All posts by Chen Yuan

Naphu School For The Elderly

 

无法观看?前往腾讯视频

With the sun shining down and the ceiling fans whirring quietly overhead, a sense of tropical warmth radiates through the film’s introduction. The video could be easily mistaken for an indie art film—that is, up until the moment when an elderly lady saunters off the bus, steadying herself with a walking cane. Tidily dressed in a uniform, the old woman looks a schoolgirl on her way to class.

Created by Thai director Bee Supavara, a recent graduate of London’s Central St. Martins, Naphu School for the Elderly is a short film focused on the issue of loneliness and social isolation of senior citizens.


阳光耀眼,风扇呼呼地吹,热带地区的暖风透过镜头扑面而来。不当回事地看,会以为这是一部独立文艺片。直到从公车上走下来一位老婆婆,拄着拐杖、颤颤巍巍,却着装整齐,宛如正要去上学的少女。

这是来自泰国导演 Bee Supavara 拍摄的当地老年学校,刚刚从伦敦中央圣马丁斯大学毕业不久的她,以“老年人的孤独和社会隔离感”为项目主题拍摄的纪录短片。

“My grandma faces these problems with loneliness,” Supavara sighs. “Her days mostly consist of watching T.V. and playing with the dogs. With limited ability to move and see, her social life visit relies on people visiting her. My grandpa used to be a photographer and now he’s losing his sight.”

Visits to her grandparents are what ultimately inspired the idea for the film. “I decided that I wanted to do everything I could to not only make grandparents happy but also other seniors in the world,” she explains.


我的祖母就是一个孤独的老人。” Bee 说,她一天的生活内容,主要就是看电视、和狗一起玩。由于她视力受限,而且移动范围也有限,她的社交范围很小,基本上都是靠别人来造访她的。” Bee 说,这也是促使她关注老年群体、并以此为纪录对象的关键原因。

“而我的祖父曾是个摄影师,擅长捕捉美丽的瞬间,而现在他却渐渐丧失了视力。这让我很揪心。从那时起我就想,只要让他们晚年的生活快乐一点,我做什么事都愿意。”

As a proverb from Chinese philosopher Mencius goes, “Honor your neighbor’s elders as you honor your own.”

Supavara, recognizing the realities of how many of today’s seniors live, hopes for more of them to find happiness in their golden years. To spread this message, she contacted the Tambon Administrative Organization, which runs the Naphu School for the Elderly, for permission to film a documentary at their school. With their support, the film looks to bring about more awareness on this social issue but do it through a lens of joy and happiness


老吾老以及人之老。看到了祖辈的生活,Bee 也想让更多老年人能安度晚年。于是她联系了在和当地的分区管理组织(TAO)及 Naphu 老年学校,在他们的支持和欢迎之下,拍摄了这样一部短片,希望在触发老龄化社会的关注时,也能够让观众感受到镜头内的欢笑。

The Naphu School for the Elderly was established in 2016, and all of the enrolled students are sexagenarians or older.

Thonghom Boonruam, the executive director of Naphu Senior School, offered sobering statistics of Thai’s aging population: “In 2021, 20% of the Thai population will be older individuals,” he says. “One in every five people will be considered as a senior citizen. By 2025, it’ll be one in four. As this number ramps up, what do we do? How can we make their old age enjoyable?”

The answer he ultimately found was to bring senior citizens together and get them laughing and smiling.


片中的 Naphu 老年学校于 2016 年开设,目前已经运营两年有余。而这里所有招收的学生,统统都年逾花甲。

Naphu 老年学校的校长 Thonghom Boonruam 列出了惊人的数据比:“在 2021 年,泰国将要有 20% 的老年人口,也就是每五个人中就有一个老年人。而到 2025 年,就会变成每四个人中有一个老年人。” Thonghom Boonruam 说道,“这个数值不断增长,我们怎么办?有什么办法能让老人们过好晚年生活呢?”

他最后想的办法,是让老年人聚起来,一齐欢声笑语。

Naphu doesn’t teach reading, writing, or arithmetic. The most important thing the “students” do is socialize and engage in activities such as singing, dancing, and exercising. Thonghom has even involved the student body in helping run the actual school, encouraging them to make tea, cook, and tidy up the classroom.

The school is similar to a traditional university in that it’s structured around different tiers of degrees: undergraduate, masters, and Ph.D. But education is hardly the emphasis—the goal is to bring joy to the attending students. “No one is forced to do anything here,” Boonruam says. “They all come here happy.”


Naphu 不教 1+1,也不学 ABC,“学生”们在这里最重要的是社交和活动,比如唱歌、跳舞、锻炼等等,甚至,校长 Thonghom 也把后勤管理的事宜让渡给老人们,让他们自己做茶、烧饭、整理桌椅。

学校和一般大学一样,有本科、硕士、博士,但对这个学校的管理员来说,他们在乎的不是学历,而是“幸福”。“在这里,我们从不强迫任何人。每个人来学校都快快乐乐的。”校长如是说。

For Supavara, this documentary is just the beginning. “The aging population is a global problem,” she notes. “I want this project to be an inspiration of what our society can move towards in the future. By the end of the film, I want viewers to feel exactly how I felt when I visited the school, to experience the overwhelming happiness of the students, and see how the founders are doing everything with their heart. I want my audience to feel it all.”


对导演 Bee 来说,这部纪录片只是刚刚开始。“老龄化已经是个全球性的问题,我希望这个项目能启发我们对未来老龄化社会的发展方向。就我个人而言,我也想让他们感受到我参观学校的感受,也就是他们结束电影的时候我的感受是怎样的。在这里,创始人全心全意地投入这项事业,老年人的幸福需求大过一切。我想让我的观众感受到这所有。”

Websitebeesupavara.com
Vimeo
: ~/beesupavara

 

Contributor: Chen Yuan


网站: beesupavara.com
Vimeo
: ~/beesupavara

 

供稿人: Chen Yuan

Interior Landscapes

Zeng Linshu defines herself as a “realistic idealist.” Her paintings are mostly inspired by her active inner world and the society around her. Inspiration can alight on any piece of space or scenery, people or things, actions or forms.

There’s a world at the heart of her work, but she doesn’t try to advertise it. Instead she hopes people on the outside can softly come in. Through warm, muted, reserved tones, Zeng gives voice to her inner feelings and her stubborn pursuit of beauty. “The world in my paintings is free and unbound, brimming with the limitless possibilities of art,” she says. “And it’s these endless possibilities that lead the public deep in thought—an exploration of humanity, life, and philosophy.”


