All posts by george

Love through the Lens

Like the Beatles, Jeon Yunyoung thinks all you need is love. The Seoul-based photographer, who works under the name Neuj, sees love as an omnipresent force that powers the world, and believes it comes in all shapes and sizes. His photography reflects this belief, sometimes in obvious ways, with lovers locked in a passionate embrace, and other times more subtly, by choosing as his subject a close friend or family member.

“I want to convey all the emotions I feel in my photographs,” he explains. “But I also hope that, by sharing my work, and by establishing a relationship between artist and audience, I can spark new feelings.”


像披头士乐队(Beatles)一样,首尔摄影师 Jeon Yunyoung 也认为“爱才是人们最需要的”(All we need is love)。他将爱视为一种无所不在的力量,是世界的原动力。他坚信,爱会呈现出各种形态。他的摄影作品恰恰反映出这种信念,有时,爱以明显的方式呈现,譬如热情相拥的恋人;有时则更微妙,譬如摄影的对象是他的好友或家人,爱就通过镜头含蓄地展露。

“我希望在照片中传达出自己的所有情感。”他解释道,“但我也希望通过分享我的作品,建立艺术家和观众之间的联系,以此给观者带来一些新的感受。”

Website: jeonyunyoung.com
Instagram@neuj_

 

Contributor: George Zhi Zhao


网站: jeonyunyoung.com
Instagram@neuj_

 

供稿人: George Zhi Zhao

Dear Sky

Arthur Mebius is a Dutch photographer and aviation enthusiast from Amsterdam. His photo series, Dear Sky, is a look inside Air Koryo, the state-owned national airline of North Korea. The airline boasts a fleet of 19 vintage aircraft, including Cold War models by Soviet manufacturers Antonov, Ilyushin, and Tupolev, many of which date back to the 1960s. Because of sanctions and environmental restrictions, Air Koryo’s only remaining international flights are its China and Vladivostok routes.


Arthur Mebius 是来自荷兰阿姆斯特丹的摄影师和航空爱好者。他的摄影作品系列《Dear Sky》(《亲爱的天空》)用镜头记录了朝鲜国有航空公司高丽航空(Air Koryo)。这家航空公司拥有 19 架老式飞机,其中包括苏联制造商安东诺夫(Antonov)、伊留申(Ilyushin)和图波列夫(Tupolev)冷战时期的机型,还有许多 20 世纪 60 年代的飞机。由于航空制裁和环境限制,高丽航空现在唯一的国际航班是往返中国和符拉迪沃斯托克的航线。

After learning of Air Koryo in 2015, Mebius journeyed from Amsterdam to Beijing to board a flight to Pyongyang and experience the airline for himself. Since then he’s taken a total of 24 flights on different types of aircraft. With his Fuji X100T he documented the planes, passengers, and crew he encountered in his travels.

Below you can view more of Mebius’s images and read a short excerpt from his book.


在 2015 年知道高丽航空后,Mebius 特意从阿姆斯特丹飞到北京,坐上了一趟飞往平壤的航班,亲身体验了这家航空公司。从那以后,他一共乘坐过 24 架不同型号的飞机。透过他的富士 X100T 相机,他用镜头记录了在旅行中遇到的飞机、乘客和机组人员。

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

In one of the apartment buildings in Sunan, next to Pyongyang airport, the haze of 7.27 cigarette smoke is lit by flashing colored lights pinned to the wall and a Moranbong Band CD pumps from a stereo in the corner. Two flight attendants sit demurely on a sofa, an animated card game is in progress at the table. The flight engineer from the Tu-154 is already asleep in a chair. Animated conversation forms a steady roar as tales of the week are cut with memories of a Belgrade nightstop and a zero-zero landing in the depth of a Moscow winter.

The team effort of these comrades, patriots all, is the visible peak of a mountain of institutional knowledge as big as Mount Paektu made of Juche-orientated aviating, and whatever the obstacle, decade or politics, the mission is accomplished.”


