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Mue Bon

 

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Mue Bon is a Bangkok-based street artist who works in painting, installation, and mixed media. As a member of Thailand’s early generation of street artists, Mue Bon began painting at a time when street art in his country was neither well known nor respected. Without creative agencies, big brands, or fine art galleries seeking out their skills, street artists were left with little financial incentive to continue their work. Regardless, Mue Bon continued creating work in the streets, motivated by his desire to elevate the status of street art in his country by making art accessible to the public.


Mue Bon是曼谷的街头艺术家,作品包括绘画、装置艺术和混合媒体作品。作为泰国早期一批的街头艺术家,Mue Bon刚开始创作时,泰国的街头艺术还不是很流行,也不是很受人们尊重。当时没有创意机构、大品牌或是美术画廊需要街头艺术,因此,街头艺术家的经济收入很低,很多人都没有动力继续创作。但Mue Bon一直坚持创作街头艺术至今,因为他希望通过向公众展示自己的作品,提升街头艺术在泰国的地位。

As street art became more popular in Thailand, businesses began to see commercial opportunities for street art collaborations. An impressive art piece on the wall meant that more customers and tourists would be attracted to the place of business. Mue Bon says, “The business owners would become curators too. They felt that, in a sense, this artwork belonged to them as well, because it was on their property. So they would be able to talk to their customers about street art, the artist, and the story behind the artwork. Even the lady selling fried bananas on the corner would become a street art curator.”


随着街头艺术在泰国越来越流行,商家开始看到了与街头艺术合作的商业机会。当企业的墙壁上出现一幅令人印象深刻的艺术作品,也就意味着会更多的顾客和游客被吸引这里来。Mue Bon说:“企业主也会成为策展人。他们觉得,从某种意义上说,这件作品属于他们,因为那是在他们的房子上的。因此,他们能够跟顾客聊街头艺术,聊艺术家和作品背后的故事。就连是在角落里卖炸香蕉的女摊主会可以成为街头艺术的策展人。”

Over the years, Mue Bon has created a cast of signature characters that he paints on the street and the canvas, including a cartoon bird, a girl behind a mask, and Mr. TV, a man with a television screen for a face. Despite their cute appearance, all of Mue Bon’s works contain commentary on social issues, including wealth disparity and inequality, the influence of media and propaganda, and anti-war activism. His iconic Mickey Mouse skull stickers and wheatpastes are the artist’s version of a memento mori – a reminder to find peace, meaning, and a sense of humor in the face of our inevitable mortality. Today, Mue Bon’s work can be seen not only throughout Thailand but has also made its way around the world.


多年来,Mue Bon在大街的墙上和画布上创造了一系列的角色,其中包括一只卡通鸟、戴面具的女孩和电视机先生(长着电视屏幕脸的男人)。虽然这些角色看上去很可爱,但Mue Bon的所有作品都传达着他对社会问题的看法,从贫富差距到社会不平等,从媒体和政治宣传的影响力到反战行动。他标志性的米老鼠头骨贴纸和糨糊贴纸是他的 memento mori (拉丁语,意为“记住你终有一死”),提醒着他去寻求和平,生命的意义,以及面对必然的死亡时依旧保持幽默。Mue Bon的作品如今已经在泰国和世界其它国家展出。

Mue Bon will hosting an upcoming solo exhibition in Tokyo, Japan opening on October 20th, 2017. See below for full details.

 

Event:
SYSTEM ERROR!
Mue Bon Solo Exhibition in Tokyo

Address:
Megumi Ogita Gallery
2 Chome-16-12 Ginza
Chūō-ku, Tōkyō-to, Japan

Date:
October 20th to November 4th, 2017
11:00–19:00 (closed on Mon., Sun. & Public Holiday)
Opening Reception October 20th 18:00–20:00


接下来,Mue Bon 将在东京举办个人作品展,开幕日为2017年10月20日。请参阅下面的详细细节。

 

活动:
《SYSTEM ERROR!》
Mue Bon 东京个人作品展

地址:
Megumi Ogita Gallery
日本东京都中央区
银座2丁目-16-12

日期:
2017年10月20日至11月4日
11:00-19:00(周一、周日及公共假期闭馆)
开幕酒会:10月20日,18:00-20:00

Website: muebon.com
Facebook: ~/bon.mue
Instagram: @mue_bon

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of Mue Bon


网站: muebon.com
Facebook: ~/bon.mue
Instagram: @mue_bon

 

视频摄影师与供稿人: George Zhi Zhao
图片由Mue Bon提供

The Long Journey

Johan Chomet is a French photographer born in Paris. In 2013, he set out on The Long Journey, a series of travels that led him overland through Europe, Russia, Mongolia, China, Japan, Vietnam, Thailand, Myanmar, and Nepal. Most recently, Chomet’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Chomet tells Neocha more about his work and his travels below.


Johan Chomet是来自法国巴黎的摄影师。2013年,他上了《The Long Journey》,进行了一场跨越欧洲、俄罗斯、蒙古、中国、日本、越南、泰国、缅甸和尼泊尔的漫长旅程。最近,Chomet又去了韩国的首尔,在那里,他拍摄了许多照片,记录下他眼中的这座城市。Chomet跟Neocha分享了许多关于他的作品与旅行的故事。

Neocha: What’s your process for planning your travels?

Chomet: I never have a plan or route. I don’t try to organize anything in advance. I usually get transportation and visa sorted to my first destination and then take it from there. It gives me a lot more freedom as I don’t have to be somewhere at any specific time and can change my plans at the last minute if I feel like it. I also try not to have any time constraints.

Traveling overland is a totally different experience. You have to endure every kilometer of your trip, you have to find your way, and you have to deal with uneasy, sometimes unpleasant, situations. But you also get to live and share so much more. You see the landscapes changing and get to meet people along the way. To me, travel means freedom. It means adventures, meeting people, seeing things from a different perspective, and obviously photography! Travel and photography can hardly be separated for me.


Neocha: 你是怎样计划你的旅行的?

Chomet: 我从来不会做计划或设计路线,我不喜欢提前计划好任何事情。我一般只会先把第一个目的地的交通和签证办好,然后就出发。这样我可以有更多的自由,因为我不需要在特定的时间到达某个特定的地方,也可以随时改变计划。我也尽量不给自己时间上的限制。

横越大陆的旅游是完全不同的体验。你不得不忍受旅行时每一公里的路途,你必须找到方向,你要处理一些不安,甚至令人不愉快的情况。但你也能够有丰富的生活体验,可以分享更多。你可以看到沿途风景的变化,一路认识新的朋友。对我来说,旅行意味着自由、冒险和结交朋友,从不同的角度来看待事物,当然还有摄影!对我来说,旅行和摄影是密不可分的。

Neocha: How did your trip to Seoul come about?

