All posts by Chen Yuan

Land of 8,000,000 Spirits 为什么日本有八百万个神？

October 23, 2018 2018年10月23日

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.

在奥田一生的笔下，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

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The Art of Suggestion 如果每一天你都会画一张画

October 18, 2018 2018年10月18日

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

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Shanghai Dreams 上海梦，我的梦

October 15, 2018 2018年10月15日

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.”

在 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

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World of Zhu 當大自然正在萎缩

October 4, 2018 2018年10月4日

In World of Zhu, a collaborative project between Indian artists Svabhu Kohli and Viplov Singh, the creative duo has created a vibrant animal universe where bears, flamingos, and deer take center stage. Over the past few years, the two artists have worked together numerous times on nature-focused art that aim to educate people on the importance of protecting the environment.

“In the past few decades, there has been a visible change in the world around us,” Kohli tells us. “There are new stories and new conflicts, and in addressing these ideas, we’re learning and reflecting. We share our planet with these different species and our collective survival rests on the balance we share with them. Telling their stories feels important at a time when the natural world is fast disappearing.”

很明显，在 Svabhu Kohli 和 Viplov Singh 的最新作品《World of Zhu》里，小熊、火烈鸟、梅花鹿，这些野生的动物与人一样，竞相出现在画布上 ，构成了画面的有机元素。在过去的几年里，两位艺术家合伙创作了一系列的有关自然的绘画作品，描绘出生态、环保、爱和教育等主题。

Svabhu 说：“在过去的几十年里，我们周遭世界有了显著的变化。现在我们看到的景色，有着全新的故事和冲突存在。而我们与这些动植物共享我们的地球，我们共同生存在这平衡之中。我认为，人与动物沟通的形式是多种多样的，在大自然正在‘萎缩’的时候，去描绘和讲述人与动物之间的故事，是相当重要的。”

Behance: ~/svabhukohli | ~/viplovsingh

 

Contributor:  Chen Yuan

Behance: ~/svabhukohli | ~/viplovsingh

 

供稿人:  Chen Yuan

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Comically Bizarre 一道梦境接力题

October 2, 2018 2018年10月2日

We’re often limited in how much we can do and experience in our lives. To solve this dilemma, Chinese comic artist Nini created Maomao, an alter ego of herself who’s free to experience the things she can’t in her own life. “Maomao lives in a world of freedom, so she can completely be true to herself,” Nini says.

Born in the summer of 2015, Maomao is a blonde girl with unshaven legs who, in every scene, appears nonchalant about her nakedness. To understand Maomao, you only need to read the comics, but what about the artist behind her? To learn more about Nini, we decided to play a fun game of questions with her.

我们的日常生活充满了各种限制，于是漫画家拔丝拟泥（Nini）选择了创造另一个自己——毛毛，以体验她也许没办法亲身经历的生活场景。“毛毛活在一个相对自由的世界里，所以她能完完全全地做自己。”她说。

2015 年的夏天，毛毛开始出现在所有人的视线里，这个腿毛浓密一头金发的酷女孩，若无其事地裸体在每个场景里，把专属于 NiNi 的现实延伸开来。

关于 NiNi 的毛毛人格，我想有关毛毛的那些小漫画大概可以说明一切了，但关于 NiNi 本人的样子，我们找她玩了一个接力题游戏。

Basic Information

Name: Nini
Horoscope: Virgo
Birthday: August 23rd
Life motto: Be happy all the time.

基本信息

姓名: NiNi
星座: 处女座
生日:8.23
人生信条:及时行乐

Favorite Things

Favorite subject: Art, lalala.
Favorite food: Sweet, spicy, cold.
Favorite Song: Ugh, how am I suppose to pick just one.
Favorite movie: Can’t decide on a favorite, but the first movie that comes to mind is Happy Together.
Favorite colors: Red and green. Pink and purple. Purple and green.
Favorite novel: I don’t read books.
Favorite comic artist: I like any comic artist with a playful spirit.