“平壤顺安国际机场,2016 年 9 月 14 日——

在位于平壤顺安国际机场旁边的一栋公寓大楼中, 7.27 牌香烟的烟雾中,透着墙上彩色灯的灯光,角落的音响播放着朝鲜女子乐队牡丹峰乐团(Moranbong Band)的CD。两位空姐端坐在沙发上,兴高采烈地玩着扑克牌。Tu-154 客机的飞行工程师已经在椅子上睡着了。他们热烈地谈论着本周的八卦,以及在贝尔格莱德停飞过夜,在莫斯科的寒冬能见度为零时,客机盲降的回忆。

这些同志、爱国者们的团队努力,体现着体制教育的顶峰,犹如白头山(位于中朝边境的一座“圣山”)一样雄伟;而以“主体思想”(Juche,意为自立,是朝鲜劳动党的思想体系和理论基础,由金日成创立,因而也称为“金日成主义”)为导向的飞行,无论遇到什么障碍,历经多少个十年,或说政治形势如何,这个任务都已经完成了。”

Dear Sky is now available on the Neocha Shop in limited supply.


《Dear Sky》现已于 Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店


《Dear Sky》The People and Planes of North Korea’s Airline

¥350

立刻购买

Product Details:

  • Year of Publication: 2017
  • Hardcover
  • Number of Pages: 128
  • Size: 20 cm x 27.5 cm
  • Price: 55 USD

详情

  • 出版年份: 2017
  • 精装版
  • 页数: 128
  • 尺寸: 20 x 27.5 厘米
  • 价格: 350 RMB

Website: arthurmebius.com
Instagram: @arthurmebius.com_

 

Contributor: George Zhi Zhao


网站: arthurmebius.com
Instagram: @arthurmebius.com_

 

供稿人: George Zhi Zhao

Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”


许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”

 

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Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”


许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”


许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”

 

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In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao

taipeilove*

 

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taipeilove* is a documentary from Berlin-based filmmaker Lucie Liu that follows the LGBT movement in Taipei, Taiwan. The film shares the experiences of three individuals and their struggles with traditional expectations from family, religion, culture, and society set against the backdrop of Taiwan’s initiative to legalize same-sex marriage.


在纪录片《taipeilove*》中,柏林电影制片人 Lucie Liu 用镜头记录了台北的同志运动。影片记录了在台湾同性婚姻合法化倡议的背景下,三个人的经历以及他们与传统家庭、宗教、文化和社会间的斗争。

The idea for taipeilove* first came about when Liu visited the Taiwan Pride Parade in 2016. She shares, “I got in touch with a group of Koreans and some Japanese men. Independently from one another, they told me how they would come to the Pride every year and how these visits were the only few days in the year where they could be completely free and open about their sexuality without fearing repression. That was the time I realized how important Taiwan’s fight for marriage equality truly is on a larger scale.”


Lucie 第一次有了拍摄《taipeilove*》的想法是在 2016 年参加台湾骄傲游行(Taiwan Pride Parade)的时候。她回忆道:“我当时认识了一群韩国和日本男同性恋者。他们每个人都跟我说,每年都会来参加骄傲游行,游行的这几天是他们一年中最自由的几天,因为他们可以坦诚地公开自己的性取向,不用压抑自己。那时我才意识到台湾在争取婚姻平等这个问题上的重要性及影响之广。”

In October of 2017, Liu would arrive in Taipei to begin pre-production on the film. She would reach out to members and activists of the local LGBT community to hear their experiences – often encountering stories of pain, abandonment, exclusion, and even of attempted exorcisms. After speaking to dozens of individuals, Liu would be introduced to Sarah, one of the three main protagonists of the film: “Sarah had just come from a long shift as a nurse, but she was full of energy and very open, and this intrigued me. Kevin is one of her friends, and David is his life partner. So we had some long talks and decided to go on this journey together.“


2017 年 10 月,Lucie 抵达台北,开始影片的前期制作。她与当地 LGBT 社区的成员和积极分子联系,听他们讲述自己的经历,这些经历中往往掺杂着痛苦、遗弃、排斥甚至企图驱魔的故事。在与数十人聊过后,有人介绍 Lucie 认识了 Sarah,最终 Sarah 还成为了这部影片中的三大主角之一:“那时候 Sarah 刚刚完成长时间的工作,她是一名护士,但她依然精力充沛,态度也非常坦诚,这一点令我特别感兴趣。Kevin 是她的朋友之一,David 是他的爱人。我们聊了很久,最后决定一起拍这部影片。”

The pre-production of taipeilove* was initially financed by a German foundation, but due to the small amount of financial support provided, the project has since been driven mostly by the hard work and dedication of a small but passionate team of creatives and filmmakers. In addition to financial challenges, the documentary has stirred up strong reactions on social media, including harassment and homophobic messages from strangers. These challenges have only further intensified Liu’s mission to further educate the public about LGBT issues. Liu tells us, “I realized that messages from strangers on the internet as well as in conversations with elderly members of Taiwanese society all share the same thing: fear of change. It takes time, education and dialogue to overcome those fears and arrive in the 21st century, and to realize that same-sex love and marriage equality won’t cause anyone any harm.”