Chomet: I really had no idea about what to expect when I decided to go to Seoul. I had been in Japan for a few months and my visa was expiring, meaning that I had to leave the country for a while. South Korea had always been on my list, and I was really looking forward to seeing it for myself, as for some reason I never got to see many images of the country. When I got to Seoul, it took me about 24 hours and a lot of walking around the city to take my first photo. Things were a lot less accessible and obvious than in Japan, and it felt like I had to soak it all in before I could start taking any photographs.


Neocha: 为什么会想要去首尔?

Chomet: 我一开始决定去首尔的时候,我真的没有带着什么特别的期望。当时我已经在日本呆了几个月,签证快要过期,所以我要离开日本一会儿。韩国一直是我想要去的国家之一,我也很期待去这个国家,但不知道为什么,我一直很少机会看到关于这个国家的图片。刚到首尔的时候,我在这座城市里逛了很久,过了快24小时才拍下第一张照片。比起日本,这里的一切更难以接触,更隐晦,感觉就像我必须要深入其中,才能拍到想要的照片。

Neocha: What were some of your first impressions of the city?

Chomet: Seoul had been very confusing for me at first, as I could see very little related to its past and history, and what I could see did not always feel coherent. Architecture in many parts of the city made me feel like I was in some sort of communist country with all these identical concrete buildings shaping the landscape, and just a few kilometers away you’d find yourself walking on huge avenues filled with hundreds of high-end shops, and you’d be reminded that you were in a country that’s embraced capitalism like no other.

Another thing that struck me was the overabundance of churches everywhere. Every direction you look, you’d see them – red neon crosses that have invaded Seoul’s skyline. Talking about neon, it’s something I’ve been shooting a lot of lately. I love the light and the atmosphere that it creates. Neon definitely feels a little bit retro, but at the same time, it keeps us fantasizing about these futuristic vertical metropolises.


Neocha: 你对这座城市的第一印象是什么?

Chomet: 一开始,首尔让我感到很困惑,我很难看到这座城市与其过去和历史的关联,我所看到的事物也总是感觉不是很一致。很多地方的建筑让我感觉这是一个共产主义国家,一模一样的凝土建筑物,组成了这座城市的景观,然后仅几公里之外,就是宽阔的商业大道,充满数以百计间高端商店,这时你才会意识到,这也是个不折不扣的资本主义国家。

另一件我最难忘的事是,这里的教堂无处不在。不论在哪里,你都能看到那些红色的霓虹灯十字架,占据着首尔的城市天际线。说到霓虹灯,这是我最近很喜欢拍摄的东西。我很喜欢这种灯光,以及它所创造的氛围。霓虹灯确实有点复古的味道,但同时又会令人幻想到未来的垂直化大都市。

Neocha: As a film photographer, what are your thoughts on the film versus digital debate?

Chomet: There shouldn’t be any final conclusion about film or digital – they both have their pros and cons. Digital is easy to use, convenient, accessible to everyone, and gives flawless results. Unlike film, the processing is instantaneous, costless, and allows for endless post-processing modification. As always, industries deliver what consumers are asking for.

Film is expensive and frustrating. There’s no insane post-processing to make dull images look great in the end. You can’t take hundreds of photos in a day, hoping to have a good one in the end or take the same photo over and over again until it looks good on-screen. You have to get it right the first time, and this is without a doubt the best way to learn. Shooting mechanical cameras and film gives me the feeling that I’m part of the process, that I’m in control, and that I’m actually making the photo. Working with film, I realized that I was spending a lot more time on framing and working on composition, and more importantly, I would not rely solely on the camera for the result. If your photos are not good enough, you can’t blame the autofocus or justify it by the fact that you didn’t have the money for that ISO 204800 camera. If your photos aren’t good, it’s simply because you’re not a good photographer. Technology in photography doesn’t make things better. It just makes things more convenient.


Neocha: 作为一名用胶片拍摄的摄影师,你对于胶片摄影与数码摄影之间的争论有什么看法?

Chomet: 对于胶片摄影与数码摄影之间的争论,应该永远也不会有最后结论,这两者都有各自的优点和弊处。数码摄影更容易、更方便,所有人都可以使用,拍出来的照片也很不错。与胶片摄影不同,数码摄影即时显像,不需要成本,也可以有无休止的后期修改。每个行业都会努力提供消费者所需要的产品,这一点向来如此。

而胶片摄影的成本更高,也往往容易令人沮丧,你不可以疯狂地进行后期处理,将一张原本平庸的照片变成一幅棒极了的照片;你也不能一天拍好几百张照片,然后指望其中会有一张好照片;或是一遍又一遍地拍同一张照片,直到在你屏幕上的照片看起来不错。你必须在第一次按快门就拍好,所以这无疑是学习摄影的最佳途径。用机械胶片相机和胶片拍摄,让我感觉自己成为了这个创作过程的一部分,我有控制权,我感觉这才是真正地在创作一张照片。用胶片拍摄时,我发现自己会花更多时间思考构图,更重要的是,我不会全然依赖相机。如果你的照片不够好,你不能说是自动对焦的问题,也没有藉口说是因为你没有足够的钱,买一台ISO 204800的相机。如果你的照片不够好,只是因为你不是一个好的摄影师。在摄影方面,科技不会让照片拍得更好。它只会让拍照变得更方便。

Neocha: How would you summarize your approach to photography, and what are some recurring themes in your work?

Chomet: I used to take a lot of photos of people in busy places, mostly cities, of people in motion, people that would catch my attention. I’ve never tried to make any specific statement with my photos. I just want my photographs to be a reflection of a time and place. They’re just snapshots. I usually go out walking with a camera in my hand and take photos of the things that I react to. I don’t believe photography should be too cerebral, and I try not to overthink my shots. I like spontaneous things.

As I mentioned, film photography changed my approach a little. It forced me to take my time. It helped me to be more patient, and so I started to photograph things differently – more still images, pictures with no people, empty spaces. I also started paying more attention to colors and geometry. When I’m traveling, things are also a bit different. I try to build a series rather than taking a bunch of candid shots without any specific theme.


Neocha: 你如何描述自己的摄影方式,你的作品中的常见主题有哪些?

Chomet: 我曾经拍过很多人们在繁忙地方的照片,大多是在城市,拍摄一些行动中的人们,拍摄那些会引起我注意的人。我从来没有试图在我的照片中表达某种特定的态度。我只想通过自己的照片记录某个时刻和地方……它们只是一张张快照。我通常拿着相机就出门散步,看到想拍的事物就拍下来。我认为摄影的时候不需要思考太多的事情,我在拍摄时尽量不去考虑太多。我喜欢自然而然的东西。

正如我前面所说,胶片摄影也影响了我的摄影方法。它让我在拍摄时放慢速度、更有耐心,也因为这样,我开始拍摄不同的对象,更多的是静止的图像,没有人,空荡的场所。我也开始更多地关注颜色和几何形状。当我去旅行时,拍摄的方法也会有点不同。我会试着创作一个系列,而不是没有任何特定的主题,直接拍一堆照片。

Neocha: Are there any particular themes or lasting impressions from your series in Seoul?