个人偏好

科目: 美术课啦啦啦啦
食物: 甜的辣的 冰的
歌曲: 好烦 这要怎么选
电影: 讲不出最爱但是脑海里第一个浮现的是《春光乍泄》
颜色: 红配绿 粉配紫 紫配绿
小说: 不看小说
漫画家: 拥有有趣灵魂的漫画家都喜欢

Miscellaneous Q&A

 

The place you wish to go most: The fewer people, the better.
A period of time you miss the most: Studying for my entrance exam to postgraduate school. Boohoo.
Favorite activity: Taking walks on nights with pleasant weather.
Happiest memory from this year: Getting into postgraduate school.
Favorite ice cream flavor: Sea salt.
Worst fear: Bugs on my legs.
If you were an object or animal, what would you be: Probably a pig.
Number of secret crushes: One or two?
Something you can’t stand: A windowless room.
The person you want to see the most: I want to take a shower.
Where you’ll end up in ten years: Living in a friends’ house.
Favorite thing about yourself: Tough question.
Saddest experience: Too many to name.
Pets you’ve owned: I can’t even take care of plants. Forget it.
Something you refuse to eat: Insects.

个性问答

 

最想去的地方: 人少就好
最怀念的日子: 考研5555
最喜欢做的一件事: 天气好的傍晚去散步
今年目前为止最开心的一件事: 考上理想中的研究生了
喜欢的冰激凌类型: 海盐
最怕什么东西: 腿很多的虫子……
用一种东西（或动物）比喻自己的话会是: 猪吧
暗恋过几个人: 一两个？
无法忍受的是: 没有窗户的房间
现在最想见的一个人: 现在想去洗澡
觉得自己十年后会在哪里: 朋友家蹭住吧
对自己最满意的地方: 这题好难
伤心的经历: 太多了
养过的动物: 吊兰都养死的人，算了
不敢吃的东西: 虫子

Have you ever been too shy to confess your love: Nope.
Would you rather have someone who loves you or someone you love: Both.
Most coveted Valentine’s Day gift: Buy me a house?
Normal bedtime: Usually 1 or 2 am.
How much do you drink: I’m an alcoholic.
What would you wear on a date: Something comfortable.
Most trusted people in life: My mom and my friends.
The person you love is asleep in front of you, what do you do: Turn on air conditioning.
Biggest regret of 2018: 2018 isn’t over yet.
The most touching memory: Someone letting me stay at their house.
Mom or dad: Mom.
The last time you gave a heartfelt laugh: This afternoon.
Your favorite person: Caishen, the god of wealth.
Biggest desire: Make a ton of money.

会因为害羞而不敢跟人表白么:不会
选择你爱的人还是爱你的人:都要
情人节最想收到的礼物: 给我买个房？
通常几点上床睡觉: 通常一两点
喝酒么: 一个酒鬼
与喜欢的人见面，想要穿成什么样: 舒服的
最信任的人: 我妈和好姐妹
如果看到自己最爱的人熟睡在你面前你会做什么: 开空调
最想不好穿什么颜色的时候，你会选择什么颜色: 黑色
2018 年你最后悔的一件事是什么: 2018年还没完呢
曾经有过最被感动的事是什么: 被人收留
比较喜欢爸爸还是妈妈: 妈
最近一次发自内心的笑是什么时候: 今天下午
现在你最喜欢的人是谁: 财神爷
目前最大的愿望: 赚很多钱

Weibo: @拔丝拟泥
WeChat: WILDWORLD


Contributor: Shou Xing

微博: @拔丝拟泥
微信公众号: WILDWORLD


供稿人: Shou Xing

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Worlds Within 脑内剧场，邀你来看

September 25, 2018 2018年9月25日

Heads wrapped in yarn with only one eye peeking out, faces replaced with clocks, or necks transformed into springs and mouths made into beaks: with all these strangely deformed faces, what do these images represent? And why are they like this?

Zou Liangping, who hails from Hubei province, is currently doing an MFA in watercolor at the Sichuan Fine Arts Institute. These illustrations are part of her “dream series.” “Dreams are a bridge connecting the real world to a virtual world,” she says. “Painting, as a way of portraying the self’s position between dreams and reality, has a very direct relationship to the awakening and establishment of a person’s self-consciousness. These works are a subjective representation of the self in dreams and reality, from a physical state to a mental state.”

