preservation.” The building was experimental, a prototype that sought to explore the possibilities of alternative methods of urban living in the future. Through his photos, Minami wants to offer viewers an opportunity to see the past’s interpretation of the future.

日本で生まれ、アメリカで育ったミナミ・ノリタカ氏は、2010年にこの建物を記録し始めたばかりの写真家です。当時は、同プロジェクトを早急に完成させるという切迫感に苛まれていました。「この建物が取り壊され、もっとありきたりの共同住宅に建て替えられるという非常に現実的な可能性があったのです。」とミナミ氏は語ります。「今日現在、差し迫った取り壊しには直面していませんが、建物の保存についての将来は今も漠然としています。」この建物は、都市生活の代替的方法の可能性を探ることを目的とする原型でした。自身の写真を通じてミナミ氏は、過去における未来の解釈を伝える機会を見る者に与えたいと考えています。

“Each capsule is a container that has accumulated all of the moves and decisions that were performed by individuals over the course of four decades,” says Minami. “Although I do not directly depict the resident who occupies that space, I want each photograph to suggest that the capsule holds the history and presence of people who occupy or have occupied that space.” With respect to the inhabitants, his photographs are completely documentary in nature; objects, furnishings, and light were photographed as it were without any alterations on his part.

「カプセルはそれぞれ、過去40年に渡って個人が蓄積してきたあらゆる行動や決断が積み重なった容器です。」そうミナミ氏は述べます。「私は、この空間の居住者を直接描写しているわけではありませんが、写真の一枚一枚を通して、カプセルが留める住人の経歴や存在を暗示できればと思います。」居住者に敬意を払い、彼の写真は完全にドキュメンタリーの性質を持ち、物、家具、光は、手を加えられることなく、ありのままに撮影されています。

Shot on both medium and large-format cameras with an ultra-wide lens, Minami’s collection of images captures the nuances of each ten square meter living space, revealing the the ways each resident has adapted to the living conditions. “The limited space of a capsule also influences the amount of belongings each resident can possess, more so than a conventional apartment,” Minami mused. The restricted space of each capsule often leads to the majority of an inhabitant’s worldly belongings to sit out in plain view; To this effect, Minami saw each pod as an extension of each resident’s personality. “From a very early point in its history, the criticism against the Capsule Tower was that the individual units are too small and not flexible enough for everyday use,” he says. “Yet, the fact that these small rooms are still being occupied to this day demonstrate the residents’ ability to find new and unexpected applications within the limited area of ten square meters that go beyond the original vision of the building as urban homes for businessmen.”

超広角レンズを用いて、中判と大判両方のカメラで撮影されたミナミ氏の一連の写真は、各10平方メートルの生活空間のニュアンスを捉え、それぞれの居住者がいかにしてこの生活条件に順応していったのかを示すものです。「カプセル1戸の限られたスペースは、標準のアパートと比べて各居住者が保持できる所有物の量にもはるかに大きく影響します」とミナミ氏はつぶやきます。カプセルの限られた空間のため、住人の生活感あふれる所有物のほとんどが目につく場所に置かれることになります。このことから、ミナミ氏は各戸を住人それぞれの個性の延長とみなしました。「カプセルタワーの歴史のごく初期の段階から、この建物への批判といえば、個々の単位があまりにも小さく、日常の用途としては融通が利かないというものでした。」ミナミ氏は続けます。「それでも、この小さな部屋に現在まで住居者がいることを考えれば、10平方メートルという限られた領域内で、ビジネスマンのための都会の住居という当初の構想を超越する斬新で予想外の応用法を見つける住人の才覚がうかがえます。」

As the Nagakin Capsule Tower is a private building, gaining access can be rather difficult for non-residents. “The project was only possible through the generosity of the couple that first allowed me to visit their capsule during the summer of 2010,” Minami explained. Many of the photographs in the book were made possible through the couple’s acquaintances in the building. By luck, Minami eventually met others in the building who granted him permission to document their pods, offering a candid glimpse into their living space.

中銀カプセルタワーは民間の建物であることから、部外者が建物内に入るのは容易ではありません。「このプロジェクトは、2010年の夏、初めてカプセル訪問の許可をくださったご夫妻のご好意なくしては実現不可能でした」とミナミ氏は説明します。この本に掲載された写真の多くは、この建物に住む同夫妻の知人を介して実現したものです。運良く、ミナミ氏は他の住人とも出会い、彼らの住居を記録し、住空間のありのままの姿を垣間見る許可も得たのです。

During the time that Minami worked the project, the people that chose to live in the building came from all walks of life, ranging from a young local art student attending university to a construction worker in his sixties. What attracted each resident was different: some were interested in its historical significance, some were curious about living in an unconventionally built structure, and others lived there for practical reasons like convenience and affordability. Although many residents are in favor of preserving the building, aware of its history and cultural significance, there are some residents who aren’t as keen, seeing the potential of maximizing the prime real estate that the building sits on by replacing it with a newer apartment.

ミナミ氏がこのプロジェクトに取り組む間、この建築物を住居として選んだのは、地域の若い美大生から、60代の建設作業員まであらゆる階層の人々でした。この建物に惹かれた理由は居住者によって様々で、建築物の歴史的意味合いに興味を持つ者もいれば、異例な形で建設された構造に住んでみたいという好奇心から、さらには便利で安価という実用的な理由から住む者もありました。居住者の多くが、カプセルタワーの歴史的・文化的意味合いを認識した上で保存に賛成する一方、この建物が立地する一等地を最大限に活かして新しい集合住宅に建て替える可能性を支持することから、保存に賛成できないという住人もいます。

Minami’s book was finally published last year, made possible with a successful Kickstarter campaign and a grant from the Graham Foundation for Advanced Studies in the Fine Arts. “The idea of presenting this project as a photo book attracted me because the format could show more photographs than what is normally possible within the physical space of a gallery,” he explained. “Designing the book also presented challenges and possibilities that are different from designing an exhibition. I learned a lot by creating the specific selection and sequence of images in order for the series to be experienced as a book.” 1972 is now available online through Amazon and other select retailers.

ミナミ氏の本は、成果の高いKickstarterのキャンペーンおよびグラハム財団高度美術研究基金からの助成金を得て、昨年ようやく出版されました。「このプロジェクトを写真本として発表するアイデアに惹かれたのは、この形ならギャラリーの物理的空間で展示可能な数より多くの写真を公開できるからです」とミナミ氏は説明します。「この本のデザインは、展覧会を構成するのとは違った課題や可能性を示すものでもありました。写真の具体的な選択や順序付けにより、本として一連の情景を手に取るように感じられるよう制作する中で多くを学んだのです。」『1972』は現在、Amazonや他の一流の小売業者によりオンライン販売中です。

Website: noritakaminami.com

 

Contributor: David Yen
Images Courtesy of Kana Kawanishi Art Gallery

ウェブサイト: noritakaminami.com

 

寄稿人: David Yen
Images Courtesy of Kana Kawanishi Art Gallery

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Ori.Union

December 8, 2016 2016年12月8日

Juxtaposed against the backdrop of a Shanghai landmark, the Ori.Union pop-up exists at a critical juncture in the history of Zhangyuan 77. Previously occupied by the government and left to languish, plans have been set forth to revitalise Zhangyuan 77 as an entertainment and cultural hub, just as it was at the turn of the century. This concept store from Ori Bazaar serves as a sneak peak of what’s to come in this traditional shikumen-style building.

