Tag Archives: 中国

Feel the Night Breeze

“I don’t believe you can depersonalize your work—that’s too idealistic,” says Wu Liewei, whose photos, like everything about him, pulsate with energy. This energy might be understood as the collision of the frenetic and the still, like a breaker crashing against a reef.

“My works pay homage to intuition and the subconscious,” he says, though he’s also been known to click the shutter 70 times just to get the image he wants. What Wu really wants seems to be to satisfy some unmet craving.


“去个人化太理想主义了,我不相信。” 这句话来自邬烈威,他是一位摄影师。他的作品和人一样,透出精力旺盛的样子。这种旺盛可以理解成是疯狂和沉寂的相互冲撞,就像浪花拍打在礁石上。他说:“我做作品更尊崇直觉和潜意识” 。但同时,他也会因想要的一瞬镜头而重复按 70 次快门。欲求不满才像是邬烈威追逐的目的。

Wu grew up in Ningbo and moved to Hangzhou for college, but he dropped out after one year. “It was really boring, and at the time I just sort of wanted to be free,” he says. He always liked to explore on foot, and in summer 2013 he began using a camera to record his observations, taking pictures like crazy, as a sort of urban adventure. “I remember I had a Canon 600D, one of the most basic cameras,” he says. He didn’t begin seriously studying photography until he ordered a twin-lens reflex camera. Given how outgoing and talkative he is, it’s hard to imagine him ever being shy, yet he says before he picked up a camera he was quite withdrawn. Photography opened up a valve, and the words and thoughts he used to keep inside came pouring out.


宁波长大的他,大学来到杭州,一年多后选择了辍学,“特别无聊,加上当时又有点渴望自由吧”。2013年夏天,爱到处转的邬烈威开始用摄影记录观察,疯了似的去哪都用相机拍,像是种都市冒险,“我记得那台还是最普通的佳能单反 600D”。然后他又在网上看到胶片的双反相机,买了台后,正式琢磨起摄影。现在的他很健谈,网络上和生活中都是。但你不会想到现在看起来外向又健谈的邬烈威,在接触摄影前,内向而不太说话。摄影就像打开了他体内的某个水龙头,积蓄的话语与观察哗啦地流了出来。

The first thing that catches your eye in Two-Dimensional Code Maze, Wu’s first series, which he began shooting in 2013, are the naked bodies. “Only when you strip off your clothes are you your true self,” he explains. Young, bare-skinned figures appear against a variety of backdrops: city towers, abandoned houses, wooded areas on the outskirts of town. Everything feels both natural and out of place, and it’s hard to imagine what the models would look like with clothes on. “I want viewers to cast aside their labels, to be in this setting and explore how that person relates to that place at that time,” he says. For him, each photograph is a mirror. But what do all these mirrors reflect?

Wu says he can see himself continuing to shoot this series as long as he lives. But he also has another project underway, which he calls The Best of Times.


他最早的系列是 2013 年的《二维宫坊》。连续的裸体,是视觉上对这个系列的第一印象,“去除衣服表现的自己,才是真的自己。” 脱下外衣的年轻身体出现在城市楼宇、郊野绿林、废弃空房之中,一切看上去自然而又带来冲击。我们想象不到穿上外衣,他们会是什么模样。“我想让人去掉原本一切的标签,处于环境中,探索当时那个人和那个地方之间的关系。” 邬烈威说摄影是镜子,那么这一面面镜子,反射出了什么?《二维宫坊》他说会拍到死,除此之外,还有《最好的年代》。

In 2013, the same year he started Two-Dimensional Code Maze, he began documenting his peers, and the photos he’s taken make up the series The Best of Times. “I’m actually a pessimist,” he explains when asked about the title, “but I wanted give this series a more positive name.” The photos focus on his friends, though some are of online contacts who volunteered to model. “I’ve shot a lot of people. Some have kids, some have their own business, some have been abroad for school, and some have even spent time in prison.” Since photographing them, Wu has quietly followed their lives. “I’m thinking of tracking them down in a few years and shooting them again,” he explains.

Most of these snapshots are intentionally styled and posed. Perhaps, as Wu says, “there’s no such thing as a truly candid photograph.” But what is truth? In this pile of images, one figure holds a toy gun and gazes into the distance, while another one looks up, mouth open, standing in a corner. A third face is covered in coins. Are these not true? “Sometimes I feel I’m really not taking pictures—I’m more of an observer, using the camera as a recording device.”


