Tag Archives: art

Cultural Strands 缠绕之发

April 17, 2019 2019年4月17日
Hair Landscape III (2013)《Hair Landscape III》(2013)

Hair is often the first thing we notice about a person. Gender, ethnicity, personality—we can make judgments about these characteristics from a mere glance at their hair. This is because however we choose to style it—whether it’s long or short, straight or curly, dyed or natural—we’re displaying a conscious decision. More often than not, this choice is the beginning of a story.

Yuni Kim Lang, a Korean-American artist based in Michigan, is fascinated by hair. Though she was born in Korea, she spent most of her childhood in various cities in China before attending an international school with a Western curriculum. She identifies as a “third-culture kid,” a term for people who have grown up in a culture different from that of their parents, and she often felt caught between three different sets of cultural expectations. “Every summer, when I went back to visit Korea, my heart would start beating faster the moment the airplane landed. I had this idea of what a Korean girl looked like and needed to be like. But what if I couldn’t fit into that box? It was a physical thing for me. I could literally feel how my body started to feel uncomfortable.”


住在密歇根州的韩裔美籍艺术家 Yuni Kim Lang,对头发有着很深的着迷。虽然她出生在韩国,但她在中国不同城市度过了大半的童年时光,接着再进入一所西方教育的国际学校。她认为自己是一个“第三文化小孩”,对于在与父母不同的文化中成长的人来说,她经常感到自己陷入三种不同的文化期望中。“每年夏天,当我回到韩国时,我的心脏就会在飞机着陆的那一刻开始快速跳动。我执着于‘一个韩国女孩应该看起来怎么样?’这样的想法。如果我不能融入呢?这对我来说也造成身体上的影响。我真的可以感到自己开始感觉不舒服。”

Woven Identity I (2013)《Woven Identity I》(2013)
Woven Identity II (2013)《Woven Identity II》(2013)

Lang’s best-known project, Comfort Hair, is the manifestation of that discomfort. The sheer mass of tangled knots pays homage to gache, heavy wigs formerly worn by Korean women to signify social status and beauty. The weight is both literal and figurative, and Lang has said she identifies with the story of a 13-year-old bride whose neck snapped under the weight of her gache. While cultural expectations can be beautiful, rooted in deep traditions, they can also be burdens. “Comfort Hair is about wanting to tell the story of this massive thing on top of my head that encompasses so much, and using it as a conversation starter to dig deeper into our stories,” she says. “It’s the perfect material that everyone understands to be personal.”

Yuni Kim Lang 最著名的项目《Comfort Hair》(《慰借之发》),正是这种文化不适的延伸。大量纠缠的发结,向古代韩国女性用以宣示社会地位和美丽的重型假发“加髢”致敬。这种重量既是象征性的,也是真实有形的。她说,曾经有一个13岁的小新娘的脖子,在加髢的重压下折断。虽然文化期望可以是美丽的,根植于深厚的传统,但它们也可能是重担。“《Comfort Hair》就是想要讲述这个巨大的命题,涵括了很多的东西,并借以开启一段对话,深入挖掘属于我们自己的故事。”她说,“头发正是一个恰好的素材,每个人都可以理解它的私密性。”

Generation (2013)《Generation》(2013)
Hair Landscape II (2013)《Hair Landscape II》(2013)
Hair Landscape IV (2013)《Hair Landscape IV》(2013)

The title also alludes to the “comfort women” taken as sex slaves by the Japanese army during World War II. Comfort Hair is intended to be experienced live as a performed work, with Lang wearing the pieces and lying quietly in a meditative state. Her presence highlights her connection to a complex history that contributes to her identity. Lang states that memory is an essential part of her work, and that hair can be thought to represent a “collective memory.” In one image, three women of different generations share the same web of dense, interwoven, black strands, linking hair with the triumphs and hardships of a community.

Hair is paradoxical. It is neither living nor dead—we cannot feel it, but it nonetheless grows out of our bodies. Similarly, our histories cannot be changed, yet they can be modified, shaped, and worn in different ways.

这个项目的命名,同时也暗示了二次世界大战期间被日本军队视为性奴的“慰安妇”(Comfort Women)。《Comfort Hair》旨在让观众现场体验,Yuni Kim Lang 戴上巨大的发结,静静地躺在冥想状态。她的存在强调了自己、与造就了她的复杂历史两者之间的连结。她说,记忆是她创作中不可或缺的一部分,头发可被视为一种“集体记忆”。在其中一张照片中,三位不同世代的女性拥有相同密集、交织缠绕的黑色织线,将头发与这一群体的伟大与艰辛,紧紧联系在一起。


Flow (2017)《Flow》(2017)

Lang’s newest project, Blooming, is a sequel to Comfort Hair. “Blooming was born from Comfort Hair and visualizes hair as much more than just hair,” she says. “It explores those layered meanings that hair encompasses. Hair is, at times, a stand-in for our identity, and this identity is not static. I see it as something growing and transforming that changes with our stories and unravels as we unfold life’s adventures. I find this concept much more appealing.” Audiences have said Blooming reminds them of flowers, mushrooms, or even sea creatures. “What I want to communicate is growth. Identity is an organism that’s alive, growing, spreading, and blooming.”

