Tag Archives: art

Intimate Strangers

Andie

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.”


摄影最神奇的魅力在于,拍摄对象与作为观者的我们在现实中之于对方原本陌生的存在,通过摄影师的凝视,都能化作一种只因摄影而联系起来的亲密关系。

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.


“一个星期后我看到洗出来的底片,我立刻哭了。因为我可以从照片中深深感受到我对她的情感。而她却正在受苦。”

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。

“我脑中常常会出现很多生动、强烈到不受控制的画面和感受,我必须找个方法把它们表达出来,心里才能感到平静。虽然有时候连我自己都不清楚这些想法代表什么,但我想唯一不变的是我想做出经得起时间考验的作品——有故事、能引发人们强烈情绪的作品。”

Websitejesuuna.com
Instagram: @jesuuna

 

Contributor: Yi Xuan


网站: jesuuna.com
Instagram: @jesuuna

 

供稿人: Yi Xuan

Self-Portraits in Clay

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.


经冢真代说灵感的来源最早是一只已经死去的狗,演变到现在的人形,成为这个若有所思、举止微妙的女孩。她就像演员一样,有不一样的装扮,穿梭在各种情节里。“我习惯把我内心深处各种情绪都交给她。虽然她们看起来没什么情感,其实我只是把情感都藏起来,尽量不去显现出来而已。”

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.


表面粗糙的纹路,让女孩多了饱经岁月的沧桑。这种自然、不经修饰的质地是经冢真代特别选择的。“材料一开始我尝试了很多种,最后用黏土,很喜欢它的纹路透露出满满生命感的感觉。”

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.”


至于她们头上那些异想天开的物品,实在让人没办法不去注意。这些物品有些没来由,纯粹好玩,有些则是为了配合品牌或展览所设计。这些东西不是没有功用,它们是帽子,某种意义上来说,作为一个分散观者注意力的工具。“我把人物形塑出来,就像是把我自己公开放在众人面前一样,有时候会觉得很没有安全感。所以我把一些东西放去头上,像戴帽子一样,把观众视线先引导到上面,这样第一眼就不会直视我本身。也许我还是不想让人一眼看穿吧。”

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

 

Contributor: Yi Xuan


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

 

供稿人: Yi Xuan

Faceless Portraits by Norris Yim

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


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

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

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


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

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

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


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

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

Behance: ~/norrisyim
Instagram: @norrisyimyn

 

Contributor: Yi Xuan


Behance: ~/norrisyim
Instagram: @norrisyimyn

 

供稿人: Yi Xuan

My Language Proficiency

Okui Lala, real name Chew Win Chen, is a fourth-generation Chinese Malaysian. Living in a country well known for its multicultural makeup, Chew is a multimedia artist who explores issues of language, migration, and identity through photography, video, and performance art. Today, we meet up with her in Penang’s Komtar Tower, a once iconic landmark in George Town that the state’s tourism board does not want to give up on despite dwindling public interest.


Okui Lala 原名 Chew Win Chen,是第四代的马来西亚华裔。 在这样一个以多元文化著称的国家里成长,Chew作为一名多媒体艺术家,喜欢通过摄影、影片和表演 艺术来探讨语言翻译、移民和身份认知等问题。今天,我们和 Chew 约好到槟城的光大大厦(Komtar)见面。这幢大厦曾经是槟城首府乔治市的标志性地标,尽管近年来这幢建筑对公众的吸引力已不断式微,但当地旅游局仍然不想放弃它。

Inside the shopping mall, 80s brutalist architecture adds to the grimness of the unoccupied storefronts. It’s here where many of the city’s migrant workers set up their grocery stores, restaurants, and hair salons. It’s also here where many of the city’s Filipino workers send parcels and remittance back home to the families they left behind. Young Burmese men gather in the poorly lit eateries sprinkled throughout the mall, chatting over cigarettes and tea on their only day off.


在这幢购物中心里,80 年代的野兽派建筑让空置的店面显得更加萧条。在这里,许多移民工人开起了杂货店、餐馆和美发沙龙。也正是在这里,许多菲律宾工人往他们家乡里的亲人寄送包裹和汇款。年轻的缅甸男人在他们唯一的休息日里,聚集在商场内各个灯光昏暗的就餐角落,一边抽烟、喝茶,一边闲聊。

In 2015, Chew started working with Burmese migrants on a piece called Let’s Drink and Eat Tea! One of the standout tutorials of the series was a live performance of making lahpet thoke, a simple Burmese appetizer. In the tutorial, Chew learned how to prepare the dish via translated instructions. The normally quick-to-prepare dish took thrice the time to cook as Burmese was translated into Malay, and then Malay translated into English. The video aims to demonstrate the possibilities and limitations of using translation as a tool for understanding.


2015年,Chew 开始以缅甸移民为对象,进行名为《Let’s Drink and Eat Tea!》的系列项目。其中她还试过现场制作茶叶沙拉(Lahpet Thoke)的表演。茶叶沙拉是一道制作简单的缅甸特色开胃菜,但 Chew 要通过翻译后的说明来学习如何准备这道菜。因为多了先将缅甸语翻译成马来语,再把马来语翻译成英语这个步骤,最后 Chew 完成这道原本很简单的菜式花费了比平时多三倍的时间,以此说明,翻译作为交流理解的工具的可能性和局限性。

Let’s Drink and Eat Tea! kickstarted Chew’s thought process on her latest project – My Language Proficiency, a short film in which she holds a panel discussion with herself in Malay, Mandarin, English, and Hokkien. Confronted with an art scene that’s often segregated by language barriers, Chew wanted to explore what intellectual discourse would sound like in a multicultural society if everyone could have a seat at the table and speak in the language that they are most comfortable with. The project also examines the deep influence that history, education policy, migration, and upbringing have on a person’s choice of language.


《Let’s Drink and Eat Tea!》这个项目启发 Chew 开始思考自己的最新作品《My Language Proficiency》(我的语言能力)。她分别拍摄下自己说着四种不同语言的四部短片,用马来语、普通话、英语和闽南语与自己进行一场小组讨论。面对一个经常被语言障碍所隔离的艺术场景,Chew 想探究在多元文化社会中,如果每个人都可以坐在一起,用他们最熟悉的语言来交流,这样的“知性对话会是怎么样的”。此外,这个项目还会探讨历史、教育政策、移民和家庭教育对一个人语言选择的深刻影响。

An excerpt from My Language Proficiency / 一段来自《My Language Proficiency》的影片

 

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As we wander around Komtar, Chew notes how the two waves of Malaysia’s migrants intersect – the “official faces” of Malaysia’s multiculturalism (Malays, Chinese, Indians), and the second influx of foreign workers from Myanmar and the Philippines. “There is xenophobia among our rakyat,” Chew says, using the Malay word for citizens, a word that is usually associated with patriotism and unity on a national front.

In light of recent news of Malaysia’s racial segregation, the country was slapped with a temporary ban from the Indonesian government, stopping the intake of Indonesian workers as a reaction to cases of abuse and the death of an Indonesian maid. Penang itself, with its cosmopolitan past as a trading port, enforced a ban last year on foreign cooks in efforts to protect the authenticity of its famed hawker fares. But Penang’s food, a tourist draw on its own, is a byproduct of Chinese and Indian Muslim traders assimilating with the local culture. The irony was lost on a majority of Malaysians who voted in favor of the ban.