Linshu 琳姝定义自己,是“一个现实的理想主义者”。她的绘画,多数的灵感来源都是活跃的内心世界或者现实的社会,一切的空间与景、人与物、行为与形态都有被灵感恩赐的可能。

画的内心有一个世界,但琳姝并不渴望对外宣扬,而是希望外面的人能够悄然走进。在内敛、含蓄的温柔色彩背后,琳姝在表达着自己的内心所感和对“美”的执着追求。“绘画里的世界,自由且奔放,充斥着艺术领域的无限可能;也正是这种‘无休止’的可能引领大众走进了意识的空间深层——对人性、生活及其哲学的探讨。”

Website: linshu.strikingly.com
Behance
: ~/Linshu Zeng


Contributor: Chen Yuan


网站: linshu.strikingly.com
Behance
: ~/Linshu Zeng


供稿人: Chen Yuan

Light Up Bashu

Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军

What happens when “intangible cultural heritage” meets contemporary art, when digital installations enter the urban landscape? The results are nothing short of magical.

Known for its rich history, Chengdu, the “city of flowers and brocade” and capital of Sichuan province, is holding an exhibition of public art centered on cultural heritage. Light Up Bashu Lumen Prize featured exhibition puts paper cutting, embroidery, Chinese opera, traditional handicrafts and other aspects of “intangible” culture into contact with digital art. (“Bashu” is another name for Sichuan.) With rare ambition, the show aims to create a unique “artistic dialogue across space and time” and bring the public to the intersection of tradition and contemporary art. The exhibit will also introduce international artists to China’s heritage and bring the essence of “Bashu culture” to the world stage.

We recently interviewed four of the exhibitors, along with the Guan Huijun, co-founder of the curatorial team Here Your Art, Asia exhibition manager of Lumen Art Project, to get a look at the convention-busting works that these international artists with their culturally diverse backgrounds have created.


当“非遗”传统撞上当代艺术,当数码装置搬进城市景观,会造就出怎样的一番奇景?

以“花重锦官城”闻名的四川省首府成都,基于其悠久的文化历史打造的非遗主题公共艺术展览:巴蜀之光”暨英国流明数码艺术大奖中国成都特展,就将剪纸、刺绣、戏剧、传统制造技艺等 非遗” 文化与当代数码艺术结合,以空前之势形成一场独特的 超时空” 艺术对话,既把普罗大众纳入到半传统半当代的语境中去,也让国际艺术家了解中国非遗,并向世界传递 蜀地文化” 的精髓。

最近,我们采访了本次参展的 4 位艺术家及其策展团队 Here Your Art 的联合创始人即英国流明数码艺术奖项亚洲展览总监管蕙珺,来看看这些来自不同的国度、拥有不同的文化背景的他们,在此次为中国“非遗”传统文化为母题展览中,所创作出的超越惯常经验的作品,和其所表达的丰富而灵活的形式及内涵。

Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军
Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017/2017 年英国流明数码艺术奖冠军
Why did you choose to showcase this aspect of China’s intangible culture?


Guan Huijun: China’s cultural heritage, and Sichuan’s in particular, has a distinctive charm and a rich historical significance. In today’s rapidly developing cities, it’s a challenge to get the public, especially young people, interested in understanding, studying, and passing on traditional forms of culture, and that’s why we chose intangible heritage as our theme. Digital art, meanwhile, is emblematic of the internet age—it’s a new force that lets us keep pace with the times. We were thinking: can we use an up-to-date means of expression, something that has a certain uniqueness and memorability, to increase local connections so that everyone can better understand and participate?

Thijs Biersteker: My piece is centered on trees. Nature has always been a very important theme in Chinese art. From Li Cheng to Fan Kuan, trees have been central. As an artist I use technology as my paint to weave together art, data and nature.

Stefan Reiss & Alexander Janke: We chose to focus on kite making. The kite was invented by two of China’s great minds, the philosopher Mozi (470-391 BCE) and the engineer Lu Ban (444-507 BCE). Mozi lived a century later than Confucius and wrote about the use of kites in China during his lifetime. At first kites were mainly, though not only, used for military purposes, e.g., for measuring distances, calculating wind power and direction, and lifting fireworks or observers.

Our main interest in the kite comes from the fact that it’s Chinese in origin and was a philosophical invention put to military uses. Over the centuries it spread out over the globe and was used for different activities, from sports and leisure to religion.

Lien-cheng WangI wanted the elements I chose to relate to people’s lives and to cut across time and space. So I chose four themes that could do that: “Nature,” “Humanity,” “Food,” and “Animals.”


为什么会选择(这一项)非遗文化作为母题?

 

管蕙珺: 中国的非遗文化,特别是四川的非遗文化,是特别有韵味和历史传承厚重感的文化标杆。在急速发展的城市里,如何让大众、年轻人更愿意了解学习和传承,是我们选择这个文化母题的初衷。而数码艺术,则是在互联网时代标志性的产物,是与时俱进快速迭代的新力量。我们一直在思考,是否能用紧跟时代的表达方式,带着一定的独特性和记忆度,增加本地链接,让大家更好地理解和参与进来。

泰斯·比斯克: 我的作品是“自然之声”,以树为主题。大自然一直是中国艺术中一个非常重要的主题。从中国画家李成(晚唐)到范宽(宋朝),树木在他们的作品中都有举足轻重的地位。而我则用数码技术把艺术、数据和大自然交互起来。

斯蒂芬·瑞斯和亚历山大·扬克: 我们选择的是“风筝”这项非遗文化作为创作的母题。风筝是中国哲学家墨子和鲁班的发明。墨子比孔子晚出生一个世纪,他一生都在宣扬风筝的用途。在发明风筝之后,它们不仅用于军事目的,例如测量距离、计算风力和方向以及举起烟火或观察员。这是一种哲学上的发明,几个世纪以来,它遍布全球,用于不同的活动,从体育、休闲到宗教意义。

王连晟: 我希望所选择的元素是更贴近人们的生活,是具有超越时间性的。所以我选择四个”自然”、”人文”、”食物”、”动物” 贴近人们的元素做为发展。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 2016 年英国流明数码艺术奖艺术家
What do you think is most interesting about your piece?


Thijs Biersteker
: Just as a tree creates a tree ring every year, with Voice of Nature we create a tree ring every second. We do this using sensors and data points, showing people the tree’s state of being in real time. This immersive audio-visual installation is also interactive: it responds to the people surrounding and touching it, creating a connection between the art piece, people, and nature.