Yuni Kim Lang 的最新项目《Blooming》(《绽放》)是《Comfort Hair》的续集。“《Blooming》诞生自《Comfort Hair》,视觉表现上让头发发挥更多想像。”她说,“它探索了头发在不同层面上的意义。有时候,头发是我们身份的替身,但身份并非一成不变。我认为它是会随着我们的经历和生命故事成长而变化的东西。我发现这个概念更具吸引力。“有些观众说《Blooming》让他们联想到花朵、蘑菇、甚至是海洋生物。“我想要传达的是增长的概念。身份是一种有生命、不断成长、向外传播和绽放的有机体。”

Self Portrait II (2017)《Self Portrait II》(2017)
Self Portrait I (2017)《Self Portrait I》(2017)
Nest (2013)《Nest》(2013)

In a few pieces, she doesn’t wear the hair but instead lies in it. The metaphor of hair evolves into a surrounding environment, enveloping a wearer who is not overwhelmed by the pressure but peacefully coexisting with it. Lang, who was once anxious about “not being Korean enough,” has grown into an artist who understands the multifaceted nature of identity, as well as a mother tasked with guiding her boys through the challenges of understanding their heritage. She says hair gives her a platform to talk about the internal struggles she had growing up. “I enjoy talking to my boys about the things I hated and loved about being Korean, and who I am because of those understandings,” she says. Today she serves as a guide through the symbolic seascape of Blooming, both for her children and her audiences.

在几件作品中,她不戴头发,而是躺在头发里。头发的比喻演变成一个周围的环境,包裹着一个没有被外在压力打倒,而是与它和平共处的穿戴者。曾经一度担心“自己不够像韩国人”的 Yuni Kim Lang,已经成长为一个深刻了解身份多重性的艺术家,以及一位母亲,教导儿子去了解他们继承传统的挑战。她说,头发给了她一个平台,讨论成长过程中她内心的挣扎。“我喜欢和我的孩子谈论关于做韩国人我喜欢和讨厌的事,以及因为这些理解,从而去了解我到底是谁。”她说。今天,通过象征性的《Blooming》,她为她的孩子和她的观众提供了方向和指南。

Meditation II (2017)《Meditation II》(2017)
Self (2017)《Self》(2017)
Mother and Child (2017)《Mother and Child》(2017)

Lang recalls on one memorable encounter with a Korean adoptee who shared her personal story after an exhibition opening. Lang’s story of growing up as a third-culture kid resonated with her, and she explained how she too, often felt lost between Western and Korean cultures. However, they bonded over the fact that they can’t deny they’re Korean—their intense black hair would never allow them to. “The world will always see a Korean girl,” Lang says. Even if they covered their roots, their hair would eventually grow back, a mysterious force always trying to tell its story.

Yuni Kim Lang 回忆起有一次在展览开幕后,遇见一位被领养的韩国人。她分享了个人经历和故事,并提到这样的作品引起她很大的共鸣。她解释自己也是如此作为一个第三文化孩子成长,经常感到迷失于西方和韩国文化之间。 然而,两人都认同自己无法否认她们韩国人的身份——她们明显的黑发绝不允许她们这样做。“世界看到的我将会永远是一个韩国女孩。”她说。即使覆盖了根,头发也会长出来,仿佛丛生着一股神秘力量,总是试图去诉说它的故事。

Bloomscape (2017)《Bloomscape》(2017)

Website: yunikimlang.com
Instagram: @artist_yunikimlang


Contributor: Eugene Lee
Chinese Translation: Yang Yixuan

网站: yunikimlang.com
Instagram: @artist_yunikimlang


供稿人: Eugene Lee
英译中: Yang Yixuan

Taking It to the Streets 如果墙会说话

February 13, 2019 2019年2月13日

The sun shines brightly in a cloudless, blue sky while the sound of waves crash on a nearby beach. We’re in Liwa, a surfer community in the Philippines, and since it’s a weekday the town is mostly deserted, other than a few locals lounging in the shade watching Archie Oclos paint his newest mural.

Despite the sleepy setting, Oclos isn’t here on vacation—he’s on a mission. He defines himself as a provocateur, using art as a medium to broadcast discontent and raise awareness of social issues. And it’s a life that has repercussions. In a country that doesn’t tolerate dissent well, his murals have resulted in violence against him and threats to his family. But that’s only inspired him to keep working.

