Tag Archives: china

The Adventures of an Odd Duck

《飞克船长》系列:摘星计划

Beijing-based illustrator Tiepi Guaiya (meaning “An Odd, Iron-clad Duck” in English) is an artist whose love for sci-fi and adventure shines through in his work. Each stand-alone frame is an immersive story that pulls viewers deep into the scene. With surreal details peppered throughout his work, his drawings invite viewers to journey into the depths of his active imagination. Summing up his own art, he describes it as consisting of “space, aliens, monsters, wild animals, skateboards, bicycles, pimped-out rides, fashion, sexual desire, local Beijing culture, and everything else that seems cool.”


来自北京的插画师铁皮怪鸭,画中充满着探索的气息与科幻的意味,每一幅画都像在讲述一个故事,具有引人入胜的魅力。铁皮怪鸭的插画融入了很多幻想的元素,把一些天马行空的想法变成了现实,“比如说太空宇宙、外星人、怪兽、野兽、街头滑板、自行车、改装汽车、服饰潮流、欲望性感和北京文化,以及一切很酷的想法”。

《飞克船长》系列:等你很久了
《飞克船长》系列:飞克船长谜一样的笑容
《飞克船长》系列:飞克船长在土星玩玩具
《飞克船长》系列:当飞克船长变成老船长 依然可以把你迷倒
《飞克船长》系列:飞克船长在复古迪厅
《飞克船长》系列:船长的实验室 她们都说船长认真研究的样子非常英俊 眉毛一挑世界地动山摇
《飞克船长》系列:飞克船长航海计划
《飞克船长》系列:摘星计划
《飞克船长》系列:北海公园营救计划
《科学怪青年》系列:北京飞碟
《科学怪青年》系列:驾驭自己的梦想
《科学怪青年》系列:发现外星人

Weibo: ~/铁皮怪鸭

 

Contributor: Chen Yuan


微博: ~/铁皮怪鸭

 

供稿人: Chen Yuan

The Taste Reminds Me of You

猪排三明治 / Pork cutlet sandwich

“My name is Ye Zhijun, I’m in my 20s, I’m a virgo, and I love photography, drawing, and food.”

Endearing and direct, just like her drawings, Ye Zhijun’s description of herself can’t help but bring a smile to your face. Ye’s works rarely strike a gloomy or grumbling note, because most of the time the people in her drawings are too busy happily stuffing their faces.

That’s the unique charm of Ye’s words and images: you feel like you’ve known her all your life.


我是叶纸君90 后处女座,最大的爱好是拍照画画和吃东西。

这样坦白却可爱的自我介绍,和她的画一样,看起来让人不禁莞尔一笑。她的作品很少有那种“悲天悯人”“我见尤怜”的感觉,因为画中的人,大抵都在眉开眼笑地吃吃吃。

是的,这就是叶纸君从文字、从画面传达过来的个人魅力,让人倍感亲近。

肉夹馍 / Roujiamo, or Chinese hamburger
烤肉 / Grilled meat

When Ye graduated from University of the Arts London, she felt lost: “I was drawing every day, but I didn’t know what I was going to do with my life.”

Back then she’d often go out to eat at little hole-in-the-wall restaurants. No matter how perplexed or lonely she felt, when seated in front of something delicious, “for a few moments my entire body felt cured. So I thought, why not put all these dishes into my drawings?”


三年前从伦敦艺术大学毕业后,叶纸君觉得很迷茫,在那段不长不短的时间里,“虽然每天都在画画,但不知道未来的人生会怎么样。”

当时,她经常会独自去很多小店吃东西,却意外地发现,无论再多迷惘和孤独,当面对美食的那一刻,“整个人就瞬间被治愈了,心想着那不如把这些美好的食物画出来吧。”

泡菜炒饭 / Kimchi fried rice
咖啡店 / Coffee shop
法式蛋糕 / French pastries

“The first thing I drew was a super simple but extraordinarily delicious bowl of noodles with scallion oil,” she says. “You put the chopped scallions on the strained noodles, add a bit of sugar and light soy sauce, then pour the hot oil on top. You can hear the noodles sizzle, and then the fragrance of scallion fills the entire kitchen. You mix it all together and take a big bite. It simply fills your heart with joy.”