缠满绒线的大脑，只有一只眼睛、幻化成钟的脸庞，甚至脖子变成弹簧，嘴巴成了鸟喙……种种怪异的畸形脸，这些画作代表了什么？又缘何如此？

来自湖北的艺术家邹良平，目前还在四川美院水彩画系读硕士。这些作品，是她的“梦系列”水彩插画。“梦境是现实世界通往虚拟世界的桥梁，用绘画来描绘自己在梦境和现实中的生活状态，是与人的自我意识的苏醒与确立有很直接的关系。从某种意义上来说，（这些作品）是对梦境和现实中的自我从生理状态到心理状态的一种主观再现。”

At first glance, each of the figures in the scenes has a large head, and the scenes playing out inside each one, or their metaphoric significance, are all different.

“Every story is the visual manifestation of individual and social experience, mental and emotional experience, creative experience, and meditates on a specific theme. It represents a moment’s mood and gives insight into my life,” says Zou.

Each figure in these images has an indifferent outer appearance and a rich inner world, and that may be the truest depiction of the current generation. Not yet thirty, Zou is an only child, like most people her age in China. Having no siblings and growing up amid the increasing alienation of a rapidly urbanizing society, Chinese artists of this generation often make silence and reflection a dominant theme of their work.

初初看画，画里的人个个支棱着大头，而每个脑袋中装载的景象、作为喻体的物件各不相同。

“每个故事的原型都是由个人社会体验、内心情感体验、创作体验以及围绕着某种主题线索的一种思考而呈现出的画面效果，它代表一个时间段里我的情绪和对生活的感悟。” 邹良平说。

其实，画面中每一个人都具有淡漠的外表和丰富的内心世界，也是这一代人最真实的写照。身为 90 后的邹良平，也是独生子女中的一员。在从小没有兄弟姐妹陪伴的情况下，这一代年轻人常常形单影只，并且随着城市化到来人与人之间的感情变得更加疏离，旋即而来的是沉默和思考，成为盘踞大脑的主旋律。

And so, to present these themes, Zou has placed all sorts of objects within the heads and faces of her characters. All of these elements carry symbolic meaning and are used to reveal each character’s emotions, personality, contemplations, and behavior. Zou says this approach is her way of conveying the idea that how a person perceives the external world is directly related to their own thoughts.

于是，画的背景不再是白布一张，而成了人的头脑和脸庞。邹良平说，因为 “这样可以更好的诠释‘相由心生’这一道理。因此在我作品中通过每一个人的不同的面部符号语言，来揭示不同的心情、个性、心思与作为。”

Her paintings appear to use an irrational artistic form to reflect the fantastical. A closer look, however, shows that the irrational actually has its reason. “All I’m doing is recreating reality with my meandering artistic method,” she explains. Zou’s “fantastical” approach to painting lets her make free use of imagination to present her vision of reality as surreal, dream-like portraits.

再细细一瞧，她的画看似采用非理性的艺术形式反映了荒诞的内容，实则非理性之中隐含着理性。这种 “荒诞” 的绘画方式，可以让邹良平自由自在地发挥想象，“以曲折的艺术手法再度创造现实”，以梦，为马。

Website: ~/邹良平

 

Contributor: Chen Yuan

网站: ~/邹良平

 

供稿人: Chen Yuan

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Gentle Giants 没有爱丽丝的仙境

September 19, 2018 2018年9月19日

Like a modern reimagining of Alice in Wonderland, Tran Nguyen‘s works show gigantic young women and wild beasts towering above tiny houses, set against seas of fog and distant mountains. Born in Vietnam and raised in the U.S., Nguyen creates works that seem less like paintings than scenes from a fantasy film.

无限放大的少女和野生动物，在迷雾之中秉烛夜游；同比缩小的城堡与远山，让人疑惑这是否如当代版的梦游仙境——这些画面，出自生于越南、长于美国的艺术家 Tran Nguyen 之手。与其说是绘画，不如说这样的作品更肖似童话电影的布景。

Growing up between contrasting Vietnamese and American cultures, Nguyen has long been fascinated with dichotomies. How can two concepts be both parallel and perpendicular at the same time? It’s all dependent on perspective — ideas that initially seem incompatible with one another may actually be complementary once you examine the relationship between them. This understanding carries over into her art, which are masterful balancing acts that makes use of a multitude of contrasts. “Though I’m naturally drawn to melancholic narratives, I added the animal companions to make the painting feel less solemn,” she notes as an example. “The scale of the characters is also meant to contrast against the ordinary environments that each scene is set in, adding a sense of majesty and surrealism.”