晴空万里,艳阳高挂,海浪拍击着附近的沙滩。这里是里瓦 (Liwa),菲律宾的一个冲浪目的地,因为是工作日,镇上一片冷清,只有几个当地人在树荫下看着 Archie Oclos 画着他的最新壁画作品。

尽管这样的环境令人昏昏欲睡,但 Oclos 不是来这里度假的,他有任务在身。他说自己是煽动者,以艺术为媒介,宣扬各种对社会问题的不满,提高人们的意识。在这个不欢迎异见的国家,他的生活自然不可能舒坦。因为创作壁画,他曾招来暴力对待,连他的家人也受到了威胁。但是,这只能进一步激励他去创作。

The profile of an indigenous character fills the center of the Liwa wall, rendered in a black silhouette with ochre line work, his bow and arrow stretching from the ground all the way to the two story roof. The character is a member of the Itas, considered to be the first inhabitants of Zambales, the province where Liwa is located. Stretching across the background in sea blue are rows of Baybayin calligraphy, a pre-colonial writing system that was used across the entire island nation at one point. A smaller line  in the upper left hand side, written in Tagalog, reads “You fight for the land and take good care of it.”

Oclos’s paintings generally focus on Filipino farmers and indigenous people. “They are the minority groups in our society,” he explains. “They are the most oppressed by military and the state forces, and there are lots of stories from the rural areas that need to be told.” A good example of the issues that he works on can be found in an installation at a sugar plantation called the Hacienda Luisita. It depicts a farmer hanging on a cross. The plantation, partially owned by the family of late former president Benigno Aquino III, has been dogged over the years with accusations of murder, land theft, and appalling conditions for its workers.

在里瓦一堵墙壁上,一个土著人物的轮廓填满了墙壁中央。以赭色的线稿描画,黑色的轮廓勾勒,他的弓箭从地面一直延伸至两层楼的屋顶。这个土著人物的原型是Itas族人,据说是里瓦所处的三描礼示省 (Zambales) 的第一批居民。横跨背景的是一行行海蓝色的比比贤文字(Baybayin),这是前殖民时代曾经在整个岛国使用过的文字。在左上方,有一排较小的加禄语写着“你要为你的土地斗争,并照料好这片土地。”

Oclos 的作品画的主要都是菲律宾农民和土著人民。他解释道:“他们是我们社会的少数群体,是受军事和国家势力欺压最严重的群体。在农村有很多需要讲述的故事。”在名为 Luisita(路易斯塔庄园)的甘蔗种植园,摆放着他的一个装置艺术作品,很好地体现了他所要表达的问题。这件作品描述的是一个农民挂在十字架上的情景。这片种植园的主人之一是已故前总统阿基诺三世的家族。多年来这里一直笼罩在谋杀、盗窃土地、剥削工人的指责阴影中。

Oclos comes from a family of farmers, and his parents migrated to Manila when he was nine years old. While his mother gave up farming to become a school teacher and worked for less than minimum wage, his father couldn’t find work, and they weren’t able to escape poverty. “We moved around Manila a lot,” the painter recounts. “Surviving on a day-to-day basis was  hard. There were times we went hungry, and sometimes we had only one meal of fish and rice per day.”

He wanted to be an artist since he was a little kid drawing dinosaurs and cartoons, but his parents pushed him to become a doctor or a lawyer. “They didn’t support my art because of the stereotype that artists don’t make money, that it’s just a hobby.” Although he studied hard and got a scholarship to a science high school, the bug never left him and when he left for college at age 16, he decided to study art.His fraternity helped him get another scholarship to study for free, and he supported himself by working as a photographer’s assistant.

After graduation he started working in video games. He taught himself digital painting and sent a portfolio to an online job posting, becoming a concept designer for EA Games and Disney. It wasn’t satisfying work though, and he found himself asking, “What is the purpose of art during trying times?”

Oclos 出身于一个农民家庭,9岁的时候随父母移居马尼拉。虽然他的母亲离开了农田,成为了一名学校教师,薪水低于最低工资但父亲找不到工作,生活比较贫困。“我们在马尼拉经常要搬家。”这名画家回忆道,“这样难以为继的生活很艰苦。我们常常要挨饿,有时候一天也只能吃上一顿饭,只有鱼和米饭。


毕业后,他进入视频游戏行业工作。他自学数码绘画,后来又将作品集发给一个在线招聘的帖子,然后就成为了美国艺电公司 (EA Games) 和迪斯尼 (Disney) 的概念设计师。但是,这仍然不是他想要的工作。他问自己,“在艰难的时候,艺术的作用是什么?”