Since then, eating and drawing have become the two main parts of her day. “Drawing accounts for 60%, eating accounts for 35%. But when I draw, most of the subject matter is still food related.”

After toiling away for an entire year, in 2016 Ye published her first comic book, It’s Not Fun Until It’s Drawn: London.


“动手画的第一道菜是超级简单却又十分美味的葱油面。小葱切末,放在沥干的面条上,撒入生抽和白糖,热油浇在面条上,此刻你会听到滋滋滋的声音,再过一会儿,整个厨房都弥漫着葱油的香味。搅拌均匀,大吃上一口,简直是心满意足。”

自此之后,吃与画,成为她日常的绝大部分。“画画占60%,吃吃吃占35%,不过画画中大部分的主题还是跟吃相关了。”

一年多后,叶纸君出版了自己的第一本绘本《一定要画出来才好玩:伦敦》。

  • 第四话《居酒屋》

From rice bowls to roujiamo (a Chinese hamburger), from French pastries to Oreos, from snacks to hors-d’oeuvre to main courses, Ye’s drawn it all—and of course, she’s probably eaten it, too.

Asked why she’s so obsessed with food, Ye gives a serious answer: “Food does more than just fill your belly—it can also comfort your soul,” she says. “Behind every dish there’s a story. There may always be something even tastier than what you’re eating, but the people and ingredients that made that dish can never be replaced. They linger in our hearts and are hard to forget.”


从肉夹馍到煲仔饭,从奥利奥到法式蛋糕,各种或传统或新奇的零食、小吃和主食,叶纸君都画——当然,也可能是都爱吃。

要问为什么对吃如此执念,叶纸君的回答很正经:“美食不仅仅可以填饱肚子,更能抚慰人心。每一道菜的背后其实都蕴藏着一个故事,菜的味道或许能随时被更好吃的东西代替,但所关联的人与事,是无法取代的。它能够久久留存在我们心里,难以割舍与忘记。”

浪味仙 / Lonely God snack puffs
栗子饭 / Chestnut rice

In fact, Ye’s favorite dish, fried Chinese bread, is something she loves because it’s filled with love. “That was the first thing Chef made for me,” she says.

Chef is her boyfriend, and as his nickname suggests, he’s the one who does the cooking. “I remember once when driving back to Beijing with Chef I said I’d never met anyone who was so good to me. I’d never felt such kindness. Chef laughed and said, ‘I love you, that’s why I like to cook for you.’ That simple sentence utterly moved me. Every day I say, ‘I’m so happy I met you.'” Sweeter words are hard to imagine.


殊不知最让她喜欢的一道菜,“煎馒头片”,也正因为其承载了满满爱意。“因为这是大厨给我做的第一道菜。”叶纸君说。

大厨是她的男友,也充当着日常主厨的角色。“记得和大厨开车回北京的高速上,我说从来没有遇到过一个人对我这么好,第一次体会到这样的温暖。大厨笑着说,因为我爱你啊,这些饭菜都是我愿意为你做的。大厨简单的一句话,却让我感动到不行。每天都在感叹,遇见你真是太好了。”言辞之间,尽是甜蜜。

奥利奥 / Oreos

Ye says that the pudgy girl in the drawings is “one side of me.” Everyone has something to share, and the girl in the drawing is her window for sending the world faith, hope, and love.

“What I want to tell people is, not everything you experience in life can be perfect. But whether something is good or bad is up to you to decide. I hope everyone who sees my drawings can live without fear, and enjoy the people and things they encounter in life.”