《taipeilove*》的前期制作最初由一家德国的基金会提供资金,但由于提供的资金很有限,主要都还是靠一小群满腔热情的创意团队和电影人在努力支持。除了财务方面的挑战之外,这部纪录片还在社交媒体上引起过强烈反响,收到过来自陌生人的骚扰和恐同留言。但这些挑战只会让 Lucie 更加坚定自己推广 LGBT 问题的使命。Lucie 告诉我们:“不论是互联网上那些陌生人的信息,或是与台湾社会老年人的交谈中,我发现他们都有共同之处:一种对变化的恐惧。我们需要时间、教育和对话来帮助他们克服这些恐惧,去真正进入 21 世纪,去明白同性爱情与婚姻平等,不会对任何人造成任何伤害。”

In 2017, the Constitutional Court of Taiwan ruled that same-sex couples should have the right to marry. Liu tells us, “Taiwan is setting a great example here and I wish for the rest of Asia to follow. My documentary shows that there is hope for progression.” The taipeilove* documentary is currently in post-production and is planned to be made available for educational screenings at universities and NGOs, in addition to being screened at film festivals. If you would like to make a donation to help support post-production funding of taipeilove*, please visit their crowdfunding campaign at Indiegogo.


2017 年,台湾宪法法院裁定同性配偶应有权结婚。Lucie 说:“台湾在这里树立了一个很好的榜样,我希望亚洲其它国家也能效仿。我的纪录片也表明,这一切都是希望去取得进步的。”《taipeilove*》纪录片目前正在进行后期制作,除了在电影节上放映外,还计划在大学和非政府组织进行教育放映。如果您想进行捐赠,支持《taipeilove*》的后期制作经费,请访问他们在 Indiegogo 上的众筹活动。

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

供稿人: George Zhi Zhao

Fear & Loathing in Beijing

 

无法观看?前往优酷

ROBBBB is a Chinese street artist who’s risen to acclaim in the world of contemporary art over recent years. Based in Beijing, the young artist is best known for the life-sized characters he wheat pastes on abandoned buildings and in half-demolished neighborhoods. His work satirizes the contradictions of our modern lives and the darker aspects of human nature. Anxiety, hostility, distress, and fear – topics that many people would rather turn a blind eye to – are common throughout his work.


来自中国的街头艺术家 ROBBBB ,近年来在当代艺术界享有盛誉。这位年轻的艺术家长居北京,他最出名的是在废弃的建筑和半拆除的小区里,画上和真人等大的人物形象。他作品中那种尖刻的幽默感讽刺了现代社会存在的矛盾,以及我们通常更愿意视而不见的人性黑暗面——焦虑、痛苦、敌意、软弱和恐惧。

Born in 1990, the young artist believes much of his art stems from his misunderstandings of society, or to be more precise, his subjective misinterpretations of an objective reality. But this a point of pride for ROBBBB – he sees misinterpretations as being channels through which art and creativity can manifest and thrive.

“As an example, everyone will interpret the messages and ideas conveyed by a good film differently depending on their own individual experiences,” ROBBBB says. “I feel like this is how the world is created, from endless misinterpretations and perspectives. The important thing is to express it.”


生于 1990 年的他,认为自己的大部分艺术源于对社会的误解,或者更确切地说,是对客观现实的主观误解。但这也是 ROBBBB 引以为傲的一点,他认为误解是艺术和创造力得以表现和发展的途径。

很多人对一部好电影都会有强烈的反应。但最终,电影传达的信息和想法将被他们根据自己的个人经验而被不同地解读。他说,我觉得这就像世界一样,这正是世界创造的方式,来自于无尽的误解和各种观点。重要的是要将它表达出来。

From a pot-bellied spiderman eating skewered spiders to clowns fighting over Chinese porcelain, the farfetched imagery ROBBBB incorporates into his work is ultimately a way for him to force viewers to contemplate on the absurdities of our everyday reality.


