All posts by shanshan

Reconstructing Loneliness

Chinese photographer River Zhang says he likes being alone. Having studied in four universities between China and the UK, Zhang’s daily routine consists of getting up on time, making breakfast, eating it, and either attending class or creating art. He says that “this state of loneliness” is something he values, as it introduced him to thoughts about loneliness and thereafter his photographic works on the subject of loneliness.


摄影师张沛之说自己是不喜欢从众的人。在中国大陆和英国四所大学接受过摄影教育的他,每天生活规律,早上定时起床,做早餐、吃早餐,然后上课或创作。他说自己很享受“孤独的状态”,也是这种仪式般的孤独带给他对“孤独”的思考,而创作了一系列关于孤独的作品。

Zhang, who graduated from the University of Creative Art in the UK earlier this year, created the photography series Dialogue with Memory as his graduation project. The series explores his loneliness of being an only child. To complete the project, Zhang’s father helped him scan over 400 photos from their family albums. Zhang says, “Among those photos, some I can remember vividly, others I have no memory of at all. I believe all these memories are from my confusion as an only child. So I ended up working with the photos that I remember the most.”


今年刚从英国创意艺术大学毕业的张沛之创作了名为《与记忆的对话》的毕业作品。该作品在年度毕业生大展伦敦“无围栏”毕业作品展展出,讨论了自己作为独生子的孤独感。张沛之的父亲帮他扫描了400多张家庭相簿里面的照片。张沛之说:“这些照片中,有的会让我有非常强烈的记忆,有些则完全记不起来,我相信那些记忆都是来自于‘独生子女孤独的困惑’,于是我筛选了有强烈记忆的作品进行二次创作。”

To create the series, Zhang selected the photos that he liked the most, pixelated them, and printed them out. From afar, viewers can make out the content of the image. However, viewing at a closer distance, the colored photos turn into abstract collages of colorful blocks. In order to give context to the contents of each photo, Zhang filled certain squares with Chinese text, each standing alone in the middle of certain blocks. Zhang intentionally used photos that might outwardly show harmony and happiness, but to him, they represent painful memories – this contrast is invisible to the viewer, and that is why he used mosaics to conceal the superficial harmony and happiness. The blocks also represent another aspect of his childhood, which is that they’re similar to the paper he worked with for writing practice around the time when these photos were taken. Zhang’s carefully composed text not only serves as a form of self-expression but as a form of catharsis. These works were created in the context of China’s family planning policy and ideas of Confucianism, topics that, to him, have direct connections to the notion of loneliness.


张沛之从童年的照片里选出最合心意的照片,将他们像素化并印制出来。在远处,观者可以恍然辨认相片的内容,而凑近之后,色彩斑斓的战片变成印着汉字的方框,却辨别不出照片的内容。为了解释图片内容,张沛之以书法练习方格的模样在马赛克上写上了汉字,这些字比起方格来要小许多。对张沛之来说,这些文字才是照片的真正意义。张沛之选择了表面看起来欢乐和谐,但是背后却隐含痛苦回忆的照片,而这种强烈的反差使得外人完全看不到。所以,他选择用马赛克来掩盖表面的欢乐和谐,而马赛克又正好和他小时候练字的田字格有着非常多的相似点,照片上他的年纪也正是学写字的年纪。张沛之写下这些表达内心的文字,并把自己的作品作为“一种自我救赎的方式”。张沛之在创作初期就把这组作品放在“计划生育”以及“儒家思想”的大背景下去考虑,这两个背景有着非常充分的关联:孤独。

Zhang says: “In Confucianism, which has existed in Chinese society for 2500 years, loneliness isn’t something to be openly discussed. The five cardinal relationships in Confucianism tell us that everyone has close relations to those around them, so those who feel lonely are thought of as being incomplete humans. However, under the family planning policy in the past, it feels impossible – every family only has one child, which is a lonely thing, but we cannot talk about it.”


张沛之说:“在束缚了中国2500多年的儒家文化中,是不允许讨论孤独的存在的。儒家文化中的五伦,都是在讨论每个生命与周边生命的关系,感受到孤独的人,在五伦的关系中,是不完整的,不能被称作完整的人。但是在之前有计划生育的大背景下,这就显得格格不入,明明一家就一个孩子,明明就是一个个孤独的个体的存在,却无法被讨论。”

Website: zhangriver.com

 

Contributor: Shanshan Chen


网站: zhangriver.com

 

供稿人: Shanshan Chen

Laziness & Random Thoughts

Pencil lines, blocks of colors, lazy yogis, and happy animals. Hong Kong-born and UK-raised artist Charlene Man refuses to settle with one style or stick to the rules, but her works all invariably add a touch of humor as the finishing stroke. After a series of successful exhibitions titled Down Time in Japan and Hong Kong that explored the subjects of stillness and relaxation as a defense of laziness, Man is now busy preparing her upcoming Taipei exhibition Small Thoughts in May, which will tackle the topic of “random thoughts.”


铅笔线条、大色块、慵懒做着瑜伽的人和没烦恼的动物们,这些都是万蒨衡作品中的常见元素。在香港出生、英国长大的她拒绝单一的创作风格,也不愿意循规蹈矩,更喜欢为自己的作品增添一点幽默风格。万蒨衡在香港和日本成功举办了一系列名为《Down Time》(停机时间)的展览,以停机为主题诠释宁静和放松的状态,为“懒惰”正名。万蒨衡现在忙着筹备她即将于五月份在台北举行的展览《小想法》,这一次的展览主题是“胡思乱想”。

For Man, she considers being able to turn illustration into a full-time job as her biggest accomplishment. Many of her contemporaries have changed their careers or resorted to working for agencies. Being a free agent means more personal time and more room for creative growth, but self-discipline still played a big role in her success. Recently, we sat down with Man and had a chat with her about transitioning to a full-time illustrator, inventing words, and finding ways to be less boring.


对于万蒨衡来说,她至今为止最大的成就可以说是将画插画变成自己的全职工作。她的许多同辈现在已经换了职业,或是被代理公司签约工作。作为真正的一名自由插画家,意味着她可以给自己的创作留出更多的时间和空间,但同时自律性也非常重要。最近,我们和她碰面,坐下来聊了聊一个全职插画家的生活,和对抗无聊的方法。

Neocha: How did you start your career in illustration?

Man: It all started quite early on when I was at school. I was interested in doing art, but I always thought of it as a hobby. My parents were very against it as they wanted me to do math and science – like most Asian parents. I was quite rebellious and went with what I wanted to do. But back then, I didn’t even know illustration existed. At first, I wanted to do fashion illustration because I couldn’t decide what I wanted to do. I went to London College of Fashion for a year but I didn’t like it, so I dropped out and I ended up going to Camberwell College of Arts to start over.


Neocha: 你如何开始成为一名插画家的?

CM: 在上学的时候,我就开始画插画。我对艺术创作一直很感兴趣,但那时候我只是把它当作一种业余爱好。和大多数亚洲父母一样,我父母对此很反对,他们想让我学理科。我那时候很叛逆,所以我就一意孤行,选了插画这门学科。那时候我甚至不知道有插画这个专业。我对时尚和插画都感兴趣,所以我想要画时尚插画,想将二者结合在一起。因此我去伦敦时装学院读了一年,但我并不太喜欢。所以我退学了,然后转去坎伯韦尔艺术学院读书。

Neocha: How did you integrate your cultures and surroundings – that of Cantonese and British – into your art?

Man: I created a project on Cantonese colloquialisms at Camberwell. Even though you might not have the cultural context, people could still understand it. I grew up in the UK, but I didn’t come here until I was 13. I obviously didn’t speak English very well and always thought that people considered me as being quite weird since I couldn’t say what I wanted to say to the full extent. I would put words together but the grammar was all wrong. They laughed about it, but then I thought, “Why do I need to speak perfectly? People can understand me anyways, so why can’t I just be myself?”  There are no rights and wrongs in language anymore. We invent new words on the internet every day, so why can’t I just have fun with it? That’s when I started to make a lot more work about my culture and that’s when humor made it into my art.


Neocha: 你如何在创作中融入香港和英国的文化和环境体验?

CM: 我在坎伯韦尔艺术学院的时候,创作了一个以粤语俚语为主题的项目。这些作品是即使你没有这种文化的背景也能够理解的。我13岁才去到英国,所以最初我的英语并不好。我把单词拼凑在一起,但是语法都是错的,别人听了会笑。我常担心别人会觉得我奇怪,因为我没法完整表达出自己的想法。但我转念一想,“为什么我一定要说非常流利的英语以让自己看起来彬彬有礼?反正人们也能理解我的意思,为什么我不能只做自己?”自此,我开始不去计较语言上的对与错。反正互联网上每天都有人在发明新的词汇,不如就用它来做一些好玩的事情。于是,我开始利用这种特殊的身份来创作大量的作品,也正是这时,我的作品开始渐渐呈现出幽默的风格。

Neocha: How do you decide that “this is my style”?

Man: If all your drawings look similar, you’ll get recognized a lot quicker and easier. It’s the rules of Instagram. If you follow the rules you’ll get there. I try to go against it a bit. I don’t want people to ask me to do the same thing all the time because I find it boring. I want to keep doing new things, to keep myself motivated, and stay interested in art-related things. I actually enjoy the process of physically making something, like baking bread. I suppose that’s why my work always is more tactile and more hands-on. I want to do comics, but I don’t like to explain a lot. I still like things to be in a very abstract way. I feel doing a comics is telling a bit too much. If it’s just a single image, it leaves more to the imagination.