同年,他开始用摄影记录身边的年轻人,这个系列就是《最好的年代》。我问他为什么取这个名字,他说:“其实我是悲观的,但我想作品名积极一点”。这个系列他基本是拍的朋友,也有自发找过来想被拍的网友,“我拍过很多人,他们有些已经生儿育女,当老板的、出国留学的、甚至进牢的。”拍完后,邬烈威仍然会默默关注他们的生活,“我想着过几年再找这些人拍拍。”你能看到,这个系列定格的瞬间大多是刻意为之的造型、身体形态。也许就像他说的:“没有真正意义上的抓拍” 。但什么才是真实呢?这一大堆照片,举起玩具手枪的眼神、靠墙角仰着的头和上扬的嘴角、落满钱币的脸,就不是真实吗?“我有些时候觉得我真的不是拍照的,我更像是一个观察者,只不过摄影当是个记录工具而已。”

Two-Dimensional Code Maze and The Best of Times explore individuals, identities, and social labels, and they seem liberating both for Wu and for the people he shoots—like scratching an itch. Even more liberating was completing his handmade book, Explicit Night Wind, in late 2016. At only 92 pages, it’s surprisingly heavy, and it takes about an hour to look over carefully. “People often say my work is explicit, but what does ‘explicit’ mean?” This question is one of the reasons he created this book. He says he’s seen people looking through it be brought to tears.


《二维宫坊》和《最好的年代》主要是探索人、身份和社会标签,也像是给年轻人和他自己挠痒而伴随的释放。而更让他自己释放的是 2016 年末,这本亲手做的手工书——《露骨的晚风》。整整 92 页,男生一只手拿都会觉得重。如果你仔细读下来,需要大约一个小时。“经常有人说我的作品露骨,但什么才是露骨呢?”,这个疑问是他做这本书的原因之一。他还告诉我,有人读着读着就当他面哭了。

Beyond the large number of photographs and images of people, in this book he tried something new: he recorded the wind blowing over various natural obects, put the recordings on a palm-sized circuit board, and stuck it in the book. “The first page had sound. I sampled the wind and put the recording on a circuit board. But then it broke.”
Paging through the book gives a more intimate feel than seeing the photos in a gallery. It shows images on all kinds of materials and forms a sort of “graphic narrative.” Going through it page by page triggers a visual response and personal memories. “By flipping through this book, you’re actually creating wind,” says Wu. These images lead us through boredom to a world of imagination and vitality.


在当时这本手工书里,除了大量照片、人为形成的图像和痕迹之外,他做了更新的尝试,采集了许多风拂过自然万物时的声音,并利用技术放在了一块巴掌大的电路板里,然后卡在书页上。他告诉我:“其实第一页打开是有声音的,我采样了风声,放在了这块电路板里。但后来坏了”。

翻阅一本手工书比起观看照片来说,带来的体验更为私密。这本书里用各种材料呈现出图像,串联起“图像小说”。一页一页的翻看,能牵动起你的视觉回应和个人记忆。“翻动书本,其实也是在制造风。”他说道。这些图像,带领我们穿过无聊,进入想象力和生命力的世界。

Last year Wu stopped grabbing his camera every time he goes out. He used to think that taking pictures and documenting things was important, documenting. Now he says, “I often forget to take my camera. When I see something I want to shoot, I just stare and blink, and I feel like I’ve got it.”

It’s like they say: to take a good picture, you have to see a good picture.


去年开始,邬烈威不再一定会背着相机出门。从“认为摄影很重要、相机记录很重要”到现在“好几次手机忘带,看见想拍的,就眨眨眼,也觉得自己感受到了”。

我想到一句话:“要拍摄一张好的照片,就必须已看见它”。

Website: wuliewei.com
Weibo: ~/邬烈威
Instagram: @wuliewei1123

 

Contributor: Yang Liazhi
English Translation: Allen Young


网站: wuliewei.com
微博: ~/邬烈威
Instagram: @wuliewei1123

 

供稿人: Yang Liazhi
中译英: Allen Young

Fighting Evil with Evil

“Ye Zhong and You Guang are evil spirits who appear in the dead of night and strike fear in other devils. Fighting evil with evil, men came to evoke their names to ward off war and plague, calling them the Gods of Night.”