越南与美国两个国度不同的文化冲突，让 Tran 一直以来对分化对立很感兴趣。两个不同的概念如何平行又垂直相交呈现？这完全取决于观点——一旦你审视他们之间的关系，最初似乎彼此不相容的想法，实际上可能是相互补充的。她的艺术作品也正利用这种矛盾创造了巧妙的平衡。“我很自然地被忧郁的故事所吸引，但我加入了动物伙伴，让这幅画不那么严肃。” Tran 说，“而人物放大缩小的比例，给了画面中角色以一种威严和超现实主义的感觉。”

“Ultimately, I want my viewers to reflect and feel a sense of well-being from my art,” she says. “However they perceive my work, I hope it somehow puts them at ease, especially if they feel down on their luck.”

“我希望观众能够从其中反映出一种幸福感。希望能这些画让他们感到轻松，尤其当他们感到时运不济的时候。” Tran 如是说。

Website: www.mynameistran.com
Instagram: @mynameistran
Behance: ~/trannguyen


Contributor: Chen Yuan

网站: www.mynameistran.com
Instagram: @mynameistran
Behance: ~/trannguyen


供稿人: Chen Yuan

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PHOTOFAIRS Shanghai 2018 影像上海 2018 PHOTOFAIRS

September 13, 2018 2018年9月13日

With top galleries, artists, curators, and collectors from around the world in attendance every year, PHOTOFAIRS | Shanghai has established itself as a leading photography exhibition in Asia and become a must-go event for photography and art enthusiasts.

In this edition of Neocha Roundup, we’ve compiled a list of a few exhibiting Asian photographers who you should keep be keeping an eye on when attending this year.

2018年亚洲最大的摄影艺术盛宴影像上海艺术博览会（PHOTOFAIRS | Shanghai），将于今年九月再次揭开序幕。海内外艺术圈最顶尖的画廊、艺术家、策展人，以及藏家和观众，都将在此齐聚一堂，彼此交会碰撞出最精彩的艺术火花。

而本期 “Neocha 精选集”，我们挑选出本届博览会中十二位才华横溢的年轻摄影师，提前带你走进 “2018 影像上海艺术博览会” 的现场。

 

陈的 Chan Dick

Previously featured on our magazine, Hong Kong-based photographer Chan Dick will be exhibiting his Chai Wan Fire Station series at this year’s event. The award-winning photo series is a charming look at the daily life and routines of firefighters from an aerial perspective.  

在先前的报导中，我们介绍了香港摄影师陈的的作品《柴湾消防局》。此获奖的摄影系列以一个俯瞰的视角，记录了一个消防局球场的日常场景。而在这次 “2018 影像上海艺术博览会” 的展览现场，你将可以再次看到此一简单、却意韵悠长的系列。

 

马秋莎 Ma Qiusha

Born in 1982, Ma Qiusha is a young artist who’s been making waves in the Chinese contemporary art scene. Her interdisciplinary art, spanning across include video, photography, installation, performance art, uses mundane and personal experiences to explore the complexities and nuances of interpersonal relationships.

生于 1982 年的马秋莎，目前是中国当代艺术圈内较为活跃的年轻艺术家之一，她的作品涉猎影像、摄影、装置及身体表演等各方面，往往从日常且细微的个体经验出发，虚实相杂，以探究人与人之间那种既微妙且复杂的关系。

 

陈维 Chen Wei

Often using photography to explore philosophical and abstract concepts, Chen Wei creates cinematic images that tread the line between reality and fantasy. One of his most iconic series, In the Waves, takes place in a neon-lit nightclub. Through the unexpected setting, he highlights the sense of alienation between humans in modern times.

陈维擅长将抽象、甚至带点哲学思考的概念注入摄影，他唯美的作品如同电影画面，介于现实和幻境之间的交错点。他的著名摄影系列《在浪里》，借由纪录在舞厅跳舞的青年群像，建构出一场闪烁着霓虹灯光的狂欢。通过他看似冷静、旁观角度的镜头，带我们一瞥他眼中现代人之间疏离的关系。

 

张克纯 Zhang Kechen

After winning the National Geographic Picks Global Contest with an image of Sichuan’s Wenchuan Earthquake, photographer Zhang Kechun was inspired to explore and document the state of contemporary China. In Between Mountains and Rivers, he presents a series of bleak, gloomy scenes shrouded in a veil of perpetual haze. By focusing on landscapes that have been artificially altered or destroyed, the project examines the impact that humans have on the natural world.