Stefan Reiss & Alexander Janke: In our eyes, the combination of haptic materials (a sculpture with made of steel, gauze, and strings) and projection and light is very unique. What we try to achieve is a fusion of sculptural installations—with a strong connection to the tradition of Russian, French and German constructivism and minimalism—and contemporary digital interventions with 3D and 2D programming and animations. And we even added LEDs to this advanced art piece.

Lien-cheng WangMy work is a moving light sculpture titled Four Scenes of Shu Dao. (Shu Dao can roughly be translated as the “dao” or “way” of Sichuan.) It has four parts. The first, “Nature,” is an image of a bamboo grove, the sun and the moon; the second sculpture, “Humanity,” showcases Chinese totemic symbols and the art of bian lian, or face-changing, an important part of Sichuan opera; the sections on “Food” and “Animals” are developed around images of hot pot, spicy peppers, and pandas. What these four images echo are the four seasons in Chinese ink painting. The theme also echoes the Daoist idea of the growth of all things.


对你来讲,这次作品最有趣的部分是什么?


泰斯·比斯克
: 树每年都长出一圈年轮。通过“自然之声”这个作品,我们每秒创造出一个树的年轮。我们使用传感器和数据点,向人们展示树的实时存在状态。这种沉浸式的视听装置也是交互式的,它响应周围的人并触摸树。这样,它就在艺术品、人和自然之间建立了一种联系。

斯蒂芬·瑞斯和亚历山大·扬克: 在我们眼里,用钢、纱布和绳子制成的雕塑,其投影和光线都很独特。我们试图实现的是雕塑装置的融合——与俄罗斯、法国和德国的建构主义和极简主义的传统紧密结合——以及 3D 和 2D 编程和动画的当代数字介入。我们甚至也把发光二极管加入到这件作品里了。

王连晟: 我的作品名称叫做 “蜀道四象” 为一动力灯光雕塑,而雕塑中的主题总共分成四个面向。在自然的面向中,是竹林、日月为主题的图像;以人文为主题的雕塑中,可以看到四川变脸与图腾;在食物以及动物为主题的部分,是以四川火锅、辣椒、熊猫等图像做为发展,四象呼应的是中国水墨画中的四时,在画面的主题上也呼应了百物生焉的状态。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
What message are you looking to convey?


Thijs Biersteker
: I hope this public artwork will re-connect people in cities to the voice of nature, putting us more in balance and interweaving us with what surrounds us and is part of us.

Stefan Reiss & Alexander Janke: In the first place, we created a work that can be experienced with the whole body and all the senses. The sculpture invites everybody to step inside and feel the dimensions of the kite. Next, we provide a link from traditional Chinese kite making to our Western interpretation of the kite. We also emphasize the development of the kite from a military invention to a civil use today.

Lien-cheng WangI want the public to see several paper-cutting styles. The lights, which seem to breathe, symbolize Bashu’s energy. And by wandering back and forth through the giant sculpture, the audience can experience anew the beauty of Sichuan’s intangible culture.

Guan Huijun: As curator, not only do we try our best to be good “narrators,” we also help international artists “interpret” Chinese culture, grafting together Chinese and foreign creative languages. This also reflects the founding mission of Here Your Art: to create groundbreaking, innovative digital exhibits and artworks, to try to break through the boundaries of conventional exhibits, works, and audiences, and to tear down the barrier between the audience and the art.


这次展览,你希望通过作品向社会和公众传递什么信息?


泰斯·比斯克
: 我希望这个公共艺术作品能把城市里的人们和来自大自然的声音重新联系起来,使我们更加平衡,并与周围的事物交织在一起,成为我们的一部分。

斯蒂芬·瑞斯和亚历山大·扬克: 首先,我们创作了一部艺术作品,它能够体验整个身体和所有的感官——它邀请每个人走进去,与动画一起,从各个维度感受风筝;第二,我们建立了一个从中国传统风筝制作到西方对风筝的解释的关系;且还强调了风筝从军事发明到民用的发展。

王连晟: 我希望观众可以看到许多镂空剪纸风格的雕塑中,像是呼吸的灯光象征着巴蜀的活力。而透过观众在巨大的雕塑中穿梭、游走的方式,使大众再次注意到四川非物质文化遗产之美。

管蕙珺: 作为一个“策展人”,我们不仅仅力争做一个好的“叙述者”,也在本次展览中协助国际艺术家能够更好地“读懂”中国文化,嫁接中外不同的创作语言。这也体现了 Here Your Art 创立的使命——尽我们所能输出具有突破性和创新性的数码艺术展览及作品,试图打破常规展览、艺术品与观众的边界,破除艺术与大众的隔阂。

Lien-Cheng Wang / Four Scenes of Shu Dao 王连晟/蜀道四象
Lumen Prize Finalist 2017/2017 年英国流明数码艺术奖艺术家
What does this show mean for you?


Thijs Biersteker
: I hope to work more in the Chinese market and together with Chinese artists and companies to create work that bridges the boundaries between people, nature, and innovative technologies.

Stefan Reiss & Alexander Janke: We think that Light Up Bashu has been a great opportunity to explore new fields of art and experiment with new technologies. O.T. 981 is an artistic milestone for us because we fused art history with modern technology in Chengdu. It’s also the first time we created a piece as an artistic duo.

Lien-cheng Wang: Intangible heritage is an important part of history. I think it’s the embodiment of modern culture and the legacy of the past. Tangible cultural heritage focuses more on the masterpieces of the past, and what I’m more interested in here are the early stages of a project. I’ve used several images of intangible culture to develop the art visually, and added modern technology.

Guan Huijun: What does this show mean to us? Our previous answers have made this clear. On a more concrete level, when residents wander over at dusk to see the works, the light in their eyes and the smiles on their faces mean a tremendous amount to us.


对你而言,你认为此次展览具有怎样的意义?


泰斯·比斯克
: 我希望能在中国市场上创作更多作品,与中国的艺术家和公司一起创造出超越人、自然和科技界限的作品。

斯蒂芬·瑞斯和亚历山大·扬克: 我们认为,“巴蜀之光”是一个,要么探索新领域的艺术创作和实验的新技术。而《O.T. 981》这个作品是我们里程碑式的作品,我们把艺术史和现代技术融合起来;这也是我们第一次以二人合作形式创作的一件作品。

王连晟: 非物质文化遗产在历史中是一个重要的元素,我认为它是一种现代文化与过去传承的体现,与有形文化遗产不同,有形文化遗产更注重的是过去的人类辉煌的状态。而这次的作品我更在意的是前期的调研,我取用了许多非遗的形象来做为艺术品的视觉发展,并加入现代的科技去呈现。

管蕙珺: 对于这次展览的意义,我想前面两点应该说明的很清楚。一个更直观的表现就是,当周边居民黄昏时分散步闲逛到作品面前,眼睛中闪过的光亮与嘴角的笑容。

Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军

Four short questions on new topics, new media, new work. Artists and curatorial teams may have different interpretations, but these artworks spanning media and fields all explore, in broad strokes or with minute precision, the interactive relationship between contemporary art and traditional culture.