背靠充满上海元素的地标张园77号，潮流快闪店Ori.Union在这个建筑的历史转角时期一跃而现。张园77号作为上海石库门建筑遗产，之前是政府用地，缺乏发展活力，在世纪之交时期致力于发展成为文娱中心。来自上海原来市集的Ori.Union概念店提供了一个服务，让我们得以预览这个传统石库门风格建筑未来的样子。

As the largest freestanding building remaining in the Zhangyuan heritage area, Zhangyuan 77’s structure is impressive. At three-stories high, it’s a symmetrical copper-domed building flanked by thin, long open hallways on either sides. Its most distinctive feature though, is perhaps the expansive white front facade, which no other building in Zhangyuan has.

张园77号是整个文化遗产园区内里存留下来的最大独栋式建筑，气派恢弘，足有三层楼高，中央是一个铜铸圆顶，两侧延伸出细长的走廊，呈几何对称结构。不过这里最为独树一帜之处或许当属其开阔的白色正墙面，整个张园里独此一家。

After seeing too many markets that they considered as thoughtless, not commercial enough, or simply “not as we imagined,” Gabriel and Shan of Ori.Union took the initiative this year to redefine what a bazaar should be. This eventually led them to experiment with the longer duration, more conceptually demanding pop-up store.

来自Ori.Union的Gabriel和Shan在走访过很多市集后，一致认为那些市集要么缺乏思考，要么不够商业化，或者就是“非他们所期望的那样”，因此今年采取主动，旨在重新定义市集应该有的样子。这也最终导致他们去试着去开一家更概念化，比普通市集更长久的快闪店。

Following the idea of experimentation, Ori.Union was constructed around the theme of “lab.” The entire store is decked out in futuristic silver foil and neon signs, which when combined with the old existing woodwork and peeling paint, form a high-contrast, eye-catching space that is ambiguous in time.

为了紧跟先锋想法，这次快闪店的主题就是“实验室”。整个Ori.Union空间以充满未来感的银色箔片和霓虹灯做为装饰，同时结合老旧的掉漆木质品，产生出强烈的对比感，在时间模糊不清的空间里让人眼前一亮。

After the pop-up ends, Zhangyuan 77 will be closed for renovations. Apart from the front salons housing temporary stores, the rest of the building is already unoccupied. A forbidden visit inside yields eerie, dusty spaces and deteriorating office furniture that whispers of the space’s previous tenants. Quiet and sleepy, Zhangyuan 77 awaits patiently for its reincarnation back to glory.

快闪店结束后，张园77号将闭门整修。目前建筑的前门留出了一些空间给商家做临时商店，但其他的部分都已封闭。禁止人群靠近走访，尘土飞扬的空间变得诡异怪诞，家居渐次破败，暗自低语往昔住客的点点滴滴。静穆而尘封的张园77号耐心等待涅槃化生，重归荣耀。

Address:
No. 77 Weihai Road, Lane 590
Jing’an District, Shanghai
People’s Republic of China

Dates:
December 1 ~ December 22, 2016

Hours:
11am ~ 5pm

 

WeChat: OriStudio

 

Contributor & Photographer: Kiwi Qin
Additional Images Courtesy of OriStudio

地址:
中国
上海市静安区
威海路590弄77号

闪店日期:
2016年12月1日——12月22日

营业时间:
早上11点至晚上5点

 

微信: OriStudio

 

供稿人与摄影师: Kiwi Qin
附加图片由OriStudio提供

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Seoul Stories

December 3, 2016 2016年12月3日

For photographer Carl David Jones, the vibrant city of Seoul has become his second home. Originally from South Africa, Jones moved to Korea in 2011 and began working as a freelancer in Seoul. His body of work is diverse, ranging from commercial projects, such as lookbooks for Korean streetwear brands, to personal projects more conceptual in nature like his Tangerine Shower photo series. Often working back and forth between digital and film, his latest project, Seoul Stories, presents his vision of the city he’s called home since 2011 as a series of lo-fi portraits shot solely on film.

사진 작가 Carl David Jones 에게 활기찬 도시인 서울은 그의 두 번째 고향이 되었다. 남 아프리카 태생의 존스는2011 년 한국으로 이주한 후 서울에서 프리랜서로 일을 시작했다. 그의 작품은 한국 길거리 의류 브랜드를 위한 룩북 같은 상업용 프로젝트에서부터 컨셉 사진 시리즈인 텐저린 샤워 (Tangerine Shower)와 같은 개인 프로젝트에 이르기까지 다양하다. 디지털 사진과 필름 사진의 영역을 자유롭게 넘나들며 작업하는 그의 최신 사진 시리즈, ‘서울 이야기’는, 필름 사진 기법을 이용한 로파이 인물화(Lo-fi portrait)로 2011년 이후 그가 고향이라고 부르게 된 도시인 서울을 이야기의 형식으로 소개하고 있다.

Many of the models involved in Seoul Stories have worked with Jones in the past, having either met through commercial shoots or various social media platforms. “Instagram is such a great platform to meet and have dialogues with other creatives,” says Jones. “It’s a weird place but I love it.”

‘서울 이야기’에 등장하는 많은 모델들은, 이전에 상업 촬영이나 다양한 소셜 미디어 플랫폼 작업등에서 존스와 만나 함께 작업한 모델들이다. “인스타그램은 다른 창작가들과 만나고 대화 할 수 있는 멋진 플랫폼입니다.” 라고 존슨은 말한다. “이상한 곳이죠. 하지만 저는 인스타그램을 사랑합니다.”

A majority of the photos in Seoul Stories take place on rooftops, with the city serving as the backdrop. But the cityscape is never the focal point of the photo. While Jones consider rooftops to be some of his favorite places to shoot, it’s not because of the vantage it might offer, but rather because they offer seclusion from the busy city streets below; the privacy in turn fosters a comfortable environment for both him and his models.

