Tag Archives: 中国

The Moments In Between

Despite having worked as director Wong Kar-wai’s official set photographer and accumulated years of experience under his belt photographing strangers, landscapes, and countless celebrities, this legendary photographer still isn’t accustomed to being the focus of attention. With cameras turned on him at a recent press conference, he tells the room, “Feel free to ask plenty of questions because I don’t really know what to talk about.”

That’s Wing Shya for you.


他是香港著名导演王家卫的御用摄影师,也曾为张国荣拍过个人写真。他拍过许多明星,也拍过无数路人和风景。但是在面对几个记者的镜头时,他却说,你们可以多问我一些问题,因为我好像不知道要说什么。

这就是夏永康

Wing prefers keeping a low profile and to let his camera do the talking. Even though he’s always on movie sets and working with famous celebrities, he remains humble. “Everyone is busy filming the movie, and I’m there, crouched on the ground, trying to snap a few photos.”

On movie productions, there can be no interruptions when a take begins. It’s only after the director yells “Cut” that any photographs can be taken. As a result, what’s captured is the moment immediately following a take, a split second where the actors let their guards down and show themselves in a more vulnerable state. Wing loves to capture these authentic moments.


夏永康喜欢把姿态放低,躲在镜头背后。虽然时常出没于大牌云集的片场,但通常都是大家都在拍电影,只有我蹲在地上拍剧照。

那是身为剧照师的工作习惯——在正式拍摄的时候,不能够打扰入戏的演员们,只能在导演喊停了之后再拍。这样一来,镜头会捕捉到情绪和姿态都一下子放松的演员,那照片所呈现的感受,也就常常更为私密。夏永康很享受这样的视角,能够躲到背后记录下人们最真实的一面。

Wing says, “I like to document what happens after we wrap on set. People will often ask me, ‘Everything’s finished, so what is there left to shoot?’ But I pay them no mind and keep shooting.” Wing’s always ready on the side, waiting for the right moment – it’s this patience that has allowed Wing to capture his iconic image of Leslie Cheung in contemplation as the actor waited to begin a take. His understanding on the importance of waiting has also allowed him to document the honest range of emotions experienced by directors and crew members alike on various movie sets.

“I won’t try to overshadow the moment. I always try to make myself as ‘small’ as possible. I just enjoy the process of photography; I want to take in the atmosphere and people I’m photographing.” Wing confesses he won’t even look at photographs he’s taken in the past. For him, photography is about being present – it’s about witnessing the moment in real time. 


夏永康说:“我喜欢拍大家收工之后的状态。大家说,都结束了,怎么你还拍?我就还是拍。”缩在角落,等到最后,或许正因为这样,他拍到过张国荣在等开机时的沉思,也拍到了从导演到工作人员或忙碌或放空的神情,人世百态好像尽在其中。

我没有把自己放得太大,我把自己缩得很小。我就是享受,享受拍东西的过程,享受当下的那个环境,那些人。夏永康甚至不看自己曾经拍下的照片,对他来说,拍下的那一刻过去也就过去了,唯独当时当刻、此时此景,才是拍照最真实的意义。

Of course, the subjects, environment, and lighting aren’t always in ideal conditions. Often, Wing has to play around and experiment. “I like mistakes. So a lot of the time, I’ll just have fun and create something out of a mistake.” Wing recalls a time when he was faced with the challenge of shooting in an almost pitch-black room. After improvising and moving light sources around, he ended up taking a three-minute-long exposure. When the photograph was finally developed, he described the shot to be “beautiful, similar to shadows cast by tree branches.”


当然,人物、场景、光线,不可能时时刻刻都完美,这时候夏永康就会想着和光影玩游戏。因为我喜欢错误。所以常常会在错误中去玩些什么。曾经有一次,在近乎全黑的空间里摄影,他亲自上阵打光,上下左右移动光源,最后把接近三分钟的长曝光照片洗出来,光影显得影影绰绰,像是枝叶树林的影子,很好看

Wing’s affinity for making mistakes is linked to his love of authenticity. As someone who’s passionate about capturing genuine moments, Wing prefers using film cameras, seeing it as a medium that’s able to better reproduce reality. The inherent constraints of analog film limit how much his photographs can be manipulated in post-production. What’s initially captured with the camera will often be the final result. For Wing, this is infinitely more fascinating.


所谓喜欢错误,其实是因为喜欢真实。夏永康偏爱使用胶片相机,无法加工修改,无需合成处理,照片中定格的瞬间往往就是最终呈现的模样,这对夏永康来说却更为迷人。真实就是有错误的。

Sometimes Wing will design a narrative and a setting to allow his subjects to better ease into a certain mood. But according to Wing, more often than not, he won’t set anything up at all. Instead, he’ll just let his models chat with an assistant, and he’ll start shooting from the side. “When shooting different people, I’ll use different methods.”


夏永康会设定一个剧本和环境来告诉被拍摄的人,好让人进入情绪,去捕捉情感流露的瞬间。但夏永康说,有时候他也不会假设场景,只让助理和那人先聊起来,他在一旁拍,拍摄不同的人,方法是不一样的。

These past few years, Wing has started photographing landscapes. Hazy, dark, and cryptic, his landscape photography is representative of the photographer’s own changing outlooks on life. Nowadays, when a day isn’t going right, he’ll embrace it as is rather than lamenting. “When it suddenly rains, I used to blame the weather. But now, I’ll work around the weather’s temperamental nature. I treat the weather as if were my girlfriend.”

For Wing, he sees many of his photos as a direct representation of his feelings at the time of capture. As life goes on, his photography changes with it. But to him, there’s never a need to look back and over-analyze the past – Wing lives and shoots in the present.