曾因汶川大地震中的一张照片，而获得美国国家地理学会全球摄影大赛自然类大奖的摄影师张克纯，他个人摄影项目的视野，随之 “自然而然地覆盖到整个国家”。在我们之前报道的《山水之间》这一系列来看，他照片中的风景，沉郁、萧瑟，一片朦胧——他的镜头往往对准那些被人为改造并破坏之后的景观，旨在反思人类行为对自然生态所造成的影响。

 

蒋鹏奕 Jiang Pengyi

As a seasoned photographer, Jiang Pengyi boasts a diverse body of work that ranges from documentary works to conceptual art. For his In Some Time series, it almost looks the artist has been dabbling with watercolor painting. While no cameras were involved, each image was created inside a dark room using fluorescent paper and large-format film. Between the pastel colors and soft tones, each image feels airy and dreamlike.

拥有深厚资历的中国摄影师蒋鹏奕，作品类型相当多元，既有纪实作品，也有抽象的影像创作。在《在某时》系列里，这幅作品看上去像是以轻柔笔触描绘的水彩画，制作时并未用到摄像机本身，而是在暗房里利用荧光纸和胶片共同创作的结果。在一片梦幻柔美的光影中，仿佛将梦境给视觉化，呈现了出来。

 

苗颖 Miao Ying

Born in the 1980s, Miao Ying’s artistic sensibilities have been largely shaped by her upbringing through the digital era. A decade ago, she became one of the first few graduates from the New Media Department of the China Academy of Art. Her work examines the role of pop culture in our lives as well as the relationship between different art mediums and everyday aesthetic experiences. When seeing the humorous contrasts of her work, it’s hard to not crack a smile.

生于上世纪 80 年代的艺术家苗颖，从方兴未艾的数字媒体时代成长而来，她也成为十年前第一批毕业于中国美术学院新媒体系的学生之一。在她的作品里，有意把大众文化对我们日常生活的影响，以及将现实的审美与艺术媒介相结合，把两者对冲的幽默感嵌入作品里，却无一不让观众“心领神会”地笑起来。

 

陈萧伊 Chen Xiaoyi

An unexpected sense of melancholy emanates from the photography of Chen Xiaoyi. His experimental style was developed after winning the seventh annual Three Shadows award, a prominent Chinese photography competiton. The monochromatic works he now produces are abstract, complex, and desolate all at the same time. While they don’t depict any specific person, object, or event, they remain inexplicably compelling.

很难想象这样沉郁的照片出自未满 30 岁的摄影师陈萧伊。在两年前获得了第七届三影堂摄影奖后，陈萧伊参与了一些实验摄影项目与展览，风格抽象沉寂，黑白两色交错，画面斑驳却不知所指——无人、无事、无物，却异常引人入胜。

 

杨圆圆 Yang Yuanyuan

Based in Beijing, Yang Yuanyuan’s creative journey began after graduating from the London School of Communication with a degree in photography in 2013. Traveling through Poland, Brazil, and countless other countries, her documentary-style photography offers a poetically serene look at the relationship between people and their environments. While photography is her primary focus, her artistic practices now also include story writing, video, and more.

现居北京的摄影师杨圆圆，2013 年获得伦敦传媒学院的摄影本科学位之后，随即开始她的创作之旅，行迹波兰、巴西等地，在纪实摄影的领域中，不断探索自己与所处世界的关系。她的艺术实践包括多种形式，跨越摄影、文字、视频等多种媒介。以摄影为主，她的照片总是充满一股轻描淡写的宁静与诗意，独具风格。

 

Leh YSL

Shibari (or Kinbaku) is the art of Japanese bondage and the main focus of photographer Leh YSL’s works. While her work might be seen as erotic desire, this isn’t necessarily the case. “For most people, as soon as they see the ropes, they automatically relate it to something sexual without seeing the stories being conveyed through my pictures,” she says. “It was from a more artistic perspective that I started learning Kinbaku, but I do also practice it from a BDSM perspective privately. If the objective of tying is for a photo shoot, I’m focused on the creative process, poses, colors, compositions, being able to convey the story and emotions in a picture.”