Chomet: Culturally, It feels like there’s this huge gap with massive differences of interests and lifestyle between generations. South Korea, and Seoul probably even more, has been changing so much and in such a short period of time. Because so many younger generations of South Koreans are able to travel and study abroad, I guess many came back with a different idea of what they wanted for their country and for their lives. South Korea has been heavily impacted by Western culture, but it feels like its people managed to adapt and blend it to their own culture, making it theirs. I definitely want to go back to South Korea and focus more on the youth next time.


Neocha:这一次在首尔摄影的作品中,有没有什么特别的主题或比较深的印象?

Chomet:从文化上来说,我觉得韩国不同世代的人们之间在兴趣和生活方式方面有很大的差异。在韩国,尤其是首尔,在很短的时间内,这里发生了翻天覆地的变化。很多年轻一代的韩国人出国旅游和留学,我想,他们中很多人回来后对于自己的国家和生活都会有了不同的想法。韩国受到很多西方文化的影响,但似乎韩国人们将这种影响成功融入到他们自己的文化中,将其变成韩国的特色文化。我还想再去一次韩国,下一次会把目光更多地放在年轻人身上。

Neocha: What is your personal philosophy towards photography? What does photography mean to you?

Chomet: To me, photography is about accurately remembering and capturing real life for future generations. Photographers are witnesses of time, documenting life. Some photographers are talented enough to add emotions and beauty to their images, to get reactions out of their viewers. I hope that people can see my photographs in 30, 40, 50 years in a different context. Who knows what will have become of photography and the world in general by then.

My relation to photography is very personal – it’s almost a kind of therapy for me. Walking with a camera in my hands is one of the rare moments when I manage to completely focus my mind on what I’m doing. It forces me to be in the moment, and it stimulates me. It keeps me curious and gives me the motivation to make new projects, or even just to simply go outside and do something.


Neocha: 关于摄影,你的个人理念是什么?摄影对你来说意味着什么?

Chomet: 对我来说,摄影是要准确地记录和捕捉当下的现实生活,留给未来的人们看。摄影师是时间的证人,生活的记录者。一些才华横溢的摄影师能把情感和美融入到他们的照片中,引起观众的情感共鸣。我希望在30、40或50年后,不同时代的人们可以看到我的照片。谁知道到时候,摄影和世界会变成怎么样呢?

对我来说,摄影是挺个人的事情,几乎可以说是一种治疗。拿着相机散步是很弥足珍贵的时刻,因为我可以完全专注其中。它迫使我融入那一时刻,刺激着我。让我保持好奇,给我动力去进行新的项目,甚至只是简单地到外面去,做点什么。

Websitejohanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

Contributor: George Zhi Zhao


网站johanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

供稿人: George Zhi Zhao

The Major Arcana

The Empress (III)

Tang Xiao Ming is a Malaysian illustrator with a passion for editorial illustrations and visual storytelling. His illustration series, The Major Arcana, is an editorial approach to the twenty-two card tarot suit. Often used for divination and occult purposes, the Major Arcana has been understood as an archetypal system for psychological and spiritual advancement and has been reinterpreted by numerous artists since its invention in the 15th century.


马来西亚插画家Tang Xiao Ming热爱刊物插画和视觉叙事创作。他的插画系列《Major Arcana》(大秘仪)就是以塔罗牌中的22张主牌Major arcana为灵感创作的刊物插画。Major Arcana 通常用于占卜和其它神秘的用途,一直以来,它被人们视为是一个有关心理和精神层面发展的原型系统,自15世纪问世以来,已经被无数艺术家重新诠释过。

The Hanged Man (XII)
The Hierophant (V)
The Sun (XIX)
The Magician (I)

Tang’s interpretation of the Major Arcana series was a stepping stone for his personal style, which brought about its own challenges and rewards. He tells us about the creative process behind the series: “As an artist, sometimes you’ll run into a brick wall creatively, but it’s only temporary and it has the potential to change your life. It’s only from being stuck that you will start to think differently, and your creative process is forced to change. Because of this, it will unlock further possibilities in life and work.”


Tang以自己个人风格来演绎《Major Arcana》,当中也带来了相应的挑战和收获。他跟我们分享了这一系列创作过程的故事:“作为一名艺术家,有时候你会碰到创意方面的瓶颈,但它只是暂时性的,并且有可能会改变你的生活。只有当你感觉遇上了瓶颈,你才会开始有不同的想法,从而迫使你改变自己的创作思路。正因为如此,它会为你的生活和工作带来更多的可能性。”

Temperance (XIV)
Strength (VIII)
The Emperor (IV)
Judgment (XX)

Growing up in Malaysia, Tang was influenced by his society’s lack of awareness towards mental health. Instead of drawing influence from local Malaysian art and culture, he focuses on the psychological struggles of young people as a consistent theme in his work. Tang says, “In Malaysia and most of Asia, mental illnesses and psychological factors are not widely talked about – because of this, I think that many of my illustrations are themed around the mind and the emotions, because many of us do not know how to express ourselves or understand who we really are inside.”


Tang自小在马来西亚长大,周围人们对心理健康的意识很薄弱,这一点也影响了他。他没有从马来西亚当地文化和艺术绘画中寻找灵感,而是专注于青少年的心理斗争,将之作为自己的作品中最常见的主题。Tang说:“在马来西亚和亚洲大部分地区,精神疾病和心理健康还没有获得人们的广泛讨论。正因为如此,我觉得自己许多插图作品都是围绕心灵和情感主题的,因为我们当中很多人都不知道如何表达自己,也不了解在内心里面真实的自己。”

The Chariot (VII)
Death (XIII)
The Star (XVII)
The High Priestess (II)

Some of Tang’s early influences include notable comic artists Olivier Coipel and Stuart Immonen, as well as graphic novels like Watchmen. Currently, he identifies his primary influence as visual artist James Jean: “Jean’s paintings deal with the unknown – they are very emotionally driven. They relate to me and inspire me to do what I’ve always loved to do, which is to create. I hope that my creativity will, in turn, inspire others and allow them to understand the way that I feel.”


Tang的早期影响还包括著名漫画家 Olivier Coipe和Stuart Immonen,以及《守望者》等漫画。目前,他说自己最主要的影响是视觉艺术家James Jean :“Jean的画作都是有关未知的主题,蕴含着饱满的情感,让我很受触动,也激励着我去做自己一直喜欢做的事情,那就是创作。通过我自己的创意,我希望可以反过来激励他人,让他们明白我的感受。”

Justice (XI)
The Devil (XV)
The Fool (0)
The Lovers (VI)
The Moon (XVIII)
The Hermit (IX)

Websiteimtxm.com
Instagram: @imtxm

 

Contributor: George Zhi Zhao


网站imtxm.com
Instagram: @imtxm

 

供稿人: George Zhi Zhao

Flesh Love

Ichika & Arisa

Flesh Love is a photography project by Tokyo-based artist Photographer Hal. Over the years, Photographer Hal has explored the themes of love and attachment by taking photographs of couples in enclosed spaces across multiple projects. For the Flesh Love series, Photographer Hal began to vacuum seal couples together in plastic wrap as a way to examine modern relationships. Photographer Hal tells us more about the story behind his work below.