 


这些年夏永康也拍风景。镜头对准的内容有时候迷雾朦胧,有时候昏暗晦涩,很难让人不去联想到那是否是因为镜头背后的人产生了心境上的变化。夏永康说,如果突然下雨,以前我会怪天气,想为什么今天这么不顺利。但现在我会去和天气玩,把它当作我的女朋友。

但要说什么变化,夏永康却觉得他拍的内容只是当时情景和感受而已,每个阶段都有不同,不曾回头琢磨,也不曾思量过心态的改变——活在当下,就拍在当下。

So when approached with the opportunity to organize a solo exhibition, Wing delivered over 10,000 photographs to Karen Smith, the curator of the exhibition, allowing her to choose which images to showcase. The exhibition isn’t separated by celebrity portraits or personal projects; it spans across different time periods and is difficult to categorize into a single, all-encompassing theme. When asked about this, Wing chuckled, saying, “Theme? It’s hard to paint this exhibition in a single color. If you want to talk about the theme, it would be reality.”


所以在要办展览的时候,夏永康就把一万多张照片统统交管给策展人Karen Smith挑选,最后呈现时既没有刻意区分明星摄影和随手拍的内容,却又都涵盖到了各个时期,他很喜欢,却也让人很难一以概括,用一种相似的底色去描述。对此,夏永康笑着说:底色?那很难说是一种颜色。要说底色的话,就是真实吧。

Wing Shya’s solo exhibition is currently on display at the Shanghai Center of Photography. He’s also recently released a personal photography compilation book, which is available for purchase here. 


现在,夏永康的个人摄影展正在上海摄影艺术中心举行,他的个人摄影集也同期发售,点击此处可以购买。

Event: ACTING OUT – Wing Shya
Exhibition Date: 11/8/2017 ~ 1/10/2018
Opening Hours: Tuesday ~ Saturday

Address:
Shanghai Center of Photography
2555-1 Longing Avenue
Xuhui District, Shanghai
People’s Republic of China

Website: www.wingshya.com

 

Contributor: Chen Yuan
Images Courtesy of SCoP 


活动: “越轨・夏永康”
展期: 2017118——2018110
时间: 周二至周日

地点:
中国
上海徐汇区
龙腾大道2555-1
上海摄影艺术中心

网站www.wingshya.com

 

供稿人: Chen Yuan
图片由上海摄影艺术中心提供

No Word From Above

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.


李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。


No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.


《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui

$37

Buy Now


Li Hui《No Word From Above》

¥168

立刻购买

Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD

全副产品信息:

  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Websitewww.huiuh.com
Instagram: @huiuh_

 

Contributor: George Zhi Zhao


网站: www.huiuh.com
Instagram: @huiuh_

 

供稿人: George Zhi Zhao

Soap Operas as Inspiration

A snippet from Episode 3 of Hello, Finale!  《你好,尽头!》第三集 片段

无法观看?前往优酷

Chinese multimedia artist Tao Hui’s newest series, Hello Finale!follows nine different individuals making a phone call to close acquaintances. Inspired by film, soap operas, and even local news, the series explores topics of love, life, and death through the overarching theme of “all things must end.”


这是艺术家陶辉的作品。他的新作系列《你好,尽头!》讲的是9个不同的人分别给各自亲友或他人打电话,这些灵感来源于对电影、电视剧,甚至市井新闻报道内容的再创作,内容则讲述的都是一些和尽头相关的主题,爱、生命、死亡等等

For Tao Hui, who grew up during the peak era of cable television, TV has been central in his creative growth. Observing his mother, an avid fan of Taiwanese writer Qiong Yao, cry when watching Yao’s shows, led Tao to propose the questions of “What is the relationship between reality, television shows, and films” and “What role can art play in exploring their dynamic?”


对陶辉来说,他成长在电视媒体的发展和顶峰时期,从小的媒体启蒙就是电视。陶辉曾说自己的妈妈特别爱看琼瑶剧,看得入戏时常常会边看边哭。这让陶辉不禁反思起现实和影视剧之间的关系究竟是怎样的?艺术创作又将以怎样的身份介入?

Tao Hui’s goal is to clearly define the often blurry line between TV shows and reality. In Hello, Finale!, Tao intentionally cherry-picked footage with minor acting slip-ups. “I don’t want the audience to fully believe what I’m showing them. I want them to see the flaws and understand this is what a performance is. There are parts that are real and parts that are fake.”


那根模糊于戏里戏外的分界线,陶辉想把它挑出来。在这次《你好,尽头!》的制作过程中,陶辉故意选了一些没那么完美的成片,“我希望观众不要完全相信我提供的内容,就是想让观众看到出错的部分,意识到这就是表演,有真实有虚假。”

With thoughtfully produced television shows and movies becoming increasingly difficult to find in China, the general public has grown accustomed to the visually grandiose films that are made for fast profit. “This is to be expected in our modern life. The pursuit of beauty has always been a large driving force behind human motivation, and as our society develops, people have more money to spend on their pursuit of beautiful things. Hence, it’s even more important to separate works that are made for profit and works with artistic intentions.”


现在耗时长且制作精良的影视剧越来越少,公众视线似乎更容易聚集在美色创造的商业电影之中。陶辉说,这是这个时代的必经之路啊,美色一直都是一股强大的生产驱动力,而且社会的发展导致消费力大增。但是我们还是要把这种类型的影视剧和有艺术追求的影视作品做个区分。

Discussing favorite directors, Tao Hui names Abdellatif Kechicheall, Asghar Farhadiof, and Michael Haneke to be his current picks. And even though the three don’t share any stylistic similarities, the common denominator is that their films are far more thoughtful than typical Hollywood blockbusters. “I feel like for-profit movies are made for the average consumer, created for mass appeal and satisfying the public,” Tao says with a shrug. “For-profit films and video art should be differentiated. The former is a product; it’s something for people to consume. The latter is created with the goal of provoking discussion and making people think.”


他谈起喜欢的电影导演:柯西胥,法哈蒂,哈内克——很难一以概括的风格,但可以肯定的是,三者都绝非商业大片的导演。“我认为商业电影是为了消费观众情绪、满足观众情感。我们还是要把商业影视剧和有艺术追求的影视作品做个区分,一种是商品,只是为了消费;而另一种却是为了引发思考。”

 

无法观看?前往腾讯视频

More of Tao Hui’s work is currently on display at Shanghai’s Rockbound Art Museum as part of HUGO BOSS ASIA ART 2017. Click here to find out more.