Neocha: 你是如何确认 “对,这就是我想要的风格”的?

CM: 如果你的作品看起来统一,你会更快和更容易被大众所认可。这就和Instagram上不成文的规则一样,你必须确立一个非常明确或者说单一的风格,如果你遵循这一规则,那你就能获得成功。但我试图去反抗这一潜规则,我不想因为别人的要求,而将我所有的时间用来做重复的事情,这样太无聊了。我想持续创作新的作品,让自己的动力源源不断,也时刻保持对艺术的兴趣和敏感度。事实上,除了画画以外,我还很喜欢“制作”。譬如制作面包,这也是为什么我的作品会更有触感,有很多动手实践的元素。我有尝试过画漫画,但我不想作太多的解释,所以我还是更喜欢抽象的创作。我觉得漫画中要讲的话太多了。如果是单独的一幅画,你可以让观众去揣测,去思考更多。

Neocha: What are some of the obstacles you’ve faced, and how did you conquer them?

CM: We have this collective called “Day Job” – there are ten of us. The idea was that we wanted to make illustration our day job. When we first started, we all had part-time jobs. I was working in a clothing store and someone else worked in a biscuit factory. Most of us are illustrators now. But at one point, I didn’t have a job. I was just sitting at home and my mom came in, saying “You’re looking for a job? Why don’t you do something?” But I was actually doing something – I was drawing and thinking about my next move. That’s when the idea for the exhibition came to me and I started contacting galleries. After the show, I received more commissions that I really enjoy doing, more relevant to what I’m interested. I think working on personal projects really helps. You never get what you don’t ask for. I learned that from my failures. I used to have low confidence, but it’s common when you first graduate. I thought things like, “I’m still not a full-time illustrator. My friends are doing much better.” But I realized that people don’t approach you not because you’re not good enough. It’s because they haven’t seen you yet.


Neocha: 你遇到过什么困难,你是如何克服它们的?

CM: 我和另外9名艺术家有一个合作项目叫《Day Job》(正职工作),想法是创作有关我们正职工作的插画。毕业后刚开始画画的时候,大家都有在做其他工作来维持生活。我在一家服装店工作,还有人在饼干厂工作。直到2014年,我才辞去最后一份正职工作。现在,我们大多数人都成为插画家了。有一段时间,我没有工作。有一次我宅在家里,我妈妈走了进来,说:“你有在找工作吗?为什么你不去找些事情来做?”而那时候我的确有在做事情——我每天都在画画,心里也知道自己接下来想做什么。就在那时我想到了举办展览然后开始联系一些。展览结束后,越来越多人找我画画,那些是我喜欢画的插画,更符合我的兴趣。我觉得做个人项目很有用,你不去问就永远得不到自己想要的东西。我正是从自己的挫败中学会这一点的。我那时候不是很自信,大部分刚毕业的人应该都会这样。那时我会觉得“我还算不上是一个全职的插画家,我的朋友要优秀得多了。”人们没有来找你并不是因为你不够好,而是因为他们还没看到你。

Neocha: So you’ve now moved back to Hong Kong. How are you inspired by this change in location?

CM: I moved back to Hong Kong on purpose. For years, I’ve only visited and didn’t live here. I never got to do the things that I want to do. I want to see Hong Kong and visit all the streets. I see it very differently now, in an artistic way. I now appreciate things that I didn’t use to when I was younger. Places like Sham Shui Po are developing. But I find that Hong Kong is losing its culture bit by bit. That’s why I made Villain Hitting). It’s something that might disappear in the next few years. For me, it doesn’t matter you’re in England or in China. Where you are is not a limitation. The internet allows you to make things that you like and easily share it with the world.


Neocha: 你现在已经回到了香港生活。这种变化有带给你什么启发吗?

CM: 我是特意搬回香港生活的。我长大后一直没有在这里生活过,除了偶尔来旅游,我从来没有机会在这里做我想做的事情。我想要真正地看看香港,去走遍所有的街道。搬回来,我才能不断探索这里的艺术场景。现在我眼中的香港很不一样,我会以艺术的角度来看它。当你年轻的时候,你不太会欣赏某些事物。香港有些地方你一般不会自己去的,譬如深水埗,现在这些地方也发展了起来。我发现香港的一些本地文化在消失。这也是为什么我创作了《打小人》(Villain Hitting这本小册子,这种文化可能会在未来的几年消失。我会尽我所能来保护这些文化。互联网真的可以给你很多机会。如果你做的东西是你喜欢的,人们就会有机会看到它,无论你是身处英国还是在中国,地理位置并不是限制。

Exhibition: Small Thoughts
Exhibition Dates: May 7th, 2017 ~ May 22nd, 2017

 

Address:
B1, No. 6, Lane 72, Section 2, Zhongshan North Road
Zhongshan District, Taipei
Taiwan

 

Websitecharleneman.com
Facebook~/charlenesinman
Instagram: ~/charlenesinman

 

Contributor & Photographer: Shanshan Chen


活动名称: 《Small Thoughts》
展览日期: 2017年5月7日——2017年5月22日

 

地址:
台湾
台北市中山區
中山北路二段72巷62号B1

 

网站charleneman.com
脸书~/charlenesinman
Instagram: ~/charlenesinman

 

供稿人与摄影师: Shanshan Chen

Erhu, Reimagined

The erhu, a traditional Chinese music instrument with over 4,000 years of history. A collaboration between the Hong Kong-born musician and DJ Andy Leung and virtuoso erhist Wan Pinchu has given the instrument new life. Andy Leung’s debut album New Cola (Part 1) successfully combines the traditional Chinese stringed instrument with modern technology, and through his experimental approach, Leung created a distinctly signature sound. The entire album has been released as a free download on their website, and recently, Leung spoke with us about his view on the roles of traditional music instruments and the “lifetime project” that he began earlier this year.


二胡是一部拥有四千多年历史的中国传统乐器,香港出生的音乐家和DJ梁启浩与知名二胡手朱芸編进行了合作,以前所未有的方式将传统的中国弦乐器和新兴科技相结合,创造出了独特的音乐,并在他首张专辑《New Cola (Part 1)》中赋予了二胡新的活力,并且这张专辑已在他的网站上进行免费下载。最近,梁启浩与我们分享了音乐传统对他的启发,并解释了这个从今年早些时候他就开始做的“lifetime project”背后的一些想法。

Listen to some of our favorite tracks from Andy Leung:

Andy Leung – Lights
Andy Leung – Newsfeed
Andy Leung – Organ 2016


以下是来自Andy Leung的几首精选歌曲,欢迎试听:

Andy Leung – Lights
Andy Leung – Newsfeed
Andy Leung – Organ 2016

Neocha: What’s your journey in music been like? You were trained in classical music – what inspired you to transition to electronic music?

Andy Leung: The hardest thing is to categorise my own music – it’s not quite contemporary classical, not quite electronic, probably somewhere in between. I learned classical piano and had all the classical training. But at home, I would find cassettes from my parents, and they would have country, folk, ’80s Cantopop, some really old Mandarin pop, and even Michael Jackson. I was exposed to a lot of music while I was very young. Later on, I also played in a rock band during secondary school because I thought it was cool. That’s where how I learned to play the guitar, bass and drums. We were playing covers songs of Queen, Jimi Hendrix, Red Hot Chilli Peppers and so on. I got into jazz and hip-hop in university, so I studied Dr. Dre and Quincy Jones’ production techniques; they are my favourite producers. I studied music and sound recording at the university; I’ve always been technically minded and nerdy. I started working with electronics and newer technology early on and became interested in electronic music then. After graduating, I played in an electronica band called Introducing, and we toured through the UK and Europe. Working with electronic music is inspiring because the sounds and tones of electronic music are limitless. If you take a piano or guitar, the sound it generates is limited by the design of the piano maker or guitar maker. It is a preset or fixed. Whereas when working with electronic sounds, the possibilities are infinite.


Neocha: 你一直以来的音乐历程是怎样的?您接受过古典音乐方面的学习,是什么契机促使你转换到电子音乐创作的?

Andy Leung: 最困难的事情是归类自己的音乐。我的音乐不算是纯粹的当代古典音乐,也不完全是电子音乐,大概是介于两者之间吧。我学习弹古典钢琴,并接受了所有的古典音乐培训。但是在家里,我喜欢听我的父母收藏的音乐磁带,有乡村音乐、民谣、80年代的粤语流行曲,一些真的非常老的国语流行歌曲,甚至还有Michael Jackson的音乐!所以我从小就接触到了大量不同风格的音乐。后来,在中学期间我还加入了一个摇滚乐队,因为我觉得这很酷。就是在这个期间我学会了弹吉他、贝司和打鼓。我们当时翻唱了Queen,Jimi Hendrix,Red Hot Chilli Peppers等歌手和乐队的歌曲。到了大学的时候,我又喜欢上爵士和嘻哈音乐,于是我开始研究Dr. Dre和Quincy Jones的音乐制作技巧,他们是我最喜欢的音乐制作人。在大学的时候,我学习了音乐录制。我是一个对科技特别感兴趣的怪咖,从很早的时候开始,我就喜欢电子类的东西以及跟新科技有关的事物。从那时起,我开始对电子音乐感兴趣。毕业后,我在一个名为Introducing的电子乐队里表演,我们在英国和欧洲各地巡演。制作电子音乐是让人很受启发的事情,因为电子音乐里的声音和音调是无限的。如果是钢琴或吉他,它们所产生的音色会受到制作这台钢琴或这把吉他的人的设计所限制。它们的声音是预设的,固定不变的。而在电子音乐里,却有着无限的可能性。

Neocha: In 2012, you composed and performed for the London Olympics, becoming the youngest Chinese musician to have done so. What did this experience mean to you?