In other words, “eat, drink, and be merry.”


画里那个肉嘟嘟的女生,叶纸君说那“算是我的一部分”,因为每个人都有想表达美好的意愿,而画中的女生,就是她输送爱、希望与信仰给这个世界的窗口。

“我想告诉大家的是,人生中遇到的所有事情不可能是完美的,但好与不好的处决权在自己的手中。希望看到叶纸君漫画的朋友,无畏结果,都可以尽可能地享受生命里遇到的人与事。”

毕竟,那句诗怎么说的,“弃捐勿复道,努力加餐饭”。

Douban: ~/leaf0831
Weibo: ~/leafstyle

 

Contributor: Chen Yuan


豆瓣: ~/叶纸君
微博: ~/叶纸君

 

供稿人: Chen Yuan

Pictures of Solitary Life

Beijing illustrator Dongo makes simple drawings. Gentle and cheerful, and they tend to feature only a single person, the artist’s close friend Yang Laowu. He’s the one who inspired Dongo to start making his “pictures of solitude.”

“Yang Laowu is very sweet. He likes to do all sorts of things by himself, and he’s often traveling around the world, snapping heartwarming photographs,” Dongo says. “Thanks to him, I began to take notice of the minor beauties in life. I wanted to record him, so I started making my drawings of solitary life.”


来自北京的插画师 Dongo (阿东),他的画很简单,在温柔明亮的画面里通常只有一个人。画中的人是 Dongo 的挚友杨老五,他同时也是启发 Dongo 开始以“一个人”为主题创作的原因。“杨老五是一个温暖的人。他喜欢一个人做各种事情,经常自己四处旅行,拍了很多温暖人心的照片。我也是通过他才开始慢慢留意到生活中点滴的美好。想把他记录下来,所以开始了对一个人生活的创作。”

Yang Laowu may be alone, but he’s not lonely. He enjoys moments of tranquility all by himself—visiting exhibitions, brewing tea, playing with his cat, or quietly sitting and feeling the passage of time. Dongo finely depicts the state of mind of enjoying one’s own company. His drawings open a window onto Yang Laowu’s solitary world, almost letting us take part in his peaceful, comfortable life.


杨老五也许孤独,却不是寂寞的。他时常一个人享受这些恬静的生活片段,看展览、泡茶、和猫玩耍、或就静静地坐着感受时间的流逝。DONGO 细致的描绘出这种喜欢与自己相处的心境,他的画帮杨老五原本独处的世界开了一扇门,让我们仿佛也参与了他这样宁静写意的生活。

“Gradually I learned that some journeys you have to face alone,” says Dongo.

Solitude is less of a physical state than a state of mind. For Dongo, it’s the mood that best sparks creativity. “Solitude is like another self: it always appears when I’m lost in thought, and it offers a lot of different kinds of inspiration.”


“渐渐的,我发现有些路途终究是要一个人独自面对的。”

孤单与其说是一种处境,不如说是一种心境。而这种心情状态对 DONGO 来说,是激发创作最好的时刻。“孤单对我而言就像是另一个自己,它总是在我陷入思索的时候冒出来,带给我很多不一样的灵感。”

Behance~/dongo

 

Contributor: Yi Xuan


Behance: ~/dongo

 

供稿人: Yi Xuan

Modernizing the Accordion

 

无法观看?前往优酷

Once revered for its compactness and versatility, the accordion’s popularity has dwindled over past decades. Nowadays, when most people think of the instrument, old folk musicians or Parisian buskers are likely what comes to mind. Despite its fall from popularity, forward-thinking bands and musicians like Arcade Fire and Madvillain have proven the instrument can still be viable in contemporary music. And in Shanghai, equally eager to prove that the accordion shouldn’t be so quickly dismissed is independent musician Chen Kai.