《Flesh Love》是由东京艺术家Photographer Hal创作的一个摄影项目。多年来,Photographer Hal曾在多个摄影项目中,用镜头捕捉情侣在封闭空间的照片,探讨爱情和迷恋的主题。在《Flesh Love》系列中,Photographer Hal将情侣装在一个巨型真空密封袋中,寓意对现代男女关系的一种审视。Photographer Hal向我们分享了更多关于这些作品背后的故事。

Yuya & Ritsuko
Kazan & Tomoe
Yohei & Yuri
Miho & Ritsu

“When you embrace your lover, sometimes you wish to melt right into them. To realize this wish, I’ve been photographing couples in small and cramped spaces like motels and bathtubs. As my work has become more and more intense, I’ve noticed that communication is indispensable.”


“拥抱着自己的爱人时,有时候你会突然希望自己可以融入他们的身体当中。为了实现这个愿望,我常常选择在狭窄拥挤的空间里拍摄情侣,譬如汽车旅馆和浴缸。随着自己作品的风格越来越强烈,我发现,沟通也是不可或缺的。”

Sakamaki & Makino
Take & Mari
Michico & Yuhei
Yajyu & Kaorin

“I go to Kabukicho in Shinjuku, underground bars in Shibuya and many other places which are full of activity like luscious night time bee hives. When I see a couple of interest I will begin to negotiate. I’m sure that many people initially think of my proposal as unusual or even look through me like I am completely invisible, but I always push forward with my challenge to them. The models appear from all walks of life, and individually, have included musicians, dancers, strippers, laborers, restaurant and bar managers, photographers, businessmen and businesswomen, the unsettled and the unemployed, and so on.”


“我去新宿的歌舞伎町,涩谷的地下酒吧,还有很多地方,都是一些夜生活比较热闹的地方。看到感兴趣的情侣时,我就会跟他们搭讪。我敢肯定,很多人一开始都会觉得我的建议很奇怪,甚至直接无视我,当我不存在,但我会继续说服他们,用激将法问他们敢不敢做我的模特。我镜头下的模特来自社会上的各行各业,他们中有音乐家、舞蹈家、脱衣舞者、劳工、餐厅和酒吧经理,也有摄影师、商人、流浪汉和无业人员等等。”

Rem & Marina
Zinzin & Norico
Ami & Kojiro
Mana & Koji

“This time, I reached the point of photographing couples in vacuum-sealed packs in a set that I’ve constructed in my own kitchen. The lights are in the ceiling, so I just flip one switch and have everything ready. I have a few different colored paper backgrounds, which I leave rolled up in the corner. After the couple gets in the vacuum pack, I suck the air out with a vacuum cleaner until there’s none left. This gives me ten seconds to take the shot. In this extremely limited time I can’t release the shutter more than twice. I’ve been in there myself, and the fear I felt was overwhelming.”


“这一次,我的想法是让情侣装在真空密封袋里拍摄,拍摄地点就在我自己的厨房里。天花板上有吊灯,所以我只需按一下开关,一切就准备就绪了。我有几种不同颜色的纸张作为背景,不用的时候可以卷起放在角落里。情侣进入真空密封袋后,我再用吸尘器吸光里面的空气。然后我只有十秒钟的时间来拍照片。在这极其有限的时间内,我最多只能按2次快门。拍摄的时候,我感觉自己也像是装在真空密封袋里一般,内心也会感到铺天盖地的恐惧。”

Makoto & Shinji
Sachiko & Atsushi
Lim & Kyohei
PinQ & Pomco

“As the shooting continues over multiple takes, the pressure of the vacuum seal grows stronger. At the same time, the two bodies start to communicate, and whether through unevenness of limbs or the curve of joints they begin to draw a shape of what they want to express. The two lovers draw closer until they finally transform into a single being. Looking at these vacuum-sealed packs of love, we can imagine a more peaceful world. For me, the vacuum pack is only a means: the important thing is connecting to someone.”


“随着拍摄继续,真空密封袋里的压力会越来越大。同时,里面两个人开始沟通,通过起伏不平的肢体,或关节的曲线,呈现出一定的廓形,以此表达出他们的想法。两个相爱的人拉近彼此的距离,直到他们最终结为一体。看着这些充满爱意的真空密封袋,会令人联想到一个更和平的世界。对我来说,真空密封袋只是一种手段,更重要的是人与人之间的联系。”

Chihiro & Takeshi
Mihaya & Takao
Yoshi & Naomi
Alice & Kazuya

Website: photographerhal.com

 

Contributor: George Zhi Zhao


网站photographerhal.com

 

供稿人: George Zhi Zhao

Papaya Studio

Located in Bangkok, Papaya Studio is an antique collectible and vintage furniture studio, and the largest space of its kind in Asia. Having been in business for over 40 years, this multi-story, maze-like warehouse hosts a vast collection of over 100,000 items amassed from around the world. From Eastern European ceramics and vintage figurines to retro electronics and precious cutlery, Papaya Studio has any item that you could possibly imagine – along with much more.


Papaya Studio是曼谷一家著名古董收藏品和古董家具工作室,也是亚洲面积最大的古董工作室。这间工作室至今已有40多年,几层楼的仓库里,宛如一个巨大迷宫,有着种类浩繁的收藏品,这些收藏品来自世界各地,数量超过10万多件。从东欧陶瓷、古董雕像、复古电子产品到珍贵餐具,在Papaya Studio你可以找到任何你能想到或没想到的物品。

Mr. Tong, the founder of the studio, has been an antique collector since he was a little boy. At the age of 21, he opened his first antique store as a college student. Since then, his lifelong affair with antiques has motivated him to travel to Europe every three months to search for more items to add to his collection. According to Mr. Tong, each antique is a teacher and a mentor, and like a fine wine, they only get better with age.


工作室创始人Tong先生从小喜欢收藏古董。21岁的时候,他还是一名大学生,就已经创立了他的第一间古玩店。自那时以来,带着对古董长久以来的热爱,他每三个月就会去欧洲旅行,去挖掘更多古董,加入自己的收藏。Tong先生说,每一件古董都像是一位老师和导师,也像是一瓶好酒,随时间推移,更具魅力。

Boasting such an impressive array of items, Papaya Studio also serves as a resource for movie and photography shoots. Their services include prop and furniture rental, and they also rent studio space for wedding photos, fashion shoots, music videos, and movie shoots.


Papaya Studio既然拥有如此众多的古董收藏品,自然也成为了电影和摄影的拍摄资源。他们提供的服务包括道具和家具租赁,也会出租工作室空间拍摄婚礼照片、时尚大片、MV和电影。

Prices are not listed on any of the items in Papaya Studio, so customers will need to consult with management to negotiate a price for items they wish to purchase. Certain items, no matter how high the buying offer, are not for sale, as they hold a special place in Mr. Tong’s collection. For Mr. Tong, money is not the final objective – he is primarily motivated by his emotional connection to these items and a burning desire to share his passion for antiques with others.