在近期上海外滩美术馆举办的“HUGO BOSS 2017亚洲新锐艺术家大奖中可以看到更多陶辉的作品。点击这里可以购买展览门票。

EventHUGO BOSS 2017亚洲新锐艺术家大奖
Exhibition Dates: 10/27/2017 ~ 2/11/2018

Address:
Rockbund Art Museum
Huqiu Road 20
Huangpu District, Shanghai
People’s Republic of China

 

Website: ~/TaoHui

 

Contributor: Chen Yuan
Image Courtesy of Tao Hui and Rockbund Art Museum


活动HUGO BOSS 2017亚洲新锐艺术家大奖
展期: 2017年10月27日——2018年2月11日

地点:
中国
上海黄浦区
虎丘路20号
外滩美术馆

 

网站: ~/TaoHui

 

供稿人: Chen Yuan
图片由陶辉与上海外滩美术馆提供

Tibet Trilogy

Roof 雪顶

Matt Lindén is an English-Finnish photographer who, for many years, has journeyed again and again to a place dear to his heart: the Himalayas. A graduate from the Master’s program in documentary photography at the London College of Communications, Lindén prefers his life of photographing distant lands to a life spent chasing society’s status quo. When traveling, he spends a large portion of his time learning about the local people, cultures, and histories of the places that he visits. In the two years that he spent living in Tibet, Lindén experienced everything from coming down with altitude sickness, to communicating in the Tibetan dialect that he learnt while living in Lhasa, to living with and alongside local families. While immersed in the local culture, Lindén documented his experiences in the Tibet Trilogya series of works that captures the majestic mountains and endless skies of Tibet in both color and monochrome.


马特·林登(Matt Lindén),芬兰籍英国摄影师,他常年会出没于挚爱之地:喜马拉雅。毕业于伦敦传媒学院纪实摄影硕士的他,不爱名利爱江山——他钟爱去到荒芜而严酷的环境中拍摄,用大量时间去了解特定地区的人文历史。在西藏旅居的两年中,他体会过高原反应、用在拉萨学会的藏语与当地人沟通、与藏民一同生活起居。深入了解当地的文化的时候,他亦创作了系列摄影作品《西藏三部曲》,有彩色、有黑白,有凌厉的雪山、也有包容的蓝天。藏地的自然风景,在他的镜头下,展现出浸润着情感的微光。

Overcome 征服
Stupas From Hepo Ri 哈不日山的佛塔
The King 万山之王

In Lindén’s Black and White series, the contrast between the land and the sky creates a stunning visual impact. Without having to worry about color, Lindén was able to capture the interplay of light and shadow to express the desolate mood of the unforgiving environment.


在对比分明的《黑白》系列中,贫瘠的山石和耀眼的天光相互映衬,Matt试图用黑白照片向大家阐述藏地严酷艰苦的生存环境。

Energy 能源

“I felt like I was so far away from everywhere,
from Lhasa, from the world, from everyone.
Almost as if I’d found some distant, long-lost world.”

— Matt Lindén


那一刻我感觉世界上所有地方都离我很远
我远离拉萨,远离所有人
就好像我找到了一个失去已久的全新世界
——马特·林登

Stormy clouds near Sera 色拉寺的雨云

In Lindén’s eyes, Tibet isn’t only a monochromatic world – it’s full of color as well, especially in moments when the sun highlights the fissures of the mountains, revealing them in all their splendor. His Colour series seems almost like a love letter from the photographer to his surroundings, recounting his treks through the Karuola glaciers.


但是在Matt眼里,西藏不仅仅是非黑即白的世界,它充满着独特的色彩,高原上强烈的阳光往往也会让山脉上的色彩更加生动。《彩色》系列,就是摄影师献给卡若拉冰川徒步之旅的情书。

Yak at Kharola 卡若拉冰川的牦牛
Slide 坡
Kharola I 卡若拉冰川 I
Blur 模糊

Lindén’s Electric series documents the photographer’s trip across Tibet by automobile. Capturing dusk and nightfall outside of his car’s window, Lindén somehow makes the vastness of the landscapes seem smaller and quieter. Through long and double exposure, Lindén reveals the blur of mountain ranges, shapes, and animals in dreamlike images.


Matt开车穿越西藏时拍摄了《电光》系列。透过夜晚昏暗的车窗,那些广袤的风景似乎变得更加渺小了,山峦、动物,形象模糊且不可辨认,经过他的长曝光加二次曝光的艺术化处理,《电光》系列中令人着迷的显影映入眼帘。

Swim 游泳
Squiggle 波纹
Jump 跳跃
Earth 大地

Tibet Trilogy is currently on display at the BROWNIE Gallery Store in Shanghai, see details of the exhibition below.

 

Exhibition Dates: November 9th to December 7th, 2017
Opening Hours: Daily, 10am~10pm

Address:
Kerry Center (North Section)
1515 Nanjing West Rd, 2nd Floor, 06B
Jing’an District, Shanghai
People’s Republic of China


现在,马特·林登的摄影展《西藏三部曲》正在BROWNIE Gallery Store展出,欢迎大家前往观瞻。

 

展期: 2017年11月09日——2017年12月07日
时间: 早上10点至晚上10点

地址:
中国
上海市静安区
南京西路1515号 二楼 06B
静安嘉里中心北区

Website: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

Contributor: Chen Yuan
Images Courtesy of BROWNIE


网站: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

供稿人: Chen Yuan
图片由 BROWNIE 提供

Manhole Covers in China

Have you ever paid attention to what the manhole covers in your city look like? Maybe you’ve noticed that they don’t all look the same – they might be different for natural gas, for running water, for sewage, or for electrical cable systems. Manhole covers actually play many different roles, and their artistic designs are often ignored.

Captivated by manholes covers, street photographer Horsefly1988 created a photo project centered around his observations (filing the project under a Chinese hashtag that translates to #snappingrandommanholecovers). Since 2015, he’s toured almost thirty cities across China, amassing a collection of around 300 photographs of unique manhole covers. As to why he chose this particular hobby, he tells us with candor: “Manhole covers are a part of the city, and those that are well designed bring beauty to their surroundings.” In the interview below, he shares more about why he’s so fascinated by these overlooked manhole lids.