 

This is the description that opens the photo series Historical Photographs of the Gods of Night Vanquishing Demons, by Chinese digital artist Zhao Guodong. The series was inspired by folktales that date back to the Han dynasty—in the tales, Ye Zhong and You Guang were menacing deities believed to be powerful and evil enough to fend off wounds and plague.


“野仲、游光厉鬼也,三更出而百鬼惧之。后人以恶制恶,题其名可避刀兵瘟疫,谓之夜游神。 ”

 

这是赵国栋夜游神降妖旧影系列所撰的开篇描述。作者本人是一位原画设计师,这原本是他自己的一个故事创作,灵感来自于汉代的民间传说:野仲、游光实为传说中的厉鬼,当时人们以其之名来辟兵辟疫(指避免受兵器伤害、免遭瘟疫)。

“The night deities are beings whose unparalleled malevolence is believed to counteract lesser evils,” Zhao explains. “I think the main reason people put their belief in these wicked deities as opposed to good spirits wasn’t that they wanted evil beings to destroy one another but that they considered the compassionate deities unreliable. Even today, the world is paralyzed with similar fears: for the common people, law and justice aren’t enough to shake off the uncertainty and fear of falling prey to evil-doers. People cheer on vigilantes who operate outside of the law. This observation, combined with my interpretation of the demons and gods of ancient lore, is what inspired this series.”


 “这里的夜游神,就是以恶制恶的凶神。”国栋说,“我觉得人们之所以寄希望于凶神而非善神,其根本原因不是希望恶鬼自相残杀,而是对于善神的手段并无信心。时至今日,全世界都依然会充满这样的恐惧,即法律和正义无法使普通人摆脱对恶人的恐惧和忧虑,我们越来越寄希望于个人英雄的非法制裁。正是基于这样的创作初衷,结合古代的神魔怪志,就有了这个系列的插图创作。”

While undeniably nightmarish, the demons and beasts of Zhao’s work are a marked departure from the over-the-top character designs of Hollywood blockbusters. He explains he didn’t want to overdo their features, and against the ramshackle, overgrown backdrops, they look even more realistic. The spirits he’s conjured—from a chimerical beast with a lion’s head and a dragon’s body to a humanoid creature with jagged horns—are all culled from Chinese mythology. I love animals, especially the legendary creatures depicted in traditional Chinese sculptures,” he notes. “It was from studying their forms that I learned about how art can be powerful and humorous at the same time.” 

Zhou, leveraging Chinese mythology and modern fears, has managed to restore one of China’s oldest folktales in spine-chilling fashion. Don’t stare too long at these images after dark, or you just might find yourself inside one of these haunting dreamscapes the next time you close your eyes.


这些宛如梦魇中的奇禽异兽,和好莱坞大片中的设计形象不一样,国栋说他“并没有给予过分夸张的造型设计”,龙首狮身、牛头人面,都从中国神话传说中而来,再加上荒草萋萋的布景,看上去就更真实。“我非常喜欢动物,更喜欢中国雕塑里的动物和神兽。它们都非常的有趣。我从这些传统的石兽形象中学到了一种艺术的拙劲,一种很内敛的幽默感。”

昏暗的光景下,看着图中的奇兽,仿佛令人置身幻境一般,而中国历代还有多少神话传说,也实在是巧绘难描。

Weibo: ~/sandaosi
 


Contributor: Chen Yuan
English Translation: David Yen


微博: ~/sandaosi
 


供稿人: Chen Yuan
中译英: David Yen

Neighborhood Stories

For my interview with Wang Zhanhei, one of China’s youngest writers, I arranged to meet her in Dinghaiqiao, a neighborhood on the outskirts of town.

From the subway, I had to pick my way through an open-air market, where stalls with an assortment of vegetables, baskets of fruits, and buckets of freshly caught carp—some still flopping about—lined the road. Two blocks later, I turned down an alleyway barely wide enough for a person, walked a few hundred more meters, and finally arrived at the place where we’d agreed to meet: Dinghaiqiao Mutual Aid Society, a volunteer-run organization that offers assistance to migrants and manual laborers. It’s a place that Wang often visits.

When I arrived, she was already inside, engaged in a lively conversation with some of her friends.