Papaya Studio工作室内的所有古董收藏品都没有明码标价,顾客如果想要购买某一件古董,需要和店内的经理咨询价格。其中的一些收藏品,无论买家出价多高,都是非卖品,因为它们对Tong先生有着特别的意义。对Tong先生来说,钱不是最终的目标,他对这些古董收藏品的情感,以及他想要与他人分享对古董的热爱之情才是他经营工作室的初衷。

Address:
Soi Lat Phrao 55/2
Lat Phrao Rd., Wang Thonglang
Bangkok, Thailand

Tel:
+02 5398220

 

Website: papaya55.com
Facebook: ~/papayabkk

 

Contributor & Photographer: George Zhi Zhao


地址:
泰国曼谷
Soi Lat Phrao 55/2
Lat Phrao Rd., Wang Thonglang

电话:
+02 5398220

 

网站papaya55.com
Facebook~/papayabkk

 

供稿人及摄影师: George Zhi Zhao

Passion & Fragility

Friends

Mizuki Nishiyama is a Japanese multimedia artist, painter, and poet based in New York City. Currently a student at the Parsons School of Design, Nishiyama creates abstract expressionist works that examine personal experiences, ideas of the extreme, and the concept of human fragility. Nishiyama tells Neocha more about her artwork below.


Mizuki Nishiyama是来自日本的多媒体艺术家、画家和诗人,现居纽约,就读于帕森设计学院(Parsons School of Design)。Nishiyama以抽象表现主义的作品,探讨自己的人生经历,极端的想法和人类脆弱性的概念。最近,Nishiyama和Neocha分享了她对艺术、文化和创意的一些想法。

Snails In Her Eyes
Gustav
In My Lake of Boulders

Neocha: What first drew you to pursue art?

Nishiyama: My grandma, granduncle, and mother are all painters. Each of them work in different mediums – my grandma uses tennen iwa enogu (powdered minerals) for Nihonga (traditional Japanese art), my granduncle paints with watercolor, and my mother paints with oil. As my family has an artistic background, I presume I’ve been influenced by them. Nevertheless, many of my own personal developments have led me to explore different methods to recreate or make a statement, whether it be through music, dance, or writing. Over time, I’ve realized that painting allows me to create the most accurate representation of what I intend to visualize.


Neocha: 你一开始为什么会对艺术感兴趣?

Nishiyama: 我的祖母、伯祖父和母亲都是画家。他们各自用着不同的媒介来创作。我的祖母用Tennen Iwa Enogu(粉状矿物质)来画日本画(Nihonga,指日本的民族传统绘画),我的伯祖父画水彩画,而我母亲则是画油画。由于我家的艺术背景,我从小就已经受到他们的影响。尽管如此,我个人的很多经历也在促使我去寻求不同的方法来创作或表达,可以是音乐,也可以是舞蹈或写作。慢慢地,我意识到,绘画能最准确表达出我想要可视化的内容。

Rokurokubi

Neocha: Aside from familial influences, how does Japan and its culture influence your artistic process?

Nishiyama: I was fortunate to have been raised in a culturally diverse environment. My father is from Japan and my mother is from Hong Kong, but they spent a big portion of their lives in Italy. Bouncing between five languages at home and attending a Canadian International School in Hong Kong, I’ve never been able to identify concretely with particular heritages. However, I’ve always had a fondness for Japanese history and culture. By visiting Japan ever so often, I’ve been exposed to traditional arts such as bunraku (traditional Japanese puppet theatre), kabuki (classical Japanese dance-dramas), buyō (traditional Japanese performing arts), and ukiyo-e (an art genre that flourished in Japan between the 17th and 19th century), which have all brought my attention and attraction to classical arts. I’m so grateful to have been brought up with multiple cultural values, as I do realize that I unconsciously blend aspects of all those cultures together.


Neocha: 日本文化对你的作品有什么影响?

Nishiyama: 我很幸运可以在一个多元文化的环境中成长。我的父亲来自日本,而我的母亲来自香港,但他们大部分时间都生活在意大利。在家里,我会在五种语言之间来回切换,加上是在香港的加拿大国际学校读书的,所以,对我来说,我从来都没有特别觉得自己属于哪一种文化。不过,我一直都很喜欢日本的历史和文化。我经常去日本,也接触到很多当地传统艺术,例如文乐(Bunraku)、歌舞伎(Kabuki)、舞踊(Buyō)和浮世绘(Ukiyo-e)、而这些艺术又让我开始注意并喜欢上古典艺术。我很感恩,自己能在这种多元文化的环境中成长,因为我发现,自己会不自觉地将这些不同文化融合在一起。

B.D.P.C.
She
Peas and Peaches

Neocha: What are some recurrent themes in your artwork?

Nishiyama: I’m a very emotionally driven person. I’m tempestuous, and my thoughts are impassioned. The images that I paint come from a very sensitive and ardent side of my human experience that I simply want to document.

My work covers unconventional topics about the human experience that are intentionally confrontational. I’m extremely intrigued by the rawness of the human psyche when we are vulnerable to our emotions. These feelings help cultivate my creativity through emotional intimacy between myself and the brush. The themes I’ve expressed thus far have been based on personal experiences and spontaneous social issues, often ignored or instinctively disregarded by society.

I started painting as a response to many situations in my life. This allowed me to take a step back, and analyze these situations through a secondary lens. I consider my paintings as somewhat of a visual diary. By looking back at my work, I’ve learned to understand myself better – emotionally and circumstantially.


Neocha你的作品有哪些常见主题?

Nishiyama我是一个很情绪化的人。我性格暴躁,充满激动的想法。我所创作的画像,灵感就源自于我想要记录的那些极为敏感和激烈的人生经历。

我的作品探讨的都是比较颠覆传统、关于人类经历的主题,充满着故意的对抗性。我尤其热衷研究人类最本质的精神世界,因为那时候的我们很容易受情绪主宰。这些情绪能让我和画笔融为一体,从而提升我的创意。迄今为止,我所表达的主题都是来自于个人的经历和当下的社会问题,尤其是那些常常被社会忽视或本能地忽略的话题。

我一开始画画,是为了对我的生命中很多情况作出回应。通过绘画,我可以让自己退后一步,以另一个角度来分析这些情况。我觉得自己的画作其实算是我的视觉日记。回顾这些作品,可以让我更好地了解自己的情感和身处的环境。

Camellia
Tic Tac Toe
Swing Me From The Cantaloupe I Swear To Beckon This Raisin Day

Neocha: How does color play a role in your art? What does color mean to you?

Nishiyama: Selecting the appropriate colors to provoke emotions and amplify messages are constantly on my mind. Themes surrounding my pieces are often quite impassioned, so I tend to naturally grab darker, more vibrant and vivid shades. I am currently experimenting with mediums. I am familiar working with highly pigmented shades, however, I’ve recently begun incorporating gouache, gloss, thickening mediums, as well as glazing to create a variety of looks.