Leh YSL 是一位长居日本的 Shibari 艺术家。Shibari，又被称为 Kinbaku，意为绳结，又有“被迫束缚”之意。乍看起来，她的几张摄影作品带有些许情色和欲望的张力。但她说，“对于大多数人来说，只要看到他们自动地与性有关的东西，而没有真正地看到故事正在通过我的图片传达。从更艺术的角度出发，我开始学习 Kinbaku，同时我也从 BDSM 的角度练习……我专注于创作过程，姿势，颜色，构图，能够将故事和情感用图片表达出来。”

 

水谷吉法 Yoshinori Mizutani

From street snaps to conceptual photography, Yoshinori Mizutani is a Japanese photographer who’s well-versed in a variety of photographic styles. His creatively composed photos inject newfound vitality and beauty into ordinary moments that are often overlooked.

水谷吉法是一位多方位的摄影师，擅长街头、概念摄影等多种镜头语言。在此次展出的系列中，他将自己置身在大自然的场景中，通过精巧的构图，捕捉那些平时就藏在日常里、却不为人知的绝美景色。

 

柳迪 Liu Di

Chinese visual artist Liu Di is constantly redefining what it means to be a photographer through his elaborate, unconventional images. His Animal Regulations series, which we’ve previously featured, does just this. By placing digital images of gargantuan beasts in familiar cityscapes, the project examines the relationship between civilization and nature.

中国的视觉艺术家刘迪，不断通过他精心制作的非传统图像来重新定义成为一名摄影师意味着什么。例如我们之前介绍过的《动物法则》系列就是如此。这个摄影项目将巨大的野兽的数字图像放在熟悉的城市景观中，以考察文明和自然之间的关系。

 

廖逸君 Pixy Liao

In photographer Pixy Liao‘s ongoing photo series, Experimental Relationships, she looks to challenge the gender dyanmics of heterosexual relationships. Throughout the series, her boyfriend is shown as being a vulnerable, submissive, and sensitive partner. By depicting him with these traits that are stereotypically associated with women, the Shanghai-born hopes for people to reconsider their expectations of gender norms.

在摄影师廖逸君正在进行的摄影系列《Experimental Relationship》里，她挑战着异性恋关系中的性别问题。在整个系列中，她男友呈现出一个脆弱、顺从和敏感的伴侣的姿态。通过描述他与这些与女性有关的特征，上海出生的廖逸君希望人们能够重新思索他们对性别模式的看法。

PHOTOFAIRS Shanghai 2018 will once again be taking place at the Shanghai Exhibition Center. With over 50 international and Chinese galleries in attendance and the support of Shanghai’s leading museums, this year’s showing will be split into “Main” and “Platform” exhibitions. The former will be a showcase of contemporary works from top galleries around the world, while the latter will be highlighting emerging artists and up-and-coming galleries. The exhibition will also be split into four different themed sectors: Staged, Insights, Spotlight, and Conversation. 

As one of PHOTOFAIRS Shanghai’s media partners, we’re happy to announce that we’ll be offering our readers tickets at a 15% discount when they use the code photofairsneocha at checkout. Click here to purchase tickets.

在这个初秋之际，集结了当下众多的国内外画廊和机构的第五届 “影像上海” 即将回归上海展览中心，届时将汇聚呈现约 50 家国际顶尖画廊，展区分为核心和平台两大版块，前者汇集了专注于现当代摄影的国际顶尖画廊，后者则是新兴艺术家和国际画廊的重要平台 。另有『在场』、『洞见』、『焦点』、『对话』等精彩特展和公共内容版块。

作为“影像上海 PHOTOFAIRS Shanghai”合作伙伴，即日起在 Neocha 平台购票，输入优惠编码：photofairsneocha，即可享受“2018 影像上海艺术博览会”门票 8.5 折。点击此处购买优惠票。

Event: 2018 PHOTOFAIRS | Shanghai
Exhibition Date: September 21, 2018 ~ September 23, 2018
Hours:
12 pm ~ 6 pm (September 21)
11 am ~ 6 pm (September 22, 23)

Address:
1000 Yan’an Road, near Tongren Road
Shanghai Exhibition Centre
Jing’an District, Shanghai
People’s Republic of China

 

Website: www.photofairs.org
Facebook: ~/photofairs
Instagram: @photofairs

 

Contributor: Yang Yixuan, Chen Yuan

活动名称: 2018 影像上海艺术博览会
日期: 2018年9月21日——2018年9月23日
营业时间:
上午12点至下午6点（9月21日）
上午11点至下午6点（9月22日、9月23日）

地址:
上海展览中心
中国
上海市静安区
延安西路1000号

 

网站: www.photofairs.org
脸书: ~/photofairs
Instagram: @photofairs

 

供稿人: Yang Yixuan, Chen Yuan
图片由艺术家及代理画廊提供

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China’s Contemporary Ruins “我觉得它隐喻了中国的现状”

August 24, 2018 2018年8月24日
海边

Green fields stretching to the horizon and trees rising up to the sky, bridges crossing streams and trails of smoke rising from the chimney of a house—that’s what you expect to see in the traditional landscapes of Chinese shanshui art, whose name literally means “mountains and water.”