手风琴,曾因其便携和灵活性而备受推崇,但过去几十年间,它已经渐渐尘封于人们的回忆里。现在,当大多数人想到这件乐器,大抵会想到年迈的民间音乐家或者巴黎的街头艺人。尽管不如从前流行,但像 Arcade Fire Madvillain 这样有远见的乐队和音乐家,却向大家证明了这种乐器在当代音乐中的地位依然不减。

而在上海,对此有着同样信念的,是独立音乐家陈楷。

All music evolves, and CK, as an accordionist with over two decades of experience, recognizes the importance of adapting. In fact, it’s especially important for an instrument that many consider archaic to keep up with the times. His awareness of this fact directly influences his playing style. Rather than relying on well-known tunes, his live shows are hour-long improvisational sets that blend unlikely genres—like psychedelic rock and baroque music—to form unclassifiable soundscapes.


其实,所有的音乐都在演变的过程中。作为一个有 20 多年经验的手风琴演奏家,陈楷认识到适应潮流的重要性。事实上,对于一个被许多人认为已经过时的乐器来说,手风琴演奏要跟上时代的步伐,显得尤其重要。这也直接影响了陈楷的演奏风格。陈楷现场演奏的并非那些人们耳熟能详的曲子,而是通过一小时的即兴表演,混合一些不太常见的流派──比如迷幻摇滚乐和巴洛克音乐──来形成独特而无法被归类的音乐背景。

Not only is CK able to wield the inherent versatility of the instrument, he makes full use of the effects pedals, transforming each note into something foreign yet familiar. Alternating between warm, soothing melodies to upheaving, violent crescendos, CK’s performances are a whirlwind of sound and emotion that both caress and assault the listener’s ears. Watching him perform is an enlightening experience that can sway even the most stubborn of skeptics to rethink the accordion’s place in modern music.


陈楷的演奏,不仅发挥出手风琴固有的即兴灵活的特性,还充分利用了效果器踏板,把每个音符都奏出了既熟悉又陌生的曲调。一曲曲演奏,温柔与暴烈并行,舒缓与激扬辉映,让听众得以斡旋于声音与情感之中,对耳膜既是爱抚,亦是冲击。观看陈楷的表演是一次极具启发性的体验,甚至连那些质疑手风琴地位的人,也会去反思手风琴在现代音乐中的位置。

While CK aspires to help his beloved instrument reclaim its rightful place in the world, it’s not the only thing that fuels his motivation. What truly stokes his creative flames is his appreciation of music’s cathartic qualities. To him, music is an outlet, and his accordion is a conduit, one that helps him bring his emotions into the world through sonic means.


陈楷渴望能让他心爱的手风琴重夺其在世应有的地位,但激励他的动力并不止于此。真正点燃他创作热情的,是他对音乐宣泄性的情感。对他来说,音乐是一个出口,他的手风琴是一种媒介,帮助他将自己的情感通过声音的方式带来这个世界。

Forming an emotional connection with others is perhaps the most rewarding part of being a musician. He speaks to others through his art and lets them interpret it as they will. “In Chinese visual art, negative space is an important concept,” he says. “It’s the room left aside for the viewer’s imagination and own interpretation to take shape. In my music, I try to follow this same concept.”


与他人在情感上建立联系,也许是陈楷作为音乐家来说获益匪浅的部分。通过音乐,陈楷得以与他人沟通,让人们从中解读出自己的东西。在中国的视觉艺术中,负空间是一个重要的概念。他说,这是为观众的想象力和自己的解释留下空间。在我的音乐中,我也试图遵循着与之相同的概念。

Of course, taste is subjective. Not only can different individuals find different meaning in the same song, but what qualifies as “good” music inevitably varies from person to person. As a seasoned musician and self-described lover of all genres, how does CK define “good” music?

Hesitating, he takes a long drag from his cigarette and exhales a lungful of smoke before breaking the silence: “Good music should come from the heart. It should move people. Simple as that.”