‘서울 이야기’에 수록된 사진들의 상당수는 그의 옥상에서 서울을 배경으로 촬영되었다. 하지만 도시 경관이 결코 사진의 중점은 아니다. 옥상은 존스가 가장 좋아하는 사진 촬영 장소중 하나이다. 이는 옥상이 단지 빈티지한 느낌을 제공할 뿐만 아니라 옥상 아래에 펼쳐지는 바쁜 도시로 부터 일정 거리 이상 떨어져 있어 이로 인해 발생하는 프라이버시가 그와 모델들에게 편안한 환경을 마련해 주기 때문이다.

Jones shot the entirety of Seoul Stories using two film cameras, a Contax T2 and a Nishika 3-D N8000. The Contax T2 is a compact point-and-shoot camera with a fixed 38mm focal length. It’s a interesting camera of choice in a time when many photographers prefer working with digital DSLRs, allowing for errors to be easily fixed through a combination of post-production and a rapid fire, trigger-happy shooting approach. “I go into a different state of mind when I shoot film,” he says. “There is a lot more planning and work that goes into creating a film shot that works,” says Jones. “Shooting film pushes me, and the people I shoot, to be on their best form. It’s super satisfying getting rolls of film back and they came out just the way you wanted them to.”

존스는 필름 카메라인 Contax T2와 Nishika 3-D N8000, 단 두 개만을 이용하여 ‘서울 이야기’ 전체를 촬영했다. Contax T2 카메라는 초점 거리가 38 mm로 고정된 똑딱이(Point-and-Shoot) 카메라다. 많은 사진 작가들이 손쉬운 촬영, 신속한 처리 그리고 촬영후 편집과 같은 기술의 결합을 통해 작품의 오류를 쉽게 수정할 수 있는 디지털 DSLR을 선호하는 데 비해 그가 Contax T2를 선택했다는 것은 흥미로운 일이 아닐 수 없다. “필름 사진을 찍을 때는 제 마음 상태가 달라집니다.” 라고 존스는 말한다. “필름 촬영을 제대로 하려면 더 많은 계획과 작업이 필요합니다.” 그는” 필름 촬영은 저와 제가 찍는 피사체가 최선의 모습이 되도록 끊임없이 채찍질합니다. 내가 원하는 방식으로 촬영된 필름 롤을 받아 보는 것은 너무나 만족스럽고 짜릿한 일입니다.”라고 덧붙인다.

The Nishika 3-D N8000 is an even more surprising camera choice. Produced in 1989, it’s a quadroscopic film camera that’s able to combine the images from its four 30mm lenses to produce an autostereoscopic print on 35mm film. To put it simply, the end result is a three-dimensional image. The images these cameras produced can even be considered as the forefathers of animated GIFs. “I enjoy the flexibility there is when making the GIF. The anchor point can be changed and each GIF will have a different feel depending on if the anchor is the foreground, the subject, or the background,” says Jones. He considers moving images to be much more immersive, allowing viewers a sense of actually being there. “I also think that 3-D GIFs are just fucking cool.”

Nishika 3-D N8000 카메라의 선택은 더욱 놀랍다. 1989 년에 생산된 이 4차원적 카메라는, 30mm 렌즈로 찍은 이미지들을 합하여 35mm 필름에 복합 시차 지각 방식으로 인화시킨다. 다시 말하면, 촬영된 최종 결과물이 3 차원 이미지로 나오는 것이다. 이 카메라가 만들어 내는 이미지는 심지어 애니메이션된 GIF의 조상으로 간주 되기도 한다. 존스는 “저는 GIF를 만드는 과정에 내재된 유연성을 사랑합니다. 앵커 포인트(기준점)을 변경할 수도 있고, 또 기준점이 전경인지, 대상인지 또는 배경인지에 따라서 이미지의 느낌이 아주 달라지기 때문입니다.”라고 말한다. “움직이는 이미지가 훨씬 더 실제적이어서, 움직이는 이미지를 통해서 시청자가 실제로 있는 존재하는 것처럼 느낄 수 있다고 생각합니다.” 존스는 “저는 또한 3-D GIF는 그냥 너무 멋지다고 생각합니다”라고 덧붙인다.

Jones has plans of presenting other cities through a similar visual approach. “I have four other stories that will drop soon,” he says. “Hong Kong and Cape Town will be the other cities. Keep a look out for them.”

존스는 비슷한 시각적 접근 방식으로 계속해서 다른 도시도 촬영할 계획이다. 그는 “다른 도시 이야기 4개를 곧 시작할 예정입니다. 홍콩, 케이프 타운이 그 다른 도시들이 될 것입다. 관심을 가지고 지켜봐 주십시오.” 라고 당부한다.

Website: carldavidjones.com
Instagram: @carldavidjones

 

Contributor: David Yen

웹사이트: carldavidjones.com
Instagram: @carldavidjones

 

기부자: David Yen

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CHAO Hotel & Clubhouse

November 28, 2016 2016年11月28日

With many people nowadays considering traveling to be lonely and stressful experiences, the newly opened CHAO aims to create a welcoming space for all travelers. Encased in a sleek and modern building with a beautiful glass facade, CHAO isn’t just a typical boutique hotel; the same space houses a clubhouse that’s focused around shared social experiences for both locals and out-of-town visitors alike. To turn their vision of this community-centric space into a reality, CHAO brought in the talented Chinese designer Wang Yenchih.

现在越来越多人觉得旅行是件孤独又操心的事儿，但是最近新开的CHAO酒店希望为旅行者们创造一个热情好客的环境。以亮眼的高大玻璃表面展示出建筑风格上的摩登和时尚，CHAO可不是一般的精品酒店，其酒店内为当地居民和外地游客设有供设计和分享的俱乐部。为了把这种社区为中心的空间设计转化为现实，CHAO特邀才华横溢的中国设计师王彦智负责整个项目。

The brand name “CHAO” has the same pronunciation as the Chinese character for “nest.” Thus, the CHAO design team used the connection between different languages and cultures, making “nest” one of the core concepts for the overall design. The 180 rooms and five different areas of the hotel all revolve around the idea of animal nests, with single each space designed to be as cozy and as home-like as possible. Light is another one of the most central elements in the hotel’s overall design. By bringing in GD-Lighting Design, who has previously worked on high-profile projects like the Nanjing Youth Olympics Stadium, their emphasis on the importance of lighting is abundantly clear. Even before entering the hotel, their attentiveness to the effects of right lighting can be felt – a soothing yellow glow gently radiates from the first-floor window, beckoning visitors off the bustling Beijing streets and into the warmth of the hotel lobby.