“We’re in George Town, and we have a lot of fixed ideas about what George Town’s heritage is,” says Chew, reflecting on the almost aggressive ownership Penang’s heritage center holds on what it deems as authentic. She says that the new wave of migrant workers is viewed by many locals as “the ‘others’ who will come and take over our jobs”.


“目前马来西亚人(rakyat)中存在一种仇外心理,” Chew 说道。“rakyat”一词是马来语中“公民”的意思,这个词往往还意味着爱国主义和团结。

鉴于最近不少新闻聚焦于马来西亚的种族隔离,甚至被曝有一名印尼女佣被虐待致死,当地政府已暂时禁止印尼工人入境,以作为对多宗虐待案件的回应。槟城以前曾凭借贸易港口的地位发展成为大都市,但在去年,政府下令禁止雇佣外国厨师,目的就是要努力保护当地著名的小贩市场。槟城的美食本身就是一个充满吸引力的旅游资源,也是中国和印度穆斯林商人为了融入当地文化而产生的副产品。但讽刺的是,大多数马来西亚人最后竟然投票赞成这一禁令。

Chew 说:“我们生活在乔治市,关于这座城市的文化遗产,我们有很多根深蒂固的想法。”她认为,乔治市作为槟城的文化中心,当地人对维持所谓地道文化的态度几乎可以说是“咄咄逼人”。她说,在许多当地人眼中,新的外来务工人员只是“一些来抢工作的外人”。

“We haven’t really overcome xenophobia on a social level. How are we going to handle these issues [related to migration policies]?” she questions when asked if she feels pressure to take a social justice angle to her work with migrant workers. Chew’s work urges one to turn inwards with self-reflection to better understand and receive others, to see that their cultural influences are equally important contributions to the make-up of a Malaysian identity.

“Myanmar migrants are new migrants but can the culture that they bring with them be considered heritage? I like this old and new contradiction,” she muses. The constant stream of languages that appear in Chew’s work, be it familiar or foreign, holds a lens to the complex identities of old and new migrants that have chosen Malaysia as home. And perhaps importantly, in an age of Brexit and Trump, Chew’s work implores for acceptance of self and of neighbor.


Chew 的作品试图从社会正义的角度出发,探讨移民工人的现状和问题。被问及 Chew 是否对此也会感到不少压力时,她说:“我们的社会还没有真正克服仇外心理的问题。我们到底应该要如何处理(与移民政策相关的) 问题呢?” Chew 的作品敦促人们自我反省,去更好地理解和接受所谓的“外人”,也去明白他们的文化影响对马来西亚人身份的有着同样重要的贡献。

“缅甸移民是新移民,但他们带来的文化是否可以被视为(本土)文化遗产?我喜欢这种新与旧的矛盾。”她沉思着说道。Chew 的作品中充斥着源源不断的语言元素,无论是当地人熟悉的母语或是外语,其实都为我们提供了一种视角,以探讨那些马来西亚新老移民复杂的身份问题。重要的是,在这个对移民不够友善的整体环境下,Chew 的作品更是在呼吁人们要去包容和接纳自身的移民文化,而非抵触。

Website: cargocollective.com/okuilala

 

Contributor & Photographer: Adeline Chua
Video Courtesy of Okui Lala


网站: cargocollective.com/okuilala

 

供稿人与摄影师: Adeline Chua
视频由 Okui Lala 提供

Deciphering the Human Experience

Born in Taipei and raised in Shanghai, Jocelyn Tsaih is an illustrator, animator, and designer currently based in New York City. Her artistic style is defined by a distinct, minimalist approach that’s complemented by her quirky sense of humor.

More often than not, Tsaih’s work features a mysterious, amorphous character that’s meant to embody the various facets of modern life. The character, initially based on a stick figure, evolved as a way for Tsaih to convey abstract concepts derived from her own experiences.


在台北出生,在上海长大的 Jocelyn Tsaih 目前长居在纽约,是一名插画家和设计师。她的作品风格简约,且充满着古怪的幽默感。

Jocelyn 的大部分作品里会出现一个神秘的、不定形的角色,意在表达现代生活的方方面面。而这个角色最初是她以火柴人为原型创作的,后来演变成她从自己的经历中传达抽象概念的一种方式。

“It sounds kind of cheesy, but I started drawing it as a way to express my internal conflicts and to represent anything human,” she shares. “As I explored different ways of conveying what I was feeling, I started to use the figure in ways that are more abstract. I think my thought process is that even though we are human, a lot of things about us are intangible, like emotions and feelings.”


“虽然听起来有点俗气,但我一开始画这个角色是为了抒发内心的冲突,表达关于人类的一切。” Jocelyn 说,“随着我尝试用不同的方式来传达自己的感受,我也开始用更抽象的方式来表现这个火柴人。我的想法是,作为人类,很多关于我们的事情都是无形的,譬如情感和感觉。”

Tsaih currently works at WeWork as a full-time graphic designer and illustrator. Outside of her full-time job, she’s equally busy with a constant juggling act between personal and freelance projects. She’s already accumulated an impressive list of clients including Adobe Photoshop, Condé Nast, Nickelodeon, Tictail, and GIPHY. But despite her professional accomplishments, there was a time when Tsaih felt uncertain about her future as an artist. As a teenager, many of her peers discouraged her desire to pursue a career in the arts. It was only after a period of self-doubt and confusion that she decided to trust her own judgment: “I believed that art was valuable, and I pushed myself because I didn’t want people’s skewed perceptions to be validated.”


Jocelyn 目前作为一名全职平面设计师和插画家任职于共享办公空间 WeWork。不上班的时候,她会去创作自己的个人项目和自由职业项目,她曾经合作过的客户里包括 Adobe Photoshop、康泰纳仕集团(Condé Nast)、美国儿童节目频道 Nickelodeon,以及 Tictail 和 GIPHY 网站。虽然如今在事业上获得成功,但曾经有一段时间,Jocelyn 也不确定自己是否真的能成为一名艺术家。十几岁的时候,她的许多同龄人都不鼓励她去追求艺术事业。在经过一段时间的自我怀疑和困惑之后,她才终于决定相信自己的判断:“我相信艺术是有价值的,我不断推动自己去努力,是因为我不希望证明人们扭曲的看法是对的。”

For Jocelyn, creativity comes from being open-minded; it comes from a willingness to dive head first into new experiences, whether it’s interacting with different people or being in an unfamiliar environment. She tells us, “A lot of my work represents my reaction to things, so the more experiences I have, the more ideas I’ll have to turn into drawings.” These days, she’s begun dabbling with ceramics and paintings – processes that, for her, require a lot more time and deeper reflection on the underlying concepts she intends to explore. Patience is a fundamental part of her creative process. “90% of the time is spent thinking an idea over and 10% of the time is spent making the actual work,” she explains, “The final result often looks simple, but it usually takes a long time for me to get to that point, although I know it doesn’t look like it.”