In high school he used to draw political cartoons, and during college he was part of a protest art group. So once he tired of the video game world, he went straight into political street art. Almost immediately he caught the attention of the military. As part of a 2015 event held by Food Not Bombs, an organization that gives out free food to the poor, he painted a mural of an old woman with a crown of thorns made of bullets. It was accompanied by the words, “Stop Lumad Killings,” a phrase that was trending on Twitter, sparked by a spate of murders that year of tribal leaders of the Lumad people. The Lumad are the indigenous majority in the Philippines, located mainly in Mindanao, an island at the southern end of the country. Some have accused the military of supporting the group that killed the leaders as part of a campaign to clear the land for corporations. Today, the Lumad face continued oppression, and Mindanao is currently under martial law.

高中的时候,他常常画一些政治漫画,到了大学期间,他又加入了一个抗议艺术团体。所以每当他对视频游戏世界感到厌倦时,他就会马上投身政治街头艺术。但紧接着他就引起了军方的注意。2015 年,他加入了“要食物不要炸弹反战团体” (Food Not Bombs) 组织的一次活动。这个团体常常给穷人派发免费食物。在这次活动中,他画了一个年迈的女人,头上戴着用子弹制成的荆棘冠冕。旁边写着一句话:“Stop Lumad Killing” (停止在卢马德的杀戮),这是当时上了 Twitter趋势的标签,指的是当年接连发生的针对卢马德部落领袖的谋杀事件。卢马德是菲律宾国内的主要土著部落,主要位于南部的棉兰老岛。有人指责军方,称他们是谋杀者背后的支持力量,目的是给大集团企业清除障碍。今天,卢马德依然要面对持续不断的压迫,棉兰老岛目前也处于戒严。

Early one morning a short while later,  someone in plain clothes approached Oclos on his way to work and put him in a headlock, choking him. After wrestling for a few moments, the man let him go. “I could tell he was military because of his hair cut, his muscles, and the way he talked. There were three or four of them, and the others were guarding him,” Oclos says. The man told him he knew who he was and where he lived. “Then he gave me a brown envelope containing pictures of my girlfriend, who is now my wife, and a lot of my relatives: my grandparents, uncles, parents—even the kids, my cousins.”

It backfired, though, and rather than scare him off, it motivated him to paint even more: “It made me see the power of street art. Simple, two-dimensional art with no sound or moving images can still impact the system. It’s a way to speak up.”

Oclos 在上班途中突然被一个身穿便服的陌生男子用手卡住脖子,让他难以呼吸。争斗了几分钟后,那名陌生男子就放了他走。“我知道他是军队的人,他的发型、肌肉和说话的方式让我确信这一点。他们有三四个人,其他人就在旁边帮他守着。” Oclos 说道。那个男人说知道他是谁,也知道他住的地方。“然后,他给了我一个棕色信封,里面是我当时的女朋友,也是我现在的妻子的照片,还有我很多亲人的照片:我的爷爷奶奶、叔叔、父母,甚至还有小孩,我的表兄弟。”


Recently, Oclos created his biggest political work to date, tackling the subject of extra-judicial killings here. After winning a Thirteen Artists award from the Cultural Center of the Philippines, one of the nation’s highest recognitions in the arts, he painted a mural on one of their outdoor walls. It depicted a dead body, rendered in black lines on a white background. He says the more than 20,000 strokes that make up the piece represent the amount of people estimated to have been killed in the country’s drug war led by the president, Rodrigo Duterte.

近日,Oclos 创造了他至今最大幅的政治主题作品,主题是当地法外处决的问题,并获得了菲律宾文化中心颁发的 Thirteen Artists 大奖——菲律宾艺术界最高奖项之一。随后,他又在一幢户外墙上绘画了一幅壁画作品,用黑色线条在白色背景上画了一具尸体。他说,这幅作品共画了2万多笔,代表了人们所估计在该国毒品战争中被杀害的人的数量这场毒品战争是由菲律宾总统罗德里戈·达特 (Rodrigo Duterte) 所发起的。

While taking a break from painting the mural, an elderly woman approached Oclos, saying that the piece was inappropriate, that it was overly negative. “I tried to convince her that we should see the face of death in order to appreciate the value of life,” Oclos argues. “Nowadays killing is normalized, which conditions people into thinking it’s okay to kill people. But it’s not.”

休息的时候,一位年迈的妇女上前跟Oclos说画这样的画不合适,太过消极了。“我试图说服她,我们应该直面死亡,才能体会生命的价值。” Oclos解释道,“如今杀戮被常规化,让人们慢慢对杀戮这个问题麻木起来。但这是不对的。”

Instagram: @tatak_a


Contributor: Mike Steyels
Photographer: Ed Enclona

Chinese Translation: Olivia Li
Additional Images Courtesy of Archie Oclos

Instagram: @tatak_a


供稿人: Mike Steyels
摄影师: Ed Enclona
英译中: 李秋群
附加图片由 Archie Oclos 提供

Faith of a Fangirl 和一位网红艺术家聊了聊追星

October 31, 2018 2018年10月31日
#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.


