Tag Archives: 摄影师

China’s Contemporary Ruins

海边

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

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


山水之间,本应是绿野遍布,古树参天,再有小桥流水人家,炊烟袅袅。

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

山涧修路
游泳重庆
断桥 达坂城

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

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


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

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

江边喝茶的人
警校
环球中心

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

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

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


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

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

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

泸州长江桥后
矿山前
朝天门大桥下

Website: www.zhangkechun.com


Contributor:  Chen Yuan


网站: www.zhangkechun.com


供稿人:  Chen Yuan

Love through the Lens

Like the Beatles, Jeon Yunyoung thinks all you need is love. The Seoul-based photographer, who works under the name Neuj, sees love as an omnipresent force that powers the world, and believes it comes in all shapes and sizes. His photography reflects this belief, sometimes in obvious ways, with lovers locked in a passionate embrace, and other times more subtly, by choosing as his subject a close friend or family member.

“I want to convey all the emotions I feel in my photographs,” he explains. “But I also hope that, by sharing my work, and by establishing a relationship between artist and audience, I can spark new feelings.”


像披头士乐队(Beatles)一样,首尔摄影师 Jeon Yunyoung 也认为“爱才是人们最需要的”(All we need is love)。他将爱视为一种无所不在的力量,是世界的原动力。他坚信,爱会呈现出各种形态。他的摄影作品恰恰反映出这种信念,有时,爱以明显的方式呈现,譬如热情相拥的恋人;有时则更微妙,譬如摄影的对象是他的好友或家人,爱就通过镜头含蓄地展露。

“我希望在照片中传达出自己的所有情感。”他解释道,“但我也希望通过分享我的作品,建立艺术家和观众之间的联系,以此给观者带来一些新的感受。”

Website: jeonyunyoung.com
Instagram@neuj_

 

Contributor: George Zhi Zhao


网站: jeonyunyoung.com
Instagram@neuj_

 

供稿人: George Zhi Zhao

Korea’s Pastel Schoolhouses

Macaron-colored walls composed in tidy symmetry. An intoxicating, sugary dream where time seems to have stopped. These aren’t stills from a Wes Anderson film—they’re real shots of Korean schools taken by Spanish photographer Andrés Gallardo Albajar.

Gallardo, who now lives in Estonia, took these photos in Seoul and Busan while traveling. “It all started by accident, when I got a little lost in Seoul and ended up in the playground of a school. I was fascinated by their pastel colors, their trees, their symmetries, and the symbols like clocks, the national flag and the alphabet I didn’t understand,” he says. “But I never expected I’d do a series about Korean schools.”


马卡龙色的外墙,整洁对称的构图,时光仿佛静止于甜美梦境里,让人沉醉。而这一切,并非是韦斯·安德森的电影画面,这是 Andrés Gallardo Albajar 镜头里韩国校园内的真实景色。

生于西班牙、目前长居爱沙尼亚的摄影师 Andrés,在旅行途中拍下了首尔和釜山两地的校舍,这一切都出于偶然。当时我在首尔汉城迷了路,最后走到了一所学校的操场上。我被他们柔和的颜色、树木、钟表、国旗,还有它强烈的对称感和我不认识的字符给迷住了。” Andrés 说,但我从来没有想过,我最终会组成关于韩国学校的一系列作品。”

Gallardo’s experiences in Europe and Asia have given him diverse impressions and experiences. Korea and Spain have different styles of architecture, but they have a lot in common, he notes, since they both have centuries-old cultures. For him, the process of exploring and taking pictures in each one is equally fascinating.

Asked how Korea differs from Europe, he says, “the people in South Korea were extremely nice to me, and that made a great impression. One can tell that South Korea is doing well financially, since you can see plenty of modern architecture by some of the biggest contemporary architects. That doesn’t happen in Estonia, for instance, where everything is more local.”