我和王占黑的采访,相约在“定海桥”。

地铁下来,沿着一条马路菜场曲折地走,最先迎接我的是铺了满街的蔬菜、水果,和一条冷不丁从水盆里跳出来的鲫鱼。两个路口之后,再拐进一条一人窄的小路走几百米,就是“定海桥互助社”了。这是一个关注工人群体和移居人口的自发性组织,身为半个作家半个教师的王占黑,会不定时在这里出没。

再往里探一探头,王占黑已经在和好友坐着聊天了。

1 / Unsung Heroes

Displayed on a shelf directly inside the entrance are Wang’s two recent books, Jiedao Jianghu (“Neighborhood Adventurers”) and Kong Xiang Pao (“Air Cannon”), the latter of which just won the inaugural Blancpain-Imaginist Literature Prize. The cover jacket contains a short bio:

Born in 1991 in Jiaxing, Zhejiang Province, Wang Zhanhei graduated from Fudan University with a degree in literature. Her stories Neighborhood Heroes, which originally appeared on Douban, have been published in ONE, FurongShanhua, and the Sinan Literary Journal.

Succinct and straightforward, this statement of fact is the book’s only introduction to the author.

As it happens, since she graduated from Fudan University, Wang has been working as a high school instructor, teaching seniors in an international program. She only sees herself as a writer when she’s actually writing—the rest of the time she calls herself a working stiff. When we arranged to meet, she texted me that she happened to have the day off, but she followed this information with a frowning emoji: “Next week I have to work six days straight.”


1/发现英雄

在定海桥互助社进门处的一排小书柜上,摆着王占黑的新书《街道江湖》和《空响炮》,后者让她刚刚荣获首届宝珀·理想国文学奖。翻开简介看:

“王占黑,1991 年生于浙江嘉兴,毕业于复旦大学中文系。曾在豆瓣写了一系列‘街道英雄’的故事,已有作品散见于《ONE一个》《芙蓉》《山花》《思南文学选刊》等。”

简洁,平面,寥寥几句事实性的陈述,这是书上对她的全部介绍。

事实上,从复旦研究生毕业后,王占黑现在是一所高中的老师,教国际班的高三。作家这个身份,她自己觉得,只有在写作的时候是,其他时候,她也会用“社畜”来形容自己。相约采访前,恰巧赶上了调休,王占黑没忘记发一个“sad”的表情,“接下去又要连上六天班了。”

The interview officially began as we strolled among the clusters of low-rise apartment buildings in the neighborhood and chatted.

The neighborhood consists of typical working-class housing, and was reminiscent of the place Wang herself grew up in. Familiar sights and sounds filled the streets: neighbors cheerily greeting one another, older folks and young kids dawdling along the streets, and identical square laundry racks sticking out from every window.

“I still live in an old building like this,” she said. She spoke calmly, though her eyes constantly looked this way and that, fascinated by everything around her. She’d point out cats busily cleaning themselves, tame rabbits hopping about, overgrown loofah vines climbing the walls, and balconies decorated with potted plants.


那天我们真正的采访,是在对周遭老公房的闲逛途中开始的。

这是典型的“工人新村”,和王占黑从小的生长环境很像,邻里间闹忙的招呼声,形形色色的儿童和老叟,甚至还有一色一样的长方形晾衣架。

“我现在还住在这样的老公房呀。”她的语调漫不经心,眼神却总在到处张望,指给我看正在舔毛的猫咪、大门牙的兔子、攀缘蔓生的丝瓜藤,还有户高楼的人家种了好多盆花草。

In her Neighborhood Heroes series, the “neighborhoods” are the apartment blocks and residential complexes built as worker housing in the late 20th century—a common sight in Chinese cities—while the “heroes” are the ordinary residents: security guards, fruit vendors, trash collectors. These humble characters take center stage as the stars of her stories.

Wang has a knack for striking up conversations with strangers. As we walked and took pictures, curious neighbors would approach us, and she readily made small talk.

“Is this your dog? What a good boy!”

“Yep! He’s an old dog, over ten years old. He was even on T.V. back in the day.”

“That old? How long have you lived here?”

The conversation was animated, with the old man speaking in Shanghainese and Wang answering in her Jiaxing dialect. As the sky darkened above us, her eyes seemed to gleam even more brightly.


“街道英雄”这个系列的小说,“街道”,指的就是老公房、老小区、上世纪末建的工人新村;“英雄”就大不同了,看门的、卖水果的、捡垃圾的,在王占黑的笔下,这些人物用吴语作对白,摇身一变,成为登台亮相的主角。

王占黑是善于和这些人打交道的。我们一路走一路拍,碰到好奇的街坊来问,王占黑会自然地搭话:

“爷叔这只狗是你养的哦?噶乖。”

“是的,伊十几岁咯!老早还上过电视的。”人家答。

“哇岁数老大啦!那爷叔你住这里多久啦?”

