All posts by yixuan

The Art of Censorship 《被审查》的女郎

May 4, 2018 2018年5月4日

During the 1960s and 1970s, Thailand was a thoroughly conservative place. In the West, sexual liberation had prompted a reexamination of values and views on sexual orientation, premarital sex, birth control, abortion, and expressions of desire, gradually freeing people from the fetters of antiquated thinking. But that wave of open-mindedness didn’t make its way east until later, and in Thailand any hint of sexuality was still viewed as dirty, obscene, and immoral.

At the time, a censorship law banned nudity—which after all tends to make people think of sex—in all public media, whether in print, on television, in film, or in art. Parts of this law remain in place today, and nude images in Thailand are still subject to strict controls.


六、七零年代的泰国,是一个极端保守的地方。尽管当时风靡西方的性解放运动(上世纪 60 年代从美国发起的社会运动,针对性欲的表达、性向、婚前性行为、避孕行为、堕胎……种种性价值观进行重新检讨)正把人民一步一步从守旧的思想地狱解救出来,在这波开明的理念东传之前,泰国依然处在一个任何有关性爱的联想,都被看作肮脏、淫秽、伤风败俗的年代。

比如裸露的身体容易让人想到性,所以当时泰国有这么一条法律,规定裸体必须接受审查,禁止在任何公开的传播管道上出现,印刷品、电视电影、艺术品都不行。这条法律一部分甚至沿用至今,所以在现今的泰国,裸体的影像依然受到严格控管。

That’s not to say there was no private demand for such images in the 1960s and 1970s. The popular erotic magazine Siam’s Guy is emblematic of the times. Like any erotic magazine worthy of the name, it contained all kinds of titillating photos, but given the government censorship, it couldn’t publish images with full nudity. Far from giving in, the editors took censorship as an opportunity to test their creativity: they let their imaginations run wild, playfully covering nipples and private parts in flowers, butterflies, blooming geometric forms, and other indistinct shapes. The images, which almost never appear twice, practically upstage the women themselves, becoming the magazine’s most conspicuous feature.


但是人们私底下寻欢作乐的时候不是没有这个需求——比如红极一时的情色杂志《Siam’s Guy》,它可是当年标志性的刊物。作为一本堂堂正正的情色杂志,里面可见各种性感的裸体照。但由于受到政府审查的限制,裸体照又不能大方的直接刊登。

可杂志编辑并没有因此打退堂鼓,反而心想“这是一个发挥创意的好机会”。于是他们异想天开,玩了起来,画出各种几乎不会重复的简笔画,比如绽放的几何形状、花和蝴蝶,或是你认不出来的有趣图形,覆盖在乳头和生殖器官上。这些图案抢尽了裸体女郎的风采,甚至成为杂志中最抢眼的部分 。

Tiane Doan Na Champassak, a French photographer who collects old photographs and magazines, stumbled across early issues of Siam’s Guy at a Bangkok flea market. The find set him on a journey to collect Thailand’s pornographic magazines, some five hundred of which now sit piled on his bookshelves. Eventually, he realized he had an encyclopedic collection of erotic censorship, so he scanned all the images and published them as a book titled Censored. “I was first drawn to the very sophisticated design,” he says. “In the 1970s many different erotic magazines were released, but none came close to the originality and quality of Siam’s Guy.”


有一位喜欢收藏各种老照片和旧杂志的摄影师的法国摄影师 Tiane Doan Na Champassak,一次偶然在曼谷的跳蚤市场上发现了早期的《Siam’s Guy》,从此开启了一段搜集早期泰国色情杂志的漫长旅程。在他的书柜里,堆叠了超过五百本这样的色情杂志。直到后来他意识到自己对于“情色审查”这个主题,已经拥有如百科全书一般的影像资料库。

于是,他把这些幽默的图像全都扫描整理成册,成为了共有六册的图集《Censored》(《被审查》)。Tiane Doan 说:“我想我最受这些杂志吸引的地方是它精致的设计。即使后来有更多色情杂志出现在市面上,但无论是质量上、原创性或创意上,都比不上早期像《Siam’s Guy》这样的杂志。”

Censored contains over four thousand of these photographs. “I find it amazing that all models posed completely naked in front of the camera later to be ‘covered’ so creatively,” says Champassak. “In some photos, it’s clear it would have been easier for them to pose in bikinis.” That way they could have complied with the censorship rules, and the results would have been more or less the same. But that’s exactly what they didn’t want to do—they wanted to be playful.


在《Censored》里,总共收录了四千张以上这样子的照片。有趣的是,这些裸身女子在镜头前摆出撩人的姿势,之后又必须想尽办法“遮盖”起来。 “杂志编辑不是有更轻松的方法吗?比如让模特儿穿上比基尼,或是避开特写的镜头——可以符合审查的规范,效果其实也差不多。但他们偏偏不要,他们就是要这样玩。”

Today, nearly half a century after the height of erotic censorship, nudity still hasn’t shed its negative associations: it’s often labeled pornographic, brazen, or even depraved, a view Champassak rejects as unnatural, unnecessary overinterpretation. “As for comparing the past and the present, not much has changed. Hypocrisy is still high,” he says. “Our societies are becoming more and more prude, and at the same time tolerating violence as if it were natural. What is natural is the body we were born with.”

Censored is now available for purchase on RVB Books.


时至今日,即使距离情色审查的年代已经过了近半世纪之久,裸露这个概念的负面形象尚未褪去,它依然容易被贴上腥膻色情、大胆、甚至荒淫的标签。这些看在 Tiane 的眼里,全部都是不自然、而且不必要的过度解释。 “我认为即使过了这么久,事情依然没有改善。社会上伪善的人还是很多,他们嚷嚷着裸体多么破坏风气,却对传播着更多暴力的东西视而不见。裸体不应该被当作禁忌,它不就是人的身体而已吗?”

《Censored》现已于RVB Books发售

Websitewww.champassak.com

 

Contributor: Yang Yixuan


网站www.champassak.com

 

供稿人: Yang Yixuan

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Showing Their Colors 我就是我

May 2, 2018 2018年5月2日

In India, one of the minority of countries where homosexuality is illegal, the LGBTQ community continues to face discrimination and hardship on a daily basis. A decade ago, in an even more conservative environment, with fewer places to voice their frustration, many queer people would go online in search of someone who shared their experiences. For them, perhaps the greatest source of support was simply being understood.


印度仍是世界上少数把同性关系列为非法行为的国家,生活在这里的 LGBTQ(女同性恋、男同性恋、双性恋、变性者等“性别酷儿”人群)日常也充满着歧视和困境。时间往前推溯十年,在民风更是保守的当时,身为社会少数人群的他们,痛苦没法对谁诉说,也许只能上网去寻找一个与自己拥有同样遭遇的陌生人。他们最有力的支持来源,无外乎“能被理解”。

Founded in 2008, Gaysi Family is India’s largest online queer forum. It’s a digital space where the gay desi community can express themselves however they like. (“Desi” is a term for the inhabitants and diaspora of India, Pakistan, and Bangladesh, and the website’s name is a play on “gay desi.”) The site boasts a variety of contributions from the queer community, including personal stories, works of fiction, poems, songs, illustrations, and comics.