从那个大腹便便、吃着蜘蛛的蜘蛛侠,到为了青花瓷花瓶打斗的小丑们,ROBBBB 的作品将这些毫无瓜葛的形象融入其中,其实最终是为了迫使观众去思考日常现实的荒谬之处。

Websitewww.robbbb.com

 

Contributor & Videographer: George Zhi Zhao


网站www.robbbb.com

 

供稿人与视频摄影师: George Zhi Zhao

Have a Nice Day

 

无法观看?前往优酷

Have a Nice Day is the latest animated dark comedy film from writer and director Liu Jian. Set in a small town in Southern China, the film starts with Xiao Zhang, a driver who steals a bag containing 1 million RMB from his mob boss in order to pay for his fiancée’s botched plastic surgery. As word of Xiao Zhang’s robbery spreads across town, a motley cast of the city’s residents join in on the hunt for the stolen money, each with their own dreams of making it big.


大世界》是作家兼导演刘健的最新黑色喜剧动画电影。影片故事发生在中国南方的一个小镇上,电影一开始,司机小张为了给未婚妻一笔钱去做拙劣的整形手术,从他的流氓老板那里偷走了 100 万元的巨款。小张的抢劫案传遍了整个小镇,当地的居民开始加入对被盗巨款的追捕中来,每一个人都怀有自己的大梦想。

The animation for Have a Nice Day was done mostly by Liu, who spent about three years completing the film. Liu brings a bleak and melancholic aesthetic to the film’s small-town Chinese setting and its shady cast of characters. Sharing his thoughts on creating the film, Liu says: “My favorite artistic style, and in fact, my artistic philosophy, is plain and simple. In this film, I use the minor actions and subtle movements of the characters to portray their emotions, which, along with the vivid landscapes and interiors the characters exist in, constitute the poetic, and, in some sense, sad and melancholic aesthetic philosophy of the film. In my eyes, this film as a whole can be seen as a landscape painting representing modern China.”


《大世界》的动画大部分由刘健完成的,整部电影耗时大约三年的时间完成。刘健有意让影片中的中国小镇和里面的角色都充满一种荒凉而忧郁的美学风格。谈及创作这部电影时的想法,刘健说:“我最喜欢的艺术风格,实际上也是我的艺术哲学,那就是简单明了。在这部电影中,我运用人物的细节动作来诠释他们的情感,加上对周边环境和人物所在的室内环境的生动描画,构成了这部影片诗意式的,以及在某种意义上,悲伤和忧郁的审美哲学。在我看来,这部电影可以被视为是一幅描绘现代中国的画像。”

Multiple references to contemporary events – such as audio sampled from Donald Trump’s campaign trail, or a remark about Mark Zuckerberg or Jack Ma – tie the film to our present-day reality and make it all the more engaging for a modern-day audience. Liu says, “Have a Nice Day is an animation film, but it’s penetrated through and through with the philosophy of realism. […] There are so many uncertainties and possibilities to be imagined in such a dynamic and lively space like the city’s borderlands. What some might call surrealism is often the reality there, and that is fascinating to me in itself. I love to observe and reflect on how people there are living, thinking, and acting. The cultural landscapes of the city’s edges and the people who live there are one of the main sources and inspirations for my work. At the same time, the coexistence of realism and symbolism emphasizes the fantasy and the absurdity of these characters and their stories. In modern China, magical realism is happening around us almost every day. Life at times can resemble a surreal comedy that is filled with both jubilance and self-paralysis.”


影片当中多次对当代事件的进行了引用,例如从唐纳德·特朗普(Donald Trump)选活动中采集的音频,或者关于马克·扎克伯格(Mark Zuckerberg)或马云的评论,以此将这部电影与我们今天的现实联系起来,使其更加吸引观众。刘健说:“《大世界》是一部动画电影,但它充满了现实主义的哲学……在城市边缘地区这样一个充满活力的热闹空间中,有许多不确定性和可能性令人遐想。在一些人眼中的超现实主义,在那里却往往是现实的存在,这本身对我来说就是很有意思的事情。我喜欢观察并思考人们是如何生活、思考和行动的。城市边缘的文化,以及那里生活的人是我创作时最大的灵感来源。同时,现实主义与象征主义的并存,又突显了这些人物以及他们的故事的奇幻与荒诞。在现代中国,魔幻现实主义几乎每天都在我们身边发生。生活有时像是一部充满欢乐和自我麻木的超现实主义喜剧片。”

Have a Nice Day won the award for Best Animation at the 54th annual Golden Horse Awards in Taipei, Taiwan, and has received worldwide critical acclaim for its neo-noir storytelling, gritty visuals, and penetrating depiction of modern-day Chinese society. Aside from the engrossing story and aesthetic, the film also features music from The Shanghai Restoration Project.

Have a Nice Day will be screening in theatres in the UK beginning on March 23rd, 2018. For more information on dates and locations, click here.