老爷爷讲着上海话,占黑讲着嘉兴方言,两个人开开心心聊起天来。外面的天光渐渐变暗,却显得她的眼睛特别亮。

Wang gives her characters intriguing names: Xiao Guan (Little Official), Lao Jin (Old Gold), Chun Guang (Spring Light), and so on. Many of these are cobbled together from names she heard called out in waiting rooms in banks or hospitals, or which she happened across in short news items. With some rearranging and a lot of revision, she created a series of old “neighborhood heroes.”

“In the beginning, both books were called ‘Neighborhood Heroes,’ but the titles were overhauled in the editorial process,” she recalls. “I suppose everyone’s definition of a hero is different. For some people, heroes are mighty individuals, such as a military general. But my interpretation is different.”


王占黑给小说里的人物取名很有意思。小官、阿金、春光……很多人名是她从医院或银行的叫号板上东拼西凑来的,加上日常见闻的琐事,拾掇一下,加上不断修改,构建出一个个生活在街道里老英雄。

“其实两本书(《街道江湖》和《空响炮》)最开始我都起了‘街道英雄’这个名字,但最后过审的时候改了。”她说,“可能是大家对‘英雄’的理解不一样吧。对有些人来说,英雄是很伟大的,是那种领军人物。但我的理解不一样。”

Wang began writing the first piece in her series just after high school, inspired by Xiao Guan, a security guard who looked like he’d been around the block a few times and would make a good story. But once she got to university, she stopped, and when she eventually looked back, the stories and their characters had aged: she discovered that heroes can grow old. They’re just ordinary people.

Not long ago, speaking on Yixi—a platform akin to TED talks—Wang said: “There are a lot of lovable people in that world, and a lot who are lovable and despicable at the same time. But I like to see them as larger than life. Others might say they’re just the common folk, but I like to see them as heroes. Others might say they’re a lost cause, but I want to sing their glories.”

When she published the collection in two books, she changed the title from “Neighborhood Heroes,” but her name for the people hasn’t changed. She still calls them heroes.


早在高三毕业的时候,王占黑就开始写了这系列的第一篇,那时候她看到的看门人小官充满着江湖气。但是到大学以后停一停,再回过头来看,故事和人物就多了几个立面——因为她发现,英雄是会老的,英雄也是平凡人。

在不久前“一席”的讲座上,王占黑是这么说的:“在那个世界里面有很多可爱的人,也有可爱又可恨的人,有人会觉得他们是小的,但我愿意把他们看大了;有人会觉得他们是平凡的,我愿意叫他们英雄;有人会说他们是历史上一批走到穷途末路的人,但我愿意写他们的生龙活虎。”

正式出书的时候,“街道英雄”这个书名改了,但对那些人的称谓没改,还是叫英雄。

2 / A Little Kid in Momentous Era

Ah Ming is one of Wang Zhanhei’s many neighborhood heroes.

One day around noon, when the trash collectors got to the last building, they picked an old woman out of the trash. She’d fallen head-first into the bin and was now fast asleep. When they pulled her out, her whole body gave off a sour stench, and her hair was soaked in a soupy liquid. Wrapped around her breast was a misshapen rubber apron. They turned her over to look and saw—good lord, it’s little old Ah Ming! The one who lives in the garage at the western end of the neighborhood.
(Click here to read more from this excerpt)

In fact, stories like this aren’t so unusual in the Yangtze region, not even in Shanghai. After a layoff or some other misfortune, some people turn to scavenging to get by. A lot of what they take can’t be sold, and they end up hoarding piles of trash. Their stories make the news all too often. But these people, who often face looks of contempt from strangers on the street, are too quickly forgotten about.

But Wang writes about them.

In the story, Ah Ming is fished out of the trash bin and sent to the hospital, but before long she goes back to her trash-picking life. Wang doesn’t give her a tragic ending, yet the story gives you pause.