Neocha: 色彩在你的艺术创作中扮演什么角色?色彩对你来说意味着什么?

Nishiyama: 我总是会去思考如何选择合适的色彩来挑动情绪,突显作品想要传达的信息。我的作品主题往往都十分激烈的情感,所以很自然地,我倾向于使用更鲜活生动的暗色调。我目前在尝试用不同的媒介进行创作。我比较擅长用高饱和度的色彩创作,但是最近我也开始使用水粉、光泽涂料、可以增厚质感的媒介,以及透明画法(glazing)来营造同不的效果。

Sunflowers Dream

Neocha: As both a painter and a poet, how does your creative process differ across these two mediums?

Nishiyama: Literature and painting go hand-in-hand when it comes to being able to show an accurate representation of what I intend to document. I’m a big fan of confessional poetry. I do not intend to create flawless stanzas nor sculptured phrases. I have always treated both my paintings and my poems as representative milestones in my life. The commonality would be the emotional heaviness I convey through both mediums.


Neocha: 你身兼画家和诗人两个身份,那么你在分别创作这两个媒介时,会有什么不同的创作思路吗?

Nishiyama: 文学和绘画都能准确表达出我想要记录的内容,在这一点上,两者是一样的。我特别喜欢自白派诗歌(Confessional Poetry)。我不打算创作出完美无瑕的诗节,也不想精雕细琢所用的词语。一直以来,我创作的画和诗都是记录我生命的里程碑。两者的共性在于我透过这两种媒介传达的沉重情感。

Katherine

Neocha: How has studying in New York City influenced your attitude towards art?

Nishiyama: I became more driven once I started attending the Parsons School of Design, due to constantly being surrounded by highly motivated and creative people. Moving to New York City meant there were going to be a lot of new life changes, and that resulted in many conversational pieces. Nonetheless, Hong Kong, Japan, and New York are all creative, visionary cities to develop one’s art. But I do favor New York simply because it is a new chapter in my life, and there is yet so much more for me to learn and explore.


Neocha: 在纽约学习的经历让你对艺术的态度产生了什么变化?

Nishiyama: 入读美国帕森斯设计学院( Parsons School of Design)后,我变得更有创作的动力,因为身边的人都充满了创作欲望和创意才华的人。搬到纽约后,在生活上自然会发生很多的变化,也因此创作了很多交谈画(Conversational Piece)。虽然香港、日本和纽约都是充满前卫创意的地方,非常适合发展艺术,但我尤其喜欢纽约。原因很简单,它代表着我人生的新篇章,在这座城市有那么多值得我去学习和探索的东西。

Messy Heads

Website: mizukinishiyama.com

 

Contributor: George Zhi Zhao


网站mizukinishiyama.com

 

供稿人: George Zhi Zhao

Reintrepreting Pop Culture

Yantra (II): The Eye of Horrors

Reza Hasni is an illustrator and motion graphics artist from Singapore who creates colorful psychedelic pop art. Bringing together influences ranging from religion and sacred geometry to pop art and emojis, Hasni’s work introduces mystical ideas in a playful, modern-day manner. In true pop art form, the artist shared with us his thoughts on various topics through a curated collection of quotes from TV shows and celebrities.


Reza Hasni是来自新加坡的一名动态图像设计师和插画家,作品多为色彩缤纷的迷幻流行艺术。从宗教到神圣几何学,从流行艺术到表情符号,都是Hasni的创作灵感,他通过作品,以现代、有趣的方式,讲述各种神秘的想法。这位艺术家用名副其实的流行艺术形式,用一系列引言,转述他自己关于不同话题的想法。

Channeling
The Wheel of Internet
Yantra (III): Peace

On Artistry

“I never cared so much about making perfect sense. I wanted to make perfect nonsense. I wanted to tell jokes, but I didn’t give a fuck about the punchline.”
– Harmony Korine

“Real artists have day jobs.” – Sara Benincasa

“You have to think anyway, so why not think big?” – Donald J. Trump


关于艺术

“我从来没有特别想要讲有意义的话。我只想说完美的废话。我想说笑话,但我又不会特意去想什么笑点。”—— 哈莫尼·科里恩(Harmony Korine)

“真正的艺术家都会有一份全职工作。”——Sara Benincasa

“反正你得思考,为何不想得远大点?” ——唐纳德·特朗普(Donald J. Trump)

Merkabah
Egg of Life

On Inspiration

“Some people choose to see the ugliness in this world, the disarray. I choose to see the beauty. To believe there is an order to our days. A purpose.” – Dolores Abernathy from Westworld


关于灵感

“有些人选择关注这个世界的丑陋之处,关注混乱与无序。但我选择去关注其中的美好;选择去相信我们的生活有着自己的秩序和意义。”

——朵洛莉丝·埃布尔纳西(Dolores Abernathy),《西部世界》(Westworld)

Voyage
Guardian Illusion
Yantra (IV): Guardian

On Culture

“I refuse to accept other people’s ideas of happiness for me. As if there’s a ‘one size fits all’ standard for happiness.” – Kanye West


关于文化

“我拒绝接受别人对幸福的定义,说得好像所有人的幸福都是一样的。”

——坎耶·韦斯特(Kanye West)

Ikaros: Puro Sonido (Pure Sound)
Series 02: Sushumna

On Religion

“Is that what God does? He helps? Tell me, why didn’t God help my innocent friend who died for no reason while the guilty ran free? Okay. Fine. Forget the one offs. How about the countless wars declared in his name? Okay. Fine. Let’s skip the random, meaningless murder for a second, shall we? How about the racist, sexist, phobia soup we’ve all been drowning in because of him? And I’m not just talking about Jesus. I’m talking about all organized religion. Exclusive groups created to manage control. A dealer getting people hooked on the drug of hope. His followers, nothing but addicts who want their hit of bullshit to keep their dopamine of ignorance. Addicts. Afraid to believe the truth. That there’s no order. There’s no power. That all religions are just metastasizing mind worms, meant to divide us so it’s easier to rule us by the charlatans that wanna run us. All we are to them are paying fanboys of their poorly-written sci-fi franchise. If I don’t listen to my imaginary friend, why the fuck should I listen to yours? People think their worship’s some key to happiness. That’s just how he owns you. Even I’m not crazy enough to believe that distortion of reality. So fuck God. He’s not a good enough scapegoat for me.” – Elliot Alderson from Mr. Robot