当然,个人品味是很主观的。不仅不同的人在同一首歌中能找到不同的含义,而且什么是“好”音乐也必然因人而异。作为一个经验丰富的音乐家和自我标榜的所有流派的爱好者,陈楷又是如何定义“好”音乐的呢?

犹豫半晌,他从香烟里抽出一根长长的烟,狠吸了一大口之后,才打破了沉默:“好的音乐应该发自内心。它应该能打动人们。就这么简单。”

Contributor & Photographer: David Yen
Videographers: Damien Louise, Cheok Lai


供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise, Cheok Lai

White Night

Chengdu-based photographer Feng Li has worked on a single project, White Night, for over a decade now. The series, quirky and surreal, is a visceral exploration of the odd moments between and behind those we most often pay attention to. With no plans to stop or start on another, he says the series will only come to an end if he loses interest in taking pictures altogether.

Though in his early days he experimented with black-and-white and film photography, he now works primarily with a Sony digital camera and a mounted flash. Capturing everything in flash is a purposeful decision, often making it difficult to distinguish the time of day, a hallmark of the series.


来自成都的摄影师冯立,已经在单个摄影项目《白夜》(White Night)上进行创作逾 10 年了。这个系列离奇而超现实,它是对那些我们最会关注的人之间和其背后的古怪时刻的一种本能探索。由于还未计划停止或开始另一个摄影项目,冯立说,只有当他对拍照完全失去兴趣时,这个系列才会结束。

尽管冯立早年曾尝试过黑白摄影,但现在他主要使用索尼的数码相机和外接闪光灯。冯立此系列的一个显著特点,是在一瞬间捕捉一切,而这个决定带着明确的目的性,常会让人难以分辨出照片究竟是在一天中何时所拍摄的。

In an old article, the interviewer attempted to draw a comparison between Feng’s photography and his original field of study – Chinese medicine and acupuncture – writing, “It’s as though he approaches portrait photography as clinical cases. When the bulb’s warning light flashes, he’s able to accurately pinpoint the illness’s acupuncture point.” When I asked Feng, however, if he thought his previous profession influenced his artistic work, he replied that he thought the period had at most an indirect connection.

In such a response, one sees ties to the fact that even within the realm of artistic photography, he does not seem to care for either comparisons or a discussion of influences. White Night began when he was taking photos for his job as a photographer with the Chengdu propaganda department; that evening, he recalls, was particularly foggy, and the fog and the lights wrapped themselves around each other in surreal ways which reminded him of scenes from films by influential directors such as Angelopolous or Tarkovski. When I brought up this story, however, with a shrug, he replies, “It happens those are a few of what amount to the few films I’ve seen.” When I asked about photographers he’s named in the past as being of interest – Diane Arbus, William Eggleston, Nobuyoshi Araki, Han Lei – he said he had never used his own photographs to draw any comparisons to those of others, and that he rarely looks at photo books himself.


在一篇先前的文章中,采访者试图将冯立的摄影与他最初的研究领域──中医和针灸──进行比较,曾论及:“拍照时像是将人作为临床病例,总能在闪光灯发出警示的刹那找准病症的穴位。”然而,当我再问冯立他是否认为他以前的职业影响了他的艺术作品时,他的回答却是,他认为这段时期至多是一种间接的联系罢了。

即使在摄影领域,冯立似乎也不太爱比较或讨论影响的作用。《白夜》这个系列,开始于他在成都市宣传部门当摄影师的时候。在他记忆里的那个夜晚尤其模糊,蒸腾的雾气和朦胧的灯光,以超现实的方式把夜包裹,这让冯立想起了安杰洛波卢斯(Angelopolous)或塔尔科夫斯基(Tarkovski)等导演的电影场景。然而,当我提起这些的时候,他却淡然地答道:“碰巧这些只是我看过的为数不多的几部电影中的一部分。”当我问及他曾提起过感兴趣的摄影师,诸如黛安娜·阿伯斯(Diane Arbus)、威廉·埃格尔斯顿(William Eggleston)、荒木经惟和韩磊时,他说他从来没有用自己的照片来和这些人作比较,他自己也很少看影集。