在第 54 届台湾金马奖颁奖典礼上,《大世界》斩获最佳动画长片奖,并因其新黑色的叙事风格、粗犷的视觉效果以及对现代中国的深入描绘,获得了来自全球的赞誉。另外值得一提的是,除了抓人的故事情节和视觉美学的呈现,《大世界》的电影配乐来自乐队上海复兴方案

影片将于 2018 年3月23日 在英国院线上映。了解更多,请点击此处

Website: haveaniceday.mubi.com

 

Contributor: George Zhi Zhao


网站: haveaniceday.mubi.com

 

供稿人: George Zhi Zhao

Visual Metaphors w/ Wenting Li

Travellers: For the Parallel show at Light Grey Art Lab. / "旅行者":为《Parallel》在 Light Grey 艺术实验室的展览而创作的插画。

Wenting Li is a Chinese Canadian illustrator based out of Toronto. Her work is preoccupied with color and movement, the relationship between shapes, and the subtleties of complementing stories with imagery. As a young artist, she’s already established an impressive list of clients including The Globe and Mail, TED, Reader’s Digest, and The New York Times.


Wenting Li 是来自加拿大的华裔插画师,目前居住多伦多。她的作品专注于色彩与动态、形状之间的关系以及用图片补充故事的微妙之处。虽然还是个年轻的艺术家,但 Wenting 已经建立了一系列大客户群,比如《环球邮报》、TED、《读者文摘》和《纽约时报》。

Diving into Memory: As we remember things, we also alter the integrity of a memory. An illustration for Quebec Science. / “潜入回忆”:当我们记住事情的时候,我们也改变了一段记忆的完整性。为《Quebec Science》创作的插画。
Head Full of Memories: What we've come to know about the inner workings of memory. An illustration for Quebec Science. / “充满回忆的头脑”:我们已经知道了记忆的内在运作。为《Quebec Science》创作的插画。

Describing her personal work, Li tells us: “[It’s] especially focused on aesthetics but also on things I can’t think of words for and nebulous things like feelings.”

In contrast, her client work is more structured and goal-oriented. Li says, “Client work for me is about trying to map a prompt, such as an article, a story, or a concept, against the mess of visual connections unique to my head. I’m interested in visual metaphors, quiet moments, momentum, mystery, and how a drawing can open into parallel dimensions where things gesture at what they look like ordinarily, but their outlines are malleable.”


对于个人创作理念,Wenting 和我们说:“(我的作品)主要关注美学,以及我无法用语言描绘的事情,譬如像感觉这样含糊不清的事物。”

相比之下,她受客户委托创作的作品会更结构化,目标的导向更明确。她说:“给客户创作就像是在我自己脑袋一大堆乱七八糟的视觉联系中,试图让思维映射出一个主题,比如像是一篇文章、一个故事或一个概念。让我感兴趣的是那些视觉隐喻、安静氛围、动力张力和某种神秘的气质,尤其是看着画面里的事物映射着平凡的日常,但它们的轮廓却具有了可塑性,呈现出一个平行空间,这特别让我着迷。”

A Seat at the Table: Encouraging North American companies to become more diverse workplaces. An illustration for Corporate Knights. / "桌前一座":鼓励北美的公司工作场所变得更加多元化。为《Corporate Knights》创作的插画。
Winnipeg Beach: For a grown son's personal essay remembering his father. An illustration for The Globe and Mail. / “温尼伯海滩”:一个已长大的儿子写个人散文以回忆他的父亲。为《环球邮报》创作的插画。
Daughter: An unpublished piece on the burden of responsibility in elder care for The Walrus. / “女儿”:给《The Walrus》创作的还未发表的作品,关于养老责任重担的问题。

Wenting shares with us a story behind Constants, one of her recent illustrations for PLANADVISER, a trade magazine that, surprisingly, has established a reputation among artists as a platform for wildly conceptual illustration despite its technical content. Wenting says, “When I get the chance to work with PLANADVISER, I always try to let my subconscious go rampant. Some of the other sketches for this assignment included motifs like a kitchen full of animals, a home on the back of a giant fish, a vertical city – the concept I was given to work with was ‘stability of steady flow of income.’ Usually, I send in three or four of my favorite sketches, a distillation of maybe six or seven ideas, and many more thumbnails. The concept we went with is a tea drinker ensconced in front of her fireplace, with an endless supply of firewood for boiling water for tea, which comes from an enormous tree growing through her window and into the house itself. It’s something that was fun to draw. I knew I wanted to color the illustration as a night scene with dark blues and purples and lighter pinks and greens as contrast, with a sort of interior “glowiness,” and that’s what carried through to the final.”