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.


“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.


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?


“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


供稿人: Chen Yuan

Photography in the Raw 一只鸡与生俱来的美感

October 24, 2018 2018年10月24日

Beijing-based photographer Yum Tang is particular about food. “I like to challenge myself to try new things,” she says. Her passion for food challenges goes well beyond eating it—more often than not, what really fascinates her is finding the most original ways to photograph it.

现居北京的摄影师 Yum Tang(汤汤)是这样形容自己 “有时候比较挑食,喜欢挑战没吃过的食物”。她挑战食物的热情不只展现在料理上,很多时候,如何拍出食物最让人意想不到的样子,更是让她如此为之着迷的原因。

“People tend to think about what they like to eat, but even if they go to the market every day, they haven’t really thought about what those foods look like in their original state,” she says. “The ingredients come from nature, and many of them, when you look closely, have limitless potential, just like people. I want to document nature’s creativity.”

As a photographer, Tang is focused entirely on shooting food. She’s constantly exploring new ingredients and revealing the inherent beauty in their structure, color, and texture. Even in the raw, food can become a work of art.



Tang painstakingly designs each scene and shot: it’s almost as though she built a miniature stage just for food. Here the ingredients are are front and center. They’ve taken on a new life, and they’re no longer just for eating. With these intriguing creations, Tang invites us to view food in its overlooked, uncooked state.




Contributor: Yang Yixuan

Behance: ~/yumtang
微博: ~/Yumtang


供稿人: Yang Yixuan

Climbing Higher with Bao

October 12, 2018 2018年10月12日

Street art in Hong Kong is still very young, and Bao is one its leading lights. Even though she’s only been painting for the past three years or so, she competes with the globe-trotting artists who headline festivals worldwide.

Her cartoon murals bubble and roll like waves, with characters spilling over one another in a constant rhythm. Inspired by Japanese manga comics at a young age, Bao could be found with a pencil in her hand for most of her life. But until recently, she was stuck behind a computer in an uncreative design job. “Our generation says, if you do art you can’t survive or make money. So they ask you to study design instead,” she explains. The artist eventually found herself bored with her job, so a couple of years ago she up and quit, deciding instead to travel overseas and try living off her art.

在香港,街头艺术还很年轻,而 Bao 正是其中一位领军人物。尽管 Bao 创作街头艺术只有三年左右,但她早已和全球各地参办艺术节的街头艺术家不相上下。

Bao 笔下活泼可爱的卡通墙绘,像波浪一样翻滚着,人和物以流动的方式漂浮着。从小深受日本漫画的启发,Bao 热衷画画,并且在生活中大部分的时间里,她都会手握一支铅笔。但其实直到不久前,她还在电脑后面做着一份毫无创造性的设计工作。“我们这一代人常说,如果你从事艺术行业,就不能生存或赚钱啦。所以很多人会让你改学设计。” 她解释说。最终,Bao 实在发现对自己的工作感到厌烦,所以几年前她放弃了,决定去国外旅行,尝试以艺术为生。

It turned out to be a good move. She discovered her talent for street art in Italy, thanks to some local artists, just as the scene started blossoming back home. Space Invader had visited, leaving behind his trademark pixelated characters, and when the government began removing them, it caused something of an outcry, bringing even more attention to the murals. This was also around the time when Hong Kong Walls, the city’s premiere street art festival, was launched.

Although things were off to a good start when she returned, it was still an uphill battle: “My first year back, I was trying to find walls to paint everywhere. Begging people. No one would give me walls!” Undaunted, Bao persisted, and these days clients come to her.

这个放弃的决定,结果证实下来还不错。她在意大利发现了自己在街头艺术方面的天赋,这多亏了一些当地艺术家。这边,得益于Space Invader 曾经来访,在意大利留下了他标志性的像素人物,但当政府开始逐步清除它们时,却引起了一片哗然,更大成都上引起了人们对街头墙画的关注。而与此同时,在她的家乡香港,正逢当地的街头艺术节——“香港墙涂鸦”(Hong Kong Walls)开始的时候,墙绘也开始新兴发展。

Bao 回港时,适逢香港墙上涂鸦不错的开始阶段,但这仍可说是一场艰难的战斗。“第一年,我一直在找墙,到处找,到处求人。但没人给我墙!” Bao 却不气馁,一直坚持,以至最近都有顾客找上门来。

While she paints mostly at home, she’s been attending more international festivals of late, recently landing a Simpsons-themed project in Bristol. Originally she wanted to paint her own mural, but they were out of wall space. When they returned with an offer to have her paint Bart and Homer characters, she jumped at the opportunity. She and two other artists painted the yellow cartoon murals, while the rest of the artists did separate projects. Her murals look a lot like the very early Simpsons characters, but that’s just a coincidence. “I don’t really watch the show, but I started to watch it when I got the mural and I quite like it,” she admits with a laugh. “The style isn’t a reference to any period, it looks like the old Simpsons, but it’s actually just my style.”