对于 Jocelyn 来说,创意来自于开放的心态和尝试新事物的经历,或是与不同的人互动,或是置身于异国的环境中。她告诉我们:“我的许多作品都表达了我对事物的反应,所以,我的经历越丰富,我才能有越来越多的想法来创作成画。”近来,她一直在涉猎陶瓷和绘画,对她来说,这些艺术创作过程需要花大量的时间对作品内在概念进行反思。Jocelyn 表示,耐心是她创作过程的关键。她解释说:“ 90% 的时间是花在思考上面的,只有 10% 的时间才是花在实际的创作中。最终的作品看起来很简单,但我其实需要很长的时间才能画出来,虽然我知道它看起来不像。”

After six years in New York City, Tsaih is now planning a move to San Francisco in the coming year. She sees this as an opportunity to explore a new environment and experience a change of pace. She shares with us, “Having come from Shanghai to New York, I feel like I’ve only known how to live in very stimulating, fast-paced environments. It might be a little challenging to shift to a slower pace of life, and I might end up hating it, but I hope some good things will come out of the experience either way!”


在纽约生活了六年后,Jocelyn 计划在新的一年搬到旧金山,体验新的环境,转换一下生活节奏。她说:“从上海来到纽约,我觉得自己好像只在紧张刺激、快节奏的环境里生活过。要转变到一种较慢的生活节奏,可能会有点挑战性,甚至我可能最终会讨厌这种生活。但我希望不管怎样,都能在这次经历中取得一些好的收获。”

Customs pins and a tote bag by Jocelyn Tsaih are now available in limited supply on the Neocha Shop. Click into our Shopify below for product details.


Jocelyn Tsaih 限量特供版胸针和帆布袋,现在上线 Neocha 商店,点进微店即可查看商品详情。

 


Jocelyn Tsaih “Into Yourself” 胸针

¥60

立刻购买

 

Jocelyn Tsaih “Shapes” 帆布袋

¥110

立刻购买

Websitewww.jocelyntsaih.com
Instagram: @jocelyntsaih

 

Contributor: George Zhi Zhao
Photographer: Nick Korompilas


网站www.jocelyntsaih.com
Instagram: @jocelyntsaih

 

供稿人: George Zhi Zhao
摄影师: Nick Korompilas

Bendang Studio

At the edge of the quiet, unassuming village of Kampung Sungai Petai, a half-hour drive out of the rich historic hub of Malacca, lies Bendang Studio, a contemporary ceramics workshop that is making waves in the industry. Having started from humble beginnings, its founder Rozana Musa has developed her own brand and a style of tableware ceramics that’s now highly sought after in Malaysia. Not complacent in entrepreneurial success alone, Musa aspires to mold and fire the Malaysian ceramics scene into a new era.


双溪大年(Sungai Petani)是距离马来西亚历史文化中心马六甲一个半小时车程的村庄,在这个平静的村郊地区,就坐落着Bendang工作室——这就是在业界掀起了不小波澜的当代陶艺工作室。工作室创始人Rozana Musa从零开始,成立了自己的陶瓷餐具品牌,形成自己的独特风格,塑造且推动了马来西亚的陶瓷产业进入一个全新的时代。

Musa’s initial encounter with ceramics came early in her childhood when she unwittingly stumbled upon the core ingredient of ceramics – clay. As a child, she often played with the carmine, clay-rich mud on the riverbank, behind her grandmother’s Malaccan home, sculpting skyscrapers and drawing shapes in the sand and silt. Little did she know, this childhood pastime of hers would translate to a deep-seated love for ceramics in her adulthood. Now, rather than building transient sculptures in the sand, she creates intricate ceramics with a touch of modern flair.


Rozana第一次接触陶瓷是在她童年的时候,她偶然接触到了粘土——而这正是制作陶瓷的核心原料。小时候,她经常到祖母位于马六甲的家后面的河边,用胭脂红色的粘土泥,捏出泥巴大楼,在沙地和淤泥里画画。当时的她并不知道,这种儿时的消遣会在后来变成自己所热爱的陶瓷艺术。现在,她不再仅仅是捏泥巴玩儿了,她打造着精致复杂的现代陶瓷作品。

At Musa’s studio, each piece starts off as a specially tailored clay mixture, containing a blend of silica, feldspar, kaolinite and a slew of other minerals. Then, depending on the particular piece, the clay will either be cast in a mold, shaped by hand on a pottery wheel, or cast and then finished off by hand. The product from the shaping process is then left to dry for several hours before being baked in a kiln at 840°C for six hours through a process known as biscuit firing. The brittle “biscuits” are then cooled for a day before being colored with a glaze through a subsequent firing process at 1100°C for eight hours. All the recipes for the glaze are developed by Musa and her team, using metal oxides such as cobalt, copper, sodium, and calcium as dyes. Though each piece is somewhat planned, Musa admits she and her team often improvise on the fly, especially when they’re struck by moments of artistic inspiration.


在Rozana的工作室,每一件作品都是用专门定制的粘土混合物制成的,需要通过复杂的配方,将硅土、长石、高岭土和其它矿物混合而成。然后,根据不同的创作理念,将这些粘土或盖上模具定型,或在轮盘上进行手工拉坯,或先用模具定型,再手工处理完成。定型之后,这些陶坯需要先被放置风干,再放到一个840℃的陶瓷窑里焙烧6 个小时,这个工序被称为“素烧”(biscuit firing)。素烧好后的坯体需要冷却一天,然后施釉,再经历一次烧制工序,这一次需要在1100℃下焙烧8小时。所有釉彩的配方都是Rozana和她的团队亲自研究出来的,采用的是钴、铜、钠和钙等金属氧化物作为染料。虽然每件陶瓷作品都是按照预定设计制作的,但当灵感突然闪现的时候,Rozana说她和团队也经常会即兴发挥。

This free, unshackled approach can be seen throughout her studio – a splash of cobalt blue on an ivory plate, a shimmering gold brushstroke on the lip of a teacup, an embossed batik print on a china tray. Even her studio itself exudes this sense of unbridled freedom; The airy, glass-fronted facade, the high ceilings and brick walls painted in hues of white, the plates and bowls haphazardly stacked on low tables, all the while her cats sashay around the displays, jumping from table to table, weaving in between the dishware, while her apprentices, Nisa and Aliah, work with quiet focus and intent at their pottery wheels.

Browsing through her wares, one gets the sense no two pieces of Musa’s ceramics are the same. Each of her creations has its own beauty, its own flaws, and its own identity. At first glance, they all seem too beautiful to use, but their beauty belies a utilitarian sturdiness. Perhaps this combination of beauty and utility is the driving factor behind the surge of demand for her line of ceramics, so much so that she’s now often booked up months in advance with order requests from renowned restaurants throughout Malaysia, and even some from Paris and Japan!