Andy Leung: Looking back, that was the project that helped me establish credbiity and set a foundation for my journey to being a composer. I was very young and I was suddenly on the same stage with composers who I aspired to be.  This was actually the first time I incorporated Chinese elements into electronic music. In the beginning, I thought it was cheesy to do so because it was too obvious: Chinese composers playing Chinese instruments. I always thought that it was a gimmick. But In 2014, when I worked with Wan Pinchu, who I collaborated with for New Cola, my entire thought process and creative process matured a lot and I started to embrace Chinese instruments. I now see it as just an instrument and not an “Eastern” instrument. Of course, most people don’t see it in the same way.


Neocha: 2012年,你为伦敦奥运会创作音乐并表演,成为当时被选中的最年轻的中国音乐家。这次的经历对你来说有什么意义?

Andy Leung: 回想起来,这一次的经历让我有了一定的信誉,并为我成为作曲家奠定了基础。那时候我还很年轻,却突然能够与那些我所崇拜的作曲家同台演出。那实际上也是我第一次将中国传统元素运用到电子音乐中。一开始,我觉得这样做有点太俗气,因为实在是太理所当然了:中国作曲家演奏中国乐器。我一直认为这只是一个噱头。但就在2014年,当我和朱芸編开始合作时,我的整个思维过程和创作过程中成熟了很多,我开始真正地接受中国传统乐器。我和朱芸編合作创作了New Cola》这张专辑。现在在我看来,二胡只是一个乐器,而不是一个属于“东方”的乐器。当然,大多数人的想法可能和我不一样。

Neocha: In your debut album New Cola (Part 1), what was your biggest challenges working with the erhu?

Andy Leung: In the New Cola project, we took a traditional erhu and enhanced the instrument so it can make distorted tone, like dubstep bass, and even a scratch DJ sound. We really tried to push the boundary of creating “new” experiences, and that’s why the album is called New Cola; it’s the same drink, but in a different bottle. I was always aware of the erhu, but never fully understood or appreciated it until I met Wan when we were both backstage at a show. I found that he was a very gifted musician, but the type of music that he was playing was not fulfilling to me, though it had potential. So he showed me a lot of the erhu’s capabilities and we worked together to try to take it to the next level. One of the biggest obstacles is when other people call it “East meets West” or “traditional vs modern”. I think it’s an outdated and overused concept. Instead, I see it as the natural progression of an instrument. The question that we asked ourselves when working on this the project was “What would erhu music sound like in 2016, composed and performed by two musicians with such diverse music experiences?”


Neocha: 在你的首张专辑《New Cola (Part 1)》中,要结合二胡来创作最大的挑战是什么?

Andy Leung: 在New Cola专辑里,我们融入了传统的二胡音乐,同时对这种乐器进行了调整,让它可以产生不一样的音色,譬如dubstep的低音,甚至是DJ刮碟的声音。我们试图真正地突破,呈现“全新”的体验,这就是为什么这张专辑取名New Cola,因为虽然里面是一样的饮料,但瓶子却是截然不同的。我一直都知道二胡这种乐器,但从来没有真正理解或认识它,直到我在一场表演的后台遇见Wan。我发现他是一个非常有天赋的音乐家,他所演奏的音乐感觉很有潜力,但似乎缺了点什么。于是,他向我展示了很多二胡的音乐可能性,我们在一起工作,试图把二胡的音乐带到一个新的水平。对我来说,最大的障碍之一是其他人把我们的音乐称为是“中西合璧”或“传统与现代的结合”。我认为这是一种过时和泛滥的概念。相反,我认为我们的音乐是一种乐器自然发展的结果。在创作这一张专辑时,我们会问自己:“二胡音乐在2016年由两位拥有如此多元音乐体验的音乐家来演奏应该是怎样的?”

Neocha: What does collaboration mean to you? What are some of the challenges and how does it inspire you?

Andy Leung: I’m a big fan of collaborations. Collaborations can trigger a moment of inspiration that you cannot trigger on your own. My tip is to never work alone as a creative because there is always something to learn from others. Make sure that the collaborators are bringing something unique and you are compliant with each other. For example, Jihyun Park’s painting is inspired by music. I worked with her earlier this year alongside a contemporary classical group. She always draws amazing stuff and I’m very into the graphics and visual aspects of art too. I think music on its own loses face value, so we have to combine it with other mediums to create unique experiences. I actually want to work with a chef and try to combine music and food in the future as well!


Neocha: 合作对你来说意味着什么?其中有什么挑战和启示?

Andy Leung: 我很热衷于与他人合作。合作可以触发灵感,这往往是你一个人创作时所没有的。我的秘诀是不要一个人单独创作,因为你总是可以从别人身上发现值得学习的地方。确保合作双方都能带来一些独特的东西,并且双方相处得来。例如,Jihyun Park的绘画就是以音乐为灵感创作的。今年早些时候我加入了一个当代古典音乐小组中,曾和她一起合作过。她的绘画作品很棒,而我也对平面设计和视觉艺术很感兴趣。我认为,限制于音乐本身的创作会失去其价值,因此,我们必须把它与其它媒介相结合,才能创造出独特的体验。坦白讲,我很希望将来可以和厨师合作,尝试将音乐与美食结合!

Neocha: For your lifetime project, you plan to release a single for free every single month. What’s the motivation behind it?

Andy Leung: Consistency is as important as artistic quality. I’ve done a lot of one-off projects in the past, so once it is finished, there aren’t follow-ups. So this is a project that will make sure I’m constantly putting out music and staying in people’s minds. Every song for the lifetime project will be free because I think the next generation will grow up without the habit of paying for music. There are already enough legal sites to listen to music for free anyways, so why would anyone pay for music? Instead, my focus is on creating the relationship between the listener and myself, and to create unique experiences—such as live shows and studio tours—in order to make money. So my music is just a marketing tool rather than a product. As I’m giving a lifetime worth of my work for free, in return, all I ask for is any supporters’ contact details so I can reach them. I message all my supporters about the release of every new song and send them invites if I’m performing in their towns. I actually learned coding to make this work.


Neocha: 你创作这个“lifetime project”每个月都会发布一首免费单曲,这样做背后的动机是什么?

Andy Leung: 作品中的坚持与艺术品质是一样重要的。在过去,我已经做了很多一次性的项目,一旦完成后,就没有了后续。因此,这一次的项目可以确保我会不断地推出新的音乐,让人们一直记得我的音乐。这一张专辑中的每一首歌都将是免费的,因为我觉得下一代人长大后已经不会有付费听音乐的习惯。不管怎样,现在已经有很多合法免费收听音乐的网站,所以为什么人们还需要付费听音乐呢?相反,我的焦点在于建立听众和我之间的关系,并通过创造独特的体验——譬如现场表演或参观录音棚来赚钱。所以我的音乐只是一种营销手段,而不是商品。我的“人生大项目”是免费的,作为回报,我只需要所有支持者的联系方式,这样我就能联系到他们。每首新歌发布时,我会发短信通知他们,如果我在他们当地表演时,还会给他们发送邀请信息。为此,我还学会了编码。

Neocha: What’s your next project and what’s new about it?

Andy Leung: I am going to start a new project in China next year. It will involve electronic music and a lot of collaborations with local underground artists. I’m trying to develop Beat Nations, which is my brand that’s mainly working on event production. It acts as a PR bridge between the UK and China, helping local artists in both countries to have further reach.


Neocha: 你现在正在着手什么项目,将会给我们带来什么样的作品呢?

Andy Leung: 我打算明年在中国开始一个新的项目。这个项目会与电子音乐相关,还会与当地的地下艺术家有很多的合作。我在成立Beat Nations,这是一个有关活动制作的品牌。它将成为英国与中国之间公关宣传的桥梁,帮助两地艺术家在这两个国家有进一步的发展。

Websitebeatnations.com
Facebook~/iamandyleung
Soundcloud: ~/iamandyleung

 

Contributor & Photographer: Shanshan Chen
Additional Images Courtesy of Anthony Tam, CAS, Kii Studios & Photography, Harry Parvin, MRCK, and Vivian Fong


网站: beatnations.com
脸书: ~/iamandyleung
Soundcloud: ~/iamandyleung

 

供稿人与摄影师: Shanshan Chen
附加图片由Anthony Tam, CAS, Kii Studios & Photography, Harry Parvin, MRCK与Vivian Fong提供

A Utopian Playground

Daalaan is an abstract playground in which visitors can interact by playing in and wandering through the space. Here, people are invited to revisit a utopian world, which they were once familiar with as children – a space without borders and judgement.

Daalaan in Urdu, one of the official languages spoken in Pakistan, means “courtyard”, essentially a space without doors. The installation Daalaan is a space created by Lattoo stools and silkscreens. The stools were made to attract people to spin them, wait for them to stop, and then spin them again. The silkscreens dance and sway with the gentle breeze – when people walk through the space it is as if they are playing hide-and-seek behind the screens.