在中文中，“CHAO”与汉字“巢”同音，设计团队从C-H-A-O四个字母出发，将“巢”作为核心设计理念之一，巧妙运用了多种语言文化之间的联系。180间客房，5种房型的设计灵感源自动物栖息的“巢”，每一个空间都力求提供仿若回到家中般的入住体验。照明也是酒店整体设计的另一个核心要素。大观国际设计咨询有限公司蜚声国际，之前承接了如南京青年奥林匹克体育馆一类备受关注的项目。酒店采用他们的灯光设计，充分凸显了其对照明的高要求。即使还未踏进酒店，就能感知这里的灯光运用，客人潜移默化地被牵引。从一楼窗户里折射出的黄色光晕柔和舒缓，慰藉这来往于熙熙攘攘北京街头的游客，送去酒店大堂里散发的温暖。

Designed to be a diversified and multileveled space, CHAO’S narrow entrance gives way to a spacious atrium lobby. As one of the most important and visually striking areas of the hotel, the atrium has a central stairway that connects various areas of the hotel with one another. By incorporating design concepts and a light set up that’s more commonly seen in art galleries, they’ve broken all traditional boundaries. Overhead, the ceiling consists of densely arranged fabric, while the lighting arrangement behind the textile ceiling gives the fabrics the illusion of floating effortlessly. Per the intent of the design team, every element of this area harmoniously comes together to lend the atrium a post-modernist feel.

为了打造出一种多元化、多层次的空间环境，CHAO特意设置了一个狭窄的入口，可以直达宽敞的大堂中厅。作为一个酒店最重要和最能带给人视觉冲击的区域，中庭中央有一个连接酒店各个空间的楼梯。借鉴室内设计手法，将美术馆的灯光设计理念很好地融入进来，打破灯光设计的传统界限。顶部疏密排布的布艺天花板，通过线性灯背光处理，创造出整个天花轻巧漂浮的视觉效果。设计团队的每一份用心都在力图让空间的细节完美统一地呈现出后现代主义的风格。

The restaurant area is designed to be atmospheric and emotional. The exposed ceiling of first floor bar lends a modern and industrial feel to the space, but still manages to retain a sense of luxury. The choice of lighting, from the candle-like luminaries to the large illuminated ceiling, doesn’t stray from the sophisticated elegance of the rest of the hotel, but was created while taking into consideration the intoxicated debauchery that will no doubt take place within the space.

CHAO的餐厅设计希望传递出更多情感和营造更佳的氛围。一楼酒吧区露天区域为餐厅呈现出极具现代气息的工业感。从蜡烛，灯具到超大的照明天花板，灯光不仅与整个酒店优雅精致相辅相成，还考虑了为酒吧里营造的迷离和沉醉的气氛。

The Sunlight Hall is described as the “most chic” area of the hotel. The walls here extend upwards, bending towards one another before finally meeting overhead at a curved angle. The space is meant to be airy and open, and the diffused light that illuminates the space serves to reinforce the feeling of openness. In terms of functionality, the Sunlight Hall is meant to offer a wide range of uses, from private events to art exhibitions.

“日光大厅”被认为是酒店最别具一格的区域。墙面向上延伸，直至在顶部以一定的弯角相连接，这样的设置让空间呈现轻盈和开放感，照明的灯光四散开来，加大宽阔开放之感。从私人聚会到艺术展览，“日光大厅”能够满足各式各样的场地需求。

By understanding the importance of light and masterfully using it to compliment the architecture and interior decor, the designers behind CHAO have created one of the innovative spaces in Beijing, a space that’s more than just a generic hotel for transient businessmen and tourists. The clubhouse concept is an extension of CHAO’s ambitious vision; they see it as a space filled with unlimited possibilities, a social haven where like-minded locals can meet up, and a welcoming destination for out-of-town visitors where they can easily connect with the local community.

设计师对光影的深刻理解，并将其娴熟巧妙地运用于整个酒店设计和内部装饰中，让CHAO不仅为过往的商旅客人提供一个栖息之所，更是打造出北京的潮流革新之地。俱乐部的概念更是彰显出酒店的眼界和抱负，这表明酒店也致力于提供一个汇集无限可能的空间，成为志同道合之人的社交平台，以及让外地旅客快速感受到当地氛围的热门之选。

Website: ilovechao.com

Address:
Worker’s Stadium East Road 4
Beijing, Chaoyang District
People’s Republic of China

Tel:
+86 010-58715588

 

Contributor: David Yen
Photographer: Shu He
Images Courtesy of GD-Lighting Design

网站: ilovechao.com

地址:
中国
北京市朝阳区
工人体育场东路4号

电话:
+86 010-58715588

 

供稿人: David Yen
摄影师: 舒赫
图片由GD-Lighting Design提供

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Freestyle China

November 25, 2016 2016年11月25日

 

无法观看？前往优酷

In China, soccer is the most-watched sport in the country. So it’s not surprising to see freestyle soccer, an extension of the sport’s traditional form, beginning to gain devotees around the Middle Kingdom in recent years. Albeit not as widely known and celebrated when compared with other soccer-frenzied countries like Colombia and Brazil, it’s still slowly starting to become recognized as a legitimate sport and a form of self-expression in China. For Chen Yaguang, one of the figureheads of freestyle soccer in the country, his introduction to the sport happened through YouTube prior to the website being blocked in China and he was instantly hooked. But he wasn’t complacent in merely being a spectator on the sidelines, admiring the talents of overseas freestyle soccer players through online videos. Yaguang soon began devoting nearly all of his time to the sport. His dedication to freestyle soccer culminated into him taking first place in China’s Red Bull Street Style competition back in 2014.

足球是中国有最多观众的一项体育运动，所以花式足球这个足球的衍生运动，从这几年开始在中国有越来越多的爱好者，也就不足为奇了。虽不能和哥伦比亚或巴西这些足球强国相比，但是也在中国逐渐地获得了更多认可，也成为了自我表达的一种方式。对于陈亚光来说，这个中国花式足球的领军人物之一，他通过YouTube视频接触到这项运动。偶然间点开了一个花式足球的视频，从此他就对这项运动着迷了。不甘心只做个看客，这个视频也成为他花式足球生涯的一剂催化剂。他也不想只是崇拜国外牛人，亚光开始投身于这项运动。他对于这项运动的热情也在获得了2014年中国红牛花式足球世界杯的冠军时达到了顶峰。

What makes a freestyle soccer player successful involves a mix of few different skills: being able to creatively reimagine the possibilities of basic tricks, pushing the boundaries of said tricks, and having the technical prowess to consistently execute them without error are all aspects of the sport that must be mastered. The ability to cohesively bring all these elements together into a performance is even more important. Chen Yaguang’s capability to balance these crucial facets of the sport, in addition to his unwavering tenacity and passion, has propelled him to become the face of China’s freestyle soccer scene today.