Light Up Bashu Lumen Prize featured exhibition will run until December 3rd at Chengdu’s International Intangible Culture Heritage Park.


短短 4 个问题,涉及新话题、新媒介、新创作……虽然艺术家们和策展团队对主题和作品有着不同的阐释,但这些跨媒介、跨领域的艺术作品,都在或写意或细腻地表达着当代艺术与传统文化之间互通互激的关系。

本次展览在中国成都国际非物质文化遗产博览园举办,展期将持续至 2018 年 12 月 3 日。

Address:
601 Guanghua Ave. 2nd Section
Qingyang District
Chengdu, Sichuan
China

Websitewww.hereyourart.comwww.lumenprize.com
Instagram: @here_your_art@lumen_prize
Facebook~/hereyourartchina, ~/lumenprize
WeChat: hereyourart


供稿人: Chen Yuan


地址:
中国
成都四川
青羊区
光华大道二段 601号

网页www.hereyourart.comwww.lumenprize.com
Instagram: @here_your_art@lumen_prize
Facebook~/hereyourartchina, ~/lumenprize
微信公众号: hereyourart


供稿人: Chen Yuan

Toby & Cucumber

With pudgy cheeks and a family-friendly charm, enacting little scenes and emotions, Toby and Cucumber are the cutest cartoon stickers for any conversation in WeChat, China’s go-to messaging app. And now that lovable duo are just about to turn two.

Their creator is the mysterious web cartoonist Chipmunk, a self-described homebody who lives in Shanghai. Neocha tracked her down for a game of twenty questions (or thirty-one, but who’s counting).


肉乎乎的脸蛋,一本正经地卖萌,再加上取材于日常的小场景和小情绪,怎么能不让人收藏嘛!秃比和小青瓜就是让人情不自禁想关注的表情系列之一,目前已经快满 2 岁啦。

而作为它们的作者网络漫画家花栗鼠 本人,确实一个神秘的阿宅,现居上海。在几番沟通之后,花栗鼠和我们玩了一个接力题游戏。

Basics

Name: Chipmunk
Gender: Same as Fafa (another character of hers who’s a girl)
Sign: Aquarius
Birthday: January 25th
Motto: We’ll cross that bridge when we come to it (lie down and take a nap).


个人资料

姓名: 花栗鼠
性别: 和发发一样
星座: 水瓶
生日:1.25
人生信条: 船到桥头自然直(趴下睡一会~)

What’s your favorite…?

Color: All of them.
Season: All of them too.
Age: Adulthood, you get more freedom as an adult!
Time to draw: Whenever I’m inspired.
Character, Toby or Cucumber: They’re both my kids, and I love them both.


更喜欢…?

哪种颜色:都喜欢
春夏秋冬: 也都喜欢
做小孩还是大人: 大人啦,做大人比较自由!
白天还是夜晚画画:任何有灵感的时候
秃比还是小青瓜:都是自己的崽都喜欢

Q and A

Q: Who are you most grateful to?
A: My parents, for raising me.

Q: What’s had the biggest influence on you?
A:
My head’s such a mess, I don’t remember anymore.

Q: What did you dream of being when you were little?
A: I wanted to live without a care in the world.

Q: When did you start drawing?
A: In 2016.

Q: When you put out a new drawing or product, who do you most want to share it with?
A: 
My fans and my family.


问答篇

最感谢的一个人: 感谢爹妈把我生出来
对你影响最大的人或事: 稀里糊涂的好像不记得了
小时候的梦想是: 长大能够无忧无虑自由自在的生活
第一次拿起画笔是: 2016年
出书出产品后最想分享给: 粉丝和家人

Q: How long do you draw each day?
A: If I’m in a good mood, I’ll draw for a few hours, and when I’m lazy, maybe I won’t draw at all.

Q: What time do you go to bed at night?
A: 12:00 a.m.

Q: What drives you crazy when you’re working?
A: Having no inspiration and being interrupted.

Q: What art sites do you most like to keep up with?
A: Behance, Pinterest, Twitter, Instagram.

Q: Who’s your favorite artist?
A: Kanahei.

Q: What was the last film you saw that you’d recommend?
A: Ken’en (a Japanese film from 2018)

Q: Is your personality more like Toby or Cucumber?
A: It’s probably a mix of both.

Q: Which WeChat stickers do you usually use?
A: A few funny homemade stickers.


通常一天画画多久: 心情好就多画几个小时,懒的时候可以一天不画
几点上床睡觉: 12点多
创作时无法忍受的是: 没有灵感and被打扰
最喜欢逛的几个创意网站: Behance、Pinterest、推特、Instagram 等
最喜欢的画家或艺术家: Kanahei
最近看过值得推荐的电影: 犬猿
性格上你更像秃比还是小青瓜: 综合吧
平时会用哪些表情包(除了自己的): 一些自制沙雕表情包

Q: What are you most looking forward to in the coming year?
A: Showing my cute drawings to more people.

Q: What’s your favorite thing about yourself?
A: My imagination.

Q: What’s your least favorite thing about yourself?
A: My lack of confidence.

Q: What would you do after winning the lottery?
A: Eat a lot, drink a lot, buy a lot of purses.

Q: Where do you see yourself in ten years?
A: Probably in the same place as now.

Q: If you could cast any magic spell, what would you cast?
A: A spell to have anything I worry about not happen. I’m pretty happy with my life at the moment, so I can’t think of anything else off the top of my head.

Q: What do you want most at this moment?
A: 
For my teeth to stop aching. I want some fried chicken!


未来一年里最期待的事: 让更多人认识我画的小可爱
对自己最满意的地方: 脑洞大
对自己最不满意的地方
: 没自信
中了大彩票会打算: 吃吃喝喝买买包吧- -|||
觉得自己十年后会在哪里: 应该还在现在待的地方吧
如果会一种魔法你希望是: “任何担心的事都不会发生”魔法,因为一时也想不到目前想要什么东西,挺满意目前的生活了
此时此刻的愿望是: 牙不要再疼了,我想吃炸鸡!