2/大时代,小朋友

阿明老太太,也是王占黑笔下众多街道英雄中的一个。

“有一天中午,捉垃圾的人捉到最后这栋楼,从垃圾桶里捉出了一个老人。她一头栽进去睡着了。拖出来的时候,浑身酸臭,汤水浸透头发,胸前揣着一块变形的橡胶板。人们翻过身来一看,呀,是住在最靠西边车库里的阿明老太太。”
(点击可阅读更多《阿明的故事》节选)

好巧不巧,这样的故事大概在江南一带并不罕见,在上海也有。因为下岗或种种缘故,有些人会为了减轻家庭负担出来捡垃圾,捡来的垃圾很多又卖不掉,囤积如山。这样的人事,大多数会出现在新闻报道里,众人看一看,啧啧议论两声,忘了。

但王占黑写下来。

小说的结尾,阿明被人从垃圾桶里捞出来,医院里呆呆,不久又继续过上了捡垃圾的生活。她没有给她悲惨的结局,但看完让人久久沉默。

There’s also Chun Guang, who works as a carpenter, Zhao Guangming, who delivers milk, Mei Fen, a middle-aged woman who waits anxiously for her daughter to find a husband. Wang writes their everyday household struggles.

Over time, her cast of characters grew and grew, and eventually became a series. Wang also came to understand her own style. “After figuring out what my quirks were, I got a clearer sense of what I wanted to write, what I could write, and what I could try to write. Some people love to banter and are always shooting the breeze. Some people are always thinking about the past, and are a bit solemn. I want to include a lot of different kinds of people, and use different styles.”

Wang doesn’t purposefully romanticize her characters, nor does she intend for readers to leave with some profound takeaway. She describes these older residents in old neighborhoods in a four-word phrase:

Laid-off factory workers have an expression, nan bao nü chao: “secure men, super women.” It means the men work as security guards, the women work in a supermarket. For every ten families where factory workers were laid off, seven or eight are like that. Mei Fen and her husband were no exception.
(Click here to read more from this excerpt)

Secure men, super women. These are trivial things—nothing thrilling or out of the ordinary. But isn’t there a heroism in these stories?


还有做木匠生活的春光,给家家户户送牛奶的赵光明,等女出嫁等到心焦的中年妇女美芬,这些小老百姓的家长里短之事,王占黑把他们当成“人物志”来写。

人物越来越多,渐成一个系列,王占黑也慢慢意识到自己的风格。“发现自己特点之后,会更明确自己希望写什么样的,能够写什么样的,还可以尝试写什么样的——比如有些人是那种很戏谑的形象,就是我们常说的‘嘲叽叽’的;还有些是怀旧的,有些严肃的。会希望包括很多不同人,用不同的方式。”

当然了,她不会刻意美化这些人物,也不会给他们附加宏大的主题。她用四个字,专门概括这些在老小区里老区的人。

“下岗工人里有一句话叫作‘男保女超’。男的当保安,女的当超市店员,十个下岗双职工家庭里,七八个是这种搭配。美芬夫妻随大流。”
(点击可阅读更多《美芬的小世界》节选)

“男保女超”,细民琐事,也可能就是些陈芝麻烂谷子,但怎么不能说成是“英雄传奇”呢?

On our way to the market, Wang stepped into a little shop selling eggs.

She doesn’t have to ask how much fresh chicken eggs and salted duck eggs cost per pound. After her father passed away, she had to take charge of the cooking. “My mom can’t cook, so I learned from my dad,” she says. From a young age, Wang followed her father around the neighborhood, and a lot of what she knows, like how to talk to strangers and how to haggle over prices, she learned directly from him.

Wang’s fiction is based on the stories of city dwellers set against the backdrop of fast-moving times. She doesn’t look down on her characters from on high, but sees herself as “a little kid from an old neighborhood.” She looks up to everyone in older generations, and her veneration of these heroes comes partly from her respect for her elders. and partly from her inborn empathy.

Before we get to the market, Wang says she doesn’t want to take photos there. “There are a lot of ways to connect with familiar spaces,” she says. “But this sort of ‘photo shoot,’ I don’t know, it feels wrong.”