要想成为一名牛逼的花式足球选手需要掌握多种技巧：能够在基本的技巧上勇于创新，保持体能上的高强度和表演时的不出错，这些都是要面面精通的，能把这些技巧融会贯通，然后带到表演中去也至关重要的。陈亚光不仅能够在表演和练习时平衡这些重要元素，再加上他的坚定不移和热情，使他成为了今天中国花式足球的代表性人物。

Of course, passion alone isn’t enough. The hard work and rigorous training that happens behind the scenes shaped his path. His daily practice routine generally takes four to five hours to complete. Besides the physical aspects of training, he considers mentally preparation to be equally important. He often spends a large chunk of time thinking about the mechanics and aesthetics of each maneuvers, figuring out how these tricks can transition or interact with one another. “I take these moves that I’ve thoroughly practiced and feel comfortable with, then turn them into combos,” he says. “Practicing a combo may require maintaining an intense 30 to 40 seconds of physically demanding moves. It can definitely be tiring work.”

当然了，光有热情是不够的，背后辛勤的汗水和严格的训练也成就了他的生涯。他每天的训练过程一般要花四个小时才能完成，除了体能方面的训练，他认为精神上的准备是一样重要的。他经常花很多时间去思考每个动作的美感和动作的原理，琢磨这些招式需要用怎样的动作去过渡才更为流畅，或者每个招式怎么产生互动。“我把一些会一点点或者特别熟练的招，会融合成一个套路，一个套路要求保持高强度体力的招，30-40秒，完全是个体力活。”

President Xi Jinping has repeatedly voiced his ambitious dream of improving the quality of China’s soccer scene for several years. Earlier this year, the president’s big push to turn China into the next soccer superpower led to many reforms in the country, including increasing the public’s accessibility to the sport by constructing more soccer fields and improving soccer-related education in schools. The end goal is to cultivate talented homegrown soccer players and have one of the best soccer teams in the world by 2050. Freestyle soccer would appear to be riding on the momentum of Xi Jinxing’s push, with not only an increased interest from the general public, but also investors and brands who are now willing to put money into freestyle soccer-related institutions.

习大大已经在过去的几年，多次指出他希望中国的足球界能有一个质的提升。年初，他对足球的大力推进中国足球运动，希望中国能够成为一个足球强国，这让中国出现了很多改革，包括了让这项运动更亲民，增建更多的公共足球场和加强学校的足球教育。最终目标就是培养更多本土的优秀球员，能够在2050年前有一支世界级的强队。花式足球也伴随着这股势头，不仅公共对此越来越有兴趣，也吸引了愿意投资花式足球相关机构的投资人和品牌。

“In the beginning, when people saw me practicing they might ask me what kind of sport this was. But nowadays, people recognize that it’s freestyle soccer and the questions have turned into ‘How long have you been practicing?’ or they might ask even more thoughtful questions about the sport,” Yaguang happily told us. “It’s getting better, especially with the government pushing to improve the soccer scene here.” Slowly but surely, freestyle soccer is growing out of its status as being considered a niche sport in China, and with support from the government, talented individuals like Chen Yaguang have been able to turn their passion and skills into a legitimate career.

“最开始的时候，人们看到我练习的时，会问我你这是什么体育项目。但是现在，他们知道这个是花式足球，也会转而问 ’你玩这个多久了？’或者问些关于花式足球更细致的问题。” 亚光开心的对我们讲。“现在好多了，尤其是政府努力地在推广和提升本土的足球产业。” 虽然慢，但是可以肯定的是，伴随着政府的支持，花式足球已经成长为一项正式的运动，像陈亚光这样牛逼的选手，也能够把自己的爱好发展成正当的职业。

Even the conservative mentality attributed to traditional Chinese families seems to be shifting as soccer continues to gain momentum in the country. Not long ago, it might be completely unthinkable for some Chinese families to see their children pursue a nontraditional career path like soccer. “When I first started practicing freestyle soccer, my family wasn’t supportive. But it’s because I was still in school and they thought that it would have a negative effect on my studies,” Yaguang explained. “After graduating, I’ve started making money off of this. My parents actually have a fairly open outlook on things now. Their thinking is that no matter what I do, if I can make a living and live a life of value then they’ll be happy.”

即便是中国家庭中一些传统保守的心态，也在随着中国足球的发展势头发生了改变。几年前，如果某个中国家庭愿意让他们的小孩去把一个非传统的体育项目作为职业，还是一件不可思议的事情。“在我开始玩花式足球的时候，我家里并不支持的。但那时因为我还在上学，怕影响我学习。”亚光解释到。“在我毕业后，已经能够通过花式足球赚钱，父母其实对此还是挺看好的。他们只是觉得无论我做什么，只要能够维持生计，活的有价值，他们就很开心了。”

Contributor & Photographer: David Yen
Videographer: Damien Louise

供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise

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Between the Shadows

November 18, 2016 2016年11月18日

 

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Sabera Shaik has always been in love with shadows. As the founder and theatre director of Masakini Theatre Company, she sees the white screen to be an infinite canvas on which she’s able to paint with light, or rather the lack thereof, as opposed to brushes. To this purpose, she uses everything that casts interesting shadows, from the bodies of her actors, to water bottles, pillows covered in sequins, and more recently, paper cutaways inspired by wayang kulit.

Sabera Shaik telah lama jatuh cinta dengan bayang-bayang. Sebagai pengasas dan pengarah teater Masakini Theatre Company, beliau melihat layar putih itu ibarat sehamparan kanvas yang tiada batasnya, di mana beliau dapat mewarnainya dengan cahaya, atau sebenarnya menampan cahaya, dan bukan menggunakan berus. Demi mencapai tujuan ini, beliau menggunakan apa sahaja yang dapat menampan cahaya menjadi bebayang menarik, dari tubuh para pelakon beliau, hingga ke botol air, bantal bersarung labuci dan yang terkini, potongan kertas yang diilhamkan daripada wayang kulit.

Wayang kulit, otherwise known as shadow play, has gone through some rough times in Malaysia. Unlike in Indonesia where it seems to still flourish, Malaysian wayang kulit was banned in 1990 in Kelantan, a state where the art had previously thrived, being performed by Muslim dalangs or storytellers. Since wayang kulit’s stories were mainly based on the Hindu epic Ramayana, they didn’t align with the political vision of the state, and hence, this centuries long tradition was deemed un-Islamic and outlawed.

Wayang kulit, yang merupakan persembahan seni bayang, telah melalui waktu-waktu yang mencabar di Malaysia. Tidak seperti di Indonesia, di mana ia masih lagi berkembang mekar, wayang kulit di Malaysia telah diharamkan pada tahun 1990 di Kelantan, sebuah negeri di mana seni ini pernah menguasai satu ketika dahulu, dipersembahkan oleh tok dalang atau tukang cerita. Oleh kerana kisah-kisah wayang kulit kebanyakannya berdasarkan epik Hindu, Ramayana, ia tidak sejajar dengan wawasan politik negeri tersebut, maka tradisi yang telah berusia berkurun-kurun ini dianggap sebagai tidak mengandungi unsur-unsur ke-Islam-an dan telah diharamkan.