“The purpose of Gaysi is to let you know you’re not the only one,” says MJ, one of the founders, who is openly lesbian. “The coming out process is never easy because who you come out to is not just one person. Sometimes it’s your whole family or the entire society. And the fact that you know you have company can be very helpful.”

In 2013, they launched a new endeavor: Gaysi Zine, a print publication that portrays LGBTQ life through a meticulously curated round-up of stories and visuals, with a larger dose of art.


Gaysi Family 2008 年创立,作为印度最大的线上同志论坛,欢迎所有来自德西desi,即生活在南亚次大陆上的印度裔和拥有相同文化意识)且拥有同志身份认知的人,来到这自由地说出任何想说的话,因此酷儿人群各种形式的投稿作品,从亲身经历、小说、诗歌、插画、漫画都广见于网站上。

“Gaysi 的目的就是要让你知道你不是唯一。出柜无论对谁来说都很困难,因为你出柜的对象往往不是一个人,而是家庭、甚至整个社会。知道有人与你站在一起,会有很大的帮助。创办人之一 MJ 说,她同时也是一名公开出柜的同性恋者。

到了 2013 年,他们有了新的尝试——发行《Gaysi Zine》,一本文字与图像创作的合集,增添更多艺术成分去描绘 LGBTQ 的生活。

With a blend of topical and artistic content, Gaysi Zine is currently gearing up to publish issue six. The magazine is an extension of Gaysi Family’s ongoing mission to provide an open and inclusive space for the queer community. As before, 80% of every issue’s art and stories come from the region, and by using a style with bold, commanding visuals, Gaysi Zine lets readers leap over the language barrier and experience queer life in an accessible way.


作为一本兼具议题和艺术性的杂志,《Gaysi Zine》即将发行第六期,它沿袭着 Gaysi Family 的主旨,致力于提供酷儿人群一个公开、包容的空间。并且和往常一样,它有 80% 的内容都由住在印度地区的 LGBTQ 人群提供。其沟通方式具有强烈的视觉风格,让人能跳脱语言分界,直接体会酷儿的感受和情绪。

“Stories on the website are shared in black and white of words. But color is the essence of queers,” says Priya Gangwani, one of the magazine’s editors. “Images can capture our life much more precisely.”

Gangwani recalls how hard it used to be to find LGBTQ information in India. Before she discovered Gaysi, she thought she was the only one to have such “abnormal” thoughts about people of the same sex. As she’s gone from reader to regular contributor to editor, she’s witnessed to the country’s shift away from the repressive times of the past to the more progressive attitude of today, when queer visibility is gradually growing in India’s mainstream media.  With Gaysi at the lead, these shifts are changing the face of India’s queer community.


网站上的故事毕竟是由黑与白的文字被分享的,但酷儿的世界是缤纷、充满多样的色彩,图像更可以捕捉我们的生命精随。作为《Gaysi Zine》的编辑之一,Priya Gangwani 和我们分享道。

回想起自己在发现 Gaysi 之前,因为社会上资讯极度的不流通,Priya 还以为自己是全印度唯一对同性抱有异常遐想的人。从发现 Gaysi 到成为固定撰稿人,再到如今成为其编辑,Priya 仿佛见证了从那样压抑的年代走到现在,同志议题在印度主流媒体的能见度逐渐提升的过程。而由 Gaysi 所引导的力量,也正渐渐改变着印度酷儿族群的样貌。

Gaysi Zine – Issue #5 is now available on the Neocha Shop in limited supply.

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

 

Product Details:

  • Year of Publication: 2017
  • Number of Pages: 156 (including front and back cover)
  • Size: 21.5 x 28 cm
  • Price: $30 USD

Gaysi Zine》第五期现已于 Neocha商店限量发售。

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

 

详情

  • 出版年份:2017
  • 页数:156 (包括封面和封底)
  • 尺寸: 21.5 x 28 厘米
  • 价格: ¥190 RMB

/**/


《Gaysi Zine》第五期

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Website: www.gaysifamily.com
Instagram: @gaysifamily

 

Contributor: Yang Yixuan


网站www.gaysifamily.com
Instagram: @gaysifamily

 

供稿人: Yang Yixuan

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Shedding Labels with 9m88 90后的老灵魂歌手9m88

April 27, 2018 2018年4月27日

With a head full of curly hair and an oversized coat, 9m88 is a jazz singer who has risen to fame in the Taiwanese music scene in recent times. Her fashion sense often radiates a stylish retro vibe, sprinkled with offbeat, comical touches in the detail. From head to toe, the way she dresses is reminiscent of someone from straight out of an 80s discotheque. Her unique, idiosyncratic style is what’s most striking about her, after her voice.

9m88’s unexpected rise to fame came about following a successful collaboration with rapper Leo Wang on “Weekends with You.” She has a deep, sultry, alluring sound, the kind that feels more fitting for the age of cassette tapes than our Spotify generation. With nothing to go on but a voice alone, it’d be easy to attribute her voice to a soul singer with a few decades under her belt. But in reality, 9m88 is a millennial whose music career is just taking off.


一头卷发,穿着过大的宽松外套,仿佛刚从八零年代复古歌厅走出来的个性女孩,她是台湾当今音乐界最受瞩目的爵士女声 9m88。她全身上下散发一股时髦的复古气息,有时候再加点搞怪的戏谑成分。这种别人模仿不来的独特风格,是这位歌手除了歌声之外,让人印象最深刻的标记。

因为一首和说唱歌手 Leo 王合唱的《陪你过假日》,大家像着了迷似的开始追踪这个魅力十足的嗓音,关于 9m88 的好奇一一浮现。歌声是磁性、低沉而且迷人,是适合存在在卡带里的那种悠扬。如果没有见过她本人,光听声音,脑中想像的是一位已经唱了十年多载的老灵魂歌手。但 9m88 不过是 90后,音乐生涯刚刚起步而已。

My name is 9m, sounds like Joanne

 

Perhaps like me, you were mystified the first time you saw the name 9m88 – it almost looks like the name of a radio station. In reality, 9m (“jiu em”) is an approximation the English name Joanne, while 88 (“ba ba”) comes from her childhood nickname, Xiaoba.

Ever since she was a child, 9m88 dreamed of becoming a star, she confesses with a laugh. And that always meant through music. She often had intricate fantasies about being on stage with backup dancers performing behind her. “At some point, I’ll have to shoot a few music videos with singing and dancing – definitely!” she laughs. “But now that my artistic career is becoming serious, I’m looking at things more from the perspective of 9m88, figuring out what I want to bring to this world as an artist.”