我们走去菜场,在一家卖蛋的小铺前,王占黑走了进去。

鸡蛋多少钱一斤,咸鸭蛋多少钱一斤,王占黑知道。爸爸去世后,她是那个掌厨的人。“我妈妈不会做饭。这都是我爸爸教我的。” 占黑从小跟着爸爸在街道里窜,怎么跟陌生人搭话,怎么讨价还价,她得到了真传。

王占黑的小说,就取材于这大时代背景下的小市民故事。她不会把自己放在很高的位置去看,反而把自己当成 “一个老小区的小朋友”,所以觉得每个长辈都高高大大。伟岸的英雄形象,一是来自于对年长者的尊敬,二则来自于下笔时不自觉的悲悯。

就在要走到马路菜场的路上,王占黑和我说,我们就不要去那里拍照了吧。“和熟悉的空间沟通的方式有很多,但这样‘摆拍’的话,我不知道,我有点难过。”她说。

3 / A Pen in My Father’s Hand

Her new book Jiedao Jianghu is dedicated to “Jia Tao the king.” Jia Tao was her father, who didn’t actually read her stories. “He’d just pick one up, look at the title, and say something like, ‘Oh, you’re writing about Ah Ming! Looks great!'” she reminisces.”My mom’s the one who often reads my books and proudly shows my work to other people.”

Wang is an animal lover. When we ran into a dog that came up to her barking, she just held a finger up to her lips to tell it, “Shh! Stop barking. You’re going to get yelled at.” Her dad also loved animals. The two of them used to talk about what they’d name their dog if they had one, but sadly Wang’s mom wouldn’t let them get one. “I still want a dog, but my boyfriend doesn’t,” she sighs.


3/“老王的一支笔”

新书《街道江湖》的卷首,印着“献给嘉涛大王”。嘉涛大王就是占黑的爸爸。虽然,爸爸本来不会看她的小说。“我爸爸以前会拿起来看看标题,‘哦,写阿明啊!写得不错!’就这样。反而是我妈妈,会经常看,也喜欢拿给别人看。”

王占黑喜欢小动物。小区里碰到人家屋里的小狗,冲她汪汪叫,她举起手指向它示意:“嘘!勿好叫了噢,要被骂了。”

占黑的爸爸也喜欢。以前父女两个会凑一起商量,家里要是养狗的话要叫什么名字。但可惜的是她妈妈不让。“现在我也想养,但是我男朋友不让……”说着,很无奈的样子。

What her father passed on to her is small but substantial. “My dad liked how I’d meet different people and ‘forge my own path.’ He didn’t teach me anything groundbreaking, but he had his own personal life philosophy. Most of all, he gave me a pair of eyes to observe the world around me. In some ways, I’m just a pen in his hand, recording the world we both lived in.”


爸爸给她带去的财富,很细小,却很有分量。 “我爸喜欢我结交不同的人,‘出去闯’。他倒没有教我很了不起的事,他有自己的一套哲学在。但他给了我一双眼睛,去看身边的世界。”王占黑一直这么说,“我可能就是老王手下的一支笔吧,去写下我和他共同生活的世界。”

When praising a writer’s work, critics sometimes say that it epitomizes an age, or that it raises a style to new heights. Yet Wang isn’t that sort of writer, nor does she aspire to be. She discovers people who have been washed ashore by the waves of time—wary grains of sand, swept away, stranded, and heaped together to form a beach where Wang Zhanhei, like a curious child, kneels down with her magnifying glass and calls out to her dad to come take a look.

No matter how many neighborhoods there are, or how many stories, for Wang, the real hero is her father.

Not long ago, I clicked on her Douban page in search of a bibliography of her works. Looking at the comments section, I noticed next to her name a few extra words: “Jia Tao the king.”


Both of Wang Zhanhei’s books, Jiedao Jianghu (“Neighborhood Adventurers”) and Air Cannon are now available (in Chinese) on the Neocha Shop.


文学史上称颂作家,会说其人其作品“代表了一个时代”,或者把某种风格特质“提高到一个新的高度”,但王占黑不是这一类,也没有这样的野心。她发现了被时代浪涛拍到岸边的那些人,一个个,像一颗颗谨小慎微的沙石,不当心被卷走了,不当心留下了,更多细碎的沙砾聚成了滩。王占黑是会好奇地蹲下身、拿着放大镜、叫爸爸快来看的那个人。

其实无论再多的街道,再多的故事,大概在她心里,爸爸才是那个永远当之无愧的“英雄”吧。

文章写到这里,我点进她豆瓣找书目链接。在评论区瞥了一眼,忽然发现在她“占黑”的名字边上,有个小括号,静默地写着“嘉涛大王”。


王占黑的两本著作《街道江湖》和《空响炮》都在 Neocha 商店中有售。

Douban: ~/WangZhanhei

 

Contributor: Chen Yuan
Photographer: Chan Qu


豆瓣~/WangZhanhei

 

供稿人: Chen Yuan
摄影师: 
Chan Qu

Bauhaus in Shanghai

Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe-Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

Interior Landscapes

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

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


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

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

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


Contributor: Chen Yuan


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


供稿人: Chen Yuan

Light Up Bashu

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

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

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

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


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

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

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

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


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

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

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

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

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


为什么会选择(这一项)非遗文化作为母题?