It is difficult even to say that Feng considers himself an artist. Instead, he says, “I think of myself as a photographer, but use an artist’s style in order to think.” He has not tried other artistic mediums, and expresses no desire to do so. His primary inspiration, he says, is life, and his sole aim seems to be to approach life as a kind of unreal, storied fabric; he looks for unreal moments that to him ultimately comprise our chaotic reality. Nor does he spend his time fastidiously choosing the photos he likes best. There aren’t any unpublished White Nights photos, he says; basically anytime he takes a picture, he releases it online. Asked whether he minds that some have evaluated his work as ugly and amateurish, he said he’s never minded others’ experiences, and that ugly and amateurish are good evaluations as far as he’s concerned. Indeed, when I asked him to talk about composition and aesthetic, he claimed his photos have neither.


甚至,说冯立自认为是个艺术家也很难。反之,他说:“冯立没有尝试过其他艺术形式,也没有表达过这种想法。据他而言,他的主要灵感是生活,唯一的目标似乎就是把生活当作一种虚幻的、传奇式的材质来对待;他寻找不真实的时刻,且对他来说,这些时刻最终构成了我们混乱的现实世界。

对待自己喜欢的照片,冯立也毫不犹豫地直接发布,不经过任何选择。他说,《白夜》系列几乎没有未发布的照片,基本上任何时候拍下的任何照片,都会立刻在网上公开。

而当问及冯立是否介意有人评判他的作品丑陋又业余时,他的回答是,他从不关心别人的评论,而且就他而言,无论丑陋还是业余,那都是很棒的评价。事实上,当我请他谈论构图和美学时,他甚至声称他的照片根本不包含这些东西。

What, then, does Feng Li look for when he is photographing? Tellingly, when I asked him to describe a moment he’d been unable to capture, he said he was unable to describe it – “just like the moments I captured.” He told another interviewer that a good photo prevents you from understanding what happened and that it is filled with unknown, mystery, and uncertainty. I tried to go a step farther and ask what he thought a successful photo is, only to have him tell me that there is no such thing as a successful photograph – “just difficult-to-put-to-words photographs, no-way-to-use-writing photographs, or no-need-to-use-writing-to-describe photographs.” In terms of subjects, he says he can only run into them, that they cannot be sought out.


那么,冯立在摄影时在寻找什么呢?我请他描述一个他无法捕捉到的瞬间,但他却说这无法描述──“就像那些拍到的瞬间一样。” 他说,“一张好照片,它阻止了你理解发生的事情。它充满了未知、神秘和不确定的因素。”

我试着再进一步追问,问他认为一张成功的照片究竟是怎样的,结果他却告诉我,根本没有成功的照片这一说──“而对于被拍摄的对象,冯立说,他唯一能做的是与他们偶遇,而不是去寻找他们。

But despite his reticence to discuss influence, style, form, aesthetic, Feng Li has in fact expressed a pretty clear worldview throughout interviews and in his own artist’s statement: the world is problematic and in a state essentially of primeval chaos, such that a distinction between the real and the unreal is difficult to achieve. The moments he seize tell a story of a dangerous world, “reality’s others face,” an underbelly of existence that essentially is our reality, only too many people are too afraid to look directly at it. The only way to live, in Feng Li’s mind, is to do one’s utmost to understand the reality of existence through experiencing the world around oneself, the value of which cannot be replaced by others’ stories and experiences.