你所在的城市,路上的窨井盖是什么模样?也许你已经发现它们长得并不都一样:燃气有燃气的井盖,消防有消防的井盖,自来水、污水、电缆……其实窨井盖上大都会写明自己的身份,有很多甚至有专用的设计。

热衷拍井盖的业余街拍摄影师 黑乌鸦的嘴 ,开了个私人摄影项目 #携机乱拍窨井盖# ,自2015年至今,他跑过了全国各地将近30个城市,现在已经集齐将近300只形色各异的窨井盖。对于为什么想拍窨井盖这个问题,他坦然地告诉我们:因为窨井盖也是城市的一部分,美丽的井盖能给城市增色不少。但对于常常被人忽视的窨井盖,他还有更多想要和我们分享的故事——

Neocha: Out of all the manhole covers you’ve photographed, which one stands out the most?

Horsefly1988: There’s the one with double dragons from a water utility company in Wuhan. It was actually huge, with a diameter of about 70 centimeters! And this was a manhole cover that I came across early on in my project. I considered it a real milestone. For most people, they probably think of manhole covers as boring, and it was even hard for me to find interesting ones when I first got into photographing them. But after finding that particular one, I began finding more and more good ones, it was like a valve suddenly being opened.


Neocha: 拍了这么多窨井盖,让你印象最深刻的是哪个?

黑乌鸦的嘴: 武汉自来水公司的,双龙的那个。它其实很大,直径大约70厘米!而且这是我开始拍井盖没多久遇到的一个有趣的井盖,可以算是一个里程碑吧。你知道井盖在普通人看来比较无趣,我开始拍的时候也没遇到多少好看的。但自从发现了这个,后面发现的就很多了,感觉像打开了阀门。

Neocha: What kind of manhole covers are you personally drawn to?

Horsefly1988: My favorites are the ones that incorporate Chinese cultural elements, such as Chinese dragons and more ornate patterns. Next are the ones with interesting landmarks, and then it’s the ones with beautiful textures. It’s pretty difficult to find one that have all three of these traits, but I’m still hopeful that I’ll find more. There’s the one with the Shenyang Imperial Palace on it that combines all of these characteristics, I guess it counts.


Neocha: 你个人比较喜欢怎样的窨井盖?

黑乌鸦的嘴:设计含有中国元素的井盖是我的最爱,比如龙虎、传统纹饰这类。其次是有趣的地标,再次是美丽的花纹。要是三者完美结合比较难,但还是希望能看到。像这个沈阳故宫的就算是结合了吧,哈哈。

Neocha: Have you ever looked into who designed or manufactured these manhole covers?

Horsefly1988: I’ve thought about it before, but most of the time I wasn’t able to figure out exactly how to go about it. All of these manhole covers have designers, perhaps on the manufacturer side, or an engineer from the city government. Last year at Shanxi’s Datong Huayan Temple, I took a photograph of a manhole cover and looked into it a bit. It had what appeared to be English script written on it, and no matter how I tried, I couldn’t decipher what it said. After awhile I tried a different approach and used a translation app to look up the word “REGISTRO” and realized it wasn’t English but Spanish. One of my readers, Fein, helped to decipher the text as “Ayuntamiento de Madrid alcantarillado,” indicating that it was made for the Madrid sewage system. I made an educated guess that this cover was from an order of manhole covers that Madrid made to have manufactured in China, and for some reason they were made defective, so the Madrid contractees decided to just leave them to Datong city. After following these clues, I found the original manufacturer in Shanxi and sent an email to them inquiring about the matter, but I haven’t received a response yet.


Neocha: 有没有尝试调查过这些井盖是由谁设计和制作的?

黑乌鸦的嘴: 这个曾经想调查,但不知道如何下手。应该都有人设计,也可能是井盖制造厂设计的,也可能是市政工程师设计的。
我去年在山西大同华严寺旁边拍到过一个窨井盖,算是调查过一下。那个窨井盖上面有一串英文字样,我怎么断句都没有成功。后来我突然开窍,拿翻译软件输入了“REGISTRO”,发现是西班牙语,一位读者Fein帮忙确定断句应该是“Ayuntamiento de Madrid alcantarillado”,西班牙排水的意思。我果断地猜测这是马德里市政在中国订购的井盖,因为做错了,厂家把这些残次品处理给了大同。然后我根据线索一直找,应该算找到了当时做这个井盖的山西供应商吧,发邮件去咨询了,但是至今还没有回复。

Neocha: In all of the cities you’ve visited, which one has the best manhole covers?

Horsefly1988: I feel like the developed coastal port cities always hold surprises. Presently, Wuhan, Beijing, and Dunhuang are the cities where I’ve discovered the most interesting manhole covers.


Neocha: 在你现在拍过的窨井盖中,哪个城市好看的窨井盖最多?

黑乌鸦的嘴: 我觉得以前开放口岸的城市井盖都会给人惊喜。目前在武汉、北京拍到的好看的最多,然后敦煌也发现不少。

Neocha: What kind of role do you think manhole covers play in the greater context of the city?

Horsefly1988: I think that they’re like the finishing touches of a city. If a city has developed to the point that it can consider something like the designs of manhole covers, then it says something about how well-managed that city is. If a city hasn’t developed too well, but their manhole covers are well designed, then it says something about the cultural inclinations of the city government.


Neocha: 你觉得窨井盖在城市文明中扮演怎样的角色?

黑乌鸦的嘴: 井盖应该是扮演着一个点睛的角色,如果一个城市的文明都已经考虑到用井盖来体现了,说明这个城市的管理基本面已经比较到位了;如果一个城市管理还未到位,然而他们的井盖却很有趣,说明这个城市的管理者有一定的人文情怀。

Horsefly1988’s ongoing #snappingrandommanholes project continues to bring attention to these neglected, metallic works of art, hopefully inspiring more people to be mindful of the beautiful details that can be found in their own cities, which might just very well be right beneath their feet.