这种自由、不受束缚的创作方式在她的整个工作室随处可见,譬如是象牙碟上的一抹钴蓝色彩,茶杯杯口上的一划闪耀金色,以及陶瓷托盘中的浮雕蜡染印花。就连她的工作室本身也散发着肆意的自由氛围:透明的玻璃幕墙,高高的天花板和砖墙涂成白色色调,碗碟随意地堆放在低矮的桌子上,而她的猫则随意地漫步其中,在各张的桌子上来回跳跃,穿梭于餐具之间,而她的两名学徒Nisa和Aliah则安静专注地在轮盘上拉坯。

一眼扫过她的陶瓷作品,你会发现,Rozana的陶瓷作品没有两件是相同的。她的每个作品都有其独特的美丽,独特的瑕疵,独特的个性。乍一看,这些陶瓷似乎都太漂亮了,让人舍不得用,但它们的美丽外观之下却是实用的功能性。或许,这种美观与实用的结合是她的陶瓷作品越来越受欢迎的原因,她收到的订单非常之多,许多马来西亚的著名餐厅常常需要提前许多个月预订,甚至还有来自巴黎和日本的订单!

Despite Musas’ current success, her road to where she is was wrought with challenges. Like most young Malaysians, pursuing such an unconventional career wasn’t really on the cards in her young adulthood. But then, through perhaps a stroke of serendipity, she enrolled in the art and design program at the Universiti Teknologi MARA (UiTM), choosing to major in ceramics. When she graduated, however, Musa found it difficult to advance her skills or come across opportunities for work, largely due to the immaturity of the Malaysian ceramics industry. Finding a mentor was difficult, demand for handcrafted ceramics was slow, and the equipment and barriers to entry were high (a ceramics kiln alone can cost upwards of 3,000 USD). According to Musa, of the dozen or so students who graduated along with her at UiTM, only one or two still remain in the craft. Fortunately for her though, she eventually found a mentor in Umibaizurah Mahir Ismail, an established Malaysian ceramics artist whose works have been featured in exhibitions in Japan, Korea, and Pakistan.


尽管Rozana目前很成功,但一路走来,她也经历了很多的艰难挑战。和大多数年轻的马来西亚人一样,要追求这样非传统的职业,在她年轻的时候都会觉得是很不现实的事情。后来也许是机缘巧合,她入读了马拉工业大学(Universiti Teknologi MARA)的艺术与设计课程,选择主修陶艺。但是毕业后,Rozana发现很难能找到提升的机会,主要是因为马来西亚的陶瓷产业尚不成熟。要找到导师很困难,社会对手工制作的陶瓷需求很少,进入这个行业还需要一定的设备,也有很高的壁垒(一个陶瓷窑炉价格至少3000美元)。Rozana说,从马拉工业大学毕业的十几名陶艺专业学生,只有一两个还留在这个行业。她很幸运,因为她最终找到Umibaizurah Mahir Ismail作为自己的导师。Umibaizurah Mahir Ismail是马来西亚著名的陶瓷艺术家,她的作品曾在日本、韩国和巴基斯坦展览。

After just several months of apprenticeship, Musa was inspired to start her own business, and thus Bendang Studio was conceived. She started off small, selling trinkets and accessories to a very niche market. Not long after, she wanted to expand her business, but being bootstrapped, buying an industrial ceramics kiln was out of the picture. Undeterred and being the self-starter that she is, Roza enlisted the help of her ex-lecturer at UiTM to build a fiberglass kiln from scratch. This move not only saved money, but her design was so innovative it won them an award that came with more than 4,000 USD in prize money from the government. And for the past seven years, Rozana has continually reinvested her profits, along with the winnings, back into her studio, buying a new kiln, and more recently, refurbishing the whole space. Rozana’s dedication and innovativeness have turned Bedang Studio what it is today – an impressive studio that’s leading the way for Malaysian ceramics.


在当了仅仅几个月的学徒之后,Rozana有了创业的冲动,于是成立了Bendang工作室。一开始它只是一个非常小的工作室,针对非常小众的市场售卖各种小饰品和配件。但过了没多久,Rozana想扩大自己的业务,却因为是白手起家,根本没有资金去购买工业用的陶瓷窑。但Rozana不愿服输,她找来自己以前在马拉工业大学的老师,一起从零开始打造出一个玻璃纤维窑。她不仅因此解决了自己的资本问题,更凭借这个创新的设计获奖,获得由政府资助的超过4000美元的奖金。在过去的七年间,Rozana将获得的收入和资金不断再投资到她的工作室中,购买了一个新的陶瓷窑,最近还将整个工作室重新装修。正是Rozana的奉献精神和创新让Bedang工作室成为了如今这个令人印象深刻的陶瓷工作室,带领着马来西亚的陶瓷产业开拓发展。

Musa’s studio sits right by the through road between Malacca City and Kampung Sungai Petai, two vastly different places, one being a bustling, cultural city, and the other, a secluded, relatively unknown village. The location is perhaps fitting, as Musa’s brand of handcrafted ceramics has connected two similar yet separate worlds – the commercial, utilitarian mass-market ceramics industry, and the niche artistic, dreamy space of ceramic artists. Over the past years, Bendang Studio has brought glimpses of that artistic world to the mass market, with restauranteurs clamoring over her wares before they are even made. Perhaps it is a sign of changing times, of a greater artistic appreciation for ceramics, of the fledgling state of the handcrafted ceramics scene in Malaysia maturing into something significant. Musa certainly hopes so, and if her recent growth is anything to go by, there will certainly be more cobalt splashes and golden brushstrokes to come.


Rozana的工作室坐落在连通马六甲和双溪大年的道路之间,这是两个截然不同的地方,一个是繁华的文化名城,另一个是鲜为人知的僻静村庄。这样的位置也许正契合了Rozana的手工陶瓷品牌,因为它也是在连接两个相似又截然不同的世界——商业功利的大众陶瓷产业与小众的艺术陶瓷制作空间。在过去几年间,Bendang工作室将这种陶瓷艺术世界不断展示给大众市场,许多餐厅甚至还没看到成品就已经争相下单购买。也许这是时代变迁的标志,代表着人们对陶瓷有了更大的艺术鉴赏兴趣,代表着马来西亚手工陶瓷行业日渐成熟。Rozana当然希望如此,以她近期的成长来看,未来她也一定会挥洒出一个充满钴蓝和亮金色的陶瓷世界。

Address:
KM 20, Kampung Sungai Petai
78000 Alor Gajah
Malacca, Malaysia

Website: www.bendangstudio.com.my
Facebook: ~/bendangstudio
Instagram: @bendangstudio_official

 

Contributor & Photographer: Yi Jun Loh


地址:
马六甲马来西亚
78000 亞羅牙也
KM 20, 双溪大年市

网站: www.bendangstudio.com.my
脸书: ~/bendangstudio
Instagram: @bendangstudio_official

 

供稿人与摄影师: Yi Jun Loh

Blue & White Porcelain

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.


Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.


《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于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


Sharon Larsson的《Blue & White Porcelain》

¥90

立刻购买

Website: shannlarsson.com
Facebook: ~/shannlarssonsart
Behance~/shannlarsson 
Instagram@shannlarssondesign

 

ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

Tokyo Storefront

Polish-born and Japan-based artist Mateusz Urbanowicz is the talented illustrator and painter behind Bicycle Boy, a series we’ve previously featured on Neocha. Known for his vivid usage of watercolors and eye for detail, Urbanowicz has worked as the background artist for many anime TV shows and movies over the years, including the critically acclaimed Your Name. This year, Urbanowicz expressed hopes of shifting more of his attention towards personal projects. This reprioritization has led to a continuation of the ten-part Tokyo Storefront series that he released last year. The extension to the series comes in the form of a bilingual book that includes the original ten illustrations along with 40 new drawings.