But the scenes captured by Zhang Kechun have none of this. His series Between the Mountain and the Water is shrouded in stillness, poverty, and thick smog. The locations he shot certainly lie between mountains and water, but high rises have replaced the green peaks, and debris has stopped up the flowing rivers.

山水之间，本应是绿野遍布，古树参天，再有小桥流水人家，炊烟袅袅。

但在张克纯用镜头所记录的景象中，没有这些。它们沉寂、凋敝、甚至说雾霾重重——这系列《山水之间》的取景之地，确确实实在中国内陆的大山大水中间。只是，高楼取代了青山，断垣截住了流水。

山涧修路
游泳重庆
断桥 达坂城
庙

In 2008, Zhang Kechun experienced first-hand the cataclysmic Wenchuan earthquake in northwestern Sichuan, and the snapshot he took of that terrifying moment won him the National Geographic Picks Global Contest.  The experience, he says, “broadened his field of vision and made his work more systematic.” After shooting his series The Yellow River, in which he traced the waterway up to its source, his photography “naturally expanded to cover the entire country.” And that’s how this new series came about.

Scouting out the perfect location is essential to every shoot. Barren mountains, crumbling walls, surreal scenes with clusters of high rises—they’re all hidden in plain sight, waiting to be discovered. The hazy, low-contrast feel of his images also doesn’t need much post-processing, it just needs to be shot on an overcast day.

2008 年，张克纯亲历了那场灾难性的汶川大地震，抓拍到震撼的瞬间，让他一举获得美国国家地理学会全球摄影大赛自然类大奖。这段经历所带给张克纯的，他说，是让他的 “视野更宽泛，工作更系统”。在拍摄完沿着黄河溯源的《北流活活》系列之后，张克纯镜头里的视野，就 “自然而然地覆盖到整个国家”。因此，这个系列也就应运而生了。

通常，他会先通过各种渠道找到这些地方，然后前去拍摄。荒山、断壁、高楼群起的超现实的场景，都是现成的。那画面中朦胧阴郁的色调，要拍到也并不难，只要在阴天的时候去拍，再经过一些处理就可以了。

江边喝茶的人
警校
环球中心

“My focus has really always been how ordinary people get by in such a rapidly developing country. Against a sweeping historical backdrop, I look at the lives of those who play bit parts,” Zhang says. “I covered practically the whole country to take these photos.”

The scene that left the deepest impression on him is an image of students holding class under a truncated bridge. The imposingly tall structure cuts through the landscape, heading who knows where, while a group of students lined up in rows attend a physical education class underneath, obediently following instructions.

“I think it’s a metaphor for the current state of China,” he says of the photo. He thinks all of his works are very explicit: they’re the kind of image that can be easily understood at a glance. Perhaps his photos, in the subjects they capture and the stories they tell, offer a thinly veiled commentary on a country constantly in the throes of sweeping change.

“其实我一直在关注处在高速发展中的这个国家下的普通人的状态。一个大的时代背景下，小人物的生活。” 张克纯说。“我几乎跑遍了整个中国来拍摄这些照片。”

让他感触最深的，是这张站在断桥下上课的学生们——擎天的大桥横断，不知去往何处；而底下的学子莘莘在上体育课，排排站立，悉听规训。

“我觉得它隐喻了中国的现状。” 张克纯说。他说他的作品很直白，是那种观众可以一眼看明白的照片。那么，也许他要说的东西，要阐述的故事，作为观者的你我，应该也可以通过这一张张照片体悟出来罢。

泸州长江桥后
矿山前
朝天门大桥下

Website: www.zhangkechun.com


Contributor:  Chen Yuan

网站: www.zhangkechun.com


供稿人:  Chen Yuan

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Surrealism in the Search Bar 将现实进行“超现实”处理

August 21, 2018 2018年8月21日
Flourish 4

“If dreams are a translation of waking life, then waking life is likewise a translation of dreams.”