然而,尽管他不愿讨论影响、风格、形式、美学,但事实上,在整个采访和他发言中,冯立都表达出了相当清晰的世界观:这个世界是有问题的,本质上是一种原始的混乱状态,以至于很难区分真实与虚幻之间的差别。他拍下的一个个瞬间,都在讲述这个世界的危险故事,“现实世界是他人的脸庞”,我们所处的现实本质上正是存在的阴暗面,只是太多的人不敢直视它。在冯立的心中,唯一的方式就是通过体验周遭的世界,尽最大的努力去了解存在的现实,这种存在的价值是其他故事和经验所无法取代的。

For all that, though, he does not claim to understand reality; far from it. When previously asked to define his works in a few words, he responded he had finally reduced it to one: “Why?”

He calls eternity a question mark and says that he is still unable to understand the world, in the same way that he can’t express in words what his photographs might mean. This is a particular paradox: Feng thinks it of utmost importance to understand the chaotic world but rejects attempts to define or contextualize the photographs that attempt to capture that chaos. But paradoxes by nature wrap in on themselves: so perhaps the paradoxical nature of Feng Li’s mission – finding the unreal cracks that make our reality so real – made further inconsistency inevitable, and perhaps ultimately that is this artist’s point.


但即便如此,冯立却并不认为他理解了现实,甚至远不及理解。此前,冯立被要求用几句话来定义自己的作品,他最终简化为一句话作答,即:“为什么?”

他把永恒称为一个问号,并说他仍不能理解这个世界,就像他不能用语言表达他的照片的意味何在一样。而在这,矛盾显得尤其特殊:冯立认为了解混乱的世界是至关重要的,但他拒绝给那些试图捕捉混乱的照片下定义或加以语境。但这种矛盾自然而然地出现,所以,也许冯立的使命也正是相互矛盾的──去寻找使我们的现实如此真实的虚幻裂缝──以使得进一步无常性不可避免,或许最终,这就代表了这位艺术家的观点所在吧。

Website: fengli-photo.com
Instagram: @fenglee313

 

Contributor: Kiril Bolotnikov


网站: fengli-photo.com
Instagram: @fenglee313

 

供稿人: Kiril Bolotnikov

Twinkle Twinkle Little Circle

From A Planet of Seas & Mountains / 《山海星球》系列

“I wish everything in this world were round,” writes Yayi in a project statement.

Yayi is a Shanghai-based artist who spends her days designing, doodling, and searching for inspiration in the trivial details of life. Her unique style is characterized by minimal colors, collage elements, and perhaps most distinct of all, an assortment of circles. But why circles?

“I just like it,” Yayi shrugs. “I’ve always thought circles were such a mysterious shape. They’re soft yet plump. They can be energetic or they can be lethargic.”


“希望这个世界上的一切都是圆圆的”,是 Yayi 给某个系列写介绍时说的。目前生活工作于上海的她,日常画画、做设计,采集生活里能够感动自己的细枝末节,画着圆圆圈圈,配上简单的颜色和一些拼贴元素,就形成了她独特的风格。

但真要为“圆”找出个所以然来的话,Yayi 却说,其实只是因为喜欢这个形态罢了。“一直觉得圆是个微妙的形态,是柔软的、饱满的,有时活泼有时慵懒的感觉。”

From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From A Planet of Mountains & Seas / 《山海星球》系列

Yayi describes her process of drawing circles within the confines of a rectangular frame as “daydreaming within a sequestered universe of my own.”

In Passing By, a series of short animated clips, she presents everyday scenes (with circles, of course) from three different perspectives: as a lover of idle walks, as a lover of parks, as a lover of stories. The series is intimate yet playful, inspired by her observations of strolling around the city. From a lone trashcan in an empty shopping plaza to a flashing traffic sign lighting up the darkness of night, Yayi reimagines mundane settings as delightful works of art.