虽然 Bao 大部分时间是在家里作画,但她近期一直在参加更多的国际性活动,最近她获得了由布里斯托尔政府委托的一系列以《辛普森一家》人物为主题的作品。本来她只想自己选择主题来画墙绘,但因为种种空间限制,最终她负责了“辛普森一家项目”创作机会。当他们带着她画的 Bart 和 Homer 的人物回来时,她欣然抓住了这个机会。她和另外两位艺术家画了黄色的卡通涂鸦,而其余的艺术家则从事个人的不同工作。她的墙绘看起来很像早期辛普森笔下的人物,但那只是一个巧合。“我以前并不怎么看这个节目,但当我拿到画时我就开始看了,我还真的喜欢上它了。” 她笑着承认。“这画的风格并不像我任何时期的作品,它看起来像最初版的辛普森一家 (《辛普森一家》的第一季绘画风格和后续季有点不一样,人物形象更饱满可爱一些,但实际上这正是我的风格。”

The large-scale, full-color works represent a new stage for Bao. In the beginning, she’d do monotone pieces, sometimes just bold outlines on a blank surface. But as she’s gotten more comfortable with the medium, she’s started adding more and more elements. In Shanghai she recently did a five-story mural. Since she’s still rather new to things, she still uses paint brushes for outlines and only picks up spray cans to fill in larger pieces. Her background in design drudgery has come in handy too, helping her manage clients and organize work.

大规模且全彩的作品,代表了 Bao 一个新阶段的开启。一开始,她会做单调的作品,有时候只是在空白的表面上画一些粗体。但是,随着她对这种媒介越来越适应,Bao 开始添加越来越多的元素。她最近在上海了一面五层楼的墙。因为 Bao 对这样作画还比较陌生,她仍然用画笔画下轮廓,然后拿起喷壶来填充较大的部分。她原先在设计工作上的背景也派上用场,能够帮她管理客户和整理工作。

Street art has turned out to be a surprising source of income in a city with a notoriously high cost of living, allaying fears that art isn’t a viable career path. “There’s a living to be made now,” she says. But the public is still coming to terms with it. “I’ve only had good experiences, but I have friends who say people complain a lot. Some people hate it, they don’t care what you’re painting, they just don’t like it. Haters gonna hate.”

在一个以生活成本极高而出名的城市,街头艺术成了一个出人意料的收入来源,这减轻了人们对 “艺术不是一条可行的职业生涯” 的担忧。她说:“现在生计有了着落。” 但公众仍需要一个接受的过程。“我有些朋友告诉我说,对墙绘现在人们有很多抱怨。有些人讨厌墙绘,他们根本不在乎你在画什么,就是不喜欢它。愤世嫉俗的人看什么都不顺眼。” 

Instagram: @simplebao


Contributor: Mike Steyels

Instagram: @simplebao


供稿人: Mike Steyels

Water and Ink

August 15, 2018 2018年8月15日

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities. Traditional Chinese ink paintings usually leave empty space on the scroll, and Lost Mountain Main, fascinated by eastern aesthetics, uses a understated, gentle, pleasantly flowing technique to add a touch of the mystical.



In most of his works, the artist conveys a certain feeling, one that arises from the dialogue between humans and nature and appears at both the individual and the monumental scale. Watercolor and ink compose and rearrange these subtle relationships, creating an intriguing effect. “Ink and watercolor both involve a play between pigment and water. With practice on the page, with long-term perseverance, you can achieve harmony, coordination, and control. All that remains is the emotion you want to give voice to.”

The landscapes in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”



Instagram: @lostmountainman

Contributor: Chen Yuan

Instagram: @lostmountainman

供稿人: Chen Yuan

Pow Marin’s Floral Portraits

July 25, 2018 2018年7月25日

“Floral” might be the first word that pops into your mind when you see Manila-based artist Pow Marin’s work. Everyone’s face is a profusion of flowers and corals, arrayed so dramatically that they seem to be clamoring for your attention. Marin’s obsession with repeating patterns, along with a strong influence from Yayoi Kusama, one of his favorite artists, give his work a distinct and dazzling style.