Wenting跟我们分享了创作《Constants》(《常量》)背后的故事。这是她为商业杂志《PLANADVISER》创作的插图之一,神奇的是,这本商业杂志在艺术家之间颇有声誉,不仅仅囊括技术性的内容,还被视为是概念插图的一个重要平台。Wenting解释:“当我知道可以和(《PLANADVISER》)合作时,我就会让自己的潜意识尽情发挥。 这次合作的其它主题还包括一个充满各种动物的厨房,一条巨型大鱼背上的房子,以及一个垂直城市,我拟下的主题是‘稳定收入带来稳定’。通常我会发三到四幅我最喜欢的草稿,六七个比较好的想法,以及更多缩略图。我们采用的概念是一个在躲在壁炉前喝茶的女人,不断添柴煮茶。烧柴的木材则来自一棵穿过她房子窗户、径直伸入房子内的擎天大树。这样的题材很有趣,也比较大胆。我想用夜景的深蓝和紫色来给插图上色,加上浅粉色和绿色作为对比,突显出一些内部的光芒感,这主题和方法贯穿始终。”

Capture the Future: Poster illustration for the RBC Amplify 2018 program. / "捕获未来":为 RBC Amplify 2018 计划的海报插图。
Constants: Maintaining a constant flow in income and a constant supply of firewood for tea. An illustration for Planadviser. / "常量":保持收入不变,为煮茶提供不间断的柴火。 给《Planadviser》的插图。

Although Wenting was born in China, she left the country at the age of four. She cites her parents as her primary ties to Chinese culture. “[My parents] are in some ways very Chinese in terms of food, values, language, and so on, but in other ways are quite ambivalent – we don’t really mark the major Lunar New Year’s holiday for example. Sometimes the culture I come from can feel like more of a series of quirks, and other times it is definitely like looking at the world from a very different angle.”

While her cultural background doesn’t directly influence her work, Wenting is always hungry to discover new perspectives about the world around her as a means of fueling her creativity. She shares some of her recent sources of inspiration: “I’ve been listening to The Paris Review podcast and there’s something really nice about listening to people read you stories and poems and talk about their output. I’m also still reading Ted Chiang’s Stories of Your Life & Others – I’m stuck on a particular story about automatons in a Victorian-esque setting that is crawling up my skin.”


虽然 Wenting 在中国出生,但她四岁时就离开了这个国家,在她看来,父母是她与中国文化之间最主要的纽带。“(我的父母) 在食物、价值观、语言等等方面都很中国化,但在其它方面又相当矛盾。譬如,像中国农历新年这样的重要节日我们也不会怎么过。有时候,我感觉自己所来自的文化更像是一系列奇怪的事物,有时,又像是换了一个非常不同的角度来看世界。”

但她的文化背景并没有直接影响到她的艺术创作,Wenting 一直渴望发掘出看待周遭世界的全新角度,以作为她艺术的养分。她分享了她最近的一些文学灵感来源:“我一直都有听《巴黎评论》(The Paris Review)播客,听听别人给你讲故事、读诗歌,谈论他们的想法,挺有意思的。我还在读姜峯楠(Ted Chiang)的《Stories of Your Life & Others》(《你及他人一生的故事》),我尤其喜欢其中一个维多利亚时代背景关于机器人的故事。这个故事看得我毛骨悚然。”

Cherry Beach: Catching the Perseids shower in Toronto. / “繁星海滩”:在多伦多的海滩撞见了英仙座流星雨。

Despite her natural talents and reputation as an up-and-coming illustrator, Wenting still faces her fair share of creative struggles. She tells us, “Coming up with ideas is frustrating but really fun. Sometimes I lie down on the couch and despair of ever having a good idea again. Kind of like running through pain, I just keep drawing through it. It’s also helpful to switch your brain to a different track for a while, like go for a walk or clean all the sinks in your basement. I also struggle with living a life apart from my creative life – but waiting for a less busy time to live your life is an endless wait.”