艺术家Mateusz Urbanowicz生于波兰,目前居住在日本。他也是我们先前报道的另一个水彩画系列《自行车男孩》Bicycle Boy)的作者。才华横溢的他以细腻精致且清新生动的画风而闻名,更曾为许多动漫和电影创作背景插画,包括广受好评的电影《你的名字》(Your Name)。今年,Mateusz表达了他专注创作自己的艺术作品的希望。他将去年已有10张作品的《东京店面》(Tokyo Storefront)系列进行了增补,并将以双语书的形式面向大众,其中将包括最初的10幅插图以及40幅新创作的作品。

“When I moved to Tokyo more than three years ago, I was really surprised that on my walks I encountered so many shops still in business inside really old buildings. Differently to Kobe, where the earthquake wiped out a lot of these old downtown houses and shops, in Tokyo they still survive,” Urbanowicz recalls, and inspired by their beauty, Tokyo Storefront is his attempt to document these charming buildings.


我搬到东京的前3年,连散步时都会很惊讶,因为一直会偶遇在那些已经很老旧的建筑中仍在营业的商店。在日本神户,地震摧毁了许多老城区的房子和商店,但在东京它们还屹立不倒。”Mateusz的《东京店面》系列正是想要记录下这些风景。

The majority of the storefronts featured in the book comes from Urbanowicz’s exploration of Tokyo. However, his approach is more than a mere recreation of his observations. In the illustration above, Urbanowicz shares that the signage was already torn down when he showed up in his location hunt. Disappointed, he took a few photos of the shop in its current state and went home to scour the internet for old images of the store. In his final illustration, the original signage has been restored in its retro glory, and as a master of details, a small chair he observed in one of the old photos was also included.


这系列的大多数店铺,Mateusz都是在东京闲逛时偶然发现的,但画中不仅仅只是纪实正如这张画上方的圆形标志,在Mateusz前去这家店之前,商标就已经不幸被拆了,当Mateusz到达那里的时候只能拍一些照片,再不得不用互联网上找到的旧照片,在画中把商标加上去。而其中一张照片里,商店门前放着一把小椅子,细节如它,当然不能被忽视,Mateusz把它也画了上去。

Commenting on the series, Urbanowicz shares, “I didn’t want to copy all the retro guides that already exist for Tokyo. Because of that we, of course, had to go again to those places, take more photos, and look more closely at the details of the shops. But that also gave us a chance to talk with the owners to learn more about the interesting history behind each of the shops.”


Mateusz表示,我不想照着市面上已有的怀旧导游册拷贝,因此在创作过程中我们不得不再次走访这些地方,拍下更多照片,关注更多细节。这也给了我们和店主交流的机会,深入了解到店铺背后有趣的历史。

In the upcoming book, Urbanowicz not only explores Tokyo shop facades but will also include historical details presented in both English and Japanese as well as sketches of shop interiors.

Tokyo Storefronts – The Artworks of Mateusz Urbanowicz is now available for pre-order on Amazon.


在以纸质版面世时,《东京店面》将并不仅仅包含东京的店铺店面,也会有一些店铺的内部插画和文字介绍。

目前,《东京店面——Mateusz Urbanowicz绘作》(Tokyo Storefronts – The Artworks of Mateusz Urbanowicz)系列已经可以在Amazon上预售

Websitemateuszurbanowicz.com
Facebook~/urbanowiczmateusz
Instagram@mateusz_urbanowicz


Contributor: Chen Yuan


网站mateuszurbanowicz.com
脸书~/urbanowiczmateusz
Instagram@mateusz_urbanowicz


供稿人: Chen Yuan

Building Bridges Through Dance

From left: Suleman Malik, Bilal Malik and Nasir Sirikhan.

Quick Style is an Oslo-based international dance group and creative agency best known for their unique style and infusion of various Asian cultures in their projects, with one of their most notable being the Strawhatz concept. The latest manifestation of their passion for dance comes in the form of Quick Style Studio Chinaa collaborative studio created with China’s Sinostage, which debuted last year in Chengdu. With this project, they’re eager to show that dance is an activity anyone can partake in as well as showcase the value of dance as an outlet of creativity and self-expression. Since opening, the joint-run studio has often invited international teachers to open a cross-cultural dialogue with Chengdu’s local community using the language of dance. At a time when many are speaking of building walls, Quick Style shows us how we can build bridges through dance and cultural exchange. To better understand Quick Style’s cross-cultural entrepreneurship efforts, we talked to Bilal Malik, one of the three co-founders of Quick Style, to find out more about their work and experiences in China.


Quick Style是来自挪威奥斯陆的一支国际舞蹈团体和创意机构,向来以独特的创意风格和对各种亚洲文化的融合而闻名,其中最为人熟知的莫过于其推出的Strawhatz 舞蹈项目。Quick Style Studio China正是他们对舞蹈那份热爱的最新见证,这是Quick Style和Sinostage合作创办的工作室。从2016年成立以来,这个工作室已经成为一个文化与创意的中心。这个项目背后的理念是,舞蹈属于所有人,可以让人们以充满创意和健康的方式来表达自我。在当下这个人们相互间“筑墙”设防的时代,Quick Style向人们展示着如何建立起沟通的桥梁。为了加深理解Quick Style在跨文化产业上所作的努力,我们和它的创始人之一Bilal Malik聊了聊,试图了解更多关于他们在中国的工作和经历。

Quick Style teaching a class at the studio in Chengdu.
Koharu Sugawara, world-famous dancer and choreographer from Japan leads a class.

Neocha: How did the idea to start a Quick Style dance studio in China come about? What was it about the country that made it stand out as a potential location for your second studio?

Bilal Malik: The idea came about on our first trip to China. We checked out different dance communities and held workshops all over China. We explored the food, culture, music, people, and different places of China; we also met up with dancers around the country. We realized that it was not like Europe, the U.S., or any other Asian countries we have been to. The dancers here had a lot of emotion. We felt that Chinese dancers have a bright future. We also felt that they would bring a new wave of honest flavor to the whole world dance community. We started talking about how Chinese dancers will grow very fast since people had begun to accept the urban dance lifestyle. It was very clear to us that they are on the right track because they bring all kind of choreographers to teach dance across China.

Then on our last trip, we met Koko, the CEO of Sinostage. She had very different moves than anyone else. She has a passion and mindset that we’ve not seen in many people. She thinks about her people and wants to make dance huge in China, to change people’s lives! We connected very easily. Her passion moved us and we decided very quickly to do business and open a collaborative studio together. Our mission is to provide some Scandinavian mindset to the Chinese community. The country has so much potential. After being in China we have learned a lot. We know that we still have a lot more to learn, and we are sure that whatever we do here, it will be game changing for all of us.


Neocha: 怎么会选择在中国开设Quick Style舞蹈工作室?这个国家具有什么与众不同的潜力吗?