Sabera regards all art as sacred and thinks theatre is nurturing for the soul. With such strong sentiments, she couldn’t just let wayang kulit vanish. Sharing the same mentality as many other performers in Malaysia, she believes that we have to keep building on the traditional arts, so they can evolve and continue to stay relevant for the future generations.

Sabera menganggap semua bentuk kesenian sebagai kudus dan merasakan teater adalah sesuatu yang memupuk jiwa. Dengan sentimen yang sebegitu kuat, beliau tidak sanggup membiarkan wayang kulit terhapus begitu sahaja. Berkongsi mentaliti yang sama dengan ramai lagi penggiat seni di Malaysia, beliau percaya bahawa kita perlu terus membangunkan seni tradisional, agar ia dapat berevolusi dan kekal relevan untuk generasi masa depan.

“These days people need visual things – it’s such a visual world,” says Sabera, and it seems like she’s really onto something. In the world of Instagram, Netflix and Hollywood blockbusters, our brains are conditioned to absorb visual cues. But movies may be an expensive pastime, especially if you want to entertain a family of five in Malaysia. Wayang kulit, rich with teachings and whimsical images, is perfectly positioned to be a hit in the country. “There should be a lesson in it too so that kids go back and think – hey, what happened in that story, what does it actually mean? Because everything is too literal nowadays. People don’t have to think anymore.”

“Dewasa ini orang ramai memerlukan sesuatu yang visual; dunia ini sesungguhnya amat visual,” ujar Sabera, dan nampaknya beliau benar-benar berniat besar. Dalam dunia Instagram, Netflix dan filem pecah panggung Hollywood, fikiran kita telah diajar untuk menyerap bayangan-bayangan visual. Namun filem merupakan waktu lapang yang mahal, apatah lagi jika anda mahu mencari hiburan untuk sebuah keluarga sebesar lima orang di Malaysia. Wayang kulit yang kaya dengan pengajaran dan imej-imej yang pelik, telah diletakkan pada posisi terbaik untuk digemari ramai di negara ini. “Seharusnya ada pengajaran di dalamnya supaya kanak-kanak dapat mengimbas kembali dan berfikir: Eh! Apakah yang terjadi pada kisah itu? Apakah maksud sebenarnya? Kerana segalanya terlalu harfiah dewasa ini. Orang ramai tidak perlu berfikir lagi.”

Sabera feels that the lack of education in liberal arts is one of the biggest pains of Malaysia, a manifestation of a concealed ailment, one that if ignored for long enough can harm the country. “Tradition and culture keep the family grounded, so you don’t lose your identity and your ethics. History is what you need to be able to go forward.”

Sabera merasakan kurangnya pendidikan dalam bidang seni liberal menjadi duri dalam daging di Malaysia, sebuah manifestasi penyakit yang disembunyikan, yang mana jika dibiarkan cukup lama, mampu memudaratkan negara. “Tradisi dan budaya menjadikan keluarga berpijak di bumi nyata, agar anda tidak kehilangan identiti dan etika anda. Sejarah ialah apa yang anda perlukan untuk menolak anda melangkah ke hadapan.”

With this in mind, Sabera and her crew set on a journey to popularise shadow theatre and bring it under the roofs of community halls and everyday homes of Malaysians. “If you do something that’s modern and make it beautiful and visual, it will captivate children, and so far, children seem to love the shadows.”

Dengan minda yang tertanam dengan semangat ini, Sabera dan krew beliau melangkah dalam sebuah perjalanan untuk mempopularkan teater bebayang dan dan membawanya di bawah naungan dewan-dewan komuniti dan kediaman biasa di Malaysia. “Sekiranya anda melakukan sesuatu yang moden dan jadikan ia cantik dan visual, ia akan menambat hati kanak-kanak, dan setakat ini, kanak-kanak nampaknya suka pada bayang-bayang.”

Website: masakinitheatre.com.my

 

Contributor, Photographer, and Videographer: Gloria Kurnik

Laman web: masakinitheatre.com.my

 

Penyumbang, Jurufoto, Juruvideo: Gloria Kurnik

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Japan, Pixelated

November 8, 2016 2016年11月8日

Since 2011, Japanese illustrator Toyoi Yuuta has been posting animated GIFs on his Tumblr under the moniker 1041uuu. Finding beauty in simplicity, he’s translated his vision of life in Japan into gorgeously animated pixel art. The highly approachable style of his pixel art has allowed his work to be widely praised and shared by netizens from all over the world. At the same time, Generation Xers, millennials, and gaming enthusiasts are able to more deeply appreciate the nostalgic qualities of his retro aesthetics.

2011年以来、イラストレーターの豊井祐太氏（ユーザー名：1041uuu）は、自身のTumblrにGIFアニメーションを掲載してきました。シンプルながらも美的な作品には、日本のライフスタイルがきれいなピクセルアートのアニメーションとして映し出されています。とても親しみやすいピクセルアートスタイルの作品は世界中のネチズンから絶賛され、広く知れ渡っています。その一方でジェネレーションXやミレニアル世代、そしてゲームマニアらは、レトロな美しさの中に感じられる懐かしい感覚を高く評価しています。

Originally born in Fukushima, Toyoi is currently based out of Kyoto, preferring the quiet pace of life there compared to the sensory overload of Tokyo, where he had previously lived for six years. In those six years, Toyoi found solace and inspiration in different aspects of the Tokyo that many might not immediately associate with the city, such as its rivers. “I think I’ve been influenced by the unique rivers of all the cities I’ve lived in. In particular, Tokyo’s Sumida River had a profound impact on me,” he says. From a cityscape reflected on the rippling surface of a river to koi fish idly lazing beneath a lotus leaf-covered pond, water makes frequent appearances in Toyoi’s work and is often one of the most noticeable animated elements.

福島出身の当人は、6年間暮らした東京から離れ、現在はゆったりとしたペースで暮らせる京都を拠点に活動しています。この6年間の暮らしで、すぐには東京とは思えない川など、この大都市の様々な一面から憩いを感じ、インスパイアされました。「これまでに住んだ街では、それぞれの川が持つ特徴に影響されたと思います。特に隅田川には大きく影響されました」と言います。波打つ川の表面に映る都市の景観や、蓮の葉に覆われた池を泳ぐ鯉など、多くの作品では水が見られ、これは最も目立つアニメーション要素の一つとなっています。

Another big influence for Toyoi is the popular arcade-style fighting game, The King of Fighters. The different two-dimensional background scenes in the game clearly lends inspiration for his animated GIFs. These in-game backgrounds range from forests with falling rain and leaves fluttering in the wind to industrial settings with machinery bellowing out clouds of steam. Some other scenes might depict more mundane moments of city life, such as lovers interacting in the background and blinking traffic lights. These little moments stuck in an infinite loop fascinated Toyoi. “To an art geek like me, these elements sparked something within me and I became interested in these realistic backdrops,” he says. Similar to the aesthetics of The King of Fighters and other retro fighting games, animating select details in a mostly still frame has become the trademark of Toyoi’s work.