 

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

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

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

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

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


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

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

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


对你来讲,这次作品最有趣的部分是什么?


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

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

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

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


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

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

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

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


这次展览,你希望通过作品向社会和公众传递什么信息?


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

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

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

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

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


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

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

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

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


对你而言,你认为此次展览具有怎样的意义?


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

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

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

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

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

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

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


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

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

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

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


供稿人: Chen Yuan


地址:
中国
成都四川
青羊区
光华大道二段 601号

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


供稿人: Chen Yuan

Jimei x Arles 2018

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.


11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。

点击箭头,欣赏他们的更多作品。


 

沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.


沈玮的照片富含一种假象性的寂静,就像静止的肌肉一般。其中一张作品,显示他正在进入一个水池,整个画面透露出一股诡异的张力。

在另一幅作品中,刚盛开的樱花花蕾似乎随时要跃出画面。而在两幅特写的自拍像里,一幅睁开眼睛,一幅闭着眼睛,让黑暗掩盖一半的面容。沈玮对光线和色彩的精心操控,令静态的画面充满了饱满的力量。


 

邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.


邵睿璐的照片是一道视觉谜语,解答让人猜不透。也许在半空中悬挂的各国硬币是在表达国际金融和经济环境的不确定性;也许两张构图如同苏巴朗(Zurbarán)作品的静物照是对死亡的悲观思考—上一张照片中新鲜的桃子,在下一张照片中已经腐烂,积满灰尖,报纸也已经被替换。邵睿璐以这些不寻常的题材,提出了那个在你脑海里挥之不去的问题。


 

苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.


乍一看,苏杰浩的作品像是单纯由色彩和形状的集合,很容易让人误认为是抽象画。仔细观察,你会发现这些其实都是生活中的普通场景:一把尺、一道彩虹、一个被雪覆盖的屋顶。最后三张照片来自他的影像作品《早晨的风暴》,虽然看上去不那么抽象,但依然神秘。凭借着他出色的构图,苏杰浩创作出一系列充满美感、引人入胜的画面。


 

廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.


在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


 

戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.


戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


 

杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.


当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


 

刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.


香港艺术家刘卫在她的《明日记忆》系列中,利用了香港旧照片和电影剧照,加上赛博朋克(cyberpunk)风格的元素。最终的效果很逗趣,同时也隐含了严肃的寓意:她是否在暗示这座城市的历史与她经过后期处理的照片一样虚假?抑或她是在暗示香港的未来与过去并非那么不同?刘卫的作品,让人对虚幻和时间产生了暧昧不清的思索。


 

胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.

 


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


 

雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.


和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


 

黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


反思和重复,是黄永生作品的基础。宝丽来头像、树叶标本、窗口反射的日落:在每一张作品中,黄永生让我们在几乎相同的图像中,观察那些微小的差异。与之相反,在此次展出的最后一张照片里,他又用家猫、游船和纯黑色方块三张图片并排拼成一张图像,似乎在挑战我们,能不能在看似无关的图像之间找到共同点。

Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

Contributor: Allen Young


网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

供稿人: Allen Young

Faith of a Fangirl

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

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

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

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


二十多岁的女生,就该爱美自拍,留下自己的足迹嘛。洪彬彬说。

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

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

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

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

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


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

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

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

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

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


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

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

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

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

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


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

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

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

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

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


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

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

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

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

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


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

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

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

Website: www.binbinhong.com
Instagram: @binbinhongbbb

 

Contributor: Chen Yuan


网站: www.binbinhong.com
Instagram@binbinhongbbb

 

供稿人: Chen Yuan

Human Capital

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


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

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


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

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


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

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


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

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

The Art of Suggestion

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

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

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


如果每一天你都会画一张画,今天的你会画些什么?

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

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

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

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


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

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

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


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

Behance~/XIAODUZI
Weibo: ~/艺术插画师小杜子


Contributor:  Chen Yuan


Behance~/XIAODUZI
微博: ~/艺术插画师小杜子


供稿人: Chen Yuan