Weibo: ~/花栗鼠Toby
Douban~/花栗鼠Toby
WeChat: 一箱花栗鼠

 

Contributor: Chen Yuan


微博: ~/花栗鼠Toby
豆瓣~/花栗鼠Toby
公众号: 一箱花栗鼠

 

供稿人: Chen Yuan

Bursting into Bloom

Living in such a fast-paced age, how many beautiful things do we overlook?

Peony Yip, a Hong Kong-based artist originally from Jamaica, is a close observer of beautiful things. She draws in a clean, graceful style, giving lush flowers, stems, and even fine strands of hair a deft realism.

“Nowadays, I feel as if beautiful things or beauty itself is judged by the amount of ‘likes’ it gets or how much the internet praises it. It is quite saddening,” she says. “I try to make works with subjects that are beautiful to me, and over the years, I’ve taken a deep liking to flowers. I really want to show nature in my pieces as much as I can.” With their meticulously traced lines, Yip’s drawings have a compact energy that leaves viewers marveling at the beauty of flowers bursting into full bloom.


生活在这样一个快节奏的时代里,我们忽视了多少美好的事物呢?

生于牙买加的 Peony Yip,目前于香港定居。作为一个悉心的观察者,她的绘画风格细腻婉约,繁复的花瓣、枝桠,甚至是纤细的发丝,在她的笔触中显得异常真实灵动。

“如今,我觉得美丽的事物或美丽本身是由它获得的 ‘点赞数’ 来判断的。这让人觉得很惋惜。而我试着用那些对我来说美丽的题材来创作作品。比如多年来,我一直很喜欢花。我真的想尽我最大的努力在我的作品中实现自然。” Peony 不无惋惜地说道。画面中被细致描绘的经络,让它凝聚了充沛的能量,也让人沉迷在花开瞬间的美好绽放中,无法自拔。

Tumblr: thewhitedeer.tumblr.com
Behance: ~/thewhitedeer
Instagram: @the_white_deer


Contributor: Chen Yuan


Tumblr: thewhitedeer.tumblr.com
Behance: ~/thewhitedeer
Instagram: @the_white_deer


供稿人: Chen Yuan

Faith of a Fangirl

#是他是他就是他# #OhLayLay# His Name is Lay, Oil on linen, 230 x 125 cm copy 2, 2017

“In their twenties, girls should like taking selfies and making their own mark,” says Hong Binbin.

The 24-year-old artist from Jinjiang recently graduated from the Royal College of Arts, in the United Kingdom, with a degree in painting. When her head’s not buried in her work, she likes to listen to her favorite pop stars and follow her favorite shows. And in the WeChat feed she specially unlocked for me, she posts endless gorgeous selfies. She’s really quite unlike other young artists.

In fact, the first time we chatted, all at once she upended my image of what artists are like. Who says their online presence has to be understated, serious, meaningful? According to Hong, her art aims to express a young person’s outlook, and her inspiration often comes from experience as a fangirl. “It’s tapping into the mainstream to discover new perspectives,” she laughs.


二十多岁的女生,就该爱美自拍,留下自己的足迹嘛。洪彬彬说。

这个出生于晋江的艺术家,今年刚刚 24 岁,从英国皇家艺术学院绘画系毕业不久。除了埋头画画,她也追星追剧刷综艺,在特意为我 “解禁” 的朋友圈里,有无数美美的自拍,实在和其他青年艺术家不太一样。

那是我和她的第一次聊天,一下就颠覆掉常人眼里的艺术家刻板印象——谁说艺术家的朋友圈,一定要低调、沉稳、努力彰显内涵?她说,她的创作就是想要表现一种年轻人的态度,而且灵感经常来自一些所谓 脑残” 的想法,这是 浸在俗里发现新世界,哈哈。

#迷妹很迷# #fangirl#, Oil on Canvas, 76 x 63cm, 2017
Bunny x Yixing x Killer, 115 X 150 cm, Oil on Canvas, 2017

Hong moved from Jinjiang to Xiamen to study, and at age seventeen went abroad for college. As long as she can remember, every time she moves, someone always tries to fit her into a preconceived notion of some kind, assuming she’s a “country girl who can’t speak proper Chinese,” for example, or a “tacky foreign student decked out all in name brands.” At first, Hong fought against the prejudices constantly being heaped upon her. But shaking off these labels through art became her way to give people pause, make them think critically, and gain a more nuanced view of the world.

“In my paintings, I think the most valuable way to express my ideas is by superimposing layers of styles, giving the picture a sense of conflict, making the world inside the painting more solid and rounded, and expressing my shifting moods and continual thought about this world,” says Hong.


洪彬彬从晋江转学到厦门念书,17 岁的时候就出国留学了。她的记忆里,每一次换新环境,总会有人带着某种刻板印象去定义她,比如先验地假设她是 “普通话不标准的野孩子” 或 “全身名牌品味差的留学生”等等。对于这些不断加上身的片面解读的标签,洪彬彬开始是抵触的。但她甩开 “标签” 的方式,恰恰是将其应用在自己的作品里,去让人疑惑、去思考、去构建出更多维的视界。

“在我的画里面,我觉得最直接表达自己这些想法的方法就是通过笔触层次的叠加,和去构造画面的冲突感,让画的世界更多维立体,来表达自己绵绵不绝的情绪,和对这个世界不停断的思考。” 洪彬彬说。

Constantly, 220 x 280 cm, Acrylic, Glitter and Oil on Canvas, 2018

Interpreting Hong’s works is like trying to make sense of a multidimensional world. Images from different cultures are seamlessly integrated into the same painting. Take Constantly, for example. She’s drawn a woman with the profile of a Greek goddess, sporting Japanese glitter makeup, hair buns like the cartoon character Nezha, Wonder Woman’s armor, and an oddly fitting sickle-shaped object. On the left is a unicorn, while in the center are elements from the myths of the Classic of Mountains and Seas alongside the boyish features of a pop star. Victorian illustrations of birds criss-cross the picture, some sketched in a coarse, primitive style, others portrayed with a meticulous realism.

“The images I use in my paintings are all ‘second-hand’ images deeply familiar to the public. By reinterpreting them, I want to play on the public’s aesthetic conventions, then turn those conventions on their head,” she says.