The Daalaan design team consists of six young Pakistanis, who were motivated to bring the true image of Pakistan to the world. They were inspired by Pakistani craftsmanship and design, and came up with a version that is functional in the contemporary sense, as well as being aesthetically pleasing to the eye.

The stool tops are made of wood or metal, decorated in different patterns, crafted by Coalesce Design Studios, co-founded by Salman Jawed. The silkscreens are all handmade with natural dye by the Islamabad-based textile designer Hina Fancy.

“There is a plan to first create and compile a book on the cultural games of Pakistan,” says designer Faiza Adamjee, “and we would love to create a real playground for both mental and physical interaction that is much needed in our society today.”

Daalaan hopes not only to be a medium to evoke nostalgia, but also an open platform that encourages conversations, ideas and changes. It wants visitors to ask themselves – how have you changed and how can you go back to a more innocent time when all inhibitions were left behind?

Facebook: ~/daalaan

 

Contributor & Photographer: Shanshan Chen

Fluorescent Tranquility

Having grown up in the northern Japanese city of Hokkaido, where it’s covered by snow for half of the year, artist Yukako Shibata’s inspiration is deeply rooted in her childhood memories of the snow-covered landscape. This influence can be seen in her work, in which she creates sculptures with organic shapes that are juxtaposed against white backgrounds.


一年の半分が雪に覆われる北海道で育ったアーティスト柴田祐加子のインスピレーションは、幼少時代に見た雪景色の記憶に深く根付いています。この影響が、白い背景を背に並んだ有機的な形を生み出す彼女の彫刻作品に見られます。

“Snow definitely gave me lots of inspiration to make my sculptures, and I feel like there’s a sense of harmony when white covers everything,” she says. Influenced by her nostalgic memories of snow, Shibata often uses the white walls and other part of the exhibition space as her canvas.


「確かに、雪は私の彫刻制作に大きなインスピレーションを与えてくれたもので、白がすべてを覆う時、そこには調和という感覚が生まれる気がします。」と柴田さんは語ります。懐かしい雪の思い出に影響された彼女は、白い壁やその他の展示スペースをキャンバスに見立てて使うことが多いものです。

Shibata is more intrigued by shadows, reflections, colours, and the negative space of the surrounding environment as opposed to the actual object itself. She’s also fascinated by small, seemingly trivial things. Shibata’s sensitivity to the mundane is evident in Breeze, where she used eight pieces of plaster, similar to wrinkled paper or plastic bags, and painted them white before placing them onto an all-white wall. Colors painted on the back of the plaster are reflected onto the all-white wall by natural light, adding a magical, ethereal quality to the creation.


柴田さんは、実際のオブジェそのものに対立するものとして、周辺環境の影、反射、色彩、余白により興味をそそられます。彼女はさらに、小さく一見些細なものにも惹かれます。日常的なものへの柴田さんの感受性は、くしゃくしゃの紙切れかビニール袋に似た8個の石膏のかけらが白く塗られて真っ白な壁に配置された作品Breezeを見れば明らかです。石膏の裏側に施された色彩は、自然光によって真っ白な壁に反射し、この世のものとは思えない不思議な質感を醸し出しています。

Colour is an important subject in Shibata’s art. “My colours tend to be understated in terms of its hue and vibrancy. Having said that, I actually use the strongest possible colours, such as fluorescent ones, but I hide them by turning the colourful side to face the wall, so that all you see is the reflection of the colour,” Shibata explained. “When it comes to my painted surfaces, no matter how subtle and pale the colours may be, there is a long process of layering and glazing the different colours over time to achieve the soft shimmering effect. My colour is slow in revealing itself and requires a bit of time to tune into. At first glance, you may see not very much, and as you observe longer you will gradually begin to notice more and more details.”


色彩は柴田さんの作品の主役となるものです。「私の色彩は、色調や鮮やかさに関しては地味なものです。とは言え、実際には蛍光色など可能な限り強い色を使うのですが、そういった色鮮やかな面を壁に向けて隠し、その色の反射だけが見えるようにしています。」と、柴田さんは解説します。「色が塗られた表面については、どんなに微妙で淡い色であっても、優しく光る効果が現れるまで、時間をかけて何層にも様々な色を塗り重ねてゆく長いプロセスがあります。私の色彩は、すぐに目を引くものでなく、それと認識するには少し時間がかかるものです。一見したところほとんど何も見えないものの、長く眺めるうちに、次第に細部が見えてくるのです。」

Shibata’s work also often revisits similar forms and shapes, commonly working with circles, spherical, round, or egg-like forms. She explains that this personal preference is beyond intellectual understanding and she’s simply led by her instincts. “A circle is the most complete and self-containing abstract form that symbolizes the beginning of everything. It symbolizes life, our world, and even eternity in different cultures, hence I feel like it suggests something greater,” Shibata explains. “Modeling or carving round forms is satisfying and feels really natural to me. It’s pleasing to my eyes, and the process also feels quite nurturing for the soul.”


柴田さんの作品は、一般に円形、球体、輪、卵型といった形を用いることが多く、類似する形を再考するものでもあります。自身のこういった優先傾向は頭で理解できることではなく、ひたすら本能的なものであると彼女は説明します。「円形は、すべての始まりを象徴する最も完全な自蔵の抽象形です。生命や我々の世界、さらには様々な文化における永遠をも象徴するものであることから、円形が何か偉大なものを暗示する気がするのです。」と解説します。「円形を形作ったり彫ったりすることはやりがいのある作業で、自分にとってごく自然なことなのです。目に心地よく、そのプロセスにも精神が養われる気がします。」

Shibata says that White Circle is one of her most understated works, which she describes as an experimental and conceptual idea. Minimalistic and colorless, the shadow is the dominant aspect of this creation. During exhibitions, it’s also purposefully placed in a slightly higher position in the gallery.


柴田さんは、自ら実験的かつ概念的アイデアと表現するWhite Circleが自身の作品のうちで最も地味な作品の一つであると言います。ミニマルで無色のこの作品を支配するものは影です。展覧会開催中、この作品は意図的にギャラリー内の若干高い位置に展示されます。

In Circles & Gold Frame, Shibata used egg-shaped objects and took a more formal approach. She placed several colourful round objects in a traditional gold picture frame, which questions the notion and tradition of painting and frames. She said, “I wondered what if I give a frame to my sculptures that obviously doesnʼt require one. My sculptures are bigger and can’t be contained by the frame. They aren’t being protected. Would it change anything?”


Circles & Gold Frameで、柴田さんは卵型のオブジェを使い、より形式的なアプローチを採用しました。絵画と額の概念と伝統に異議を唱えるように、色鮮やかな複数の丸いオブジェを古風な金色の額の中に配置したものです。彼女は、「額など当然必要ない自分の彫刻に額を付けたらどうだろうと考えたんです。額より大きな私の彫刻は額に入りません。彫刻は額に保護されていないわけです。それで何かが変わるでしょうか?」

Website: yukakoshibata.com

 

Contributor: Shanshan Chen
Images Courtesy of Yukako Shibata


ウェブサイト: yukakoshibata.com

 

寄稿者: Shanshan Chen
Images Courtesy of Yukako Shibata

The Spirit of Abstraction

Christine Ay Tjoe is one of the most prominent female contemporary artists from Indonesia. Ay Tjoe’s practice encompasses painting on canvas, works on paper, sculptures and large, room-sized installations.


Christine Ay Tjoe adalah salah satu seniman wanita yang paling menonjol dari Indonesia. Praktik Ay Tjoe meliputi melukis di atas kanvas, berkarya di atas kertas, mematung, dan instalasi ruangan skala besar.

Ay Tjoe started her career as a graphic artist exploring the intaglio dry point printing technique, a process where artists create an impression of a drawing that, when inked, can be printed from. Lines remain paramount in Ay Tjoe’s printings, which clearly reflects her past experience in printmaking.


Ay Tjoe mengawali karirnya sebagai seniman grafis yang mengeksplorasi teknik percetakan titik kering intaglio, yaitu sebuah proses di mana seniman menciptakan kesan pada gambar yang, ketika diberi tinta, dapat dicetak. Garis-garis tetap penting dalam lukisan Ay Tjoe, yang secara jelas mencerminkan pengalamannya di masa lalu dalam seni grafis.

In the series of 12 paintings in 2016 including Demonic Possession, Greed and Greed 1, Greed and Greed 2, and Concealer Player, which Ay Tjoe completed using oil bar, the colourful and powerful lines express a sense of physical urgency. Beyond the immediate beauty of those paintings, Ay Tjoe explores philosophical and psychological questions about our modern age and the human condition.


Dalam serangkaian 12 lukisan di tahun 2016 termasuk Kerasukan Setan, Keserakahan dan Ketamakan 1, Keserakahan dan Ketamakan 2, dan Pemain yang Menyembunyikan Sesuatu, di mana Ay Tjoe menyelesaikannya dengan menggunakan papan minyak, garis-garis penuh warna dan kuat mengekspresikan rasa urgensi fisik. Di atas semua keindahan lukisan itu, Ay Tjoe mengeksplorasi pertanyaan-pertanyaan filosofis dan psikologis tentang zaman modern dan kondisi manusia.