关于宗教

“那是上帝会做的事情吗?告诉我,上帝为什么不帮助我无辜的朋友?他无故死去,而有罪者都得以逍遥。好吧!先不说这些单个个案了。还有那无数场以他之名打响的战争呢?好吧!我们也先不说随机无意义的谋杀。还有那些我们因为他而产生的种族歧视、性别歧视和各种恐惧呢?而且,我不仅仅是指耶稣,我指的是所有有组织的宗教、排外团体,为控制人们而诞生,一个让人们对‘希望’上瘾的毒贩,其追随者不过是瘾君子,只求吸一口,好保持他们无知的多巴胺。他们不过是不敢相信真相的上瘾者。真相就是根本没有秩序,没有神力,所有宗教都不过是在人们内心不断扩散的蠕虫,旨在分裂我们,以便让那些想掌握我们的骗子统治我们。我们对他们来说只是他们写的很烂的科幻小说系列的迷弟,专门给他们送钱去。如果我都不听我幻想朋友的话,又凭什么要听你们幻想出来的朋友的话。人们以为他们的崇拜是通往幸福的钥匙,而他正是靠这样控制住人们。就连我都没法疯到相信这种对现实的扭曲。所以,去你的上帝,他对我来说不是一位好的替罪者。”

—— 艾略特·奥尔德森(Elliot Alderson) ,《黑客军团》(Mr. Robot)

Thangka: The Wheel of Life
Thangka: Meta Suta – Imaginary Quest

On the Future

“Who knows? It’s like asking where’s Waldo.” – Jerry Seinfeld

“The Force will be with you. Always.” – Obi Wan Kenobi


关于未来

“谁知道呢,这就像是在问‘瓦尔多在哪儿’(Where’s Waldo?)的感觉。”—— 杰瑞·宋飞(Jerry Seinfeld)(《Where’s Waldo?》是一个美国知名的在线游戏,玩家须在茫茫动画人海中找到主人公“瓦尔多”)

“原力将与你同在……一直都会。” ——欧比旺·肯诺比,电影《星球大战》(Star Wars)

Yantra (V): Durga (Harmony & Balance)
Multiverse

Facebook~/rezahasne
Instagram: @reza.hasni

 

供稿人: George Zhi Zhao


脸书~/rezahasne
Instagram@reza.hasni

 

供稿人: George Zhi Zhao

”Faai Di“ by SYMBIZ

 

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“Faai Di” is a track from the Broken Chinese EP by Berlin-based bass music duo SYMBIZ. The music video for the song was filmed during a two-week journey to Uganda, during which SYMBIZ took part in performances, workshops, and cultural activism in collaboration with In Place of War, a grassroots organization that uses art and culture to empower communities that are suffering from the consequences of conflict and war. The video features SYMBIZ in various locations, dancing along with people that they met along their journey and on the street. According to them, “We were not sure how easy it would be to shoot in Uganda, but it turned out the way it usually does – if you simply do what you want, while being respectful to the place you are visiting, when you are open to getting in touch with people and want to share and communicate, you will have collaborators and supporters everywhere.”


《Faai Di》(粤语“快啲”)是柏林bass音乐组合SYMBIZ的EP《Broken Chinese》中的一首歌。SYMBIZ前往乌干达,在为期两星期的旅途中,拍摄了这首歌的MV。期间,他们携手In Place of War,参与一系列的表演、工作坊及文化行动。In Place of War是一个利用艺术和文化活动,帮助受冲突和战争影响的社区的民间组织。在这个MV中,SYMBIZ出现在不同的地点,与那些他们在旅途和大街上遇到的当地人一起跳舞。SYMBIZ说:“我们一开始也不确定在乌干达拍摄容不容易,但最后我们发现,其实都不困难,只要你是真的去做你想要做的事情,对当地保持尊敬的态度,乐于与当地人接触,乐于分享和沟通,不管去到哪都会有人支持你,和你合作。”

Take a listen below to other tracks from the Broken Chinese EP. The album is available for purchase on Bandcamp.

SYMBIZ – Baak Seon Gaa Gan

SYMBIZ – Ngaan Faa

SYMBIZ – Gaa Do Yat Bui

SYMBIZ – Zi Daan


点击下方链接试听Broken Chinese EP专辑其他曲目,或点击Bandcamp购买整张专辑。

SYMBIZ – 百上加斤

SYMBIZ – 眼花

SYMBIZ– 再加一杯

SYMBIZ – 子弹

SYMBIZ was originally founded in 2010 by Korean-German brothers and producers Buddysym and Chris, and later joined by MC Zhi. Recently, with Chris largely focused on studio production in the German hip-hop industry, Buddysym and Zhi continue to produce new music and travel the world as a duo. Originally producing music in English, they decided to produce an entirely Cantonese-language bass music EP, influenced in part by MC Zhi’s Chinese-German heritage.


SYMBIZ最初由韩裔德国兄弟和制作人Buddysym和Chris成立于2010年,后来MC Zhi也加入组合。近来,Chris越来越专注于德国嘻哈音乐行业的工作室录音制作,于是Buddysym和MC Zhi继续作为二人组合,周游世界,创作新的音乐。他们最初只创作英文歌曲,后来又决定创作一首全粤语的bass音乐EP,一部分原因是MC Zhi本身是华裔德国人的文化背景。

Talking to us about their creative process behind the Broken Chinese EP, SYMBIZ says, “We had this possibility on our hands to use another language that had a completely different sound potential and was seldom used in this kind of music. We started researching and considering the size, the huge population, and the vast cultural output China has. We were honestly very surprised to find that there was hardly any sort of bass music in Chinese, so why in the world would we not give it a shot? After producing and recording the first track, we realized we were onto something new and interesting, so we decided to dedicate an EP to that idea rather than just a song. Now we are finishing off the second EP and will probably do a third after that.”


SYMBIZ向我们分享了他们创作《Broken Chinese》这张EP背后的故事:“我们之中有人会另一种语言,而这种语言可以呈现出全然不同的声音特色,而且在这类音乐风格中,很少有用这种语言来创作的。所以我们先做了一下调查,结果惊讶地发现,虽然中国有庞大的人口和文化输出,但却几乎没有中文bass音乐。所以,我们就觉得为什么不试一下呢?创作和录制了第一首歌之后, 我们意识到自己发现了一些很有趣的新东西,所以我们决定不仅仅只是创作一首歌,而是将整张EP围绕这种想法来创作。现在,我们已经快完成第二张EP的创作,之后可能就会开始制作第三张。”

Website: symbiz-sound.de
Facebook: ~/symbiz

 

Contributor: George Zhi Zhao


网站: symbiz-sound.de
Facebook: ~/symbiz

 

供稿人: George Zhi Zhao

Black Dragon

 

无法观看?前往优酷

Released by Beijing-based underground label Do Hits, Black Dragon is the latest EP from Chinese producer Alex Wang . Merging sci-fi and glitch sound fragments with the structure of bass music, the EP is an exploration of the invasive nature of artificial intelligence in relation to humanity. The MV for the EP’s lead single “Thorn,” directed by visual artist Brandon Tay of Singapore’s audiovisual collective and record label Syndicate, takes viewers into a void of darkness through mutations of geometrical space.