眼花撩乱,也许是你看到 Pow Marin 作品心中浮现的第一个形容词,这些团簇的花和珊瑚绽放在每个人身上,戏剧性的程度就好像它们在放声地呼喊,以争夺你的目光。来自菲律宾马尼拉的年轻艺术家 Pow Marin,说自己是受到喜欢的艺术家草间弥生影响,再加上自己对重复图案的执着,最后总结出这样令人目眩神迷的画风。

The subjects of Marin’s paintings seem to be posing for a photograph, standing still and looking directly at the camera. His works give off a heady scent of nostalgia as if he were conjuring happy moments and preserving them in physical form on a canvas. “Sometimes I use my own family photos as reference,” he says. “Being around friends and other people is a huge comfort for me.” His paintings, like memories, pay tribute to significant people and happenings from the past.

除此之外,近似照片的构图,画面里的人看向镜头静止不动——你还可以从他的作品里品味出浓郁的怀旧情感。如同回忆被提领出来,帧在画布上,过往的美好时光就此留存在他下笔的那一刻。“我经常使用家庭合照作为参考,因为朋友和其他人的陪伴对我来说是很大的安慰。” 就像回忆录一样,他感性地用画把重要的人与事都纪念下来。



Contributor: Yang Yixuan

Instagram: @powmarin


供稿人: Yang Yixuan

A Diary in Comics

July 23, 2018 2018年7月23日

“I guess you could call my work a dumping ground of uncensored thoughts.”

For Ji Sub Jeong, aka Geesubay, a Korean-Canadian artist working in New York, art has been a passion since childhood. “I’ve been drawing obsessively as long as I can remember,” he says. “I’d doodle on anything I could get my hands on, from textbooks and magazines to the walls of my room (which my mom did not appreciate!). Drawing was something that I enjoyed tremendously, and I could never get enough of it.”

“我想你几乎可以把我的作品称为 ‘一团没有经过审查的思想垃圾堆’。”

韩裔加拿大籍插画家 Ji Sub Jeong aka Geesubay,目前在纽约发展艺术事业。他对于艺术的热爱从小就展露无遗,自从有记忆以来,画画就一直是他最着迷的事情。“我会在任何我碰得到的东西上乱画,从课本、杂志、到我房间的墙壁,虽然对此我妈妈很不高兴。我一直非常享受画画,我想我永远不会有觉得画够了的那一天。”

Window Thoughts /《窗边随想》
Everything Is A Blur /《世界是模糊的》
Naked And Shy /《裸体与害羞》
Not Fall Yet /《還沒掉下來》
Getting Over The Hurdle /《跨栏》

Jeong’s art is simple and free, full of a humor that brings a familiar smile your face. The mischievous, pudgy little boy in his drawings, out exploring the world, seems to be a creature of his imagination. As he plays and gets into trouble, he discovers life’s smaller joys. “I’ve never been one to keep a steady diary, but I’ve realized that I feel the most satisfied when I draw something I’ve had on my mind for a while,” he says. “So I guess my illustrations can be viewed as a visual diary that showcases my most private and honest feelings about the world.”

他的创作简单、自由、充满令人会心一笑的小幽默。一个拥有浑圆身躯的小男孩喜欢到处闯荡,也许这个顽皮的男孩就是 Ji Sub Jeong 想像的投射,他总在无趣的规则边缘探索,惹一点事,嬉闹之间发现生活微小却显而易见的乐趣。“我从来不是能每天按时写日记的人,但我发现如果可以用画的把想法记录下来,这让我感到好满足。所以我的作品也可以被看作我的图像日记,诚实地展现了我个人对世界的看法。”

Headspace /《头上空间》
Cig Thought /《烟与随想》
Don't Ground Me/《不要拉我》
Clapping My Own Hands /《和自己击掌》
Peace Sign /《和平标志》
Finger Print /《指纹》
Who Am I /《我是谁》



Contributor: Yang Yixuan

Instagram: @geesubay


供稿人: Yang Yixuan

Intimate Strangers

June 13, 2018 2018年6月13日

In the lens of Chinese American photographer Jesuuna, the air is always suffused with a heavy grief. She captures wounded people who are only a camera’s distance away and gently lays their wounds bare before our eyes.

在美籍华裔摄影师 Jesuuna 的镜头下,空气中总是弥漫一股挥之不去的忧伤。她捕捉到那些受伤的人,与我们隔着一台相机的距离,把伤口轻轻揭开在我们面前。

Doi Kim
Doi Kim
Doi and Head

Of all photography’s charms, the most enigmatic is how it binds together subject and the spectator—utter strangers in real life—in an intimate relationship through the photographer’s gaze.