Partial figures emerge from within the paintings’ dramatic passages of abstraction: a planet, a huge face, a tiny human figure, a weapon, and so on. Ay Tjoe has been quoted as saying these forms are “metaphors for figures of authority, figureheads or ‘gods’, and forces that influence and shape our behaviour.”


Figur-fitur parsial muncul dari dalam bagian-bagian abstrak yang dramatis dari lukisan itu: planet, wajah besar, sosok manusia kecil, senjata, dan sebagainya. Ay Tjoe mengatakan bahwa bentuk-bentuk ini merupakan “metafora untuk figur otoritas, boneka atau ‘dewa’, dan kekuatan yang mempengaruhi dan membentuk perilaku kita.”

She explains: “My interest point is human beings. In my work, I talk more about what will happen in terms of human trends, whether it be local or global. I’ll see these possibilities in my mind and turn them into artistic concepts.”


La menjelaskan: “Fokus minat saya adalah manusia. Dalam karya saya, saya berbicara tentang apa yang akan terjadi kaitannya dengan tren manusia, apakah itu secara lokal atau global. Saya akan melihat kemungkinan-kemungkinan ini dalam pikiran saya dan mengubahnya menjadi karya seni.”

The earthly brown or red colours reveal an internal world full of emotions and thoughts, and a careful contemplation on the notion of abjection and of the human condition filtered through the artist’s subjective experiences.


Warna coklat atau merah tanah yang sering digunakan dalam lukisannya mengungkapkan dunia internal penuh dengan emosi dan pikiran, serta kontemplasi mendalam mengenai gagasan tentang kehinaan dan kondisi manusia yang disaring melalui pengalaman subjektif Ay Tjoe.

Raqib Shaw’s Fantasy World

The work of Indian-born, London-based artist Raqib Shaw imagines and creates fantastical worlds full of imagery that reflects a unique kind of cultural hybridity. His visually spectacular, and sometimes personal, paintings and sculptures merge iconography from both the East and West.

In recent years, Shaw has borrowed compositions from the work of the Old Masters from the 15th to 17th century – for example, the Italian artists Girolamo Mocetto and Marcello Venusti – reinterpreting and transforming the religious settings from the original paintings with his own imagery. Some of the newly introduced elements include images shot in his Peckham studio in South London, landscapes from his childhood home in Kashmir, some Hindu iconography, and Japanese decorative arts and architecture.

Raqib Shaw sometimes has also appeared as the main protagonist in his paintings in different guises. He has appeared as a joker, a mime artist, and even a ghoul lying in a coffin. The world of Shaw’s paintings is entirely constructed by his imagination and delivered with an injection of underlying black humour.

Shaw explores several dualities by combining elements, such as from Renaissance architecture by Mocetto, stylised landscapes of waterfalls, Japanese landscape paintings, and Baroque architecture by Marcello Venusti. By sometimes injecting his own presence in the painting and in his studio, his work suggests a convergence of reality and fantasy.

Shaw’s fantasy world celebrates a society free of any moral restraints, as in his series of paintings Garden of Earthly Delights, which were inspired by Hieronymous Bosch’s 15th century visionary triptych. Populated with a wide range of hybrid creatures, Shaw portrays a sensational scene of erotic hedonism, with an array of vibrantly painted flora and fauna, and a scene inhabited by figures such as phallus-headed birds, bug-eyed butterfly catchers, reptilian warriors, and monkeys holding parasols.

In both Shaw’s paintings and sculptures alike, he creates narratives that are multifaceted, and disrupt the harmony of the linear perspective. The dualities are everywhere in his work: heaven and hell, eroticism and restraint, transgression and submission, reality and fantasy.

Websiteropac.net/artist/raqib-shaw

 

Contributor: Shanshan Chen

After the Masters

Japanese artist Masaki Yada uses a type of symbolism that is predominantly and usually seen in 17th century Dutch still life paintings to create his original style of art. His own aesthetics can be best described as “dark and cutting edge”. Masaki’s Eastern roots also leave imprints on his work; these influences are evident in the poetic and delicate details of his gorgeous creations. Masaki Yada skillfully uses contemporary techniques to reinterpret masterpieces of the past through his own means, and creates with a thoughtfulness that touches on many modern issues. Neocha recently spoke to Masaki about his dreamlike artwork, his journey as an artist, and his influences along the way.


日本人アーティスト、Masaki Yadaは、独自の美術様式を生み出すため、主に17世紀のオランダの静物画に見られる象徴性を用いています。彼の美学は、「ダークであり最先端」という言葉で最も端的に表現できるでしょう。また、Masakiの東洋のルーツもその作品に痕跡を残しており、その影響は詩的で繊細な細部に明らかな形で伺えます。彼は単に名作を再解釈するのではなく、現代文化に即した技術を駆使して制作しているのです。NeochaはMasakiに、その夢のような作品、アーティストとしての軌跡、そして、これまで彼が受けてきた影響について聞いてみました。

Neocha: Can you tell us about your journey into art?

Masaki: Initially, it was my mother who inspired me to paint. She is a trained painter, but didn’t really pursue a career as an artist. She graduated from an art college 45 years ago in Japan. At the time, it was generally agreed that women were supposed to get a stable job – they weren’t encouraged to become artists. So she had worked as an art teacher for 35 years. However, when I was born she named me Ya Yun in Chinese, which means elegant and artistic, and hoped that I would one day fulfill her dream of becoming a professional artist.


Neocha: アートの世界に足を踏み入れた経緯を教えていただけますか?

Masaki: 最初に絵を描くきっかけとなったのは母でした。母は熟練の画家なのですが、プロの芸術家の道に進んだわけではありませんでした。45年前に日本の美大を卒業した母ですが、当時、女性は安定した職に就くものと考えられていました。芸術家になるよう奨励されることはなかったのです。そのため、母は35年間美術教師を務めました。それでも母は、生まれた私に中国語で優雅で芸術的という意味のYa Yunと名付け、いつか息子がプロのアーティストになることを願ったのです。

Neocha: How was your work influenced by both Eastern and Western culture?

Masaki: I grew up seeing traditional Japanese and Chinese paintings because of my mother. I was exposed to the likes of Itō Jakuchū, Kanō school of painters, and Hasegawa Tōhaku. My mother was trained in a very traditional way in Japan. My first Western idols were Vermeer, Jan Van Eyck, Bruegel and other realist painters from the 16th century. I particularly love the Dutch and Flemish masters from the Dutch Golden age. I like their ethos of trying to break away from the religious constraints, and their eagerness of choosing more democratic themes really interests me. We tend to group old paintings as classical or simply “old”, but back then there were also many different styles, and many new ideas being formed and presented. I also like history paintings that comment on other paintings within the painting. For example, Vermeer’s paintings often does that. A lot of contemporary painters do it as well. I guess we are all fascinated with the idea of engaging in a dialogue with the masters from the past – it’s like how Renaissance painters wanted to engage in a dialogue with ancient Greek artists. My paintings are constantly evolving and are constantly being influenced by my surrounding environment as well as the people around me.


Neocha: 東洋と西洋の文化がどのようにあなたの作品に影響を与えたのでしょう?

Masaki: 母の影響で、日本と中国の伝統絵画を見て育ちました。伊藤若冲や狩野派、また、長谷川等伯といった画家の作品に触れました。母は極めて古典的な日本の手法で絵を学んだのです。私が最初に憧れた西洋の画家は、フェルメール、ヤン・ファン・エイク、ブリューゲル他、16世紀の写実画家でした。中でも、オランダ黄金時代のオランダやフランドルの巨匠らが好きです。宗教的制約から脱却しようとする彼らの気風に共感しますし、より庶民的な主題を選んだ熱意に興味を引かれます。昔の絵画を一様に古典あるいは単に「古い」ものと一括りしてしまうものですが、当時は数多くの画風や新しい画法が編み出され、発表されていました。また、絵画の中で他の絵画について解説する歴史的絵画も好きです。例えば、フェルメールの作品によくあるものです。多くの現代美術の画家も同様です。あたかも、ルネサンスの画家達が古代ギリシャの芸術家達との対話を望んでいたのと同じく、過去の巨匠との対話を通して繋がるという考えに誰もが興味をかき立てられるのではないでしょうか。私の絵は常に進化し、常に自分を取り巻く周囲の環境や人々に影響を受けています。

Neocha: What has been the biggest challenge during your creation process? What do you feel like has been your biggest achievement so far?

Masaki: My biggest challenge has been trying to find the “cross section” of who I am and what the world wants to see from me. If I try to be who I am not, then the discrepancy eventually catches up with me. But if I just make work that is purely self-indulgent, it’s like masturbation. To find the balance between them is an art in itself. The biggest achievement has always been the moment when I see the looks of the collectors who buy my paintings. For me, contributing to the happiness of people through my craft is way more important than any personal accolades. I feel like having the ability to enrich people’s lives through art is the greatest achievement, and I would like to continue doing that.


Neocha: あなたの制作過程において、これまでで最も大きな課題とは何でしたか?また、これまで達成した最大の功績とは何だと思いますか?