解读她的画,就好像将多维世界抽丝剥茧的过程。代表着不同文化的意象,竟毫无违和感地融合在一张画里。比如这张《Constantly》,她画下了一位轮廓是西方女神的女性:化着日本闪片妆、头上绑着哪吒头、身着神奇女侠的战衣、手拿镰刀的形象,和谐又诡异;而画的左部又有独角兽,中央则画着来自《山海经》的元素,还有国内小鲜肉的脸;四周则遍布来自维多利亚时期插画形象的小鸟。它们有些由粗糙原始的笔触勾勒出来,有些是由细腻的写实主义描绘而成。

“我使用在画面中的影像都属于大众对他们固有印象很深的二手影像 (second-hand image), 通过对这些二手影像的重组和画面重构,我想去触碰观众传统的审美习惯,然后去再反转这个习惯。”

The Cutest, The Best, The Greatest, 220 x 190 cm, Acrylic, Glitter and Oil on Canvas, 2018

Many of Hong’s paintings feature a delicate, boyish figure: that’s Zhang Yixing, a Chinese member of the Korean boy band Exo. Hong has long been a superfan. She’s not shy about her devotion: when she first started listening to his music, she papered her studio in Zhang Yixing posters. “Every day I’d paint, and I’d always feel super happy and content,” she says. A painting titled Shake is dedicated to her idol. “For a while, it was popular for fans to record reaction videos for their idols, with their own responses to the song,” says Hong Binbin. “But my thought was, I’m an artist, so videos and screams aren’t enough. I should paint a picture to express myself.” That’s how this piece, named after a Zhang Yixing song, came about.

Yet after her obsession cooled down a bit, and she rethought her “relationship as a fan to her idol,” a different layer of interpretation emerged. Hong Binbin now defines celebrity worship as “China’s contemporary fast-food faith.”


而画里频频出现 “小鲜肉”,是从韩国男团 EXO 出道的艺人张艺兴的侧脸。洪彬彬是他的资深迷妹。对于这一点,她毫不避讳,刚开始追星的时候,洪彬彬在自己工作室贴满了张艺兴的海报,“每天画画,都觉得自己超级开心满足”。一副名为《Shake》的画就是致敬给偶像张艺兴的。“因为有一阵子流行粉丝录视频给偶像,内容是自己对他歌曲的反馈。” 洪彬彬说,我就想说我可是个艺术家呀,不能只有视频和尖叫,我得做个作品表达(出来)吧。” 这首和张艺兴的歌曲同名的作品,就这样诞生了。

但她在稍微冷静下来后,重新思考 “自己作为一个粉丝和偶像的关系” 时,另一种层面上的解读出现了。洪彬彬定义偶像崇拜为:中国当代速食快餐信仰。

Shake, 120 x 150 cm, Oil on Canvas, 2018
Oh Little Fairy, 190 x 220 cm, Oil and Glitter on Canvas, 2018

“I think certain aspects of celebrity worship are a lot like religion,” she says. “Religion has god saving the people, giving the people something to believe in. And in today’s celebrity culture, with such a large and finely segmented market in pop idols, the public or fans can pick someone to worship who’s in line with their tastes and values, and then put their faith in them.

When idols like that have become an object of faith, they seem as far away as heaven yet close enough to touch. For Hong, it calls to mind the term “little fairy,” which young women sometime use online to address each other. Her own Little Fairy, shown above, is a large figure that dominates the frame, wearing a cosmetic contact lens in one eye and looking down in scorn, as though telling everyone, times have changed.


“我觉得偶像崇拜某一方面跟宗教文化还是挺相似的。宗教有神解救世人,给世人某种信仰。而现在的偶像崇拜文化,在偶像市场人设繁多下,给观众或粉丝选择一个符合自己喜欢条件以及三观的人去崇拜着,并把她他当成信仰。”

那样当成信仰的偶像本尊,仿佛远在天边,又似乎触手可及。洪斌斌联想到现在网络上女生间互相称呼的代号小仙女”,她笔下的 小仙女” 正是那个左眼戴着怪异的美瞳、占据着大幅画面,仿佛睥睨一切的巨大仙女,也仿佛在提醒着大家:时代变了。

Untitled, Oil on Canvas, 170 x 240cm, 2016
Assembly, Oil on Canvas, 170 x 240cm, 2016

Narcissistic selfies, pop idols, the fan economy: Hong Binbin’s paintings are a sort of miniature of contemporary culture, crammed with nods to current trends. And because they’re so topical, viewers can’t help looking them over and over, vainly trying to understand, interpret, or even challenge them.

“I don’t want to envy other generations. I want to become the best generation, to prove that the niche can find mass appeal. If I can get a painting of mine preserved for fifty years, two hundred years, then I think viewers seeing it will know when it was painted,” says Hong. After all, we can say that art is the product of its time. Yet what isn’t the product of its time?


自恋自拍、明星偶像、粉丝经济,洪彬彬的画就像是当代文化的某种缩影,潮流因素无处不在。也正是因为这充满着时代新鲜感的作品,让人忍不住一看再看,妄图去领悟、去解释,甚至是质疑。

“我不想去羡慕其他的年代,我想成为最棒的一代。小众也是大众的。我想如果以后能让自己的画五十年,两百年后还被保存着的话,那时候的观众看到画的时候,就会知道这张是什么时候画的。” 洪彬彬说。我想,毕竟我们可以说,艺术是时代的附属品。又有什么不是时代的附属品呢?

Where Is the Time, Oil on Canvas, 170 x 240 cm, 2016
X, 30 x24 cm, Acrylic, Charcoal and Oil on Canvas, 2018
Work in Progress, 90 x 70 cm, Acrylic and Oil on Canvas, 2018

Website: www.binbinhong.com
Instagram: @binbinhongbbb

 

Contributor: Chen Yuan


网站: www.binbinhong.com
Instagram@binbinhongbbb

 

供稿人: Chen Yuan

Human Capital

Welcome to the Jing is a photobook project shot by French photographer Laurent Hou between 2013 and 2017. Hou, who’s based in Morocco, took the photos during his last few years living in Beijing, when he got to witness a special moment in the city’s history: after the Olympics and before the citywide demolition of illegal buildings that began in 2017. Hou snapped around 100,000 shots, mostly of people and things inside the city center.


Welcome to the Jing》(《京城欢迎你》)是始于 2013 年,止于 2017 年的摄影书项目。摄影师是来自法国的 Laurent Hou,目前生活在摩洛哥。这个项目创作于他在京生活的后几年,却正好见证了北京历史上的一个特殊时刻:在奥运会之后,在 2017 年开始的“全城拆违”前。Laurent 的镜头对准了北京三环内的人物和景色,按下了约 10 万次快门。

“Although central Beijing is already overphotographed, this project brings a different vision,” says Hou. “Other series focus either on the traditional aspects of the hutongs or the modern architecture in the business district. And pictures aren’t merely a description of Beijing, because the photographer’s vision plays a crucial role.”