尽管有着出色的天赋,且已被公认为新晋的创意人才,但在插画工作上,Wenting仍然有自己的挣扎与苦恼。她与我们分享道:“创意构思的过程有时很令人沮丧,但也真的很有趣,有时我躺在沙发上,绝望到怀疑自己以后还能不能再想出好的创意。就像是在痛苦中奔跑,我只能在痛苦中不停地画画。当然,把大脑切换到一个不同的频道一段时间会有所帮助,譬如去散散步,或是清理一下地下室的水槽。我还希望可以让工作不那么忙碌,好好享受一下创作之外的生活,但是要等到这样的时候,不知道要等到何年何月了。”

The Garden of Memory: An illustrator for the "Roots" issue of Amator. / “记忆花园”:为《Amator》“Roots”期刊创作的插画。
Small: The not-good-enough plague that comes with living in the social media age. An illustration for Canadian Living. / “小”:生活在社交媒体时代所带来的“不够好”状态的瘟疫。为《Canadian Living》创作的插画。
Into the Fire: Prumsodun Ok and the formation of Cambodia's first all-male, gay-identified Khmer dance company. An illustration for TED. / “入火”:Prumsodun OK 和柬埔寨第一个全男性、定义为同性恋属性的高棉舞蹈公司。为 TED 创作的插画。
Rowing: Opposing ideological agendas stalling the Democratic Party. An illustration for The New York Times. / “划船”:民主党内部的反对声音,拖延了民主党的议程。为《纽约时报》创作的插画。
Adding Value: Growing a shared set of values while growing a team. An illustration for Intercom. / "增值":在发展团队的同时,也要发展一套共同的价值观。为 Intercom 所创作的插图。

Website: wentingli.com
Instagram: @wentingthings

 

Contributor: George Zhi Zhao


网站: wentingli.com
Instagram: @wentingthings

 

供稿人: George Zhi Zhao

Kyoushuu

Will Matsuda is a Japanese American photographer whose personal works are largely influenced by two seemingly unrelated topics: the beauty of nature and an eagerness to better understand his own mixed-racial identity. Following these thematics, his latest photo series, Kyoushuu, takes a look at Kyoto – the city where his parents met and lived – through atypical perspectives.


日裔美籍摄影师 Will Matsuda 的个人作品,灵感源于看似毫无关联的两方面:一个是来自于大自然的美景,另一个则来自于他对了解自身不同种族身份的渴望。他的最新摄影系列《Kyoushuu》也延续着同样的主题,并以独特的角度来定格京都——这也是他的父母相遇、生活的城市。

Sharing his experience of shooting the project, Matsuda tells us, “It rained nonstop for almost the entire week I was there. Almost all of these photos were taken in the last day and a half while I was in Kyoto, due to the fact that those were the hours where there wasn’t torrential rain. This definitely led to a kind of strange, dream-like quality to the photos I took while I was there.”


他与我们分享道:“我在那里的整个星期里,几乎都在下雨。整个系列里的大部分照片都是我在京都最后一天半的时间里拍摄的,因为只有在这些时间里是没有下暴雨的。也正因如此,最后拍摄出来的照片有了一种奇怪的、梦幻般的感觉。”

Matsuda cites the novels of Haruki Murakami as one of his influences: “There’s this sort of slow magical realism that creeps into some of these photos, and that’s definitely inspired by Murakami, or The Wind-Up Bird Chronicles in particular. There’s this great quote from the book that I think about a lot: ‘To know one’s own state is not a simple matter. One cannot look directly at one’s own face with one’s own eyes, for example. One has no choice but to look at one’s reflection in the mirror. Through experience, we come to believe that the image is correct, but that is all.'”


Matsuda 表示,村上春树的小说是他摄影创作的影响之一:“这其中有些照片,像是流露着一股缓慢的魔幻现实主义,这很显然是村上给我的启发,尤其是他的《奇鸟行状录》。这本书中有一句话经常让我思考:‘了解自身状况并非易事。比方说,人无法以自己的眼睛直接看自己的脸,只能借助镜子,看镜里的反映,而我们只是先验性地相信映在镜中的图像是正确的。’”

For Matsuda, photography has become a way for him to explore the notion of home, belonging, and heritage. He tells us, “I’m interested in the intersection of my Western gaze and my inherent Japanese-ness, which is familiar to anyone with a diasporic identity. I have an idea of Japan that is profoundly shaped by my socialization in the West through images and narratives about Japan in pop culture, from katakana text on seemingly every streetwear brand to the whitewashing of Hollywood. I hope to subvert the image of Japan that has been fed to me by tapping into something deeper, something within me. I find that photography is a really powerful tool to unveil my subconscious, and maybe even my own histories, to myself.”