Andrés 在欧亚两地的经历,给他留下了不同的印象与感触。首尔与西班牙的建筑虽然风格不同,但区别并不大——它们都留有古代文化的印记。对他来说,探索和拍摄的过程都一样迷人。要说到比较,Andrés 说:韩国的人民对我非常好,这给我留下了深刻的印象。另外你可以看出,韩国在财政上做得很好,因为你可以看到很多当代最伟大的建筑师的现代建筑,而在爱沙尼亚,情况并非如此,那里的一切都更有本土气息。

“As a matter of fact, visiting all these schools had a big nostalgia effect on me. As a child my only purpose in going to school was to see my friends and play football or other games during breaks,” he explains. “When doing this series, I often had to wait until the break was over so I could take photos freely. While waiting I could observe the kids playing on the playground, and I could see how, even though thousands of kilometers and around 30 years separated them from my experience, kids will always be kids.”


事实上,参观所有这些学校,让我产生了很大的怀旧感。孩童时代,我上学的唯一目的就是去见好朋友,在课间休息时我们可以一起踢足球或者玩别的运动。但在拍这些照片的时候,我不得不等到休息时间结束,才可以自由拍照。在等待的时候,我可以看到孩子们在操场上自由自在地玩耍嬉戏。即使我的童年和他们隔着几千公里,也隔着大约 30 年的时光,但孩子永远都是孩子啊。” Andrés 如此感慨道。

The Old

According to the most recent statistics, as of October 2017, 27.7% of Japan’s population, or around 35 million people, are 65 or older. While Japan’s rapidly aging population has long been an issue for the country, the numbers are still shocking.

Born in Manchester, England, photographer Lee Chapman has lived in Japan for over two decades. His photo series The Old turns his lens onto Japan’s aging society. They still stagger along on traffic-clogged thoroughfares and eke out a living in alleyway shops.


最新统计显示,截至 2017 年 10 月,日本 65 岁以上老年人口为 3515.2 万人,占总人口的 27.7%。虽说对日本老龄化社会所面临的诸般问题早有耳闻,但真正看到数据时,却依然显得触目惊心。

出生于英国曼彻斯特的摄影师 Lee Chapman,已经在日本生活了二十多个年头,他的这个摄影系列《The Old》,正把镜头聚焦于在日本生活的垂垂老者──车水马龙的大路上,他们依然蹒跚地走着;沿街的小店里,他们依然勉力维持着生计。

“I was initially fascinated by Tokyo’s older areas and districts,” Chapman says. “These neighborhoods often have large elderly populations, so a series of photos featuring them just gradually built up.”

Almost none of the individuals featured in this series were deliberately chosen – most were just chance encounters. “They are mostly all people I spotted on the street, in bars, or in restaurants,” he says. “People that to me at least are interesting, and people whose faces, or the situation I photographed them in, seemed to tell a story.”


“我是先为东京较古老的城区所吸引,而这些地方往往聚集着大量的老年人口,因此一系列以他们为特色的照片才逐渐建立起来。” Chapman 说。

所以镜头里的老人们绝大多数都是 Lee Chapman 在街上随机遇到的,而并非经过层层挑选的拍摄对象,“他们基本上都是我在街上、酒吧或餐厅看到的人。他们是对我而言至少有意思的人。他们的脸上,或者我拍下他们的那刻情景里,似乎都在讲述一个故事。”

One particular photograph that’s engraved in Chapman’s memory is his shot of a silver-haired woman rolling up metal shutters.

“I initially saw only her hands and feet, and then as her face appeared, I quickly got the shot,” he says with a grin. “But the main reason it’s one of my favorites is that when she saw me standing there, she immediately – and rather forcefully – commandeered me into helping her . . . After opening it, she invited me inside to chat with her.”


最让 Lee Chapman 感到动容的一张照片故事,是这个拉卷帘门的老婆婆。

“这是我很满意的一张照片。她站在卷帘门背后,起初我只看到她的手和脚,当卷帘门缓缓上升,她的脸最终出现的时候,我当即按下了快门。” Chapman 说,“但我最喜欢这张照片的主要原因之一,是她看到我站在那里,她立即,甚至是不容分说地,请我帮她拉开卷帘。然后老婆婆还邀请我进屋聊聊天。”

She ended up becoming just about the only person in the series Chapman would spend time with. Chatting with her, he learned that this was her former store, but as age began taking its toll, she closed down the shop and converted it into a living space.

“It was a very interesting half an hour or so that I wouldn’t have had without taking that photograph,” he says. “It’s also even more poignant now as I’ve never seen the shutters raised since, let alone seen the lady herself.”