虽然人们可能会认为,北京市中心已经被拍滥了,但这个项目带来了与所有系列照片不同的视角。” Laurent 如此说道,“这些照片要么侧重于胡同的纯粹传统方面,要么侧重于中央商务区的现代建筑方面。且图片并不仅仅是对北京的描述,因为摄影者的视野发挥着至关重要的作用。

Hou has chosen to make a photo book of the series because he thinks that’s the best way to present the work. He hopes to publish it soon. “The recurring motifs, the variety of the subjects, the tangle of different narratives, and the quantity of pictures called for a book rather than an exhibition of 20-30 pictures,” he explains. “The book form is also more intimate, and turning the pages mirrors the act of walking through the city. I want readers to look at the stream of pictures as if they were wandering the streets of Beijing and running into all these quirky situations.”


而之所以用摄影书的形式,则是展示这些作品最有趣的方式之一,Laurent 希望能早点看到它出版成册。反复出现的话题,主题的多样性,不同叙事的纠缠,以及图片的数量,都要求制作一本书,而不是做个 20-30 幅图片的展览。书的形式更为贴切,翻页反映了在城市中行走的模样。我想让读者看到一连串的图片,就能联想到自己在北京的街道上漫步,遇到所有这些有趣或离奇的情况。”

Since he started the project, almost six years have gone by. Hou says his vision for the project didn’t come into focus until long after he’d been taking pictures of his surroundings. Only once he made some preliminary selections did it start to take shape. “The vision developed during those six years, which was also a period when I learned a lot about photography,” he says. “And I don’t mean the technique, I mean getting to know the works of great photographers, emerging photographers—understanding different styles and trends, thinking about authorship in photography and the meaning of the photobook as a form.”


从项目伊始到现在,已历经了将近六年时间。Laurent 说这个主题的形成是在已拍摄周围很长时间之后,经过初步选择,才确定下来的。“这六年间发展出的主题,也是我学习摄影的一个阶段吧。我指的不是技术,而是了解伟大的摄影师、新兴摄影师的作品,了解不同的风格和趋势,思考摄影中的作者身份,以及摄影书作为一种形式的意义吧。”

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

Land of 8,000,000 Spirits

From Kazuki Okuda‘s pen comes a crocodile peeking out among the branches of an ancient tree and a giant graceful dragonfly perched on a girl’s chest. Other illustrations feature golden carp, green frogs, and emerald-headed mallards. We’re far from cities of concrete: this is a story of humans and nature.

Okuda’s works are exquisite and expansive, like a cicada’s delicately veined wings that, though small, create a resounding chorus from high in the trees. His works teem with all sorts of tiny creatures, and viewed from a distance, they form an epic, cinematic composition.


奥田一生的笔下,鳄鱼的尖吻从古树枝桠中伸出来,巨大又纤巧蜻蜓匍匐在少女的前胸,还有金光鳞鳞的鲤鱼,青蛙、绿头鸭……这不属于钢筋水泥之城,这是自然和人的故事。

他的画,细腻又磅礴。细腻到蝉翼的纹路,都能纤毫毕现;而在声势上却显得宏伟磅礴,绿荫下,古树上,寄居着微小却实在的各种生物,远远看去,简直像是一幅史诗级电影的构图。

Okuda was born in Nara Prefecture and now lives in Kyoto. “The place I grew up has a lot of nature near where people live,” he says. In his view Japan is a mystical country, and the close relationship of nature and culture has given rise to a unique spiritual concept called yaoyorozu no kami (八百万の神, literally “eight million spirits”). Spirits, or kami, live in all things and are part of nature’s diversity. “While living there [in Nara], nature gave me the impression of both extreme charm and extreme fear,” he recalls.

这个奥田一生,生于日本奈良县,目前生活在京都,一个“被大自然环抱着,比邻人群之地”。在他眼里,日本是一个神秘的国家,自然和人文交织混合,因而也有一种独特的神学理论,“八百万の神”,即这个神灵 Kami 存在于一切事物里,囊括在自然万物中。“因而在奈良县生活,大自然给我留下的印象是既迷人又恐惧的。” 他说。

Insects feature prominently in Okuda’s art. These organisms have a particularly complex body structure that nevertheless looks very simple. One reason he draws them, he says, is that “although they’re beautiful, they cause fear. They simultaneously give rise to various conflicting emotions. They are living creatures like human beings, but they’re more a part of nature than we are, and unlike us, they are akin to the spirits. Using them, I can express the idea of yaoyorozu no kami and the various feelings I get from nature.”

奥田一生的画里常常出现昆虫。这种生物拥有非常复杂的身体结构,但看起来又非常简单。“(我画昆虫)其中很重要的一个原因是它们的视觉呈现。它们又美又让人心生恐惧,这也给了我很多矛盾的情感——昆虫是和人类一样的生命体,但它们融入自然的程度却超过了我们。并且,与我们不同的是,昆虫与出现在神性里的圣灵更相似。所以我借用它们的身形,以表达 Kami 的思想和来自大自然的各种情感。”

Nature is an important motif in Okuda’s work, and he shows this by insistently drawing living creatures. But he doesn’t want his paintings to show the splendor of nature alone—culture also occupies an important place. “I draw insects and living things with human beings to represent the wonders of culture and the wonders of nature,” he says.

“Insects and living creatures are an important channel through which we connect with nature. And this is an important theme,” he says. “I want people who see my pictures to be interested in nature and living things. And I also want them to have an adventure in the world inside the painting—an adventure at the intersection of culture and nature. something that’s fun.”


以画昆虫和生物来表现自然,这奥田一生画中的一个重要主题。然而,他并不想仅仅用绘画来表现大自然的壮美,“人文”主题也占有重要的比例。我画昆虫和生物与人类,以表达人类的文化和大自然的奇妙。这是我的绘画的真正主题。他说。

“昆虫和生物是连接我们与自然的一个非常重要的媒介。而人类与之结合的形式,就是我表达这一主题的方式之一。我希望看到我的照片的人对‘生物’、自然感兴趣,我也希望让观众在画中的世界里有一次冒险——在人类文化与自然交融的世界冒险,并乐在其中。”

Website: isseinoissyou.michikusa.jp
Behance:~/isseitakied303
Facebook~/kazuki.okuda.773

 
Contributor: Chen Yuan


网址: isseinoissyou.michikusa.jp
Behance: ~/isseitakied303
Facebook~/kazuki.okuda.773

 
供稿人: Chen Yuan

The Art of Suggestion

If you did one sketch every day, what would you draw today?

The first time I saw the work of Du Juan, who draws under the pseudonym Xiao Duzi, I couldn’t find a title or an explanation, just a short date—a day, a month, a year—and this diary-like approach is what piqued my curiosity.