Masaki: 私の最大の課題は、自分という存在と人々が見たいと思うものの、いわば「断面図」を探し求めることでした。私が自分ではない者になろうとすると、いずれは食い違いが出てくるはずです。しかし、自己中心的な作品を作るだけなら、それは自慰行為のようなものです。その間でバランスを見い出すもの、それはアートそのものなのです。最大の功績は常に、私の作品を買ってくださるコレクターの様子を伺う瞬間です。私にとって、自分の作品を通して人々の幸せに貢献することは、どんな個人的栄誉より重要なものです。人々の生活を豊かにできると感じることが何よりの功績であり、これからも続けることができればと思っています。

Neocha: Do you think artists have the social responsibility to change the world or even change society?

Masaki: My primary interest lies in the engagement in dialogues with the masters from the past and understanding people at a deep level. But I do believe that art has a power and influence to change the world. For example, in 2003 the U.S. Secretary of State Colin Powell made a public announcement when the U.N. decided to intervene in the regional matters of the Middle East. Behind Colin Powell, a tapestry with the image of Picasso’s Guernica was hung on the wall as if sending out an anti-war statement. The following day that painting was covered up as to not to send out a mixed message. So to some extent, art definitely has power. It can be highly effective when raising awareness of certain issues. But at the same time, art is also powerless. I spend a lot of time in Berlin now, so I see the influx of refugees from the Middle East. Art cannot help them directly. Art cannot give them food, accommodation, means of integration and so forth, but these are things they desperately need. As corny as it sounds, I believe in love and the power of creating positive energy that reduces conflicts amongst people through art. I am trying to do that on a small scale and in my immediate environment rather than trying the change the whole world.


Neocha: アーティストは、世界や社会を変える社会的責任があると思いますか?

Masaki: 私の基本的な関心は、過去の巨匠達と対話して繋がること、そして人々を深く理解することです。それでも、アートには世界を変える力や影響力があると信じています。例を挙げると、2003年に国連が中東の地域問題への介入を決定し、米国務長官のコリン・パウエルが正式発表した時のことです。コリン・パウエルの背後の壁面に、まるで反戦メッセージを送るかのようにピカソのゲルニカのタペストリーが掛けられていたのです。矛盾したメッセージと取られないよう、翌日にあその絵が覆い隠されていました。つまり、確かにアートにはある程度の力があります。ある特定の問題への関心を高めるにあたり、高い効果を及ぼすことがあります。ただ、同時にアートは無力なものでもあります。私はベルリンで過ごすことが多いため、中東からの難民の流入を目の当たりにします。アートで難民を直接救うことはできません。アートは、食べ物、宿泊施設、地域への同化手段といった、難民らが切望するものを何も提供することはできません。陳腐に聞こえるでしょうが、アートを通して、人々の争いを軽減する愛と正のエネルギーを生み出す力を信じています。私は、全世界を変えようというより、自分の周囲の環境内で小規模にそんな変化をもたらすよう努めています。

Neocha: What do you think the aim of art should be?

Masaki: The role of art is to determine the “cross section” of an artist’s self expression and how the world can be a better place through art. It may pertain to provoking thoughts, evoking emotions, and giving a sense in which we feel “alive”. When I was still an art student, I went through a phase where I believed in the role of art as a vehicle to change the world, and my work had a strong sense of socio-political elements. I still think of it as important to some degree, but recently I tend to distance myself from the emotions that I had then. It is because a little while ago I realized that perhaps I was driven by anger and frustration towards society as a whole. But now I understand that everyone is working hard, striving for their own survival, and to some extent, trying to do something good as well. With that realization, I now want to make art with positive emotions and an intent of brightening up people’s lives just like Liang Kai’s, Jan Eyck’s and Vermeer’s paintings did to me when I was as a child. I realized that positive energy, light, and smile can bring to us more good than anger, frustration, conflict and violence. I’ve gotten a bit older so that has made me wiser and more mature, but it does not mean that I deny all the processes that I have gone through thus far. Everything I’ve been through was necessary for me to get to where I am right now. Without experiencing them all, then I would not feel what I feel now. So I’m really thankful.


Neocha: アートの目的はどうあるべきだと思いますか?

Masaki: アートの役割とは、アーティスト自身の表現の断面図とアートによっていかに世界をより良くするかを決めることにあります。それは、思考を刺激すること、感情を喚起すること、また、「生きている」と感じる感覚を与えることと関係するでしょう。私がまだ美術学生だった頃、世界を変える手段としてのアートの役割を信じ、自分の作品が強い社会政治的要素を反映していた時期がありました。今でもある程度までは重要だとは思いますが、最近では当時のそういった感情から自分自身を遠ざける傾向にあります。それは、自分が全体としての社会への怒りや不満に突き動かされていたのかもしれないと少し前に気づいたためです。今では、生き残るために誰もが懸命にもがき、何かしら良いことをしようと努力していることがわかっています。それに気づいた今、かつて子供だった自分を梁楷、ヴァン・エイク、フェルメールの絵が元気にしてくれたように、ポジティブな感情で人々の生活を明るくする目的でアートを作りたいと思っています。正のエネルギーや光、そして笑顔は、怒りや不満、争い、暴力より人々のためになると気づいたのです。少し歳をとった分、賢く成熟したわけですが、だからといって自分がこれまで歩んできた全ての過程を否定するわけではありません。私が経験したことは、今ある自分にとってどれも必要なものでした。過去に経験したことが少しでも欠けていれば、今の感情はなかったわけです。ですから、自分の経緯には感謝しています。

Neocha: How do you handle the balance between creativity and financial incentives?

Masaki: When I think of creativity now, I often think of constraints as well. It is like yin and yang. Particularly now, the more limitations and restrictions I face, the more creative I have to become. In fact, when people face restrictions and complain about the lack of freedom, I see the lack of creativity in them. For me, creativity is the ability to reconfigure unthinkable combinations and ideas that have never been connected before. Creativity is to explore the infinite possibilities of synthesizing different ideas. Splashing paint on canvas is, therefore, not quite creativity for me. True creativity actually involves diligent investigation of the past and deep understanding of the field, and finding a possibility that has never been explored before. True creativity is built on the contradictions. I think creativity and financial incentives can, therefore, be dealt with in proximity. Suffering and struggles should not be too romanticized. But of course, the main motive should be to make great art that moves people in a significant and emotional way.


Neocha: 創造性と金銭的報酬とのバランスをどう処理していますか?

Masaki: 創造性について考える時、制約についてもよく考えます。いわば陰と陽の関係のようなものです。特に今は、制限や制約に直面すればするほど、ますます創造性が問われます。実際、人が制約に直面し、自由のなさを訴える時、そこには創造性の欠如が伺えます。私にとって創造性とは、それまで何の繋がりもなく、思いもよらなかった組み合わせやアイデアを再構成する能力なのです。創造性は、異なるアイデアを合成して限りない可能性を探るものです。ですから、キャンバスに絵の具を飛び散らせることは私にとって創造性ではありません。真の創造性は、過去についての飽くなき探求とその分野の深い理解力、そして、それまで開拓されなかった可能性を見つけ出すことです。真の創造性は、矛盾の上に成り立つものです。そのため、創造性と金銭的報酬は近接して対処することができると思います。生活のため葛藤することはあまり美化されるべきではないでしょう。ただ、もちろん最も重要な動機は、人々の感情に強く訴える優れた芸術を生み出すことです。

Websitemasakiyada.org

 

Contributor: Shanshan Chen
Images Courtesy of Masaki Yada

 

 


ウェブサイトmasakiyada.org

 

寄稿者: Shanshan Chen
Images Courtesy of Masaki Yada

Cao Fei’s Multimedia Art

Guangzhou-born artist Cao Fei uses her art as a medium to discuss life, culture, and societal issues. Being amongst the first generation of artists to grow up after China’s reform and opening up to the world, her aesthetics and creation process have been influenced by both Eastern and Western culture. Cao Fei’s frequent participation in the Venice Biennales, and her impressive body of work has led to her being known as one of the most influential young artists in China. Her video installation Whose Utopia? is part of Tate Modern’s collection in London. She also spent three years working on RMB City, a virtual city completely built in the online game Second Life; an entire chapter in the book Art Since 1900 is even devoted to the project. Neocha recently chatted with Cao Fei about her philosophy in art and in life.


来自广州的艺术家曹斐用影像探讨生活、文化和社会现象。她是出生在中国改革开放后的第一代艺术家,审美和创作深受国际化后中国社会和文化影响。曹斐多次参与威尼斯双年展,是中国近年来最有影响力的青年艺术家之一。她记录工厂生活的视频装置《谁的乌托邦?》收入英国伦敦泰特当代艺术馆馆藏,耗时三年有余建造的数字虚拟城市《RMB City》被收入《1900年以来的艺术》一书。新茶和曹斐聊了聊她的创作哲学。

Neocha: Your work has been shown in both art galleries and cinemas. Sometimes they are called experimental films, sometimes video art. How do you feel about the difference between the two experiences?

Cao Fei: Being in a cinema is about “immersion”, which means the experience revolves around focusing on the film. When the doors are closed, the audience has to finish the film within an allocated period of time without interruption. It allows the audience to experience everything in its entirety – whether they like or dislike the film, people are more compelled to stay in the room and watch. In cinemas, I expect the audience to watch the entire film. However, in galleries and museums, the videos are shown in spaces that are open to the public on a loop – so it’s a matter of “fate” if the audience even sees the film. Distractions are another issue for galleries since people are constantly moving about. I don’t mind a bunch of people walking around to view art installations, performances, or paintings. But nowadays, video art has become a “fluid art form”; if I had to choose I would have my videos in open galleries. I want the audience to have different ways of viewing my work and allow my films the chance to reach more people.