这次经历几乎算是 Chapman 在拍摄这一系列中唯一与之“共度时光”的老人了。聊天里,Chapman 得知照片里拍的是老婆婆从前开的小店,但因为她年事已高,疲于经营,现在这里只算是她的住所,早已不作商铺。

“如果我没有拍这张照片的话,我们就不会共度非常有趣的半个多小时。可惜的是,现在我再也没撞见过这样拉卷帘的瞬间,也没有再见过这位婆婆了。”

With the sheer amount of elderly citizens in modern Japan, many have voiced concern for their well-being. Must they live the rest of their lives alone? What are the realities of their living situations?

“The lady who I talked with was living by herself and was clearly very lonely,” Chapman notes. “Her kids didn’t live nearby, and she couldn’t get out much, a situation that, given Japan’s aging population, is sadly only going to get more common.”


但是街上随处可见的老人,让人不得不对日本的高龄化现象萌生隐忧。照片中的老人们,难道一直离群索居、独自生活吗?他们真正的生活境遇又是如何呢?

“就我之前提到的那位拉卷帘门的老太太来看,她一个人生活,显然很孤独。她的孩子不住在附近,她也无法独自出门。” Chapman 说,“鉴于日本人口老龄化的情况,很遗憾这样的事只会变得更加普遍。”

In the middle of the fast-paced city, the old get by at their own inevitably slower rhythm. Leading slow lifestyles, the aging population of Japan can struggle to find belonging in the rapidly developing metropolis. Chapman says that this series has helped him come to terms with the impermanent nature of the world around him.

He tells us, “These areas I often shoot in are changing at an alarming rate and fascinating old buildings are being demolished everywhere. Of course, it’s not just the buildings that are disappearing, but also the people who once inhabited them. This element also makes my work seem more pressing, and in some small way, more important,” he says.


在快速发展的城市夹缝中,老人们用自己缓慢而不得已的节奏生存着。因此拍摄这个系列,让 Chapman 更加意识到了周围世界的无常性。

“我经常拍摄的这些区域正在以惊人的速度发生变化,各处迷人的古老建筑正在被拆除。当然,这不仅仅是建筑物正在消失,还有曾经在其中居住的人。这也让我的摄影工作看起来更加紧迫,而且在某种程度上,显得更为重要。”

Website: leechapman.photos
Instagram: @tokyotimes_lee

 

Contributor: Chen Yuan


网站: leechapman.photos
Instagram: @tokyotimes_lee

 

供稿人: Chen Yuan

Dear Sky

Arthur Mebius is a Dutch photographer and aviation enthusiast from Amsterdam. His photo series, Dear Sky, is a look inside Air Koryo, the state-owned national airline of North Korea. The airline boasts a fleet of 19 vintage aircraft, including Cold War models by Soviet manufacturers Antonov, Ilyushin, and Tupolev, many of which date back to the 1960s. Because of sanctions and environmental restrictions, Air Koryo’s only remaining international flights are its China and Vladivostok routes.


Arthur Mebius 是来自荷兰阿姆斯特丹的摄影师和航空爱好者。他的摄影作品系列《Dear Sky》(《亲爱的天空》)用镜头记录了朝鲜国有航空公司高丽航空(Air Koryo)。这家航空公司拥有 19 架老式飞机,其中包括苏联制造商安东诺夫(Antonov)、伊留申(Ilyushin)和图波列夫(Tupolev)冷战时期的机型,还有许多 20 世纪 60 年代的飞机。由于航空制裁和环境限制,高丽航空现在唯一的国际航班是往返中国和符拉迪沃斯托克的航线。

After learning of Air Koryo in 2015, Mebius journeyed from Amsterdam to Beijing to board a flight to Pyongyang and experience the airline for himself. Since then he’s taken a total of 24 flights on different types of aircraft. With his Fuji X100T he documented the planes, passengers, and crew he encountered in his travels.

Below you can view more of Mebius’s images and read a short excerpt from his book.