他にも当人が大きな影響を受けたものとして、人気の高いアーケード型格闘ゲームのザ・キング・オブ・ファイターズがあります。このゲーム特有の二次元背景が、GIFアニメーションのアイデアを生んだことは言うまでもありません。このゲームでは、雨のなか風に揺られて木の葉が舞い散る森から、蒸気雲が吐き出て工場が密集する工業地帯に至るまで、様々な背景が登場します。また、恋人たちが触れ合う様子や点滅する信号機など、都会のありふれた日常生活の一部が背景として登場します。このように、どこにでも見られるようなありふれた瞬間が魅力となったのです。「私のような芸術おたくにとってこのような要素が刺激となり、現実的な背景に興味をそそられるようになったのです」と言います。ザ・キング・オブ・ファイターズのようなレトロな格闘ゲームで得られる美的感覚と同様、静止画像の細かい部分をアニメーション化することが作品のトレードマークとなっています。

For many artists, figuring out how to make sustainable income while pursuing their creative vision can be problematic, and Toyoi isn’t an exception. He revealed that his initial decision to create pixel art was in part due to to the restrictive nature of the tools he had access to. “I was poor and unemployed. I didn’t have a pen tablet and only had a PC track pad. But to create pixel art, I don’t need a high-resolution computer or much special knowledge and training,” he recalled. Despite garnering high praise for his GIFs, the popularity of his work still hasn’t translated into any money-making opportunities. “I still don’t have any money at the moment, so I’m trying to sell some of my artwork now,” Toyoi candidly admitted. “I’m looking into selling silkscreen prints in the near future.”

他の多くのアーチスト同様、芸術を追求する一方で生活を維持するための収入を得ることは、今でも抱えている悩みです。作品を作り始めた頃にピクセルアートに取り組もうと決めた理由として、手に入るツールには限りがあったことを掲げます。「職にも就かず、お金もありませんでした。ペンタブレットもなく、持っていたものはコンピューターのトラックパッドだけです。ただ、ピクセルアートを制作するには高画質のコンピューターや、専門知識と研修もそれほど必要ありません」と過去を振り返ります。GIF作品が高く評価されたとしても、それが収入の機会に繋がったわけではありません。「今もお金はありません。だからこそ、作品を売ろうとしています。近い将来、シルクスクリーンプリントを売ろうと思っています」と心のうちを語ってくれました。

Introverted by nature, Toyoi tells us that people aren’t of much interest to him. Instead, his interests lie in the intangible, such as the feelings and smells of a place, holding the belief that these are the elements that truly make up the essence of a city. “The world is filled with rules that aren’t explicitly written out, and it feels like I’m not very good at reading them, because I don’t understand these unspoken codes. I find society to be a scary place,” he says. Toyoi’s work is a tranquil respite from the whirlwind of unpredictability, volatility, and anxiety that plague our modern lives. His gift lies in the way that he’s able to invoke a blissful sense of tranquility by simply presenting the nuanced beauties of life that many overlook, rendering these ordinary moments into gorgeous works of art.

当人はもともと内気な性格なため、特に人物に関わるテーマには関心がありません。むしろ景観やそこから感じ取れる形のないものこそが、都会の本質を作り上げる要素だと考えています。「この世は明確に記されていないルールで溢れています。暗黙のルールを理解できない私は、そういったルールを読み取るのが上手くありません。社会は恐ろしい場所だと思っています」と言います。作品には、現代社会の悩みとなっている予想のできない世界観、移り変わり、そして不安から一時的に解放される様子が伺えます。当人の才能は、誰もが見落としがちな日常生活の微妙な美しさを表現し、ありふれた瞬間を見事な作品に描写することで、喜びや安らぎを感じさせる手法にあります。

It generally takes Toyoi two days to complete a GIF. The preliminary planning stages are admittedly much more difficult, he says. It’s crucial for him to avoid repetition. “Sometimes choosing the idea can take up to two weeks. Even now, two months can go by without me drawing anything,” he says. “For example, if I have already drawn a picture of a businessman asleep in a in a bus, then I would not draw a picture of a student asleep on a train.  There is no essential difference in my mind between the sleeping businessman and the sleeping student, or a train and a bus.”

通常、GIF作品を作るには2日かかります。事前のプランニングがかなり大変で、同じような作品を作らないようにする点が極めて大切だと言います。「アイデアを決めるまで2週間かかることがあります。今でも、何も描かずに2ヶ月が過ぎることもあります。例えば、バスの中で居眠りしているサラリーマンの絵を描き始めていたとすると、電車の中で居眠りしている学生の絵を描くことはありません。眠っているビジネスマンと学生や、電車とバスに本質的な違いはないと考えています」

“For now, I’ll be content if my work allows people to better appreciate the world around them. Japan has many problems, such as the threat of earthquakes, nuclear power plant accidents, distrust of the government, overworked people suffering from work-related stresses, and so on.” As if to counterbalance these large scale, hard-to-solve problems that trouble his mind, Toyoi’s charming GIFs instead hone in on the simple beauties of everyday life in Japan. “Regardless of some of the country’s issues, I want people to visit Japan. I certainly recommend Kyoto.”

「差し当たり、作品を見た人が、その人の周囲の環境を改めて認識するきっかけになってくれれば嬉しいです。日本は、地震の脅威、原発事故、政府への不信感、仕事のストレスで過労に悩む人々など、多くの問題を抱えています」と言います。このような、大掛かりで問題解決が難しい状況の中で、何かの埋め合わせとなるかのような魅力を持つGIF作品は、日本の日常生活のシンプルな美しさに焦点が当てられています。「一部の国が抱える問題はともかく、誰にでも日本に足を運んでいただきたいと思っています。もちろん、京都がお勧めです」

Tumblr: 1041uuu.tumblr.com
Instagram: @1041uuu

 

Contributor: David Yen

Tumblr: 1041uuu.tumblr.com
Instagram: @1041uuu

 

寄稿人: David Yen

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A Mellow State of Mind 让人犯懒的音乐是怎么懒法

November 4, 2016 2016年11月4日

 

无法观看？前往优酷

Linfeng is a Shanghai-born independent electronic music producer whose music has been self-described as “music to get lazy to.” The signature sounds he’s known for can be best described as a mix of downtempo chill-out and vintage funk, a style that’s able to ease listeners into a rhythmic world of blissful relief. Laid-back and mellow, Linfeng’s music almost feels like a direct extension of his personality. His drive to making music is simple and pure; he hopes his music can help people slow down and listening to it can become a form of momentary respite from our frenzied, fast-paced modern lifestyle. “I want people to relax,” he says. “I want to give them a chance to enjoy the two or three-minute duration of the song, to be fully immersed in my music and feel completely at ease.”