我的名字 9m,是 Joanne 的諧音

 

第一次听说这号人物时,连名字都让人有点摸不着头绪,容易联想到某个广播电台。9m 其实是英文名 Joanne 的谐音,88 则取自中文小名‘小芭’。9m 笑说自己从小就有明星梦,音乐是一直不变的梦想,常常幻想有舞者在后面帮忙伴舞那种大排场的演出。“ 未来拍几支唱跳歌手的 MV 还是必须的!但现在当创作者的使命变大了,我会更以 9m88 的身份去做考量,思考自己作为一个创作者,要带给这个世界的是什么。”

 

 

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While she may not have a group of glamorous backup dancers or tens of thousands of fans at her concerts yet, it doesn’t matter much to her. She just wants to live her life honestly and simply. Even without the resources of a mega-celebrity, she’s still able to create meaningful work when inspiration strikes.

The song “Nine Head Hinano” is a great example of this – it’s a theme song she wrote for a key ring designed by her friends Sid and Geri. The key ring is made up of nine heads, with each representing a different woman. The lyrics describe each woman with a single short line, revealing a little secret about their lives, such as “Joanne sang jazz but didn’t make it, had to work selling juice on the side of the road” (in Taiwan roadside juice stalls are often staffed by attractive women), or “Janet just wanted a little love, went on Tinder but got no likes.”

With this song, the message she hopes to communicate is that people come in different shapes and sizes – there’s not necessarily a one-size-fits-all model. In 9m’s opinion, in a society with an increasingly unified standard of beauty, everyone’s gotten so used to striving for so-called perfection that they’ve forgotten that having flaws is healthy and perfectly normal. It’s an intriguing song that sounds casual but is layered with meaning.


即使没有华丽舞群和万人演唱会,只要诚实、简简单单的过好日子,灵感来时不犹豫的把握住,就算没有大明星级的资源,也一样能做出好的作品。这首《九头身日奈》 是她帮朋友 Sid and Geri 设计的钥匙圈所写的主题曲,钥匙圈上面九个头代表九种女生,歌词里每个女生都只用短短一句话形容,揭幕她们生命中不经掩饰的小秘密。“Joanne 她唱爵士乐却没有红,只好去卖大脚桶”(大脚桶是台湾路边常见的果汁摊贩,店员通常是很漂亮的女生)、或“Janet 只想要一点爱,上 Tinder 却没人 Like”。

人本来就各式各样,不一定只有一种样板,9m 想说的是在这个审美观逐渐趋向一元化的社会里,大家似乎都习惯了朝所谓被认定的‘完美’方向前进,却忘了有缺点其实是一件健康、再正常不过的事情。是一首听起来随意,背后意义却不随意的有趣作品。

I don’t care who wants to be a jazz singer

 

9m went from being a bedroom musician to an artist now under the limelight – after such an abrupt change in status, how does she perceive herself? “I’ve actually never stopped creating, and as a female creator, femininity has long been a concern of mine,” she says. “As for jazz music, that’s just one part of what I’ve studied. Today my main creative focus is searching for the value of being ‘myself.’ It’s hard to say what I’ll want to talk about in a few years.”


爵士女伶谁想当,我都没关系,给你或妳当吧!

 

从一个埋头写歌的女孩,到舞台上迎着众人目光的歌手,面对状态的转换,9m 是如何定位自己? “我其实一直都在创作,身为一个女性创作者,‘女性’ 这个表述本来就长在我身上。至于爵士乐,它就是我学习的一部分而已。目前的创作主轴主要还是放在探索身为 ‘我’ 的价值,很难说过几年后我会想要讨论什么。”

As more and more people are beginning to hear her work, her shows in Taiwan have begun to sell out, and with this success, she’s even scheduled tour dates abroad. It might still be too early to say her childhood musical dreams have come true, but this is definitely a promising beginning. At this point in time, planning for a full-time career as a jazz singer might be jumping the gun. But she says it doesn’t matter where life takes her – what’s important is the music. “I think music is music. It doesn’t need a hard definition. Having a style is good, but the spirit of music is not making distinctions,” she says. “‘Jazz performer’ is a label other people put on me when they were trying to help me out. I just want audiences to get to know 9m88 better. I don’t care who wants to be a jazz singer. None of that matters. The main thing is to do what you like.”


作品被越来越多人听见,在台湾的表演场场完售,还巡演到了海外。说从小的音乐梦实现了,还太早,但这一切依然是个美好的开始。9m88 在音乐界引起了一阵小小的炫风,现在就问未来生涯是严肃了点,对 9m 来说,怎么走无所谓,一切重要的只关乎音乐。“我觉得音乐就是音乐,是不需要硬去定义的。有风格很好,但不分家才是音乐的精神。爵士女伶这个称号是别人为了帮我放一个注解,我只想让观众更认识 9m88。至于爵士女伶谁想当,我没关系,都不重要。给你或妳当吧,人生欢喜就好!”

Facebook: ~/9m88baba
Instagram: @9m88

 

Contributor: Yang Yixuan
Photographer: Xu Anrong


脸书~/9m88baba
Instagram: @9m88

 

供稿人: Yang Yixuan
摄影师: Xu Anrong

 

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Persona 自画像

April 24, 2018 2018年4月24日
Persona -Oct 7, 2015-

Ao Kim Ngân (aka Yatender) is a Vietnamese photographer who enjoys being in front of the lens. She shoots self-portraits that capture her own feminine essence in all of its authenticity, vulnerability, and sensitivity. From peculiar poses alongside household furnishing to drips of menstrual blood dispersing in toilet water, Yatender’s softly lit photos are surreal but intimate. Despite having achieved an aesthetic and style that’s easily recognizable, Yatender humbly tells us, “I actually never think of myself as a ‘photographer,’ as I usually only take photos for myself.”


越南摄影师  Ao Kim Ngân (a.k.a Yatender) 喜欢把镜头对着自己,捕捉自己身为一个女性, 最真实、最脆弱、最敏感的时刻。在柔和的光线中,她拍摄自己摆的奇怪的身体,经血落在马桶里自然散开的红晕、或是和家中一些摆设的互动……透过日常的物件,当然还有她自己,创造一种既亲密又迷离的氛围。尽管早就自成独特的摄影风格,但她说 “我从不觉得我是一个摄影师。因为我拍自己,也只为自己拍照。”

Persona -May, 2015-
Persona -Feb 1, 2017-
Persona -Jul, 2015-

“Before I started photographing myself, I was my first love’s muse for a long time,” she recalls. “After I started to develop a sense for photography and considered creating something with a camera of my own, I felt there was something missing in the process of making photos with others, so I chose to shoot and work with myself. It made sense to me because who else knows how we wish to be captured in front of the camera better than ourselves?”


“在拍摄自己之前,我长期是我初恋的拍摄对象。跟摄影开始建立关系后,我一直觉得与别人之间的合作好像少了什么。于是当我拿起相机,第一个想到的就是拍我自己。这不是很合理吗?因为有谁会比我自己更清楚我想要捕捉的画面呢。”

Persona -Oct 1, 2015-
Persona -Oct 4, 2015-
Persona -Oct 5, 2015-

And thus, the Persona series was born. In the early days of the series, Yatender solely shot with a digital camera. But four months into the project, she picked up her first point-and-shoot film camera and fell in love with the graininess and subdued tones that comes with shooting analog. “I found that there are some limitations with shooting film that really amazed me: the unexpected results, the excitement of waiting for a roll to be developed, the strangeness and unusualness of a ‘bad outcome,’ and so on. It’s these unique qualities that have made me such a huge film lover.”