黑乌鸦的嘴的私人摄影项目 #携机乱拍窨井盖# 依然还在进行中,这些我们脚下被忽视的铁皮画布所呈现的美,也让越来越多行色匆匆的人停下了脚步,去留意和记录以往不曾发现的城市细节。

Instagram@horsefly1998

 

Contributor: Chen Yuan


Instagram@horsefly1998

 

供稿人: Chen Yuan

Inkee Wang’s Strange, Quirky World

A master’s graduate from the Royal Academy of Arts in London, Inkee Wang is a Shanghai-based illustrator with a lovable and colorful style. Her quirky sense of humor shines through in her characters and their strange, elongated limbs. In recent years alone, she’s collaborated with notable publications and brands such as Bloomberg, Art Bazaar, and ONE.


从伦敦皇家艺术学院硕士毕业的Inkee Wang(王颖琦)目前居住于上海。她的插画风格很受欢迎,活泼欢乐的主题、长手长脚的画中人,怎么看都有一种奇妙的幽默感。近年来,她与Bloomberg、Art Bazaar、“一个”及其他各大商业或文艺媒体都有过合作。

With regard to her unique style, Inkee tells us that it developed almost accidentally. “My older works were more rigid because I was just learning how to use the Path tool in After Effects and creating twisting motions was the best way to express this tool’s features so I created a dancing black cat. The long limbs came about because I thought they were aesthetically pleasing.” Inkee has always enjoyed sharing the untold stories of different individuals. While the characters in her works are not necessarily direct portrayals of people in real life, they’re nevertheless subtly inspired by the mannerisms and personality traits of the people that surround her.


对于这样的诙谐画风,Inkee表示它来自偶然,“我之前的画比较僵直,因为那时候我刚学会在 After Effect 里面用 Path 做动画,扭动比较能体现这个工具的特征,所以就创作了一只舞动的黑猫。而长手长脚是因为我觉得相对有美感。” Inkee一直想要展现人物背后的小故事,画中的人们在现实生活中虽然没有一对一的参照,但其性格特征、说话方式,都会受到长期生活的身边人所影响,所以也都会在她的画中潜移默化地展露出个性。

For Inkee, inspiration comes mostly from people and plants. Even in a piece that was clearly themed around music, Inkee is able to find a way to incorporate her favorite subject matter. “I wanted to use the boiling of of my four favorite vegetables to depict the rhythmic qualities of music – together, they become a healthy and tasty quartet.” (QUARTET was featured in the Soft Candy manga series published by ONE)


对她来说,画画的灵感来自人,也来自草木。比如明明主题是音乐的作品,Inkee却“希望能通过烹煮最喜欢的4个蔬菜来提现音乐的节奏感,他们是很健康美味的四重奏组合。”(《四重奏》系列插画刊登于一个App工作室旗下软糖漫画的条漫)

From attending school to working full-time, Inkee has persevered with her illustrations. “The most simple reason is that I like it,” she says. Inkee describes herself as “still having a lot of questions about the world” and plans to improve on her visual storytelling, learn more about 3D art, and create more works by hand. But for now, Inkee says that her most important task at hand is to read more books so that she can satisfy her sense of curiosity.


从学业到工作,Inkee一直坚持在画画,最直接的理由,是因为喜欢Inkee说自己对世界还抱有很多疑问,接下去还会继续尝试画故事、学学3D、做一些立体的手工,重要的还得多读书解疑

Website: cargocollective.com/inkeewang
Behance
: ~/InkeeWang
Weibo~/InkeeWang

 

Contributor: Chen Yuan


网站: cargocollective.com/inkeewang
Behance
: ~/InkeeWang
微博~/InkeeWang

 

供稿人: Chen Yuan

Long Time, No See

Long time, no see is a series from Zack Vitiello, a Toronto-based photographer who travels to China frequently for his job as creative director of the lifestyle fashion brand Vitaly. Shot entirely on 35mm film, the series highlights the sense of otherworldliness that Vitiello experiences when he travels to China. The graininess of the analog film helps convey a sense of distance and alienation, feelings that the photographer often experiences in these places that he so often visits.


《Long time, no see》是多伦多摄影师Zack Vitiello的一个摄影系列作品,作为生活时尚品牌Vitaly的创意总监,他经常要去中国出差。这一系列完全采用35mm胶片相机拍摄,突显出了Vitiello在中国旅行时所体验到的陌生感,胶片的颗粒感有助于传达摄影师在他经常到访的地方所感受到的那种距离感和疏离感。

Describing the series, Vitiello says, “Long time, no see attempts to capture the feeling that I experience every time I visit Shenzhen, Guangzhou, and the surrounding area for biannual manufacturing trips. Images of empty restaurants with stacks of unused chairs, stark buildings with dark windows, and deserted street scenes give off a feeling of denseness and loneliness simultaneously. By not including any people in the photos, I hope that the viewer will feel a similar sense of alienation to that experienced when visiting a country as vast, unknowable, and remarkably interesting as China.”


跟我们介绍这一系列时,Vitiello说:“《Long time, no see》试图捕捉住我每两年去深圳、广州和周边地区的生产商出差时所体验到的感觉。照片上,空荡荡的餐厅里堆满闲置的椅子,荒置的大楼里窗户黑漆一片,还有冷冷清清的街道,这些场景同时给人一种密集和孤独的感觉。通过拍摄没有任何人物的照片,我希望观众能从照片上感受到,那种去到像中国这样广阔、充满未知和有趣的国家时,所体验到的疏离感。”

Instagram: @latelight

 

Contributor: George Zhi Zhao


Instagram: @latelight

 

供稿人: George Zhi Zhao

Searching for the Self

Yuqing Zhu is a Chinese American artist, writer, and Ph.D. student in neuroscience at the University of Chicago. Using materials including pencil, chiyogami paper, origami paper, and magazine cut-outs, Zhu creates colorful self-portraits that examine the nature of identity and culture. Neocha spoke with Zhu to learn more about her life, art, and studies. Check out the conversation below.