在 2015 年知道高丽航空后,Mebius 特意从阿姆斯特丹飞到北京,坐上了一趟飞往平壤的航班,亲身体验了这家航空公司。从那以后,他一共乘坐过 24 架不同型号的飞机。透过他的富士 X100T 相机,他用镜头记录了在旅行中遇到的飞机、乘客和机组人员。

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

In one of the apartment buildings in Sunan, next to Pyongyang airport, the haze of 7.27 cigarette smoke is lit by flashing colored lights pinned to the wall and a Moranbong Band CD pumps from a stereo in the corner. Two flight attendants sit demurely on a sofa, an animated card game is in progress at the table. The flight engineer from the Tu-154 is already asleep in a chair. Animated conversation forms a steady roar as tales of the week are cut with memories of a Belgrade nightstop and a zero-zero landing in the depth of a Moscow winter.

The team effort of these comrades, patriots all, is the visible peak of a mountain of institutional knowledge as big as Mount Paektu made of Juche-orientated aviating, and whatever the obstacle, decade or politics, the mission is accomplished.”


“平壤顺安国际机场,2016 年 9 月 14 日——

在位于平壤顺安国际机场旁边的一栋公寓大楼中, 7.27 牌香烟的烟雾中,透着墙上彩色灯的灯光,角落的音响播放着朝鲜女子乐队牡丹峰乐团(Moranbong Band)的CD。两位空姐端坐在沙发上,兴高采烈地玩着扑克牌。Tu-154 客机的飞行工程师已经在椅子上睡着了。他们热烈地谈论着本周的八卦,以及在贝尔格莱德停飞过夜,在莫斯科的寒冬能见度为零时,客机盲降的回忆。

这些同志、爱国者们的团队努力,体现着体制教育的顶峰,犹如白头山(位于中朝边境的一座“圣山”)一样雄伟;而以“主体思想”(Juche,意为自立,是朝鲜劳动党的思想体系和理论基础,由金日成创立,因而也称为“金日成主义”)为导向的飞行,无论遇到什么障碍,历经多少个十年,或说政治形势如何,这个任务都已经完成了。”

Dear Sky is now available on the Neocha Shop in limited supply.


《Dear Sky》现已于 Neocha商店限量发售。

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


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


《Dear Sky》The People and Planes of North Korea’s Airline

¥350

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Product Details:

  • Year of Publication: 2017
  • Hardcover
  • Number of Pages: 128
  • Size: 20 cm x 27.5 cm
  • Price: 55 USD

详情

  • 出版年份: 2017
  • 精装版
  • 页数: 128
  • 尺寸: 20 x 27.5 厘米
  • 价格: 350 RMB

Website: arthurmebius.com
Instagram: @arthurmebius.com_

 

Contributor: George Zhi Zhao


网站: arthurmebius.com
Instagram: @arthurmebius.com_

 

供稿人: George Zhi Zhao

Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”


许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”

 

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Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”


许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”


许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”

 

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In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

供稿人: George Zhi Zhao

Kyoushuu

Will Matsuda is a Japanese American photographer whose personal works are largely influenced by two seemingly unrelated topics: the beauty of nature and an eagerness to better understand his own mixed-racial identity. Following these thematics, his latest photo series, Kyoushuu, takes a look at Kyoto – the city where his parents met and lived – through atypical perspectives.


日裔美籍摄影师 Will Matsuda 的个人作品,灵感源于看似毫无关联的两方面:一个是来自于大自然的美景,另一个则来自于他对了解自身不同种族身份的渴望。他的最新摄影系列《Kyoushuu》也延续着同样的主题,并以独特的角度来定格京都——这也是他的父母相遇、生活的城市。

Sharing his experience of shooting the project, Matsuda tells us, “It rained nonstop for almost the entire week I was there. Almost all of these photos were taken in the last day and a half while I was in Kyoto, due to the fact that those were the hours where there wasn’t torrential rain. This definitely led to a kind of strange, dream-like quality to the photos I took while I was there.”


他与我们分享道:“我在那里的整个星期里,几乎都在下雨。整个系列里的大部分照片都是我在京都最后一天半的时间里拍摄的,因为只有在这些时间里是没有下暴雨的。也正因如此,最后拍摄出来的照片有了一种奇怪的、梦幻般的感觉。”

Matsuda cites the novels of Haruki Murakami as one of his influences: “There’s this sort of slow magical realism that creeps into some of these photos, and that’s definitely inspired by Murakami, or The Wind-Up Bird Chronicles in particular. There’s this great quote from the book that I think about a lot: ‘To know one’s own state is not a simple matter. One cannot look directly at one’s own face with one’s own eyes, for example. One has no choice but to look at one’s reflection in the mirror. Through experience, we come to believe that the image is correct, but that is all.'”