Neocha: 你的作品游刃于艺术馆和电影院之间,有时是实验电影,有时是视频艺术。其中的经历有什么不同?

曹斐: 电影院更多是关于 “倾注”,对观影的独占,即在电影院“关上门”的前提下,迫使观众在影片全长度时间内观看完毕,期间没有任何干扰,让观众体验完整的信息传达,无论过程中厌恶还是嫌弃沉闷都难以离场。在电影院内,我希望观众看完整部作品。而美术馆、双年展通常是在开放式的展览场地进行循环播映,观众和影像的相遇相随相知靠的是“缘分”,观众受到往来观众的干扰是存在的。我不介意一堆人来来往往在展场各自观看一个装置、表演、绘画,但当录像艺术变成“流动”的艺术品的今天,我的选择是“开放的”,就是给予观众体验不同的观影方式,也是给予影片更多的与人相遇的机会。

Neocha: Many of your works, such as I, Mirror and La Town, discuss the relationship and communication between cultures and countries. What’s your most direct impression of the cultural differences between the East and the West, and how do you get your inspirations from both?

Cao Fei: The cores of Eastern and Western cultures are religions and traditions, and it’s these things that pulls the two different cultures towards each other. As for whether a piece of work is “Western” or “Eastern,” many artists of the new generation don’t see it so black-and-white; because if you look at the East from a Western point of view, you’d expect something “Eastern”. My vision and aesthetics are a mixture of post-modern cultures. It’s a combination of the different cultures that poured into China after globalization and me being exposed to so many different cultures in this modern age of interconnectivity.


Neocha: 你的很多作品包括《I, Mirror》和《La Town》都讨论到不同的文化和国度之间的关系和交流。你在工作中对中西文化差别最直观的感受在哪里,是否从中汲取灵感?

曹斐: 东西文化背后延续的信仰与传统内核,它会成为东西文化中相互吸引的核心。关于讨论作品的中式或西化,在很多新代际的艺术家中已经消弭,因为通常在西方的角度看东方,会惯性期待“东方性”。我的视觉与审美,美学教育和文化营养大部分是后现代的混杂,自即全球化之初前互联网时代的各种文化进入中国后的大融汇。

Neocha: At which stage of the creation process do you say: “Yes, this is exactly what I want to make”? Do you dive in from there or do you simply start working and see how it turns out? For example, in the making of San Yuan Li, you used multiple cameras and you edited the film yourself. Did you finish the filming first and began editing, or did you work back and forth between shooting and editing? How about some of your bigger projects such as La Town?

Cao Fei: There was no script for La Town, and it was the same for many of the shots in the I, Mirror and RMB City series. I usually just begin with a fairly vague idea and make storyboards in my head. The concept only gets refined after it’s been shot. Even as a child, I liked starting with a small and simple idea, then slowly flesh out the entire concept. The back-and-forth shooting and editing happens commonly in my productions. After locking in a set theme for San Yuan Li, the six or seven of us scattered and shot in different locations. We’d regroup from time to time to check the footage and discuss what we wanted to shoot next, which direction we wanted to go in, and what needed to be adjusted. Many of my projects are a combination of spontaneity, flexibility, pre-production, and post-production. My projects are like sponges; they absorb everything as they come without discriminating. There is also a lot of flexibility and my projects have been able to adapt easily to unforeseen issues. Many people consider I, Mirror to be an animated film, but in reality it’s a documentary. The Second Life online game already existed, and every virtual avatar is controlled by a real person. I created a character named “China Tracy,” travelled this virtual world for half a year, and simply recorded the journey.


Neocha: 在创作的过程中,哪个阶段会说“对,这就是我想做的主题/形式”,然后投入去做,还是会先做起来再看结果会是怎么呈现的?比如在拍《三元里》的时候,有这么多的摄像机,你又亲自做剪辑,是否全部拍完之后再后期,还是会有来来回回补充拍摄的过程?再像《La Town》这样比较大型的项目呢?

曹斐:《La Town》没有剧本,《I,Mirror》、 《RMB City》项目里很多影像作品也没有。通常我大概有个方向,分镜头都在脑子里,拍出来其实才是具象的勾画。我自小的特点是喜欢从一个局部入手,然后勾勒出全貌。来来回回补充拍摄肯定经常有,《三元里》有了题旨以后,我们六、七个人分散在不同街道拍摄,不定期聚会大家一起看素材,讨论接下来再拍点什么,哪些方向内容需要继续发展或调整。我很多项目是结合随性随机与前期规划,也有后规划。可以像海绵一样肆意吸收,也需要现场的机动应变与临时发挥的紧急感。对于《I, Mirror》,很多人以为我做了动画片,但是其实是纪录片,因为“第二人生”这个平台已经存在了。每个化身后面都是一个真实的人在操控。我创作了“China Tracy”这个角色在平台里环游世界半年,记录了这个过程。

Neocha: Most of your work uses music instead of narration; however, in La Town you used long narration. What led to this choice?

Cao Fei: Music has the narrative function in most of my works. La Town uses the new wave French film Hiroshima, My Love as a reference. The video was realistic, so I needed an alien language and alien expressions to use in a conversation in order to dilute the “realism”. I wanted to create a contrast between the imagery and the text, and have the audience think about the different layers of meaning outside of the actual video. Out of all the musicians I’ve worked with, Dickson Dee is one of the few that fully understands the kind of music that I want. We worked together for La Town, Chain Reaction, and San Yuan Li. He’s an “artist of sound” and not just a common musician. The way that we worked together was I would first cut a rough draft, send it to him, and then we’d discuss the vibes or mood I wanted in this part, then what I expected to have in the next part. We’re constantly discussing and fleshing everything out. After he sends the music to me, I’ll tinker with everything to see how it all fits together.


Neocha: 你的许多作品都是用了非常棒的音乐音效,而不用人物念白,在《La Town》中用了大篇幅的对话。这是基于什么考虑?

曹斐: 对于大部分我的作品,音乐承担了旁白的功能。《La Town》参考和套用了新浪潮电影《广岛之恋》的法语对白,《La Town》影像上是写实主义的,因此需要一些外来的语言、语意,用对话的氛围把画面传达的“实”给稀释掉,以生产某种图像和文本相互之间差异性的对照,从而将观众思绪引到画面以外更多的层次当中。Dickson Dee是我合作音乐家里很懂得导演或我本人要的音乐强度的。一起合作的作品有《La Town》,《Chain Reaction》和《三元里》。他是声音艺术家,不是普遍意义上的作曲家。我们合作是我先剪一个大概给他看,我和他讨论,第一部分我要怎么样的一个状态,第二部分是怎样的。这些需要不断交流,然后他再做一版音乐给我,我再调试。

Neocha: Do you feel like your artistic pursuits and commercial works conflict with one another?

Cao Fei: Each project is different. I’ve participated in many public art projects. For example, I worked on the Lejiu Tuxin project that involved light installations on Hong Kong’s tallest building, the International Commerce Centre. All of Hong Kong could see my art on this landmark; the audience could even listen to the accompanying music on their iPhones. At the Hong Kong M+ Museum’s inflation exhibition in 2013, I made a huge inflatable sculpture in the shape of a roasted piglet (a traditional sacrifice in southern China), and the audience could walk into its body. I would see entire families queue to see the artwork on weekends. For me, there really isn’t much conflict between creating personal artistic work and commercial work.


Neocha: 艺术创作和追求商业价值会有冲突吗?

曹斐: 不同项目诉求不同,我参与不少公共艺术项目,比如2015香港最高的大楼ICC环球贸易大厦灯光艺术项目《乐旧∙图新》,全港人都能看到我的影像作品出现在其地标建筑上。观众在现场可以通过苹果手机听到伴奏的音乐。2013香港M+美术馆九龙充气展,我制作了一头巨大的观众能进入其体内的充气式烧猪(烧猪是南方祭祀用的食品),假日时一家大小男女老少排队入内参观。艺术创作和追求商业价值的冲突是想像与对立出来了。

Neocha: Many of your works are related to living spaces, and can be quite philosophical. Do you think artists bear the responsibility to change the world for others and for society?

Cao Fei: Chinese artists simply cannot escape the topic of politics. I was born in Guangzhou. In the 1980s, a lot of western culture, pop culture, and Cantonese TV and films were available in the region. Guangzhou is far from the city centre, so artists there seemed to be more playful with their work. Even though they would discuss politics, they used humor to do it. Art is to surpass the sense of political correctness and to break through the limit of the things we thought we’ve known. Art should transcend the status quo, standards, and correctness. The greatest reward is making an amazing piece of art and having the opportunity to share it with everybody in the world.


Neocha: 你的许多作品都和生存空间有关,会对生活有深层次的哲学思考。你觉得艺术家有改变世界、他人社会责任吗?