朱禹清(Yuqing Zhu)是一名美籍华裔艺术家和作家,目前在芝加哥大学攻读神经学博士学位。通过铅笔、千代纸(Chiyogami)、折纸、杂志上剪下的图片等材料,她创作了一系列彩色自画像,以此对自我身份和文化本质进行审视。Neocha和朱禹清聊了一下,进一步去了解她的生活、艺术和学业。一起来看下这段对话吧。

Neocha: As a neuroscience student, how do you balance your art with your academic studies?

Zhu: Before beginning my program, someone told me that finding a hobby as soon as possible is the best way to keep sane. Luckily for me, I already had something. I think the key to finding balance was by assigning equal importance to both art and science. It’s truly a matter of mindset. I’m serious enough about neuroscience to be part of a five-year-plus Ph.D. program, so it’s quite a struggle to match that level of dedication in my art! I may need to spend more time in lab or in lecture, simply due to the nature of the work, but I try to think about and create art consistently as well.

Some days I recognize that I’ve been neglecting creating art for too long. On those days I simply put down my science and draw. This usually rejuvenates my work on the science side as well. Scientific research can devolve into a lot of drudgery and grunt work but doing something creative reminds me to think broadly and reassess where I’m at. My most inspired periods in the lab usually match up with my most productive periods at the easel.


Neocha: 作为一名神经科学的学生,你如何平衡自己的艺术创作与学业?

Zhu: 在我开始修读学位之前,有人劝我尽快找个爱好,这是让自己保持理智的最佳方式。幸运的是,我早就有这样的爱好。我觉得,找到平衡的关键是对艺术和科学赋予同等的重要性。这确实就是心态的问题。我对于学神经科学是很认真的,所以才会决心读一个5年多的博士学位课程,所以要在艺术方面也投入同等的专注,确实不容易。我可能会花更多的时间在实验室或上课,主要是因为这个专业本身的需要,但我会尽量保持不断地去思考和创造艺术。

有些时候当我发现自己太长时间没有进行艺术创作时,我会先把学习放在一边,去画画。这样一来,我在科学学习时也会有更多新的能量。科学研究常常需要做很多苦差事和繁重的体力劳动,所以进行一些创意创作可以提醒自己想得更广,重新评估自己的位置。我在实验室受启发最多的时候,往往也是我艺术创作最多产的时期。

Neocha: What are some of the parallels between art and neuroscience?

Zhu: I’ve had a lot of people ask me this question, and I’m not sure if I can give a satisfactory answer even to myself! Here’s my shot at it: art and science are both part of an abstract search for the balance between beauty and complexity. Self-portraiture and neuroscience are both part of an abstract search of the core of one’s identity beyond one’s own biases.

I adore complexity. It wasn’t always obvious that the complex system I wanted to study was the brain. I used to, and still do actually, love things like M. C. Escher’s prints and delight in the extremely dense inkwork of Edward Gorey and more recently of Manabu Ikeda. Complex interactions in anything from ecology to musical scores are still fascinating to me.

A lot of times neurobiology gives you extremely elegant solutions to complex problems. How do we hear? How do entire nervous systems develop from embryonic stages into adulthood? How can we sense things like temperature, and how do we perceive things like colors? When systems like these come to be understood and explained, we realize how logically elegant they are! That doesn’t mean the solutions are simple or straightforward or even the most efficient, but nonetheless, they work, and I find them beautiful! A large part of the time we don’t know the full answer yet. For me, the process for finishing a work of art is the same as for finding a piece of evidence in the framework of a scientific theory.


Neocha: 艺术与神经科学之间有什么相似之处?

Zhu: 已经有很多人问过我这个问题,即使是回答自己,我也不确定可不可以给出一个满意的答复!不过我可以试一下。艺术和科学都属于为寻找美丽和复杂性之间的平衡而作出的一种抽象性探索。自画像与神经科学都属于为寻找一种超越自己偏见、核心的自我身份认知而作出的一种抽象性探索。

我崇拜复杂性。以前我没搞清楚原来自己一直想研究的复杂系统就是大脑。我以前(现在也仍然)很喜欢M. C. Escher的版画,Edward Gorey以及最近很喜欢的池田学(Manabu Ikeda)他们那些极其细腻的钢笔画。从生态学到乐谱,任何事物间复杂的相互作用对我来说都充满魅力。

很多时候,神经生物学可以给你一个极其优雅的答案,来回答复杂的问题。我们是怎么听声音的?整个中枢神经系统如何从胚胎阶段发展到成年期?我们如何能感觉到温度,或者我们如何感知色彩?当我们能够理解和解释这些系统时,我们会意识到,它们有着多么优雅的逻辑!这并不意味着它们所提供的答案是简单的、直接的,也不是最有效率的,但它们是行得通的,而且我觉得很有美感!大部分的时间,我们还未知道全部的答案。对我来说,完成一件艺术品的过程与在某个科学理论的框架里又找到一块证据是一样的。

Neocha: Expanding on that, are there any other similarities between the creative process for art versus science?

Zhu: I think the creative process is crucial for good science. You can’t create good art or do good science by being dogmatic about it. Scientific research is all about finding something new that’s never been known before. Art is about creating something that has not existed in the world before. Paradigm shifts occur in science as well as in art! New movements emerge when individuals dare to look at things in vastly different ways. The move from geocentrism to heliocentrism, from Lamarckian inheritance to Darwinian evolution (and now to a complex epigenetics that is beyond me), all happened because scientists dared to think differently!


Neocha: 进一步说,科学与艺术创作的过程之间有其它的相似之处吗?

Zhu: 艺术创作的过程对于进行科学研究也是关键。如果太过于教条主义,你不能创作出好的艺术,也不能进行很好的科学研究。科学研究就是要寻找人们未知的新事物。而艺术是要创造出世界上之前并不存在的事物。范式转变在科学和艺术上都会发生!当个体敢以截然不同的方式看待事情时,就会催生新的运动出现。从地心说到日心说的转变,从拉马克获得性遗传到达尔文的进化论(再到现在超越我理解的复杂的表观遗传学)的发展,都是因为有科学家敢于从不同角色思考而发生的!

Neocha: What does your personal creative process usually look like?