Look closely at the giant man with a house for a head and a black cloud hanging over his shoulders, and you’ll see that most of the space is left to the observer, left to the imagination.


如果每一天你都会画一张画,今天的你会画些什么?

第一次看到小杜子的画,就是没有命名、没有简介,只见一个短短的日期,某年某月某日。正是这充满日记性质的概念,充分调动起了我的好奇心。

仔细一瞧,一栋房子代替大脑,乌云悬浮在巨人的两肩,而更多的空白,则留给观者,留给想象。

For now these drawings are largely a daily record of experience. In 2016, when Du Juan returned from England, where she’d studied, she took a job teaching. “Art is art, teaching is teaching,” she says, explaining that she prefers to keep the two separate. “The only thing linking them is that, when I teach, I can pass on some fundamental skills and my understanding of art. But art requires independent thought,” she says.

As for her influences and inspiration, Du says that recently she gets a large part of her inspiration from poetry, and reads everything from Oscar Wilde to classical Chinese verse. “In general I like two types: poetry that offers a glimpse of life, and poetry that expresses an emotional state,” she says. “Particularly once you’ve acquired a little life experience, you can sort of understand the deeper meaning of classical poetry.”


这些涂画,暂时多是日常感受的记录。2016 年,从英国留学归国后,目前的小杜子,日常从事着教育工作。“创作是创作,教育是教育。”对她个人来说,更愿意把两者分开,“它们所具有的联系只是(让教育)把创作中一些体会和基础技术传授出去。而创作的事儿还得是独立的思考。”

而要说对创作的影响和激发,小杜子说近期,诗歌占了不小比重。王尔德也好,传统的古诗也好,“一般会喜欢两种,一种是对生活的洞见,一种是情感的抒发。尤其当慢慢有了些生活的阅历,多多少少才似乎明白古诗中的深意。”

The characters in Du’s drawings are just outlines and suggestions, but the details are unique. She thinks this may be because she likes to take slow, solitary walks, where she sometimes happens across intriguing sights that she incorporates into her art. “No matter what I draw, or what materials I use, or what style I’m trying out,” she says, “I always hope the drawing will contain something that’s quiet and not obvious but can nevertheless be understood.”


画里的人物轮廓模糊,细节却很独到,小杜子说,那可能是因为喜欢一个人散步,走得也慢,意外会看到些有感触的小东西。“只是无论画什么,用什么材料,尝试什么风格等等,都希望画里建构一份安静和不被识破但可被理解的内容吧。”

Behance~/XIAODUZI
Weibo: ~/艺术插画师小杜子


Contributor:  Chen Yuan


Behance~/XIAODUZI
微博: ~/艺术插画师小杜子


供稿人: Chen Yuan

Vanishing Act

Ever since he moved to Shanghai in 2013, London-born photographer Alexis Goodwin has been fascinated by the city. He immediately found it “atmospheric, epic, and visually stimulating,” with high rises stretching into the clouds and bustling little alleyways coexisting in a strange harmony. Wherever he turned, there always seemed to be something to record, and he set out capture his experiences on film. The result is his new photography series, Shanghai Dreams. 


自从五年前踏足上海并在此生活的那一刻起,来自伦敦的摄影师 Alexis Goodwin 就深深地为之吸引。和很多人一样,Alexis 对这座城市的第一感觉,就是“大气、史诗般的壮阔和强烈的视觉冲击”,擎天入云的高楼和充满生活气息的羊肠小道,奇妙又毫不冲突地结合在一起。因此在每一个你转身的地方,好像都有一些特别的东西可以入镜,于是,他的新摄影系列《上海梦》(Shanghai Dreams)诞生了。

Living in the city, Goodwin slowly began to discover the lives of the people who live behind its prosperous façade, hawking goods in street stalls, playing chess or cards, or dancing in the plazas at dusk. And of course, he saw plenty of demolition crews.

Shanghai Dreams benefited from the fact that Alexis lived near Laoximen when large-scale demolitions were just getting underway. “I realized the region was changing fast, with entire blocks being demolished and street food vendors disappearing.”


在这座城市里生活,Alexis 慢慢发现了淹没在繁华背后的小人物的生活,有街头叫卖、柴米油盐,也有下棋打牌、跳广场舞,当然,还有拆迁的工地。

这个项目《上海梦》的开始,就得益于当时的 Alexis 住在老西门附近,而大规模的拆迁运动也正在同期进行。我发现这片地区的面貌在迅速改变,房屋推倒、整个街区被拆空,街头叫卖小商贩也逐渐销声匿迹。

Goodwin works in advertising and knows his way around post-production software. In this series, he used the same methods. “I chose to keep only the characters I was interested in and strip away everything else, creating an ethereal gradient background with just enough of the original ground to give an echo of reality,” he says. “But I used street photography of real people, which I hope is a little unexpected.”


从事广告摄影的 Alexis,很熟悉后期处理照片的程序。在他这个系列,他也用了一样的方法:(后期处理)我选择只保留我感兴趣的角色,并删除所有的其他东西,创造一个飘渺的梯度背景,仅有足够的背景基础,以提供一个生态的现实。但我使用的是街头摄影的真实的人,我想创造一些意外感。

Goodwin’s fragmentary moments of anonymous people—office workers navigating intersections as they cycle to work, street vendors scrolling through their phones in their downtime—are what “reflect the soul of the city,” in his view. “Theses scenes are a distillation of a real Shanghai moment.”

Perhaps the other Shanghai, the “Bewitching City” of concrete and glass towers, is just a mirage. What really leaves a mark are the people, or life itself. “I hope to show the soul of a city,” he says. “I hope these images serve as a record and an homage to the magic of Shanghai life.”


Alexis 的镜头中,无论是在建筑工地吸烟的女孩,还是骑着自行车正准备在路口拐弯的上班族,或者是市场里的小摊贩闲来无事翻着手机……这些不知名的小人物所呈现的零星片刻,却恰恰是 Alexis 心目中反映了城市的灵魂的所在。这些场景是真实的上海的升华。他说。

而钢筋水泥与反光玻璃搭建出来的魔都,那不过是海市蜃楼般的光景,真正能留下印记的,是人,和生活本身。我希望通过这些照片来展示一个城市的灵魂,也希望借此表示对上海生活的一种记录和致敬。

Behance: ~/alexis goodwin
Instagram@alexisogoodwin

 
Contributor:  Chen Yuan


Behance: ~/alexis goodwin
Instagram@alexisogoodwin


供稿人:  Chen Yuan