Matsuda 表示,村上春树的小说是他摄影创作的影响之一:“这其中有些照片,像是流露着一股缓慢的魔幻现实主义,这很显然是村上给我的启发,尤其是他的《奇鸟行状录》。这本书中有一句话经常让我思考:‘了解自身状况并非易事。比方说,人无法以自己的眼睛直接看自己的脸,只能借助镜子,看镜里的反映,而我们只是先验性地相信映在镜中的图像是正确的。’”

For Matsuda, photography has become a way for him to explore the notion of home, belonging, and heritage. He tells us, “I’m interested in the intersection of my Western gaze and my inherent Japanese-ness, which is familiar to anyone with a diasporic identity. I have an idea of Japan that is profoundly shaped by my socialization in the West through images and narratives about Japan in pop culture, from katakana text on seemingly every streetwear brand to the whitewashing of Hollywood. I hope to subvert the image of Japan that has been fed to me by tapping into something deeper, something within me. I find that photography is a really powerful tool to unveil my subconscious, and maybe even my own histories, to myself.”


Matsuda 认为,摄影是他了解家庭、归属感和文化传承概念的一种方式。他说:“其实我对自己身上的西方视角与日本文化内在的交融很感兴趣,这种交融对于任何在异国生活的人来说都并不陌生。我对日本的看法,很大程度上是受我在西方生活时那些流行文化中日本影像和描述的影响,从街头品牌上的片假名文字到好莱坞的电影等等。我希望能通过挖掘更深层次的东西,颠覆一直以来人们被灌输的对日本的印象。我觉得摄影是揭开自我潜意识、甚至了解自己过往很有用的工具。”

Website: willmatsuda.com
Instagram: @willfujiomatsuda

 

Contributor: George Zhi Zhao


网站: willmatsuda.com
Instagram: @willfujiomatsuda

 

供稿人: George Zhi Zhao

Capturing Intimacy with No. 223

Beijing-based photographer No. 223 documents the people and relationships in the world around him through a lens of intimacy. His work, self-described as “free, spontaneous, unconventional, and unreasonable,” offers viewers a deeply personal look into his views on sexuality, the human body, and life in general.

While best known for his photography, No. 223 is also an avid author and independent publisher. Despite his versatility in mediums, his overall creative aspirations are one in the same. He tells us, “Sex is an essential part of life, so I try to depict as such in my works. It’s just like eating, sleeping, going out, and socializing. I just choose to record it objectively, not for the purpose of voyeurism or exposing secrets. I like the human body, so naturally, that means a lot of my works will be related to the human form.”


编号223的相片中呈递的人和事,仿佛随处充满着亲密的体温。这正如他对自己作品的定义:自由、即兴、放荡、悬疑——契合了私摄影的概念,也契合了人们对私生活的好奇心。

编号223是来自北京的摄影艺术家、作家和独立出版人。他说:“于我的作品中,性是一个人成长必然的存在,等同于吃饭睡觉逛街聚会,我只是用一个客观的心态把它们记录下来,不为了窥探也不为了发掘什么私密。我喜欢身体,这决定了我会拍很多跟身体有关的作品。”

For personal projects, No. 223 often enlists friends as models. He’s found this approach to produce a much more organic and collaborative dynamic that allows everyone to be themselves. “The subjects in my photographs are often chosen subconsciously,” he shares of his intuitive approach. “For example, the first time that I meet somebody, I might have a strong desire to take their photo. On the other hand, when it comes to friends who I’ve known for a long time, I may not want to just casually take their photo. The action of photography comes instinctively. Some of my subjects will think that I’ve captured a sexier or more carefree version of their normal selves, while others will think that I made them look like a mess without proper styling, but to me, I feel like I’m just showing them in a natural state.”