地道的上海独立电子音乐制作人Linfeng的自我风格定位为：让人犯懒的音乐。这个标签让人感觉他的音乐风格混合了慢节奏的舒缓乐和复古Funk乐，让听众在天籁之音的韵律中感受美好之境。Linfeng的音乐慵懒柔和，一如他性格的直接延伸。他透露自己做音乐的初衷非常之简单——就是希望他的音乐可以帮助人放慢生活脚步，在匆忙狂热的现代生活中成为一方减压的净土。“我希望人们在听到我音乐时得以放松，”他说，“我希望在我两到三分钟的歌曲里，给他们一个享受音乐的机会。愿人们沉浸在我的音乐中，得到彻底的放松和从容。”

Originally, Linfeng’s foray into the world of music was as the bass player for a local garage band. “For me, wanting to perform music was such a primitive thing at the time. I was really into the idea of looking cool and being on a stage,” he recalls. The younger him was drawn to the aggressive and rebellious energy of rock-and-roll music. As he grew older, his taste in music naturally began to shift and he started to grow out of the angst-driven sounds that previously interested him. Nowadays, his musical preferences are R&B, soul, and funk; with his new seven-track EP, the influences from these genres are even more obvious.

Linfeng最开始是从一个当地地下乐队的贝斯手而踏入音乐大门。“对那时的我来说，我就是想玩音乐。我那个时候就是想站在舞台上耍酷，”他回忆说道。年轻时的他沉迷于激进和叛逆的摇滚乐。随着成长，他喜欢的音乐类型自然而然就发生了变化，那些充滿金屬氣息的音乐不再吸引他。现在的他，更喜欢R&B，灵魂乐以及Funk乐。在他含7首歌的新EP中，这些舒缓流派音乐的影响也更为明显。

Listen below to our favorites from the Sometime EP and the new Soft Smell EP:

Linfeng – Cloudy Afternoon

Linfeng – Palm Talk

Linfeng – Golden Pineapple

以下的精选曲目来自《Sometime》和最新的《Soft Smell》，欢迎试听:

Linfeng – Cloudy Afternoon

Linfeng – Palm Talk

Linfeng – Golden Pineapple

The new album, Soft Smell, radiates an infectiously jubilant energy. Beginning with “Palm Talk.” a hypnotic intro track that eases listeners into “Golden Pineapple,” a funk-filled dance track that demonstrates the versatility of his production prowess. Using vocals from Cassie’s “Me & U”, the third track is an uplifting summer anthem dubbed as “Ice Cream Girl.” The rest of the album is a whirlwind of feel-good vibes and danceable tracks, all sprinkled with nods back to the chill-out sounds of his Sometime EP. “With the new album, I’m kind of attempting to return to my band roots. I want to use more guitar and bass sounds. Even though my previous EP used some bass sounds, they weren’t prominently featured,” Linfeng says. “I want people to dance and move. The bass line and guitar are more pronounced in the album. It’s also funkier, and I incorporated some elements from house music.”

新专辑《Soft Smell》散发出一种能感染人的欢快能量。从《Palm Talk》开始，催眠般柔缓的音乐让听众接着听《Golden Pineapple》，这是一首带着Funk 乐的舞曲，展示了Linfeng音乐上的多元性。第三首歌是与Cassie合唱的《Me & U》，这首令人开怀起舞的夏天赞歌也被誉为《Ice Cream Girl》。专辑里其他的歌曲都是节奏动感的舞曲类型，同时，也都点缀着呼应他之前EP《Sometime》舒缓的音乐元素。“在新专辑里，我有种想回归乐队寻根的尝试。我想更多地运用吉他和贝斯乐。虽然我之前的专辑也有贝斯乐，但那并不明显，”Linfeng说。“我想让人们动起来，跳起来。所以在新专辑中，贝斯乐和吉他也更多地体现了进来。更具有Funk乐风格，我还融入了‘浩室’音乐的某些元素。”

Despite having released two EPs, Linfeng has yet to release a physical album. “My creation process is actually quite chaotic,” he says. “I’m a spontaneous person; I’ll think about something and then do it right away. It might take time to actually finish my initial concept, but once it’s done I want to share it with everyone immediately. That’s why I’ve never turned my music into a physical tangible product and it all only exists digitally.”

虽然已经发了两张EP，但Linfeng还没有实体专辑问世。“我的创作际上是在一片无序中产生的。”他说。“我是个很随性的人，一想到什么就会马上去做。但要最终完成我的初衷可能需要一段很长的时间。不过一旦完成后，我就很想与大家分享。这就是为什么我未曾把自己音乐变成一个有形的有形产品。我的音乐只是存在于虚拟的数字世界。”

Surprisingly, from searching for inspiration to the production process, Linfeng often prefers to work outdoors, a departure from many people’s preconceptions of music producers being locked away in soundproof rooms. Despite having a wide range of equipment available in his studio, he’ll instead equip himself with a simple production set-up consisting of a laptop, an OP-1 portable synthesizer, and a pair of headphones, and retreat to one of his favorite outdoor hideaways.

令人惊讶的是，从寻找灵感到制作过程，Linfeng通常更喜欢在户外进行，这与人们对音乐制作人喜欢待在与世隔绝房间里的既定印象大不相同。虽然他的工作室里堆满了整个屋子的设备，但他更喜欢轻装上阵，带上一个笔记本，OP-1便携式合成器以及一个耳机，然后去他最爱的户外藏身之地。

“I think taking the time to enjoy life is important. Enjoying music is important. When you go out and have fun, it can also be considered as work, and when you’re working, it can also be considered as fun,” Linfeng said with a grin. “I hope that my work can continue to progress in this direction, where what I consider to be work and what I consider to be fun all blends into one another.”

“我觉得生活需要花时间去感受，享受音乐也很重要。当你出去玩，那也可以成为一种工作，而当你工作时，其实那也可以变得很有趣，”Linfeng笑着说。“我希望我的工作能保持目前的方向持续走下去，因为在这个领域，我可以把工作和我认为有意思的事情两相融合。”

Soundcloud: ~/linfeng-lee
Bandcamp: linfeng.bandcamp.com
Weibo: ~/1747079737
Douban: ~/djlinfeng

 

Contributor & Photographer: David Yen
Videographer: Gerhan

Soundcloud: ~/linfeng-lee
Bandcamp: linfeng.bandcamp.com
微博: ~/1747079737
豆瓣: ~/djlinfeng

 

供稿人与摄影师: David Yen
视频摄影师: Gerhan

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