Zhu: The process of creating a portrait is very straightforward. I can pull up a piece of paper and simply start drawing. Sometimes I’ll draw myself without much thought. Those are usually sketches to be filed away. Other times a specific idea will come to mind, and I’ll act on it. I like to finish pieces in one long breath – I’ll think of something as I eat breakfast and by the time I go to sleep that night it’ll be finished. Of course, I usually don’t spend that whole stretch of time literally drawing. Almost every portrait involves a little bit of research about the historical period I’m assuming in my clothing or looser web browsing for inspiration and references.

I’m terrible about finishing something that I started on a different day. I guess it’s possibly because when I wake up the next morning I feel like a brand new self and the half-finished piece no longer has power as a part of me. I rarely sit and ponder or actively brainstorm for a portrait. The pieces fall together as I work.


Neocha:你艺术创作的过程一般是怎样的?

Zhu:创作画像的过程很简单。拿出一张纸,我就开始画画。有时我会画自己,也不会想太多。那些一般只是一些蓝图,很快就放在一边去了。其它时候,如果突然想到一个特定的想法,我就会将这个想法画下来。我喜欢一口气完成几幅画,可能我吃早餐的时候有了一些想法,然后到我那天晚上去睡觉前就可能已经创作出来。当然,我不会真的一整天一直画个不停。在画每一张画像前,我几乎都会先对画像中预想的服装造型所涉及到的年代进行一点研究,或是随意地上网浏览,来找灵感和参考。

我很怕要去画完我前一天开始的作品!可能是因为,当我第二天醒来的时候,会感觉自己已经是一个全新的自我,之前创作了一半的画已经不再是我的一部分,也失去了它原本的力量。我很少会特意坐下来去思考,或进行头脑风暴,来想如何创作一幅肖像画。通常我一边工作的时候就一边想好了应该怎样进行创作。

Neocha: How does heritage influence your work?

Zhu: I try to learn as much as I can about something before I incorporate it as a facet of my portraits. This is especially important for Chinese history – if I don’t understand something sufficiently (it’s the science researcher’s mindset), I feel like a fraud, like I’m wearing a “Chinese Halloween costume.” Sometimes I feel very far removed from China and its peoples and their rich history. Creating these self-portraits is a way to look at myself and see who I may be inside or the ancestors I contain.

The color palettes that I use are definitely inspired by the colors of modern metropolitan China as well as the dynastic past. Sometimes I have misgivings about using chiyogami. I try to pick patterns that are in common with traditional Chinese textiles and not ones that are uniquely Japanese since that culture is not part of my heritage. I got the idea of dressing my self-portraits from my paternal grandmother. She used to cut out patterned paper to decorate or altogether recreate scenes from children’s books, creating beautiful, intricate collages. Right now, I use a similar technique to what she did with tracing paper. I draw myself, get a rough sense of which collage elements I will need to overlay, and then use tracing paper in order to get the outlines exactly right. Then I use that as a stencil to cut shapes out of patterned paper.


Neocha: 你自身的文化背景如何影响你的作品?

Zhu: 在我将某种元素融入我的肖像画时,我都会先尽可能多地去了解它。尤其是关于中国的历史,如果我不能充分地了解某种事物(这是一种科学研究者的心态),我会感觉自己像个骗子,仿佛我披了一件“中国的万圣节服装”。有时,我会觉得自己与中国、中国人和他们丰富的历史隔得非常遥远。而创作这些自画像就变成一种审视自己的方式,让我去了解自己的内心,了解我所来自的文化。

我的色彩灵感来自现代中国的大都市和过去的王朝历史。有时,对于使用千代纸我也会有一些顾虑。我会尽量选用一些图案更贴近中国传统纺织品,而不是那些一看就是日本风格的千代纸,因为日本文化不属于我的文化背景。我后来想到了按照奶奶的打扮来画自画像。她以前常常用来剪出的图案纸装饰或重新设计儿童书籍中的场景,打造出错综复杂的美丽拼贴画。现在,我按照她的手法,在描图纸上创作。我通常先画出自画像,大概感觉下我可能需要怎样的拼贴元素,然后使用描图纸,获得正确的轮廓。然后用它作为模具,从图案纸上剪出形状。

Neocha: How have art and science changed your perception of self and identity?

Zhu: We are so, so biased in our conception of our brains because our thoughts can never escape them. Oftentimes, we fall into the trap of “this is so obvious,” when actually our firsthand experience is quite wrong. For example, our visual perception of the world is just a useful approximation of what is truly there. The perception of color – a biological representation of the electromagnetic spectrum across animal species – is the most fascinating thing to me (not to mention the phenomenon of consciousness, a taboo topic for most neuroscientists still). Working past, and sometimes outright rejecting the ideas that we hold based on our own brainy experiences is central to the practice of good neuroscience.

Self-portraiture is the exact same. We as individuals don’t, in fact, have an accurate idea of what we look like, much less of who we truly are. Someone once told me that, while I was pretty accurate at drawing other people, my own portraits were lacking. This was perhaps a year ago. That’s the point at which I began to draw myself in earnest and to strive for self-understanding and representational accuracy. I try to portray different aspects of what I understand as my actual self in my self-portraits. More and more, these are buried aspects – split open my face and what would you find? An octopus – an organism that is remarkably intelligent yet with an altogether alien nervous system. Do they operate at similar levels of cognition as humans? What would that mean in practice? Put my past in front of me, dress me in Qing Dynasty robes, and what do we have? The truth or still a self-distortion? As a young Chinese American, when I assume the attire of Communist-era China, am I connecting to my parents’ generation, or am I romanticizing a past that I do not have any true ownership of? These are questions I can’t yet answer.


Neocha: 艺术和科学如何改变你对自我和身份的看法?