In the series Ache,  we see that the model is not smiling and has dropped all masks and defenses. Her expression is by turns vacant and estranged. We’ve never met the grief-stricken girl in the photographs, but we can almost touch her pain; when the pictures were taken, she must have felt a deep mental anguish. Jesuuna says the model is a good friend of hers from college, someone who always encouraged her to take the leap and pursue her dreams. When she first moved to Seoul, she stayed with her friend, who was then in a state of deep malaise. “One morning I woke up, saw her curled up on a yoga mat, and was immediately struck by her beauty,” Jesuuna recalls. “I then asked if I could take photos of her, and she obliged. We shot them a few days later on a humid afternoon with no plan in mind.”


在《Ache》(《伤痛》) 系列里,我们看到模特儿脸上没有笑容,她脱下一切防备和掩饰,眼神时而空洞、时而疏离。我们不认识照片中这个悲伤的女孩,却仿佛能触碰到她的伤痛,在拍摄这组照片的同时,她饱受精神不适所苦。Jesuuna 说模特儿是她大学时期的好友,也是一直以来鼓励她去勇敢追求梦想的人。“我现在住在韩国,当我在首尔与她同住时,一次早晨醒来看见她蜷缩在瑜珈垫上,当下我觉得她好美。我问能不能拍下这样的她,她答应了。几天后在一个潮湿的下午,我们没有任何计划的拍了这组照片。”

From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》

“A week later, when I first viewed the scans from the negatives, I teared up immediately, because I could see the affection I felt for her and the heartache she had suffered through,” she says.


From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》

At age eight, Jesuuna was diagnosed with a hearing problem, and since then she’s had to live with hearing aids. As a child she began to search for a different way to experience the world. One day she took her mother’s camera and discovered photography. “The camera became an extension of me,” she says. That’s how Jesuuna describes the medium’s meaning to her. It became a third sense, beyond sight and sound, and ever since that discovery she’s given herself body and soul to photography.

“Most of the time an image or feeling will be very strong and vivid in my mind until I create it. These ideas are uncontrollable, and only by manifesting them can I feel at peace, even if I’m not clear on what the meaning is,” she says. “I hope to create works that stand the test of time, and tell stories that are complex and evoke a myriad of emotions.”

Jesuuna 八岁时被诊断出听力有问题,从此需要戴着助听器生活。不能好好听见,她开始向外寻找另一种感受世界的方式。直到她从妈妈那里偷来一台相机,接触到摄影,Jesuuna 是这么形容摄影对她的意义:“相机就像是我身体的延伸。” 所见所闻之外,摄影成为她的第三个感官,从那时候开始她就全心将自己投入摄影。


Instagram: @jesuuna


Contributor: Yang Yixuan

网站: jesuuna.com
Instagram: @jesuuna


供稿人: Yang Yixuan

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Self-Portraits in Clay

May 22, 2018 2018年5月22日

Masayo Keizuka, who lives in Sapporo, makes clay sculptures with an almost magical therapeutic effect: spend a while looking at them and you’ll come away with a deep sense of calm. These crafted figurines all have the same bobbed hair, the same long neck, the same sunken shoulders. Asked who the character is supposed to be, Keizuka readily replies, “It’s me.”

住在日本札幌的雕塑艺术家 経冢真代,她的雕塑作品有种神奇的疗愈作用,看着久一点,可以感受到一股深深的平静力量。这些被捏造出来的小生命看起来是同一个人,鲍伯短发、倾斜的肩膀、长长的脖子,问到她们的身份,经种真代毫不掩饰地回答 “她就是我。”

Keizuka says her earliest inspiration came from a pet dog who passed away ago. Later she moved on to human shapes, and eventually settled on this pensive, delicate little girl who, like an actor, is constantly trying on new costumes and stepping into new storylines. “I pour everything I’m feeling into her. She may not look like she has any emotions, but really I just hide them and try not to let them show,” she explains.


A rough surface gives the figures a worldly or even world-weary air. Keizuka specifically chose this natural, unpolished texture. “I tried out a lot of different materials, but in the end I went with clay. I really like how its grain gives the sculptures the sense of being fully alive,” she says.


Perched on each figure’s head is an object or animal that’s whimsical and impossible to ignore. Some of these are random or just for fun, while others are designed for a specific brand or exhibit. Keizuka describes these items as hats, a way of diverting the viewer’s attention. “When I shape these characters, it’s as though I’m putting myself on display in front of a crowd. Sometimes it makes me feel quite vulnerable,” she explains. “I add something to the figure’s head, as if they were wearing a hat. It draws the viewer’s attention away, so they’re not just looking at me at first glance. Maybe I’d rather not have people see through me.”


Website: www.masayokeizuka.com
Instagram: @keizuka masayo


Contributor: Yang Yixuan

网站: www.masayokeizuka.com
Instagram: @keizuka masayo


供稿人: Yang Yixuan

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