当《自画像》(《Persona》) 系列刚开始进行时,Yatender 用的是数位相机,四个月后她得到一台底片相机,从此就用底片拍摄。赋予了她作品中这样温柔的色调和特别明显的颗粒感。“我想我喜欢用底片的原因是它的限制——无法预期的结果、和等待它们被冲印出来那种紧张的期待感。最不寻常的惊喜常常都是来自一张‘坏掉’的照片。”

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For Yatender, photography isn’t merely a way for her to capture specific moments of her life. She often doesn’t face the camera in her self-portraits, purposeful avoiding eye contact with viewers. Other times, a movement or lone body part may be the sole focus of a photo. With this approach, she sees her photography as being more of a vessel for her emotions. “This process helps me learn how to accept feelings as a part of our body,” she explains. “To me, the most important thing is being honest with yourself about how you feel – even when you’re hurt or not feeling well. We’re human beings. We’re sensitive and vulnerable creatures, and it’s okay to not always be okay when it comes to dealing with anxiety, stress, or depression.”


Yatender 想透过摄影捕捉的不仅仅止于她某个瞬间当下的样子。很多时候她选择背对镜头,不与我们对视,透过一个肢体动作,她想记录下来的是自己的感受。“情绪也是身体延伸出的一部份。对我来说,最重要的是要对自己的感受诚实——不管你是受伤了、或是感觉不好 。我们都是人类,是敏感、脆弱的生物。并不需要一直假装感觉良好,尤其是当焦虑、压力、忧郁来临的时候。”

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“My life is actually pretty ordinary – sometimes quite boring,” Yatender confesses. “The fact that I only feel alive and driven to take photos when I’m traveling means that I’m often struggling to find inspiration here in Vietnam. It’s hard to stay in one place for too long and still maintain productivity.”

She admits feeling disheartened by the stagnation of Vietnam’s creative environment, believing that the art scene is severely hampered by the country’s authoritarian governance. However, at the same time, she remains optimistic towards the future. It’s limited, underdeveloped – but it is growing – albeit slowly. I truly believe that it will change in time. There are a lot of good opportunities for young artists here to develop themselves and their work.”


“我的生活很平凡,甚至有一点点无聊。我一般都是在旅行路上会获得灵感和特别想拍照,这表示我在越南没办法得到很多刺激。但我想待在同一个地方太久,无论是什么地方,都会有同样的倦怠感。”

谈到越南的艺术创作环境,Yatender 抱著有点灰心、但依然乐观的态度。她认为越南是个被政府控管的社会,艺术产业受到相当程度的限制。“即使现在越南的艺术环境还没完全发展起来,但是已经有在成长了,以一种缓慢的速度。这是我的看法,年轻的艺术家有越来越多机会,我相信情况总有一天会变得更好。”

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Websitecargocollective.com/yatender
Instagram: @yaothemoon

 

Contributor: Yang Yixuan


网站: cargocollective.com/yatender
Instagram: @yaothemoon

 

供稿人: Yang Yixuan

Faceless Portraits by Norris Yim 如果你是一种颜色

April 19, 2018 2018年4月19日

If everyone were a color, which one would you be? Hong Kong-based painter Norris Yim specializes in abstract portraits — unlike most portraits, his have no faces. Looks are not a person’s most important distinguishing feature in his art — which is perhaps to say, looks are not what’s important about a person. He likes to view people through color. “Every work uses different colors. Those abstract pigments represent my current feelings and mood. I use my own mood to get to know and define each person I paint. My mood forms the basis of the work. Even if I painted the same person a hundred times, I’d still get 100 different results.”


如果每个人都是一种颜色,你有想过自己是什么颜色?来自香港的抽象画家 Norris Yim 擅长人像画,但与一般作品不同,他画的人一律没有脸孔。在他的画里,长相不再是区分一个人的重点,或者说,长相根本不是一个人的重点。他喜欢以色彩去观看一个人,“每一幅作品用的颜色都不一样,那团抽象的颜料代表了我当下的感受和情绪,我用自己的心情去认识、和定义画笔下的每一个人,心情就是我的创作依据。 就算是同样的人我画一百次,也会有一百次不一样的结果。”

Painting, for Yim, is purely a means of self-presentation, a process of transforming his observation of others and internalizing it as creative inspiration. “I’m always painting for myself, and what I seek is my own spiritual satisfaction,” he says.“But this satisfaction is often tinged with loneliness.”

While Yim has always enjoyed flexing his creative muscles, he never realized how deep his love for art truly was until college. After this self-revelation, art became an essential part of his life. “In college, I found that painting was the one thing I could concentrate on, the one thing I always wanted to do. At first, I just wanted to take an extra arts course, but when I came into contact with painting, it was like finding my own long-lost soul,” he recalls.“Ever since then, in a very natural way, I feel I have to pick up a brush every day, even if it’s just to tweak a color. That’s how painting became fundamental for me.”


画画对 Norris Yim 而言,是纯粹用来阐述自我的工具,一个从观看他人、内化到创作灵感的转变过程。“我一直都是为了自己在画,求的是个人精神上的满足,心境上甚至是带点孤寂的那种。”从小在香港长大,Norris Yim 说自己一直都喜欢创作,尽管途中迂回了一些,最后依然幸运的走回纯艺术的道路上。 “大学时期发现,画画是唯一能让我专注下来,而且渴望一直去做的事。本来只是想多学一门手艺,一碰触到画笔,就像意外找回自己许久不见的灵魂。从那时候起,很自然地每天都要动动笔,仅管只是调个颜色也好。就这样画画成了我的基本。”

In his Portraits series, some of the subjects are based on real people while others are completely conjured up from the depths of his imagination. Who they are is unimportant, because they exist solely in Yim’s mind. Occasionally, he paints with a specific subject in mind, but even then he’ll often still title the work as Someone or Untitled. He does this to avoid any link to the outside world, and to make the painting solely a tool for recording his mood.

Among his early works are some portraits with distinguishable faces. He moved toward his current approach because he wanted his work to be unconstrained and offer more space for creative freedom. “Looking back at my past pieces, I always think they feel too much like portraits. Anyone can paint a likeness. While the human figure is there, the painter’s soul is missing. I don’t want to limit my own work to someone else’s standards. I’m often asking myself, is my imagination unlimited? This question is the basis of all my art. I want to seek more possibilities in painting and color, more possibilities in myself.”