Bilal Malik: 我们第一次来中国时就已经有这个想法。我们在中国各地看到了不同的舞蹈团体,也举办过各种工作坊。我们深入地去了解中国的美食、文化、音乐、人以及不同的地方,去认识各地的舞者。我们意识到,这里不像欧洲、美国或其它我们去过的亚洲国家,这里的舞者有很饱满的情感。中国的舞者前景很大,我们相信,他们能给全世界的舞蹈界带来一种更真实的风格。我们开始谈到一旦人们开始接受urban dance的风格后,中国舞者的数量会增长得非常快。我们非常清楚,中国舞者的发展是在正确的轨道上的,因为他们会把不同风格的舞蹈编导都邀请到中国各地去教学。

我们最近一次去中国时,遇到了Koko,她是Sinostage的CEO。她的舞蹈风格和其他人很不同。在她身上,我们看到了很少有的那种激情和心态。她关心她的团队,并希望让舞蹈在中国发展壮大,想要改变人们的生活!我们一拍即合。她的热情让我们很感动,我们很快就决定一起合作,创办一个工作室。我们目标是为中国社会提供一些来自斯堪的纳维亚的想法。中国有这么大的潜力。去完中国后,我们学到了很多东西。我们知道自己还有很多东西要学,也相信,无论我们在这里做什么,这都将改变我们所有人。

Moving in sync - a class with Toby DeeDaran from Oslo, Norway.

Neocha: Can you tell us more about the process of making this project a reality?

Bilal Malik: The process was really interesting when I look back at it. Once we decided to open a studio together with Sinostage, things moved pretty quickly. We got to witness that Chinese people, or especially Koko, do not joke around when they work! We discussed the design and details and she started immediately. Not long after, there we are at the opening. It happened very fast, and we jumped into something very new for all of us. I believe that both parties have learned a lot from the process, and our relationship with Sinostage is still growing every day. Koko is an extremely talented woman and knew our taste even only after knowing us for such a short amount of time. We trusted her on every decision.


Neocha: 能跟我们分享一下是如何实现这个项目的吗?

Bilal Malik: 当我回过头来看,会觉得这个过程其实非常有趣。我们决定和Sinostage一起开办工作室后,一切就进展得很快了。中国人工作时真的很认真,尤其是Koko!我们讨论过设计和细节之后,她就会立即开始行动。感觉一眨眼,我们就到了开幕日。一切都进展得非常快,那是对我们所有人来说全新的体验,双方在过程中都学到了很多,我们与Sinostage的关系也在变得越来越好。Koko是一位非常有才华的女性,在我们相处了很短的时间后,她就已经清楚明白我们的风格。我们很信任她作出的每一个决定。

Welcome to Quick Style X Sinostage

Neocha: You’ve referred to Chengdu as your second home. What is it about that city that makes it so special to you? What traits have you observed that makes it stand out from other cities in China?

Bilal Malik: Chengdu is a special place for us. Of all the places we’ve been in China, Chengdu always treats us well, and we get a different vibe of the city every time we go there. They are definitely leading in terms of style and art. They are open-minded people and the city is growing very fast. There’s always something to do, and we also love the spicy food.


Neocha: 你曾经说过成都是你的第二个家。为什么它对你来说这么特别?就你看来,它和中国的其他城市有什么不同?

Bilal Malik: 成都对我们来说是一个特别的地方。在我们去过的所有中国城市中,成都总能让我们有不错的体验,并且每次去成都,我们都会有不一样的感觉。在时尚和艺术方面,这座城市绝对是领先的。这里的人们思想开放,城市的发展非常迅猛。在这里永远也不会觉得无聊。当然了,我们也很喜欢这里辛辣的美食。

 

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Neocha: Now that Quick Style Chengdu has been open for a year, what kind of changes have you observed in China’s dance scene since?

Bilal Malik: The dance scene has changed a lot in China since we opened the studio. We don’t think it’s only because of us and the dance studio with Sinostage. The whole community is working together every day to make dance huge in China. Right now, China is arranging some of the biggest events, workshops, and TV shows for dance. Sinostage is doing a great job working with everyone, being open-minded, and making the studio open to all kinds of people. I feel that now, Chinese dancers have more confidence and are moving towards finding their own style. More dancers and a higher level of competition both lead to finding an original way of doing things. In addition to this, the dancers put a Chinese flavor into their art and performance, which makes it very unique.


Neocha: Quick Style Studio成立至今已经一年了,这期间你看到国内舞蹈界有没有发生什么变化?

Bilal Malik: 从我们成立了这个工作室之后到现在,中国的舞蹈界发生了很大的变化。当然这不是单靠我们或与Sinostage合作的舞蹈工作室就能带来的变化。而是整个舞蹈界的共同努力,才得以令舞蹈在中国的影响力变得这么大。眼下,中国正在筹办一些和舞蹈有关的大型活动、工作坊和电视节目。Sinostage和所有人的合作都很棒,他们的心态非常包容,欢迎各种各样的人加入。我觉得,现在的中国舞者更自信了,也正在逐渐找到自己独特的风格。越来越多的舞者,越来越高水平的竞争,这些都有助于他们去发现创意。除此之外,他们的作品和表演中因为加入了一些中国风格而变得更加独特。

 

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Neocha: What is the reason behind sending dancers from Quick Style Studio Oslo to Chengdu? Why is this cross-culture exchange so important to you?

Bilal Malik: There are lots of reasons why it’s important for us to send dancers from Oslo to Chengdu. We believe our dancers grow not only in dance by traveling to teach, but grow in a bigger sense by experiencing another culture. Every time dancers from Quick Style come back to Olso, they come back with a bag full of experiences. They become a little bit more mature about their own life. They’ve just spend three months in one of the biggest countries in the world! Being in a place with different language, food, and ways of thinking, they’re challenged by new situations every day. In the end, they come back stronger and see the world differently. In addition to this, the instructors from Oslo represent us in Chengdu. They are there to share with and learn from the other dancers. Overall, it’s a great cultural and artistic exchange.


Neocha:为什么要把Quick Style在奥斯陆的舞者带到成都来?为什么跨文化的交流对你来说如此重要?

Bilal Malik: 之所以把奥斯陆的舞者带到成都是出于很多考虑的。我们的舞者不仅能通过到国外教学来提升自己的舞蹈水平,更能通过体验另一种文化获得更大意义上的成长。每次Quick Style的舞者回到奥斯陆,他们都是带着丰富经验回来的。他们的人生态度也会变得更加成熟。毕竟他们在全球最大的国家之一生活了三个月啊!在这种有着不同语言、食物和思维方式的地方,他们每天都会遇到新的情况,新的挑战。最后,他们回来时会变得更强大,也能够用不同的角度去看待世界。除此之外,去成都教学的奥斯陆舞者就代表着我们。他们去那里是去分享的,也是去跟其他舞者学习的。总的来说,这是一次非常棒的文化和艺术交流。

 

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Neocha: What is your approach to teaching dance?