这些身体呈现着自然、放松或紧张的模样,它们都来自编号223身边的朋友,因此在拍摄的时候,双方通常都不会有心坎和隔阂。“我拍摄对象的选择,往往由我潜意识的审美来决定,比如我看到某个人的第一眼,我可能就很想给Ta拍照;有的可能认识很久的朋友,我也没有轻易拿起相机拍摄Ta,这是我个人潜在的行为激发……有的人觉得我挖掘了Ta更性感、更放纵的状态,有的人觉得我拍摄的Ta太垮了,没有造型,其实我觉得是更自然的状态。”这一切,是由背后那个摄影师个人潜在的行为激发,一切都源于主观的“私”。

Being that No. 223’s photography is so closely interlinked with his own life and interpersonal relationships, there are certain topics that he’s continuously inspired by and hopes to further explore in his work going forward. “What moves me the most is observing people as they slowly change over time,” No. 223 tells us. “Their skin, their gaze, their hair, the wrinkles around their eyes, their body, and so on. I wish I had the chance to capture these changes that I notice every time I see them.”


既然是参杂着私人的感受,那么必然也会有想要一拍再拍的时刻,编号233说,“最让我心动的是一个人在岁月在时间的慢慢前进中所产生的细微的变化,Ta的发肤、眼神、头发、眼角、体型等等发生的变化,我想要每一次见面的时候都可以拍摄Ta的这些成长的变化。”

For No. 223, his creative objectives aren’t just about the superficial documentation of personal moments. The intimate nature of his work reflects his ambitions of understanding the notion of self. His photography is both passive observation and a form of self-expression. “Many of my works are about my personal journey and the things I’ve encountered in my daily life. My works that concern sexuality and the human form fall into the latter category, but it’s not that I’m focusing on sex or the human body, but rather, I see my work as being related to life and growth. Sex just happens to be a part of that.”

Ultimately, No. 223’s creativity is driven by a personal desire to better understand his own role in this world as well as the ever-changing relationship between humans and society.


私摄影远不止亲密的镜头表达。所谓的,更是一种“我”对外界的看法和表达。其实我个人作品更多的关注在自身的成长和日常所见,而身体内容的摄影是归属在这些日常里面的,并非主要拍性和身体。我的作品里面有日常有成长,有人有物,自然也会有性……编号223的作品,也正是通过自己的镜头,在试图一次次阐述自我、他人和社会之间的关系。

Website:  linzhipeng223.com
Instagram@finger223


Contributor: Chen Yuan

Image Courtesy of No.223


网站linzhipeng223.com
Instagram@finger223


供稿人: Chen Yuan

图片由编号223提供

School Bullying

Bullying is an issue that affects individuals all over the world, whether it be physical, verbal, or emotional. It’s an imbalance of power where the strong leverages their physical strength or popularity to inflict harm on their peers. In recent times, school bullying has been a topic that’s attracted much discussion worldwide. However, despite media scrutiny and growing awareness on the full extent of the issue, bullying culture is something that remains tolerated in today’s society – bystanders are often apathetic and victims commonly choose to stay quiet.

Lean Lui, a 19-year-old photographer from Hong Kong, aims to cast a spotlight on the severity of the issue via her School Bullying photo series. “Being bullied in school is something that can happen to anyone,” she shares. “The subjects in my photos are meant to simply be symbolic. The bullies and victims could be you, maybe me, or anyone else.”


校园霸凌,指的是在校园环境里发生于学生间的侮辱和欺凌,拥有“恃强凌弱”的特性,常会导致语言和肢体上的冲突,如今已成为全球范围内舆论关注的公共话题。但即使霸凌现象逐渐步入了社会和媒体的视野,很多真正面临霸凌的人仍会以沉默相对,旁观、纵容或忍受这样的霸凌行为。

19 岁的女摄影师 Lean Lui 来自香港,她的摄影系列《校园霸凌》(School Bullying),正是想通过镜头展露这个尖锐的问题。“校园欺凌会发生在任何人身上。无论是霸凌者或者是被害者。照片中的女生可能是你、可能是我、也可以是任何人。她们只是一个喻体。”Lean 说。


The Blindfolded

 

Depicting empty classrooms and drab campus hallways, Lui’s photo series carries a sense of melancholy that’s amplified through her use of dark, subdued colors. Amidst the somber scenes, girls in school uniforms and eyes covered by white blindfolds populate the frames. Lui categorizes these blindfolded characters into two categories: passive bystanders and accomplices to the bullying.