在人像画《Portraits》系列里,人物有些是真实存在,有些是出自凭空幻想。至于他们是谁,也不太重要,因为这些人都只存在在 Norris Yim 的一刻想像里。即使有时候有明确画的对象,Norris Yim 还是会以《Someone》(《某人》)或《Untitled》(《无题》)来命名,为的是不让以外的事件碰触,让画纯粹作为一个记录自己心情的工具。

其实往前看他早期的作品,也有脸孔还很清楚的人像画。之所以转向现在的表达方式,是因为想脱离那样局限的创作方法,寻找更多发挥空间。“现在回头去看过去的作品,总觉得人像感太重,也就是每一个人都可以画出近似复制的作品,虽然有‘人’的结构,却少了画者本身的‘灵魂’。我不希望以其他人的基准,去限制自己的创作。我常常在想,想像是无限的吗?这句话就是我一切创作的根本吧。我想从画和各种颜色里寻找更多可能,关于自我的可能。”

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Instagram: @norrisyimyn

 

Contributor: Yang Yixuan


Behance: ~/norrisyim
Instagram: @norrisyimyn

 

供稿人: Yang Yixuan

Idiot Comics 两分钟的简单快乐时光

April 17, 2018 2018年4月17日

Prior to meeting her, all I knew about the creator of Idiot Comics was that she was Chinese and went by the nickname Tou Yeye. Her illustrations have a goofy, off-the-wall humor, but in our conversation, she admits to depressive tendencies. “I’m often depressed and sometimes very goofy,” she says. “I like the writing of Yukio Mishima and Tatsuhiko Shibusawa, along with films of Roman Polanski.” These tastes are mirrored in her comics: cheerful but shot through with black and white lines, melancholy but saturated with color, never entirely choosing one side.


一个画漫画的女生叫头爷爷,这个名字大概是在采访之前我对《笨蛋漫画》作家唯一的了解。请她说说自己是个什么样的人,她回答“经常比较抑郁,有时候又很幽默。喜欢三岛由纪夫、涩泽龙彦的文字,也喜欢波兰斯基的电影。”描述跟她的漫画不谋而合,快乐里保留黑白的线条,抑郁里永远有明亮的色彩,从不坚决地选任何一边。

"The philosophy of death."
PICNIC
"I want to kill someone."

When I was a freshman in college, I was extremely introverted and didn’t have many friends,” she recalls. “I read a lot of books by Osamu Dazai, who romanticized the idea of running away from home. Thinking it was a cool idea, I used all of my New Year’s red envelope money to travel to Tibet.”

Tou Yeye’s foray into creating comics began with the conclusion of this trip. She wanted a way to document her travels, as seen through her wild imagination. Her inaugural comic, Yi Chang, chronicles the entirety of her journey through Sichuan.


她的漫画创作始于自己的一段心路经历,“大一的时候曾经离家出走过一段时间,当时我很自闭,身边没什么朋友。天天看太宰治的书,觉得离家出走很酷,就拿着压岁钱独自去了四川藏区。” 之后她想把这次出走画成一个漫画,旅程中所有的细节加上天马行空的想象,就变成了头爷爷的第一个作品《一场》。

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    Swipe to read select works from Idiot Comics Vol. 1

Several characters make frequent appearances throughout Tou Yeye’s comics. The short-haired girl by the name of Weiwei represents the artist herself, the snarky bird is one of her real-life friends, and the rabbit and the dinosaur are friends she dreamed up. Throughout Idiot Comics, these characters can be seen cursing each other out, throwing poop at each other, or falling prey to spilled milk teas.

In a separate series, Nightmare Shop, Weiwei travels to a monochrome world. As she wanders through this colorless realm musing on the meaning of existence, the bird and rabbit can be randomly spotted embedded within the surreal landscapes.


她漫画里的人物常常是固定不变的。常出现的短发女生薇薇,是她自己,鸟是她的好朋友,兔子跟恐龙则是她幻想出来的朋友。他们在她的《笨蛋漫画》里会不小心在地铁里被奶茶泼到,骂一些好笑的脏话,甚至互相丢大便。

但在另一个系列作品《噩梦商店》里,一切艳丽明朗的色彩都褪去了。薇薇、鸟跟兔子去到一个宁静的黑白世界,淡淡地讨论着关于宇宙的终极问题。

After graduating from the Guangzhou Academy of Fine Arts with a degree in printmaking, Tou Yeye left China to study for two years in France. During her time abroad, she became friends with a lot of comics artists, whose bohemian lives seemed ideal. Back in China, she found a very different creative environment. She wants to keep doing what she loves but has to spend most of her time every day on French translations to make ends meet. “I know so many other comics artists who are really impressive, but they all have other jobs, or they’re still in school,” she sighs. “Still I’ve seen that the overall creative atmosphere in China is getting better and better.”

Tou Yeye says she may soon quit freelancing and find a steady job drawing things she might not really love. But Idiot Comics will go on no matter what. It’s a project that gives her and others a few minutes to escape from reality, a moment to enjoy a simple happiness.


头爷爷毕业于广州美术学院版画系,大学毕业以后去了法国游学两年,在法国学习期间,她认识了很多漫画家朋友,他们过着比较理想化的艺术家生活。回国后却发现国内的创作环境不太一样,她想继续画自己喜欢的东西,日常做最多的事反而是法语翻译工作。“我身边一直有很多画漫画特别厉害的人,但他们都有其他工作,或者还是学生。但我感觉到国内的总体创作氛围有越来越好的倾向。”

头爷爷表示接下来也许会结束自由职业状态找一份工作,画一些自己不那么热衷的东西,但笨蛋漫画一定会持续进行下去,给自己跟别人带来两分钟的简单快乐时光。

"Love is shit."

A limited number of Idiot Comics Vol. 1 is now available in the Neocha Shop.


《笨蛋漫画》Vol. 1 现于Neocha商店限量发售。

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


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"Thank you for checking out Idiot Comics. I hope you all turn into idiots! Volume two of Idiot Comics will be out soon. Follow my official WeChat account to learn more. I hate you all!"

Weibo@头爷爷
Douban: ~/tianxiezuo

 

Contributor: Shou Xing


微博: @头爷爷
豆瓣~/tianxiezuo

 

供稿人: Shou Xing

Hanzi 汉字

April 13, 2018 2018年4月13日

 

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Language is the foundation of culture. Fascinated by the relationship between the two, Taiwanese filmmakers Mu-Ming Tsai, Iris Lai, and Emily Hsiang were inspired to create Hanzi, a documentary that gives insight into Chinese visual culture and celebrates the beauty of Chinese typography.


语言是文化的基础。《汉字》(Hanzi)就是一部以中文汉字为主题,试图阐述汉字文化的纪录片。来自台湾的蔡牧民、赖佩芸、项蓝三人组成了一支拍摄团队,长久生活在中文环境的他们,把对这些美丽字体的重新省思,全都藏进影片的字里行间。

“We found that Taiwan, more than anywhere else, has preserved traditional Chinese characters, or hanzi,” they note. (Mainland China uses a set of simplified hanzi.) “Every day we’re surrounded by this beautiful script, but we had never really sought to understand and appreciate it.” Beyond investigating character design, the filmmakers also use the documentary as a way to discuss other questions, such as how an ad’s typography exerts a subtle influence on viewers, how language shapes identity, and how handwriting is declining in the digital age. Seeking to explore even more possibilities in hanzi, they’ve interviewed people in United States, the United Kingdom, Hong Kong, Japan, and Taiwan.