Bilal Malik: We really do not see ourselves as teachers or our workshops as being regular “dance” classes. We feel that we share ourselves more than teach them something specific. We can’t teach anyone to dance. We believe everyone can dance. We feel sharing ourselves with people in our workshop will open some gate in their mind, to grow or learn something that can make either a small or big change in their life.  We are happy to continue sharing because over the years we’ve witnessed tremendous change in many people lives – that is our biggest motivation today.


Neocha: 你是如何传授舞蹈的?

Bilal Malik: 我们真的不认为自己是老师,我们的工作坊也不是普通意义上的舞蹈课堂。更多的是分享,而不是去教什么具体的东西。你是不能教人跳舞的。因为我们相信,每个人都会跳舞。但是通过分享,我们可以帮他们变得更放得开,去成长或学习,让他们的生活产生或大或小的改变。我们很高兴可以继续这样的分享,因为多年来,我们已经见证了很多人在生活上发生的巨大变化,而这也是我们今天最大的动力。

 

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Neocha: If you think about the bigger picture and the vision for Quick Style, what role does China or Asia in general play in it?

Bilal Malik: For Quick Style’s vision for the future, China – and Asia as a whole – is very important for us. We grew up as Asians in a Western country like Norway. We see ourselves as Norwegian with a unique cultural understanding because of our strong cultural ties through our families. We were lucky to grow up in a place that’s very open-minded. Many people or countries do not have that privilege. We believe we have the experience, knowledge, and sensitivity to build cultural bridges between different countries. Whenever we interact with people, we choose to go deeper and find what people really feel and like because we care about them.

Asia is a very important place for us. You can find inspiration and discover strong cultural roots almost everywhere. We really believe that art is for everyone and that art is a very important thing for the society. This is why we want to make sure we continue to inspire people with our art and keep growing the movement of creative and cultural interactions.


Neocha: 如果你从整体来看,从Quick Style的愿景来考虑,中国或亚洲扮演什么角色?

Bilal Malik: 在Quick Style的未来规划中,中国和亚洲都是非常重要的。我们是在像挪威这样的西方国家长大的亚裔。我们是有着独特文化见解的挪威人,那是我们家庭所带来的深厚文化联系。我们很幸运,可以成长在一个开明的国家里。很多人或国家就没这么幸运了。我们相信,我们有足够丰富的经验、知识和敏感度,去在不同国家之间建立文化桥梁。每当我们与别人互动时,都会真的去深入地了解他们真正的感受和喜好,因为我们真的关心他们。

亚洲对我们来说是非常重要的地区。在这里,你几乎到处都可以找到灵感和发现丰富的文化根源。我们深信,艺术是面向所有人的,对社会也有非常重要的意义。这就是为什么我们要确保自己的作品可以继续鼓舞人们,不断去推进创意和文化之间的交流。

"We believe everyone can dance." - Bilal Malik

Facebook: @thequickstyle
YouTube: ~/TheQuickStyle
Instagram: @thequickstyle
Twitter: @thequickstyle

 

Contributor: Aleesha Suleman
Images & Videos Courtesy of Quick Style & Sinostage


脸书: @thequickstyle
YouTube: ~/TheQuickStyle
Instagram: @thequickstyle
推特: @thequickstyle

 

供稿人: Aleesha Suleman
图片与视频由Quick Style与Sinostage提供

I, Me, Mine

Since 2013, the community-run Saigon Artbook has produced more than 3000 copies of its publication, showcasing numerous Vietnamese artists working in a variety of mediums. The 7th and latest edition is a truly laudable endeavor in both form and content. Designer Giang Nguyen has utilized 14 types of paper and experimental printing techniques, pushing the boundaries of what a book can be and how art can be experienced. But underneath the compelling visuals, more substantial is how Saigon Artbook reflects the collective force to actively carve spaces for artistic freedom and tackle diverse subject matters in Vietnam today.


自2013年以来,《Saigon Artbook》已经印刷发行了3000多本,展示了众多在不同媒体领域创作的越南艺术家。而第七期,即最新一期的《Saigon Artbook》在形式和内容上更是值得称道。书籍设计师Giang Nguyen采用14种纸张和实验性印刷技术,突破性地诠释了书的定义,展示出一种全新的艺术体验方式。但在抢眼的视觉效果背后,更重要的是《Saigon Artbook》展现了一群艺术家用自己力量积极争取着自由的艺术创作空间,一同探讨越南当下所面临的各种问题。

Dang Thanh Long, the co-founder of Saigon Artbook and independent publisher inpages, fervently shares the joy of physically coming into contact with works of art. Combining his love for books and a recognized need to document the evolving contemporary art scene, Long has collaborated with a number of local creators, designers, and curators to bring to fruition this labor of love, titled affectionately after the city they reside. Amidst a world saturated with images and lacking institutional support for contemporary art, lies a rising demand for personally curated and self-published content. Saigon Artbook is no doubt at the helm of this movement in Vietnam.

“Young Vietnamese artists now are so much more daring, provocative, almost ‘irritating’ in the way they take on contemporary themes of politics, gender and society,” comments Shyevin S’ng, co-curator of the 7th edition and owner of Vin Gallery. The theme this time of “I, Me, Mine” – despite dealing with introspection – speaks volumes about how the five featured artists think and engage with society.


《Saigon Artbook》和独立出版商 inpages创始人Dang Thanh Long热切地分享着一种直接触摸艺术作品的快乐体验。Long结合自己对书籍的热爱,以及记录不断变化的当代艺术场景的需要,与当地许多创意人才、设计师和策展人合作,共同打造出这本满溢热情的作品,并以他们所居住的城市之名命名。在这个图像泛滥、当代艺术缺乏体制支持的世界中,人们对独立策划和出版内容的需求越来越多。而《Saigon Artbook》无疑是越南国内引领这一股潮流的先锋。

“现在年轻的越南艺术家在探讨当代政治、性别和社会话题时,更大胆、直率,甚至可以说是有挑衅意味的。” Vin Gallery画廊老板和第七期《Saigon Artbook》的策划人 Shyevin S’ng评论道。这期的主题“I, Me, Mine”尽管也是在探讨自省的问题,但更多的是通过五位艺术家是如何思考和与社会互动的。

The work of painter Tran Kim Hoa begins with a resounding quote: “What’s more important than humanity?” What follows is a series of female portraits printed on paper stock with a tactile feel that’s close to canvas. The female body has been historically romanticized in visual arts by male creators but this time Tran decides to take matters into her own hands. Through self-portraits painted by staring into a mirror and quick sketches based on memorable women she encountered in real life and local news, Tran attempts to communicate the idea of truly seeing oneself. To emphasize this concept, reflective paper intended to resemble a mirror sits alongside her works in the book.