蒙上眼睛的人

 

这个系列的相片色调非常阴沉晦涩,空无一人的教室、破旧的学校楼道,而照片里这些穿着制服的女学生,无一例外都用白布蒙上了眼睛。Lean 把她们的角色设定为两种帮凶,第一种是旁观者;第二种是同流合污者。

As such, the blindfolds are symbolic of two different concepts.

“First, it represents self-deception. Some bystanders act like just because they don’t see it, they’re unaware of what’s happening. They might even see themselves as being kindhearted since they’re not directly participating in the bullying. But in reality, their cowardice and selfishness equally perpetuate the bullying culture.”

“Secondly, many bullying accomplices simply want to conform and fit in with peers. They’re not interested in seeing the bigger picture, so they act with a mob mentality and target the outnumbered few. They often realize that they’re an accessory to the bullying, but are equally blinded by their weakness and cowardice, and will side with those in power. Being that eyes are windows to the soul, depicting them with blindfolds is meant to represent that these accomplices are nothing more than soulless creatures who are following the herd.”


所以 Lean 在作品中用纱布蒙上她们的眼睛,也代表着两重含义。

“第一,自欺欺人。有些人(旁观者)装做看不到,就当作自己不知道了,就当作自己还是很善良的,当作自己没有参与欺凌。但事实是,他们的懦弱与自私促成了校园欺凌。”

“第二,很多帮凶只是人云亦云地听从谣言,为了朋辈的认同、合群,完全没有用自己的眼睛去看清事情的真相,就随‘主流’去向‘少数’施暴;而且,很多时候‘他们’知道自己是帮凶,但被懦弱跟虚弱蒙蔽了双眼,还是会走到同党较多的一方,持强凌弱。因为眼睛是灵魂之窗,用纱布蒙上了他们的眼睛,想比喻出施暴者是一堆没有灵魂的羊群。”


“Your Past & Memories Are the Bedrocks of Life”

 

Currently a college sophomore, Lui admits to having been a victim herself in the past. The young photographer has experienced feelings of humiliation from emotional abuse first hand.

Lean shares, “Many people say my work carries a feeling of hopelessness and loneliness. I recognize that a lot of the themes I explore are more emotional in nature, and the way I express these emotions tend to be more abstract or reliant on symbolism. I suppose my preferred approach is in itself shaped by my past. Even though many of my past memories aren’t exactly happy ones, they’ve ultimately been beneficial to me. One phrase that a past teacher said to me especially resonates with me now. ‘Your past and memories are the bedrocks of life.’”


“过去和回忆都是养分”

 

很难想象,镜头背后的 Lean 才是刚刚读大二的女生,她也曾是个“受害者”,也经历过这样晦涩而羞辱的时期。

“很多人说我的作品总是有些苍凉、敏感跟孤独的感觉,我也留意到自己多数的题材都是比较情绪化的;而表达手法方面也会比较抽象,较多暗喻,这些都应该就是我的过去的那段经历塑造出来的吧。” Lean 说。“那段回忆虽然不快,但最后对我的影响暂时看起来也挺好。我很喜欢老师对我说过的一句话:‘过去跟回忆都是养分。’

One thing is clear, the issue of bullying isn’t as cut and dry as it might appear on the surface. It’s not only important for Lui to raise further attention to the issue of bullying, she seeks to understand the motivations behind it. She questions, “Is it just human nature?”

“People want to feel superior; this is probably the primary motivation of bullies. They feel accomplished and superior when they’re exerting control on their victims. Those who are accomplices to the bullying is an example of people being herd animals. Whether consciously or subconsciously, they’re aware that if they’re not participating in the bullying, then it could be them next. So there’s no reason to not join in.”


但显然,这一切暴力霸凌的现象,都并非表面上看到的这么简单。深思校园霸凌的诱因,Lean 有些不安地讲出她的答案:“可以说是‘人性’吗?”

“首先,人追求优越感,这是主欺凌者的心态,欺凌者在向弱势的一方施暴时会感受到一种优越感、成功感。其次,人是群体动物,这是帮凶的心态,对于那堆帮凶来说,害怕自己如果不合群跟著一起去欺负特定对象的话,自己也会被欺负,而且也觉得没理由不做大家都做的事。”

Those who are unfortunate enough to fall prey to bullies are generally individuals who are less conforming. Reasons for bullying could be something as simple as that the victim is less outspoken, more introverted, or even because they’re performing better academically.