曹斐: 中国的艺术家逃不出政治这个问题。我出生在广州,80年代初很多西方文化、流行文化、香港影剧涌入。广州又离中心很远,所以广州的艺术家作品很玩味儿,即使讨论政治也是用幽默的方式。艺术,更多是要超越社会要求的“正确性”,打破既定事物的认知边界,去常识、标准化,正确性。做出好作品能与世人分享,就是最高的馈赠。

Website: caofei.com

 

Contributor: Shanshan Chen
Images Courtesy of Cao Fei & Vitamin Creative Space


网站: caofei.com

 

供稿人: Shanshan Chen
图片由曹斐与Vitamin Creative Space提供

On the Road with Kenzo Ejiri

Kenzo Ejiri is a Japanese-Australian photographer, graphic designer and architect. He is currently a designer by profession, but his passion for photography has led him to become the award-winning photographer he is today. In 2015, Kenzo’s portrait entitled My Father and Mother, part of the series Tokyo Revisited, was included in the Taylor Wessing Photographic Portrait Prize at London’s National Portrait Gallery, one of the country’s high-profile photography prizes. He recently spoke with us about his prolific career as a photographer.


ケンゾー・エジリ氏は、日系オーストラリア人の写真家であり、グラフィックデザイナーであり、 建築家でもあります。多文化の家庭で育ったエジリ氏の受け持つ分野も多様です。エジリ氏の職 業はデザイナーであり、娯楽として行う写真撮影は、受賞歴があります。2015 年、Tokyo Revisited シリーズの一部であるエジリ氏の肖像写真「My Father and Mother」は、ロンドンナシ ョナルポートレートギャラリーのイギリス有数の写真賞である、テイラー・ウェッシング・ポー トレート写真賞(Taylor Wessing Photographic Portrait Prize)受賞作品の一つとなりました。最近、写真家としての豊富なキャリアについて、エジリ氏に話してもらいました。

Neocha: You work across several different disciplines, from web and application design to photography and architecture. How did you get started with these different disciplines along the way?

Kenzo: I think it’s down to me being a “grass is greener” kind of person, meaning I have a short attention span. I like to continuously learn new things without ever really knowing what I want to be in the long run. I have a good feeling that I will always be like this. I don’t mind bouncing between different disciplines. I knew from relatively early on that I wanted to be doing something design related or just something in the creative field. So while I was in university, I thought that I would choose a subject which would allow flexibility, something in creativity, design, or architecture. I knew that if I trained as an architect, I would be able to go into other creative fields if I wanted to change my mind. It also helps that both my parents are architects.


Neocha: あなたの作品は、ウェブ・アプリケーションのデザイン、写真、そして建築というように、いくつかの分野にわたっています。異なる分野を習得した経緯をお聞かせください?

Kenzo: それは、自分自身に理由があります。私は、「他人のものが何でもよく見える」と思うタイプの人間であり、注意力が持続する期間が短いのです。長続きするかどうかあまりわからずに新しいことを学び続けることが好きです。新しいことを絶え間なく学ぶことは、心地よいことです。キ ャリアの比較的初期から、デザイン的なことや、単に創造的なことをしたくなるだろうと思って おり、大学では創造やデザインでかなり柔軟になれる建築を選ぶだろうと考えてはいましたが、 異なる分野をあれこれと試すことを厭いません。建築家としての訓練を受ければ、気が変わると 他のクリエイティブな分野に転向するだろうということは、わかっていました。また、両親が建 築家であったことも助かりました。

Neocha: How do you describe the importance of all those disciplines for you as an artist? For example, how do you differentiate what you do for the sake of art and what you do toward developing your career?

Kenzo: To be honest, I like to keep them separate. I’ve never really focused on photography as a career role because I didn’t want to taint it or rely on it. As soon as there’s pressure or a goal with photography, it can be easy to start to not enjoy it, so I’ve always kept it as my hobby that I can resort to and enjoy. I design for my career and take photos for enjoyment or as you said for “the sake of art”.


Neocha: 芸術家として、これら全ての分野の重要性について述べていただけますか?例えば、芸術のための仕事と、どちらかというとキャリアのための仕事をどう区別しますか?

Kenzo: 率直に言うと、自分はそれぞれを別々のことにしておく方です。写真撮影に染まることや、そ れを頼ることはしたくはないので、職業の役割として写真撮影に集中したことは全くありませ ん。写真撮影は、プレッシャーや目標ができるとすぐに楽しいものではなくなってしまうことで しょう。このため、写真は常に趣味の一つとして楽しんでいます。したがって、デザインはキャ リアのために行い、写真は楽しみのため、先ほどおっしゃった「芸術のため」に撮影していま す。

Neocha: You like traveling – what does the term “on the road” mean to you?

Kenzo: On the road to me means a good thing. It means travelling without really knowing or minding where you’ll end up. I did this around China and through Tibet, hitchhiking and going wherever the car, bus, bike would go.

I take pictures of places that I get inspired by, Tokyo definitely has a certain appeal that come across well in photos. A lot of it is down to the simple fact that I travel there every year to see family. If I travel anywhere, I’ll probably be taking pictures. If I’ve never been somewhere before that’s when I take the most pictures, like a true tourist.


Neocha: 旅行がお好きですよね。「旅に出る」とはあなたにどのような意味があるのでしょうか?

Kenzo: 旅に出ることは、良いことです。つまり、目的地を把握したり考えたりせずに、旅行をするこ とです。中国のあちこちやチベットの至るところでヒッチハイクや車、バス、自転車で行き先を 気にせずに、旅行をしました。

インスピレーションを受けた場所で写真を撮ります。東京は、写真を上手く撮れるような特定の 魅力があることは確かです。こうしたことの多くは、ただ私が毎年家族に会うために東京を訪れ るという単純なことが理由です。どこへでも旅行をするとしても、きっと写真を撮っているでしょう。初めて訪れる場所にいたとしても、その時は、まさしく旅行者のようにほとんどの写真を 撮影するでしょう。

Neocha: How people usually react to your camera in a strange place?

Kenzo: I get the same reaction anywhere I take photos. I try not to invade people’s space or privacy, but it’s all relative to the person you’re taking a picture of. So I wouldn’t say there’s any difference. Of course, the more touristy a city or place is, the harder it is to take photos. I guess all the locals are kind of tired of having their photo taken. This was definitely the case in Morocco. Most of the time wherever I take photos I can get away with taking the photo by giving them a big smile. But it doesn’t work every time.


Neocha: 変な場所であなたのカメラを向けられる人達は、普通どう反応しますか?

Kenzo: どこで写真を撮る時も、反応は同じです。他の人達の心理的縄張りやプライバシーに踏み込も うとはしませんが、反応は全て被写体となる人によるので、反応が違うとは言えないと思いま す。もちろん、街や場所が観光地化されるほど、地元の人達は皆、写真を撮られることに少々う んざりしていると思うので、写真を撮るのは難しくなります。疑いなく、モロッコは、そういう ところでした。どこで撮影しても、ほとんどの場合、笑顔をすれば写真をただで撮らせてもらう ことはできますが、毎回それが可能ではありません。

Neocha: What’s your most memorable experience of confrontation between you and your subjects?

Kenzo: The most confrontational time was when I was taking pictures of the London riots that took place in the summer of 2011. I remember being surrounded, and I managed to talk my way out of a situation by deleting a lot of my photos, as people were worried I would report them to the police. I still managed to get some good shots, but I was a lot younger and more naive then.


Neocha: あなたと被写体の間での最も記憶に残っている対立は何でしたか?

Kenzo: 最も対立したのは、2011 年夏に起きたロンドンの暴動を撮影していた時でした。人々は警察に 通報されることを懸念しており、私は囲まれ、多くの写真を削除して、何とか話してその場を逃 れたことを覚えています。それでも、良く撮れた写真を何枚か得ることはできましたが、その 頃、私は今よりずっと若くナイーブでした。

Neocha: Have you ever felt in-between cultures and how do you handle it? How do you interpret this feeling in your work?

Kenzo: I always feel in-between cultures but I’ve never seen it as a bad thing. I’m half Australian and half Japanese, and the way I see it is I’m getting the best of both worlds and perspectives. It’s a key thing in my photography, I like to take pictures of things that are very different to what I’m used to and I try to make it interesting with little tricks. The tricks could be with lighting, or where I put my subjects. All in all, what I’m technically doing with my photos is reflecting what I am already seeing – which is something different. I try to avoid taking the photo that everyone else is taking or has taken. That’s always something that I’ve done and my friends encourages me and tells me I have to be different. Sometimes that’s a good thing, sometimes it’s a bad thing.


Neocha: 異文化の間にいると感じたことはありますか?また、そうしたことをどう扱いますか?仕事で そのような感覚をどう捉えますか?

Kenzo: 文化の間にいるということは、常に感じていますが、それをネガティブにとらえたことは一切 ありません。私は半分オーストラリア人で半分日本人であるので、そうした生き方を常にしてき ました。しかし、双方の世界または視点の最も良いところを持っているという見方をしていま す。それは、私の写真撮影における重要な点です。これまで慣れ親しんだこととかなり異なる物 の撮影をすることが好きで、ちょっとしたトリックを使い面白く見えるように撮るのです。その トリックとは、光や被写体の置き方かもしれません。技術的に言えば、私が写真で行っている全 ては、どこか他とは異なった自分が既に見ていることを反映させることです。他の誰もが撮影し ている写真や、既に撮影した写真の撮影は避けようとします。これは、私がこれまで行ってきた ことであり、友達が指摘することです。他と違うように撮影しなければならないのです。それは 時により良いことであったり、悪いことであったりします。

Websitekenzokenzo.com


Contributor: Shanshan Chen


ウェブサイトkenzokenzo.com


寄稿者: Shanshan Chen