“我们发现台湾是保存繁体字最完整的地方,而我们每天都环绕着这些美好的汉字,却不曾好好去了解或欣赏。” 除了对字体设计的研究,拍摄团队想借题讨论的议题还有很多,像是广告招牌上的字型视觉对人们潜移默化的影响、语言如何塑造身份认同、手写字在数位时代的式微变化等等。团队在拍摄期间内造访了美国、英国、香港、日本和台湾等地方,他们丢出了问题,在和众多访谈者的对话之中,寻找汉字更多的可能性。

One person they interview is Shao-Lan Hsueh, the creator of Chineasy, a visual approach to learning Chinese. Raised in Taiwan and based in England, Hsueh has designed a more fun, more effective learning method for anyone who studies Chinese as a second or heritage language.

This method takes advantage of the fact that Chinese writing is logographic. Unlike in English or other alphabetic writing systems, in logographic systems, the composition of a character can itself express meaning. Hsueh’s series of rich visual designs breaks hanzi down one by one, so that by looking at an image you can immediately connect it with a character’s meaning.


其中一位访谈对象,是图像式中文学习法 Chineasy 的创办人薛晓岚。她是一位住在英国的台湾人,为了下一代必须在外语环境中学习中文,她设计了一套让学中文更有趣、更有效的方法。

这套方法充分运用了中文是语素文字的原理。有别于像英语这类型“字”是用来协助发音的表音文字,语素文字本身“字”的组成就可以表达意义。这一系列丰富的视觉设计,把中文造字一一拆解,看图就可以直接联想到字义。

Another notable voice in the film is Jieguan Zhang, the owner of Rixing Type Foundry. Located in Taiwan, Rixing Type Foundry is the last surviving foundry for traditional characters, and it holds nearly 300,000 lead slugs inside. Twenty years ago, the advent of digital typesetting put an end to the age of printing as an art. Casting movable type is a technique that’s no longer needed, and one after another the foundries that used to support several households have now closed. Only Rixing, founded in 1969, remains. The reason lies in Zhang’s fondness for the profession of casting type: he doesn’t have the heart to let a tradition of such historical significance disappear forever. That’s why he’s fought to preserve this small storefront and the invaluable foundry inside.


另一位值得一提的访谈者,是日星铸字行的老板张介冠。位在台北的日星铸字行是世上仅存唯一的繁体中文铸字行,店内收藏了近三十万个铸铅字。二十年前,数位排版软体的出现终结了印刷术的年代。专为活版印刷存在的铸字技术,如今已不再被需要,曾经养活好几人家的铸字行,也一间一间关门了。其中日星铸字行是从 1969 年创立以来,坚持下来的最后一间。原因是张老板对铸字这行业的一片心意,不忍心让这项承载着重要历史意义的传统永远消失,于是把这一间小小的店铺,和里面极具价值的铸字,努力保存下来。

Everyone interviewed in the film is deeply engaged in the innovation and preservation of Chinese characters. In addition to Hsueh and Zhang, the film includes enlightening conversations with font designers, billboard makers, and some sixteen other people. “In the process of shooting, even we learned a lot,” admit the filmmakers. “We hope that Hanzi leads people to rediscover the typefaces around them, and learn about how characters are designed, and how important language is to culture. And if after seeing it you start to feel proud or thankful for this part of our culture, even better.”

Hanzi is now available for purchase. For more information, please visit their official website.


影片中每一位访谈者,对汉字领域的保存或创新都具有重要的意义。除了以上两位,片中还收录了像是字体设计师、看板匠人等将近二十位人士充满智慧的对谈。“其实包括我们自己,在拍摄过程中也学到了很多。我们希望《汉字》这部纪录片可以重新引起大家对身边字型的认识,了解到中文字的设计过程,以及语言对文化的重要性。如果能让你开始对这份文化感到感激或骄傲,那就更好了。”

《汉字》现在已发行!想要进一步获得放映及购买的资讯的话,可以到官网查询。

Website: www.hanzithemovie.com
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Contributor: Yang Yixuan


网站www.hanzithemovie.com
Facebook
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供稿人: Yang Yixuan

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Doodling with Dodolulu 抱歉,内容无法读取

March 28, 2018 2018年3月28日

Hong Kong-based illustrator dodolulu has long found it difficult to strike a balance between having an active social life and sufficient alone time. This dilemma is embodied in her watercolor illustrations in the form of expressionless female characters who carry themselves with an aura of ambivalence. Meandering through the pages of her sketchbook, these doll-like characters have become a way for dodolulu to share her observations on the quirks of human nature.

“I believe people are generally expressionless when they’re alone,” she comments. “We’ll look like we’re devoid of any emotion. This is our truest forms. That’s why I choose to draw my characters this way. When people see these characters I draw, I want them to look inwards and discover what’s in their hearts.”


她笔下的人物大多是女孩。她们看来虚无飘渺,带着一副空洞、难以读取的表情,在孤独与人群中徘徊来去 。这些面无表情、从不重复的人偶,都是出自香港插画师 dodolulu 的创作。

她用画画来抒情,把对人际关系的细心观察,都投射在她的画里。“我觉得人在独处的时候,大多都不会带有表情,看起来没有情绪,这是我们最真实的状态。所以我画的人几乎都是这样。我想借由这些人偶,去寻找观者更加内在、藏在心底的东西。”

In a way, the emotionless demeanors of her characters act as blank canvases. It allows the audience ample room to draw from their past experiences and form their own interpretations of the work. “Some people say that my drawings are dreamy or relaxing to look at, and others have described them as being overly melancholic,” dodolulu tells us. “I think it’s quite interesting that the same drawing can elicit such different interpretations from person to person.”


面无表情的人物画就像是一张留白的画布,看的人把情感投影在上面,像镜子一样反映出自己的内心世界 。“有些人说我的画让人感觉到很梦幻、舒服, 也有人形容看起来很忧伤 。我觉得观众能从同一幅画作感受出不同的心情,这一点很有趣。”

While art has been a useful tool in helping dodolulu manifest many of her ideas, the human need to socialize with others remains a puzzling matter for her.  “I enjoy alone time, and I think my drawings reveal just how much I truly appreciate solitude,” she admits. “But I think everyone experiences similar struggles of wanting to find a balance between spending time with friends and setting aside alone time for themselves. It’s a constant tug-of-war. I suppose my illustrations are ultimately a way for me to muse on this human predicament.”


对 dodolulu 来说,与人相处是一个矛盾的难题。“我很喜欢自己一个人的宁静时光,在画画时多少透露了这种享受独处的心境。我觉得每个人都是不断在群体和自我之间拉扯,在互动与孤独、自我和众人之中找一个落脚点。透过绘画,我想表达的大概就是这样一种,身为人不得不面临到的对立关系。”

Website: dodolulu
Instagram: @dodolulu.design
Twitter: @dodolulu_design

 

Contributor: Yang Yixuan


网站: dodolulu
Instagram@dodolulu.design
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供稿人: Yang Yixuan

Our Digital Selves 我创造了ins,还是ins创造了我?