画家Tran Kim Hoa的专题部分以发人深省的一句话开头: “有什么比人性更重要?”(What’s more important than humanity?)接着展示了一系列的女性肖像,印于像画布一样充满触感的纸张上。一直以来,在视觉艺术中,男性创作者笔下的女性身体都会被美化,但这一次她决定由自己来作主。Tran对照镜中的自己,创作自画像,或是根据自己在真实生活和新闻中看到的女性形象,描画出一些女性素描速写。通过这些女性画像,Tran试图传达出发现真实自我的想法,为了强调这一概念,在她的画像旁边是一张用来模拟镜子的反光纸。

Constructed by geometric shapes and bold brushwork, Tran’s women don’t follow any notion of Vietnamese female beauty – lithe, gentle and dreamy. The artist could be reimagining her own figure or fusing it with memories of other women who, similarly, are trapped in an abiding definition of femininity and Asian physiognomy that is said to dictate one’s fate. Rather than shying away, Tran unapologetically celebrates features of womanhood normally deemed undesirable: high cheekbones, perky breasts, large shoulders, love handles, and unruly hair. Yet while looking defiant, these figures are submerged in a dusty hue, implying the harsh living conditions that have left physical marks in their bodies. The series’ title Bonsai – which is defined as “the act of growing ornamental, artificially dwarfed trees” – strikes a sobering note about the invisible containers that mold humans into preconceived ideas.


Tran笔下由几何形状和大胆笔触所描画的女性,截然不同于越南对女性美的传统定义——轻盈、温柔、梦幻。这位艺术家既是在重新构思自己的形象,也可能是把这种自我形象与自己记忆中的其他女性相结合,而她们的共同之处,是被传统的女性定义和亚洲那种相信面相决定一个人命运的思想所束缚。对于一些被视为不可取的女性特征:高颧骨、平胸、宽肩膀、突出的肚子和凌乱的头发,Tran没有回避,而是坦然地展示出来。然而,虽然这些画像中的女性看起来自信反叛,但填充的色彩却是暗淡的色调,似在暗示残酷的生活在她们身上留下的印记。该系列画像标题为“Bonsai”,意思是“培植供观赏用的、人为修剪的矮树”,这个如醍醐灌顶般的标题,提醒着人们那些束缚着人类,将所有人打造成固有样子的无形思想模具。

Readers then move to Yatender’s cross-country adventure with her Tinder date in 35mm film. Her visual diary layered with handwritten notes charts a whimsical, bittersweet account of modern dating, toying around with the collision of two people from different parts of the world. She captures her “halfway lover, halfway friend” in private spaces, jotting down her confusion as the relationship advances. In the only photo where both the photographer and her date appear together, the double-page spread can be opened up like doors to reveal the subject’s naked body, their travel itinerary, and their Tinder profiles. The small-sized images that could only be seen by turning pages serve to create an intimate experience of observing someone elses’ life. Overwhelming is a sense of affection, or more precisely, the yearning for it. Lost in the whirlwind of passion, perhaps Yatender has forgotten that this is supposed to be an experiment.


接下来,读者可以看到Yatender用35mm胶片相机记录的她与Tinder约会对象进行的跨国冒险之旅。她的视觉日记上充满了手写的笔记,描述了一段心血来潮的,苦中带甜的现代约会,展示着来自世界不同文化的两个人之间的碰撞。她在私密的空间里,用镜头捕捉这位“朋友以上,恋人未满”的约会对象,记录着随着两人关系的发展,她所遇到的困惑。唯一一张这位摄影师和她的约会对象同时出现的照片被印成折叠的双页跨页,就像是一扇门,读者打开后能看到照片人物的裸体、他们的旅行行程和他们在Tinder里的简介页。通过翻页才能看到的小张图像,营造出一个窥视他人生活的亲密体验。这些作品满溢着饱满的情绪,或者更确切地说,充满了一种渴望。Yatender迷失在激情的旋风,也许她已经忘记这场旅程本应该是一个实验。

Yatender’s compact camera and 35mm film allows her to shoot without too much intrusion and calculation, and as a result, aesthetics takes a back seat to intuition. “Do you decide to make a memory based on the composition of a face between the sheets?” asks the photographer. It is easy to consider Yatender’s work as rebellious against the conservatism in Vietnamese culture especially attitudes to women, or generalize it as a response to the online and/or biracial dating trend. However, her work here is a deeply personal one and only wishes to be seen as an effort to “hold onto things that are important to [her] and for people who are lost”.


Yatender的小型相机和35mm胶片让她在拍摄时不会给人一种侵入的感觉,也不需要过多的算计,因此能呈现出一种自然直觉式的美学风格。摄影师问道:“难道你会想靠床笫之间的一张脸的构图来制造记忆吗?”显然,Yatender的作品是对越南文化中的保守主义尤其是对女性的态度的一种抗议和反叛,也是对网络和/或跨种族约会趋势的一种回应。然而,她的这些作品其实是非常私人的创作,是一种希望“牢牢抓住那些对她来说重要的事物,是给那些迷失的人而创作的。”

More abstract, yet no less resonant, is the work of Xuan Ha (Grandmadeadxh) where lies otherworldly characters, originally existing in black ink on silk, recreated in the book on opaque tracing paper. Her feminine figures are without hair, sunken in mud with eyes closed as if in a state of deep meditation, contemplating the sorrowful cycle of life and death. Performance artist Do Nguyen Lap Xuan tackles the idea of greed in her piece Nothingness, the result of hours of diligently dotting and erasing on paper is presented as a six-page spread. Hoang Nam Viet’s charcoal sketches of daily, yet somehow twisted, postures disrupt the sense of normalcy, showing a man shrinking as he consumes food and one’s face obscured by withering sunflowers.


相比之下,Xuan Ha(Grandmadeadxh)的作品则更抽象,但同样能引发读者的共鸣,其作品中那些超凡脱俗的角色原来是用墨水创作于丝绸上的,在书中被重新印于不透明的描摹纸上。她笔下的女性形象没有头发,凹陷在泥土中,眼睛紧闭,仿佛处于沉思的状态,沉思着苦海轮回。而行为艺术家Do Nguyen Lap Xuan在她的《Nothingness》作品中则探讨了贪婪的主题,这幅由她在纸上不断点画和擦除数个小时而成的作品被印于六页的跨页中。Hoang Nam Viet的炭笔素描展示了平凡但扭曲着的姿势,扰乱了常态感,画中一位蜷缩着的男人正在进食,他的脸被枯萎的向日葵遮蔽着。

Through personal explorations of five aspiring Vietnamese artists, we see various interpretations of the theme of self and its shifting place in different environments. While none of these artists might want to represent Vietnamese youth as a whole, their creative effort does shed light on what it’s like to live in modern-day Vietnam as a young person. The 7th edition of Saigon Artbook continues the commitment to publishing by utilizing printing materials to great effect. Step by step, one page after another, Saigon Artbook pushes the burgeoning art scene forward while documenting it at the same time.


通过探索五位充满想法的越南艺术家的个人世界,我们看到了对“自我”这个主题及其在环境中变化的各种诠释。虽然这些艺术家并不希望要代表所有越南年轻一代,但他们的作品在一定程度上揭示了现代越南年轻人的生活。《Saigon Artbook》第七期继续致力于有效利用印刷材料来制作出版物的理念。《Saigon Artbook》正在一步一步地推动着越南蓬勃发展的艺术场景,同时又在记录着这一进程。

Website: www.saigonartbook.org
Facebook: ~/saigonartbook
Instagram: @saigonartbook

 

Contributor & Photographer: Ha Dao


网站www.saigonartbook.org
脸书~/saigonartbook
Instagram@saigonartbook

 

供稿人与摄影师: Ha Dao