Lui hypothesizes, “People like to push away the things they don’t understand, no matter what kind of cultural backgrounds they come from. When they don’t accept something, they’ll find ways to exclude them or hurt them. Bullying seems to occur more often in middle school or high school when the kids are still immature and don’t quite understand the full consequences of their actions.”


而那些不幸成为受害者的无辜对象,往往或多或少都有些与众不同。少言寡语、特立独行,甚至过于出众,都会成为被霸凌的理由。

Lean 认为,“人本质上喜欢排挤跟自己不一样的东西,无论在什么文化背景下,都会有‘主流’与‘少数’的存在。在包容度不足时,看到跟自己不一样的人就会选择去作出排挤或是伤害的行动。而校园欺凌较常发生在小、中学,那时候孩子们的思想通常较为不成熟,也不懂如何去控制自己的行为。”


Rebirth

 

As she grew older, Lui began to see both sides of the story, gaining a better understanding of both the bullies and the bullied. Her past experiences made her want to understand the psychology of humans. This is the ‘bedrock’ that she spoke of, learning from her experiences and wielding that knowledge in her creative works as a testament to her own personal growth. This series is a way for Lui to share her outlook and experiences with the issue, and in doing so, Lui hopes to invoke a sense of empathy in the viewers, and in turn, help them shed their own blindfolds.

“If people even feel the least bit uncomfortable when looking at the series, then I hope they can see how these similar feelings are amplified a thousandfold for the bullied. But bullies are human too – they have feelings and experience sadness. So I hope that the next time they’re about to bully someone, they can pause, consider the motivations behind their actions, and imagine how they themselves would feel if they were the victim.”


“重生”的力量

 

在漫长的成长过程中,Lean 渐渐学会了同那个曾被欺凌的自己和解,然后又一步步走向对社会、对人性更深层的理解。这是她所说的“养分”,亦是她成长和蜕变的见证。Lean 试图通过自己的摄影作品,以期在某种程度上唤起施暴者的同理心,剥下“蒙在他们眼前的纱布”。

“如果他们在看到这辑作品时,心里有感到一丝不安或者压抑的话,希望他们知道,被他们施暴的人,体验到的负面感受是他们看到作品时的千万倍;被他们欺负的人也跟他们一样,是个活生生的人,也是有感受的、也是会感到伤心难过的。希望他们下次再想欺负别人的时候,能考虑一下‘为什么’要这样做?如果今天自己是受害者的话,会有什么感受?”

Another goal of the series is for it to act as a voice for bullied individuals. “You’re not wrong. They’re just uninformed. You’re not alone. This is something that happens to many others all over the world. It is what it is. Even if you’re rejected by your peers because you’re different, you still don’t need to feel like you need to conform. That would be a shame. I think that being different is a good thing. You shouldn’t forgive them, but you also don’t need to harbor hatred, because when you feel angry, then they’ve won. It would be foolish to let them win. You can reexamine the situation from a different perspective and understand there’s value in learning from the experience.

Lui continues, “One of my teachers also told me something that really resonated with me: ‘I’m scared of you being different from others, but I’m even more terrified of you wanting to conform.’ This is the same message that I want to share with everyone.”


另外一个作用,Lean 想给予被害者一个出口跟勇气。“‘你’没有错,只是‘他们’还没长大;‘你’也不孤独,这件事情在世界各地都很常见,不用把这件事看得太重。因为与众不同而被孤立的话,不要想着将自己同化,那样太可惜了。而且,我觉得‘特别’是一件好事情呢。‘你’应该不会原谅他们,但是你也不要去憎恨他们了,因为生气就等于自己服毒却等别人死亡一样,很傻;可以尝试换个思维方式,从经验中获取或者学习一些东西,那样才有价值。”

Lean 传递出来的态度温柔而坚定:“老师曾对我说:‘我害怕你跟别人不同,但我更加害怕你跟别人太相同’。我也想将这句话转送给大家。”

Website: ~/leanlui
Instagram@leanlui

 

Contributor: Chen Yuan


网站: ~/LeanLui
Instagram@leanlui

 

供稿人: Chen Yuan