March 23, 2018 2018年3月23日

Currently based in New York, John Yuyi is a Taiwanese artist who was launched into the spotlight following the success of her FACE POST project. FACE POST was a photo series in which she affixed temporary transfer tattoos of old photos on the faces and bodies of herself and her friends. The idea of using temporary tattoos in this project would become the springboard for Yuyi’s now-signature aesthetic. And today – having completed multiple collaborations with luxury fashion brands and a successful solo exhibition in New York – Yuyi has proven herself a force to be reckoned with in the international art scene.


John Yuyi(江宥仪)是来自台湾、现在在纽约生活的艺术家。在早先的《FACE POST》系列里,她将自己上传过的照片做成纹身贴纸,转印在脸和身体上,这样有趣又前所未见的作品形式让她开始受到广大的关注。艺术生涯还很年轻,但 John Yuyi 已经在纽约办过个人展览、收过来自国际品牌的合作邀约。面对一步一步逐渐堆叠的名气,她始终维持自己稳定前进的步调,在创作路上不改依然故我的态度。

Throughout Yuyi’s works, the internet is one of the most prevalent topics explored. In this age of interconnectivity, our computers and phones have become invaluable devices that connect us with the world at large, and social media is a large part of the internet ecosystem. However, social media has proven itself to be a double-edged blade for many artists: Social media can be beneficial in bringing attention to the works of up-and-coming artists, but the quest for bigger followings and more “likes” can easily lead to self-imposed creative stagnation.

Today, rather than simply being spaces to share and communicate ideas with others, social media has come to define our identity. People meticulously curate posts to project a flawless digital persona, “likes” on social media have become metrics to measure our value as individuals, and many, like Yuyi, can find that differentiating between our real self and digital self has become increasingly difficult. Cognizant of these issues, much of Yuyi’s works – which is often jam-packed with symbols from Twitter, Instagram, and other notable platforms – serve as a reminder, or perhaps a warning, of this over-reliance on social media.


在现今这个人人与网络紧密连结的世代里,手机成为我们观看外在的窗口。对艺术家来说,网络媒体的存在像是双面刃,能让作品轻易且有效的曝光,反过来却也可能就此限制住自己。

在 John Yuyi 的创作中,Instagram 和 Twitter 是频繁出现的符码。社交网络不单单作为她发佈作品的平台,甚至是创作的素材、灵感的发源地。有些时候,社交网络完全定义了我们,我们依靠一张张照片和一则则发言来拼凑别人眼中的自己,久而久之越来越脱离不了。社交网络确实操控了我们的生活,某种程度上我们都像是为了网络上自己的分身而活。John Yuyi 的作品作为一个提醒,让我们开始反思这样荒唐的现况。

As someone who recognizes her own dependence on social media, Yuyi confesses that the line between an influencer and an artist can seem blurred at times. It’s something that she herself often struggles to differentiate. The goals for an online influencer and an artist do admittedly have certain overlaps. While they’re both seeking recognition to some extent, their motivations are drastically different. For an online influencer, they’re marketing themselves as the intended product, but for an artist, their creations are the intended product. “In the past, I’d think about how many ‘likes’ I can get on my uploads,” she shares of her former insecurities. “But now, I don’t think about it like that. My content isn’t catered for Instagram. I create for myself.”


网红与网络艺术家,同样都是在吸引网民的目光,本质上却不太一样——前着借的是自己,后者借的是创作。John Yuyi 承认自己曾经非常依赖网络媒体,在两者模煳不清的分界之间,花上了一段时间来确立自己的定位。“以前的我会常常去猜想 po 这张照片能获得多少喜欢,但现在的我尽量不这么做,不为了 Instagram 去设计内容,而是以 ‘自己’ 为出发点去创作。”

Aside from her internet-inspired works, Yuyi’s approach of using temporary tattoos and human bodies as canvases continues in her other projects. Often times, ideas simply come from her day-to-day life, whether it be a sentence from a book she’s reading or lyrics from a song she just heard. Yuyi’s success as an artist comes from her talents of recognizing these hidden stories – her works present these overlooked stories as they are, but her visual approach adds the context required for her audience to fully appreciate these observations. “I find a lot of inspiration in my daily life,” she tells us. “I think of creating art like writing a journal. It’s simply a summary of all that I see and experience.”


之后 John Yuyi 持续蒐集符号和标誌,有时是书里读到的一段情节、或一段喜欢的歌词,灵感的足迹遍佈生活各处的小细节。“我的灵感都来自我的生活,创作对我来说像在写日记一样,我只是把我看到的、我想到的、我所在的世界记录下来。” 她用既已存在的故事来说故事,来自一双比常人更细腻、更专注的眼睛,这些事物早就存在在那,只是你我从未发现而已。在她的小世界里,没有什么是不合时宜。

Humbly, Yuyi says the successful conclusion of her debut solo exhibition in New York was the best birthday present she could’ve received this year. The next stop for her will be Los Angeles where she’ll host her second-ever solo exhibition, My (Temporary) Self. The exhibition will debut at Make Room on March 24th, 2018 and run until April 22nd, 2018.


John Yuyi 向我们开心的说今年的生日礼物,是顺利在纽约举行的第一场个人展览。而下一站她要前往洛杉矶,带着第二场个展《MY (TEMPORARY) SELF》于 2018 年 3 月 24 日至 4 月 22 日期间,在 Make Room 跟大家见面。

EventMY (TEMPORARY) SELF
Opening: Saturday, March 24, 2018, 6 ~ 9 pm
Exhibition Dates: March 24, 2018 ~ April 22, 2018

 

Address:
Make Room
1035 N Broadway
Los Angeles, CA 90012
United States of America

 

Website: www.johnyuyi.com
Instagram: @johnyuyi

 

Contributor: Yang Yixuan


活动名称: MY (TEMPORARY) SELF
开幕时间: 星期六,2018年3月24日,下午6点至9点
展览日期: 2018年3月24日—2018年4月22日

 

地址:
美国
加州 洛杉矶
1035 N Broadway
Make Room

 

网站: www.johnyuyi.com
Instagram@johnyuyi

 

供稿人: Yang Yixuan

Life, Death, & Rats 临死前的歌舞庆典

March 14, 2018 2018年3月14日
A still from Zhang Xuzhan's Room 004 – Si So Mi / 来自《灵灵肆-Si So Mi》

Zhizha is a traditional Chinese craft that uses paper to create funeral offerings that are meant to be burned and sent to the afterlife. Typically, these offerings are comprised of money, everyday items, and, at times, even houses. The belief is that these offerings can be received and used by the deceased. 

With the changing times, the traditional craft of zhizha has slowly slipped into decline. However, Taiwanese visual artist Zhang Xuzhan‘s interest in zhizha art has conversely grown over time. In recent years, Zhang has repurposed this traditional craft for creating uncanny and grotesque-looking works of art. In his ongoing Hsin Hsin Joss Paper Store Series, Zhang begins each project by sculpting the characters using zhizha techniques. These characters are then implemented into animations, short films, or installation pieces to tell a larger story. Although the visual presentation is versatile, each piece of work share commonalities in their examination of the absurdities of society, contradicting ideals, the subversion of power, as well as life and death.