— René Magritte

 

The worlds created by Indonesian artist Musa Esrtungkoro, like those of celebrated surrealist painter René Magritte, have a powerful draw on people: they’re philosophically suggestive and highly enigmatic.

如果梦境是现实的诠释，
那么现实也是梦境的诠释。

——雷内･马格里特（René Magritte）

 

来自印尼的画家 Musa Esrtungkoro 笔下的世界，和举世闻名的超现实主义画家玛格丽特一样，有着让人为之深深吸引的力量：富有哲学的内蕴，同时又极尽诡秘。

Iqro
Empty

In the age of digital media, as opposed to the past, it’s easy to turn a vision into reality. Esrtungkoro can get inspiration from music, news, daydreams, or his immediate surroundings, then find suitable images online and import them into his illustration software. Next, he gives the images a “surrealist” treatment in Photoshop, using characters of his own design.

和传统绘画不同，得益于数媒时代的便利，Musa 在随时随地获取的灵感，诸如音乐、新闻、环境和梦境中汲取的点滴，都可以导入插图软件，再从网上找到合适的图片，然后用 Musa 自己设计创作的人物，在 Photoshop 上进行 “超现实” 处理。

Comfortably Numb

“Comfortably Numb is a work inspired by the British band Pink Floyd’s song of the same name,” explains Esrtungkoro. “When I listen to the song I feel unexpected comfort, like being in the subconscious, where my body feels numb, like I’m flying through space and seeing planets while my body stays on earth.”

“比如《Comfortably Numb》这件作品，受英国乐队 Pink Floyd 的歌启发而作，我的作品与它同名。当我听这首歌时，我感受到了意想不到的安慰，就像沉浸于潜意识中，我的身体渐渐变得麻木，仿佛在太空中飞翔。最后，当我的身体停留在地球上时，我就看到了行星。”

Fly
Vandalisme
Waiting

Two constant sources of inspiration and encouragement for Esrtungkoro are the works of Magritte and those of contemporary digital collage artist Julien Pacaud. “When I see their works, I always wonder what they want to convey,” he says.

But he notes that, as an artist, he’s never tried to make his viewers “understand” his own works. “It’s up to them what they want to make of my works,” he explains. “I submit everything to their respective judgments, because I made these works only to pour out the contents of my heart that can’t be conveyed in the real world.”

一直给 Musa 以激励和灵感的，是雷内·马格里特（René Magritte）和朱利安·帕考（Julien Pacaud）两位超现实大家的作品。“当我看到他们的作品时，我总是想知道他们想通过他们的作品表达什么？”

但 Musa 觉得，以艺术家的身份出发，他从来没有想过让观者 “看懂” 自己的作品，“他们想从我的作品中得到什么，这取决于他们想要什么。我把一切都交给了人们各自的判断，因为我做这些作品，只是为了倾吐我内心深处无法表达的东西罢了。”

Undesirable
Modestly to Be High

“Modestly to Be High depicts someone who is already tall but keeps looking down (modest),” says Esrtungkoro enigmatically. “I really like this work because he really lives in my head and reminds me of people whose lives are dedicated to helping others and looking after this aging universe, and I dedicate this work specifically to them.”

To approach his strange, surreal world built out of random objects, we may just need to switch up our point of view. Perhaps art is even truer, more moving than daily life.

 

“我最喜欢的作品是 ‘Modestly to be High’（‘虚’高），它描绘的对象是一个已经很高的人，却一直往下看的样子，以示一种谦虚的姿态。” Musa 说，“这副作品一直存在在我的脑海里，它让我想起了那些毕生致力于帮助他人和照料这个宇宙众生的人，这件作品是我向他们致敬之作。”

在 Musa 用各种毫无关联之物所构建出来的超现实奇想世界里，或许我们换用一种超脱的眼界去看待，画，则可能比日常所见更为真实可感吧。

Nick Dark Pink Moon
Cello Song
Introvert

Behance: ~/MusaEsrtungkoro
Instagram: @esrtungkoro_


Contributor: Chen Yuan

Behance: ~/MusaEsrtungkoro
Instagram: @esrtungkoro_


供稿人: Chen Yuan

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