Matsuda 认为,摄影是他了解家庭、归属感和文化传承概念的一种方式。他说:“其实我对自己身上的西方视角与日本文化内在的交融很感兴趣,这种交融对于任何在异国生活的人来说都并不陌生。我对日本的看法,很大程度上是受我在西方生活时那些流行文化中日本影像和描述的影响,从街头品牌上的片假名文字到好莱坞的电影等等。我希望能通过挖掘更深层次的东西,颠覆一直以来人们被灌输的对日本的印象。我觉得摄影是揭开自我潜意识、甚至了解自己过往很有用的工具。”

Website: willmatsuda.com
Instagram: @willfujiomatsuda

 

Contributor: George Zhi Zhao


网站: willmatsuda.com
Instagram: @willfujiomatsuda

 

供稿人: George Zhi Zhao

Passing Time

Metropolitan Singapore

Fong Qi Wei is a Singaporean photographer whose images intersect concepts of science, art, and technology. Through his unique approach to digital photography, Fong creates multilayered landscapes, seascapes, and cityscapes that convey the passage of time. His images from the Time is a Dimension and Temporal Chiaroscuro series are each a single composite of a sequence of images shot across varying times of day when changes in light and color are the most pronounced. During post-processing, Fong digitally slices the image into layers to present multiple “zones” of different times within a single frame.


新加坡摄影师 Fong Qi Wei 的作品是科学、艺术和技术不同概念的结合。通过独特的数码摄影方式,他创造出层次丰富的景观、海景和城市风景影像,以传达时光流逝的概念。他所创作的《时间是一个维度》(Time is a Dimension)和《时光的光影对比》(Temporal Chiaroscuro)系列中,每一张作品都是由一连串在不同时间点上拍摄的图片组合而成的,而这些时间点,往往是一天中光线和颜色变化最明显的时候。在后期处理过程中,Fong 会先在电脑上将照片剪裁成不同的图层,这样,同一张图片中就能同时显示出不同时间的影像。

Building Blocks Sunset
Look Ahead
Sunset at Marina Bay Sands

Fong draws inspiration from the chiaroscuro technique used in painting, which creates contrast through the interplay of light and shadow on a surface. He muses, “Is there something I can learn from artists using an age-old medium that I can also apply to photography? It occurred to me that, just as painters and illustrators express themselves with brushstrokes and graphite, I can also use the innate characteristics of photography to express myself.”


Fong 的创作灵感来自绘画中所使用的明暗对比法,通过光与影的相互作用形成对比。这种做法来自于他自己的一个思考:“我是不是可以借鉴一下那些用传统媒介创作的艺术家,将他们的创作方式运用到摄影中?我突然想到,就像画家和插画家用画笔和石墨来表达自己一样,我也可以利用摄影的特质来表达。”

Singapore Sunset
Evanescent Clouds (Labrador Park)

Fong’s work is a way for him to combine the best characteristics of different artistic mediums: painting is a medium that allows an artist to express their thoughts and emotions just as they envisioned them; photography is a medium that’s able to observe and convey an objective visual reality; and video has the ability to capture the passage of time. Like all photographers, Fong pays detailed attention to lighting, color, and composition. But what is unique to his work is his relationship to and manipulation of the fourth dimension of reality – time.

Explaining his artistic goals, Fong shares, “Our experience of a scene is more than a snapshot. We often remember a sequence of events rather than a still frame full of details. I strive to capture both details and also a sequence of time in a single two-dimensional canvas. I hope it gives you pause to reconsider what you experience versus what you shoot with the camera on your phone.”


Fong 的作品让他得以将不同艺术媒介的最优特征相结合:绘画能够表达艺术家的想法和情感;摄影可以观察和呈现客观的视觉现实;视频能够捕捉时间的流逝。与所有摄影师一样,Fong 的作品是在三维空间内创作的,着眼于照明、色彩和构图。但其作品的独到之处在于他与现实的第四维度——时间的关系和操控。

Fong 解释道:“我们对某个场景的经验不是一张快照就能诠释的。我们的记忆往往是一连串的事件,而不是单一的、充满细节的静止画面。我努力在二维的画布上既捕捉细节又表现出时间的转移。我希望这能让人们停下来,与手机拍摄的照片对比,重新审视自己的经历。”

Rochor Centre Sunset
Sunset in the Garden City
Air-Con Nation
Sunset at Old Hill Street Police Station
Salzburg Winter
Shafts of Sunset in the Modern City
Glassy Sunset

Website: fqwimages.com

 

Contributor: George Zhi Zhao


网站: fqwimages.com

 

供稿人: George Zhi Zhao