张徐展是来自台湾的艺术家,他的创作素材很怪诞,甚至有些灵异的成分在,他用纸扎人来创作。纸扎人是在中华传统的祭祀仪式里,透过燃烧寄送给逝者的小型纸製祭品,通常是一些生活所需,房子、日常用品、钱等等。这是一项随时间逐渐淘汰的传统技艺,现在还遵从这种习俗的人已经不太多了。

在他的系列作品《纸人展与新兴糊纸店系列》中,张徐展用纸扎技术来制作玩偶,再以动画、电影、空间装置等手法去呈现。大部份作品都是延伸自他在日常生活中观察到的现象——荒谬、矛盾、颠复、对于生与死的探索,这样的思辨经常出现在他的作品中。

A snippet from Hsin Hsin Joss Paper Store Series – Room 001 / 来自《灵灵壹–房间》系列
A snippet from Hsin Hsin Joss Paper Store Series – Room 001 / 来自《灵灵壹–房间》系列
A snippet from Hsin Hsin Joss Paper Store Series – Room 001 / 来自《灵灵壹–房间》系列

Zhang’s interest in zhizha can be traced back to his childhood. His family owns and operates Hsin Hsin Joss Paper Store, a century-old store that specializes in paper art funeral offerings. As such, Zhang grew up surrounded by miniature houses, doll effigies, and mythical creatures, all of which were made by paper and intended to be delivered to the underworld. “I’ve noticed that there’s a lot of superstition and misconceptions around zhizha creations,” he shares. “People consider them to be bad luck or creepy. But in my upbringing, I saw them as just products, a way for my family to make a living. Before they’re burned, they’re nothing but paper dolls. For me, I think what was much scarier than these zhizha effigies that lived alongside my family and I is seeing some of the stuff shown on television or in films. The undead monsters on Cantonese shows like Vampire Expert were much more terrifying to me as a child.” 


之所以选用这种题材创作,是因为他的家庭背景。张徐展出生在台湾一间有百年历史的纸扎手艺商店—新兴煳纸店(Hsin Hsin Joss Paper Store),从小和这些灵厝、纸娃、神兽生活在一起。“我发现华人对纸扎文化多半有些刻板印象和迷思,会觉得恐怖或不吉利,但在我的成长经验里祂们只是谋生的商品,在出发之前都是没有功能的纸偶。反倒是港片里的道长林正英在杀殭尸时,影视媒体塑造的形象,比放在家里一起吃饭的纸扎人还要可怕。”

A still from Room 003 – Inferiority Bat / 来自《灵灵参–自卑的蝙蝠》系列
A still from Room 003 – Inferiority Bat / 来自《灵灵参–自卑的蝙蝠》系列

The fourth and latest addition to Zhang’s Hsin Hsin Joss Paper Store Series is Room 004 – Si So Mi, a stop-motion film based on his personal experiences and observations. “There’s an outdoor market near my studio,” he shares. “There, I’d see a lot of dead critters. They might have just been out looking for a bite to eat when they were squished by a car. Tons of people will pass by and not bat an eye. While the creature’s life is over, its physical body remains. It almost feels like it’s openly displaying its death as it waits to ‘log out’ of life.”


在第四号新作《灵灵肆 – Si So Mi》里,角色设定和情节都改编自張徐展的亲身经历。“工作室附近是菜市场,常有很多乾匾的小动物尸体,牠们可能只是出门吃个东西就被压扁了。在马路边没人处理,也不是很起眼,状态很像生命已经结束,但身体留在原地——似乎在晒自己的死亡,等着从生命‘登出’。”

Room 004 – Si So Mi Demo 30 sec

 

无法观看?前往优酷

A snippet from Room 004 – Si So Mi / 来自《灵灵肆-Si So Mi》
A snippet from Zhang Xuzhan's Room 004 – Si So Mi / 来自《灵灵肆-Si So Mi》

Room 004 – Si So Mi features a group of paper rodents as the starring characters. Zhang’s inspiration to tell a story about rats comes from a childhood memory, or more specifically, his first encounter with death. “It’s a vivid memory that takes place on a sunny afternoon,” he tells us. “I saw a caged rat half submerged in a near-full bucket of water, fighting for its life.”

Recalling the incident, Zhang says this struggle for life almost seemed like a dance to him at the time, especially against the backdrop of the illuminated water. The water formed a stage and the battle to stay alive almost looked choreographed – it felt like a performance playing out in front of him. While morbid, this left a deep impression on him as a child. It was only after he grew up that he began to fully understand the event and the implications of death.


主角之所以是纸煳老鼠,灵感来自于他小时候一次目睹死亡的记忆。“ 一个晴朗的午后,阳光洒落在一个水大约九分满的水桶,裡面浸有一隻不断想逃脱的老鼠。”他回忆起,那隻老鼠挣扎的样子就像在跳一支怪异的舞蹈,背景是水被阳光反射的闪烁,有舞台,有动作,像一齣小小的舞台剧。当下年幼的他不觉得这和死亡有什么关联,长大后回想起来才明白,这一刻原来离死亡有多么接近。

A still from Zhang Xuzhan's Room 004 – Si So Mi / 来自《灵灵肆-Si So Mi》
A still from Zhang Xuzhan's Room 004 – Si So Mi / 来自《灵灵肆-Si So Mi》

Room 004 – Si So Mi takes this memory and reimagines it into a bizarre stop-motion film. It’s surreal, yet very much rooted in reality. In the short film, the rats are wearing party hats and singing the German folk song “Ach, wie ist’s möglich dann.” This song, in Taiwanese folk culture, can often be heard at funerals. In turn, the first three notes of the song, ‘si-so-mi,’ has become closely associated with death in Taiwan. It’s an amusing juxtaposition with the song’s earlier appearances in German love films. The accompanying choreography of the zhizha rodents is Zhang’s way of paying tribute to the moments of life that are often overlooked. The joyful singing both celebrates and mourns the passing of life. It’s a ceremonious performance that commemorates the separation of flesh and soul. Room 004 – Si So Mi serves as a reminder that death doesn’t necessarily need to be associated with sadness, but rather, it should be acknowledged as just a changing of one state to another.


他把这样的回忆重现在作品里,像幻境,却又与现实紧密相连。老鼠带着派对帽子,唱的曲子是 Si So Mi(西索米),原型是一首常用在文艺爱情电影的德国诗歌《Ach, wie ist’s möglich dann》,传入台湾后却成了葬仪乐队用的送葬曲,其中意义的转变形成有趣的对比。这支编舞是张徐展用想像在回应这些总在发生、却没人发现的生活现场,牠们以欢快的姿态奏乐,用歌舞庆祝死亡的到来,带点哀愁与倔将的与逝去的生命对质。进行一场灵魂与肉身分离、亡者从人间登出的仪式。死亡有时也不必感伤,是换了个地方生活,是吧。

An image of other works from the recently concluded Si So Mi exhibition
An image of other works from the recently concluded Si So Mi exhibition
An image of other works from the recently concluded Si So Mi exhibition

Website: www.mores-zhan.com
Instagram@zhangxu_zhan

 

Contributor: Yang Yixuan


网站www.mores-zhan.com
Instagram@zhangxu_zhan

 

供稿人: Yang Yixuan

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