Zhu: 我们大脑里的观念充满了偏见,因为我们的思想离不开大脑。很多时候我们掉进一些所谓“显而易见”的陷阱,但实际上,我们的亲身经验却是错的。例如,我们对世界的视觉感知只不过是真实世界的近似值。对色彩的感知——电磁频谱在动物物种间的生物表述——是对我来说最有趣的事情(更不用提“意识”这个在大多数神经科学家中仍然是禁忌话题的现象)。要进行有效的神经科学实践,我们要抛开,甚至直接否定这种我们根据自己自以为是的经验所得出的想法。

自画像也一样。作为个人,我们事实上并知道自己真实的样子,更不知道我们到底是谁。有人曾告诉我,虽然我画其他人的时候画得很像,但画自己就不是那么准确了。那大概是一年前的事情了。但从那时起,我才开始认真画自己,努力去理解自己,准确地描绘出自己。我试着从不同侧面,在我的自画像中描绘出我所理解的真正自我。慢慢地,我的笔下出现了越来越多那些曾被掩埋的一面,撕开我的脸,你会找到什么?章鱼是一种非常聪明的有机体,却有着人类完全陌生的中枢神经系统。它们的认知水平是不是跟人类类似?在实践中,这将意味着什么?将我的过去放在我的面前,让我穿上清朝的长袍,又会产生什么呢?是真相,还是依然只是扭曲的自我?作为一名年轻的美籍华人,当我穿上共产主义时代的中国装束时,我是让自己回到了我父母那个年代,还是在美化这种我并未真正拥有过的过去?这些都是我还无法回答的问题。

Website: yqzhu.com
Instagram: @yq_z

 

Contributor: George Zhi Zhao


网站: yqzhu.com
Instagram: @yq_z

 

供稿人: George Zhi Zhao

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.


今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.


在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

Now, the six talented finalists from China, Korea, Hong Kong, Malaysia, Singapore, and India have all finished their designs alongside their respective mentors. The final round will decide who will win a trip to House of Vans London and have their creation debuted in stores Asia-wide next year! See the final entries below and vote for your favorites by clicking here.


现在,六位来自中国、韩国、香港、马来西亚、新加坡和印度才华横溢的设计师分别在各自导师的帮助下完成了最后的鞋履设计。最后一轮比赛的结果将会决定谁最终能赢得前往参加House of Vans伦敦站的机会,获胜的设计还将在明年亮相亚洲地区的Vans门店公开发售!下面是所有最终入围的决赛作品,来看看哪一款是你的最爱,点击此处,为它投上一票。


Felix / China

“The initial idea of this design is to make it appealing to a large audience while also bringing the Vans spirit alive. The reason I used this color combination is because I wanted to design a pair of summer shoes. It’s mainly green, dotted by red, with a little watermelon feeling.”


Felix / 中国

“这款设计的最初想法是让它既能吸引主流大众,同时也能诠释出Vans的品牌精神。之所以用这种颜色组合,原因是我想要设计一款夏季穿的鞋子。主色调是绿色,加上红色的点缀,有一种西瓜的感觉。”


Kim Young Hyun / Korea 

“My design is inspired by comics. It’s a bit different from what people see in popular comics. This idea I came up with can be easily executed on a pair of Authentic shoes. I wanted to make a scary character in a witty situation, in order to maximize the humorous atmosphere.”


Kim Young Hyun / 韩国

“我的设计灵感来自漫画,风格跟一般流行的漫画有点不同。我所想出来的创意很适合用在Authentic系列的鞋子上。我想要创作出一个恐怖的角色,把它放在诙谐的情景中,最大限度地突显出一种幽默的气氛。”


Taka / Hong Kong 

“First things first, it’s got to be something I would wear. I like to wear simple colored shoes for ease of outfit matching. I wanted to create something for everyday use, yet as an artist, it has to be a recognizable shoe that was designed by me.”


Taka / 香港 

“首先,我的设计必须是我自己会想穿的鞋子。我喜欢穿色彩单调的鞋子,这样容易搭配服装;我想创造一款适合日常穿着的鞋子,但作为一个艺术家,我也希望它能成为一款独特的鞋子,让人一看就知道是我的设计。”


Khiddir Baharudin / Malaysia

“My design was inspired by how Vans has influenced the people in different parts of Asia. The design portrays different cultures in Asia, with people from Malaysia, Singapore, China, India, and Korea,  focusing on traditional outfits, transportation, and architectures from the ’60s and ’70s.”


 Khiddir Baharudin / 马来西亚

“我的设计灵感来自Vans在亚洲不同地区的影响。这款鞋子展示了亚洲不同的文化,有来自马来西亚、新加坡、中国、印度和韩国的人们,不同的传统服装、交通景观、60年代及70年代的建筑。”


Edmund Seah / Singapore

“As an artist, I paint on various platforms, bringing the style and flow of the Japanese craft onto different media apart from the skin. I do not merely want to create a pretty image without flow and form.”


Edmund Seah / 新加坡

“作为一个艺术家,我会在不同的平台上绘画,将日本手工技艺的风格和韵律展示在不同的媒介上,包括肌肤。我不想要徒有美丽外表,而没有韵律和形式的画。”


Anaghaa Chakrapani / India

“My inspiration for the shoe comes from the local essence of places I’ve traveled. I’ve traveled to many major cities in Asia. The elements in my shoe are inspired by the things I’ve observed and loved in the Asian region and my motherland India.”


Anaghaa Chakrapani / 印度

“这款鞋子的灵感来自我旅游时所去过的那些地方的文化精髓。我去过亚洲的各大城市,我设计这款鞋子的灵感就来自我在亚洲,包括在我的祖国印度,所观察到的一切,以及我所热爱的事物。”

Website: houseofvansasia.com

 

Contributor: David Yen
Images Courtesy of Vans


网站: houseofvansasia.com

 

供稿人: David Yen
图片由Vans提供

”Faai Di“ by SYMBIZ

 

无法观看?前往腾讯

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


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

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

SYMBIZ – Baak Seon Gaa Gan

SYMBIZ – Ngaan Faa

SYMBIZ – Gaa Do Yat Bui

SYMBIZ – Zi Daan


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

SYMBIZ – 百上加斤

SYMBIZ – 眼花

SYMBIZ– 再加一杯

SYMBIZ – 子弹

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


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

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


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

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

 

Contributor: George Zhi Zhao


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

 

供稿人: George Zhi Zhao