《Black Dragon》是制作人Alex Wang的个人最新EP,由北京地下唱片厂牌 Do Hits 发行。这张EP在bass音乐的骨架上填入Glitch/Sci-Fi的声音碎片,隐喻对AI人工智能逐渐渗透人类生活每个角落的思考。主打歌《Thorn》的MV由来自新加坡独立音乐厂牌与视听团体Syndicate的视觉艺术家Brandon Tay导演,以几何空间的千变万化,带领观众坠入虚无的黑暗世界。

According to Wang, “Black Dragon is a self-learning AI, which has gone out of the programmer’s control, so it starts surveilling every action of human beings. It keeps watch on you through your Samsung TV, locates you with CCTV everywhere in the street, spies on your social network, knows whether you like Coca-Cola better or Pepsi, your favorite color, and your bank balance.”


Alex 解释:“Black Dragon是一个可以自我学习的人工智能 ,在一次意外中脱离了程序员的控制后,它开始监控人们的所有行为。他通过三星电视监视你,通过路边的监控定位你的行踪,监控你的社交媒体,了解你喜欢喝可口可乐还是百事、偏好的颜色、你的存款数额、你的所有事情…… ”

Listen below for a few or our favorite tracks from Black Dragon. The full EP is available for streaming and purchase on Bandcamp.

Alex Wang – Ritual

Alex Wang – Play Test

Alex Wang – Black Dragon

Alex Wang – Binary System


我们从《Black Dragon》中精选了几首最喜欢的曲目。完整的EP可于Bandcamp上在线收听和购买。

Alex Wang – Ritual

Alex Wang – Play Test

Alex Wang – Black Dragon

Alex Wang – Binary System

Born in Northeast China and currently based in New York, Wang studied recording art at China’s Central Conservatory of Music, and went on to study computer music composition at the Peabody Institute in the United States. His interest in electronica, hip-hop, trap, and jazz, combined with his formal academic background, adds a strong experimental influence to his music. Wang will be performing in cities across China with Yllis, Meuko Meuko, and Jyun Jyun on the Do Hits Records Exodus Tour from August 25th to September 8th, 2017. See the flyer below for full details.


Alex Wang出生在中国东北黑龙江,现居纽约。在中央音乐学院学习录音后,他又前往美国皮博迪音乐学院攻读了计算机音乐的硕士学位。一直浸淫于Electronica、Hip Hop、Trap、Jazz等曲风,加上他的学术背景,使得他的音乐极具实验性风格。在2017年8月25日至9月8日期间,Alex 将加入Do Hits于的Exodus Tour巡演,携手Yllis、Meuko Meuko 和 Jyun Jyun 在中国多个城市表演。有关详细信息,请参阅下面的传单。

Bandcamp~/dohits
Soundcloud
: ~/alexwangt

 

Contributor: George Zhi Zhao
Images and Video Courtesy of Do Hits Records


Bandcamp~/dohits
Soundcloud
~/alexwangt

 

供稿人: George Zhi Zhao
图片与视频由Do Hits Records提供

The Bed & Art Project

 

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The Bed and Art Project (BnA) is a hotel and art initiative founded in 2015 by entrepreneurs Yu “Taz” Tazawa and Yuto Maeda, architect Keigo Fukugaki, and later joined by community liaison and art director Kenji Daikoku. Collaborating with up-and-coming Japanese artists, BnA creates one-of-a-kind livable art spaces that are available for booking by the public.


The Bed and Art Project (BnA)是由企业家Yu “Taz” Tazawa、Yuto Maeda和建筑师Keigo Fukugaki于2015年共同创立的一个酒店和艺术项目,后来社区联络官和艺术策划人Kenji Daikoku也加入了这个项目。BnA携手日本当地崭露头角的艺术家,共同打造一个宜居的艺术空间,并面向公众开放预订。

Samurai by MIZPAM
Deer God by SIMO
Samurai by MIZPAM
Raijin and Fujin by DOPPEL

The project was first implemented via Airbnb, with art apartments in Tokyo’s Ikebukuro neighborhood and Kyoto. The initiative was wildly successful and allowed the team to establish their flagship art hotel, BnA Hotel Koenji, in 2016. The hotel currently features two art rooms designed by local artists, a rooftop, the FRONTDESK cafe bar, and the BACKROOM basement gallery.


项目最初是以Airbnb为平台开始运行的,分别在东京池袋和京都推出艺术公寓。一经推出,便大获成功,团队也因此得以在2016年推出属于他们自己的旗舰艺术酒店——位于高圆寺的BnA酒店。该酒店目前有两间由当地艺术家绘画设计的房间,一个天台,一间FRONTDESK咖啡吧,以及一间BACKROOM 地下画廊。

BnA was founded to address common problems faced by artists and creatives – the lack of resources and financial stability, limited space to showcase and sell artwork, lack of networking opportunities, and a disconnect between creative-minded travelers and local art communities. In response to these issues, BnA developed its business model to empower artists financially, creatively, and professionally.


BnA的成立是为了解决艺术家和创意人才所面临的共同问题——缺乏资源、收入不稳定,没有足够空间来展示和出售自己创作的艺术品,缺乏社交机会以及与创意型游客和当地艺术团体之间的脱节。对此,BnA开发了现在的创新商业模式,从收入、创意和专业方面为艺术家提供帮助。

 

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By implementing a revenue sharing business model, BnA allows artists to receive a percentage of the fee every time their room is booked. In addition, artists are given full creative control to design the rooms according to their visions, with support from architects, textile designers, carpenters, and lighting professionals. BnA Hotel Koenji also provides artists with space to exhibit their personal works, which are made available to the public for purchase.


BnA酒店制订了一个收入分成的商业模式,当有客人入住房间时,艺术家可以享受到房费的分成。此外,艺术家获得了房间设计的全部控制权,让他们可以在建筑师、纺织品设计师、木匠和照明专家的支持下,根据自己的想法设计房间。高圆寺BnA酒店还为艺术家提供展示个人作品的空间,吸引公众前来购买。

Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi

The BnA team plans to expand the hotel with two new projects opening in Tokyo and Kyoto in the next year, and thirty to forty more rooms built around the Koenji neighborhood in the next three years. They also plan to take their business model to other cities and countries as a way to connect creative communities and empower artists.


BnA团队计划明年在东京和京都推出两间新酒店,并在未来三年左右,将高圆寺附近的房间数量增加30至40间。他们还计划把业务模式推广到其它城市和国家,以充满创意的方式来连接社区,帮助艺术家。

Artwork by OT29
Artwork by Hideyuki Katsumata
Artwork by Jonjon Green

Address:
2-4-7 Koenjikita
Suginami, Tokyo
Japan

Website: bna-hotel.com
Instagram: @bnahotel

 

Contributor: George Zhi Zhao
Images Courtesy of BnA Hotel
Videos Courtesy of poweredby.tokyo


地址:
日本东京
都杉并区
高圆寺 2-4-7

网站bna-hotel.com
Instagram@bnahotel

 

供稿人: George Zhi Zhao
图片由BnA Hotel提供
视频由poweredby.tokyo提供