在一方方的小世界里画圆,Yayi 形容是“时不时在自己臆想的‘断层世界里做着‘清醒梦’”。

以“遛弯儿爱好者”、“公园爱好者”和“小故事爱好者”的身份来分类的《路过》系列,Yayi 放上了一些脑回路的场景画面,非常随意,也相当个人化。在生活里看到的某一个场景和画面的延展,比如凌晨商场里的垃圾桶,夏日深夜空旷马路边被交通警示灯反射过的禁止通行路牌,等等。这些过去的画面,被 Yayi 捕捉在记忆里,又重新翻出来构图创作。

From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列

For times when Yayi wants to create but isn’t feeling particularly creative, collage is her go-to medium. “It’s just me piecing together scattered visuals to try and jolt my brain into coming up with new ideas. That’s why I titled one of my collage series Losing My Mind.”


而在想创作又没有想法的时候,Yayi 会玩拼贴。她的回答很温柔得可爱:“算是通过把零碎的画面重组来刺激自己有些新的想法。所以我把我拼贴的系列叫做‘失心疯’。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

In her collage works, the elements Yayi selects reveal a fascination with films about space. “I suppose there really are quite a lot of movies about space that I’ve loved over the years,” she says, “from  A Trip to the Moon (1902), to the Soviet-era Solaris (1972), to the more recent Coherence (2013).”

She also cites a love for the work of installation artists Olafur Eliasson and Cai Guoqiang. “I recently watched a documentary about Cai Guoqiang’s Sky Ladder. His ongoing Project for Extraterrestrials series is also quite interesting; in it, he plays with the idea of space exploration but through the innocence of a young boy. All of his works are extremely impressive.”


殊不知,拼贴的素材或灵感来源,背后都会或多或少地融入她沉迷的星球和宇宙的元素。“从 1902 年的《月球旅行纪》,到后来苏联的《飞向太空》……再到近几年的《彗星来的那一夜》。关于宇宙和星球题材的电影,仔细想想我喜欢的还真的挺多的。”

她毫不掩饰她对当代装置艺术家 Olafur Eliasson 的钟爱,还有蔡国强。最近看的纪录片有蔡国强的《天梯》。他用男孩天真的一面去表达对外星世界的探索,做的一系列‘为外星人做的计划’行为和装置艺术都是让人印象非常深刻的作品。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列

Her delicate recollections and observations of life, along with her love and longing for outer space, gives Yayi’s circles an ingenious romance.

Depending on the viewer, Yayi’s circles can take on different meanings. Some could see them as symbolic of deeper ideas. Others may just enjoy them simply as circles. Less than a bridge between artist and viewer, for Yayi, art is “an outlet for my own emotions, and hopefully something that resonates with the viewer’s emotions.”


对生活细腻的感知与记忆,对宇宙星球的喜爱与憧憬,让 Yayi 的圆形作品显得玲珑且浪漫。

这些圆,可以被赋予形形色色的含义,也可以干干净净地理解为圆本身。要说 Yayi 所想要搭建的那座桥梁,不过是“我自己的情绪出口,同样也希望大家解读出自己的情绪。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

Website: yayifsoso.com
Douban: ~/yayi_ifsoso

 

Contributor: Chen Yuan


网站: yayifsoso.com
豆瓣: ~/yayi_ifsoso

 

供稿人: Chen Yuan

Hidden Glory

Edited with VSCO X Preset AL1 / VSCO X 滤镜 AL1 处理

In collaboration with VSCO, we recently explored Shanghai’s Jinhuanghuang secondhand market, one of the last of its kind in the city, to find out what makes it so special. All of the images in this story were edited with the powerful presets and tools that come with VSCO X. Click here to start your free, seven-day trial.

I thought I’d prepared myself, but when I finally found the Jinhuanghuang General Wholesale Market, I was still taken aback.

Jinhuanghuang is tucked away between West Gaoke Road and the elevated highway of South Pudong Road. Even with GPS guidance, the cab driver had trouble finding it. In retrospect, the difficulty of even locating the market’s entrance foreshadowed its labyrinthian interior, where a mishmash of shops hawking old appliances, antiques, and secondhand clothing stretched out everywhere you looked. The people, however, you could count on one hand.

I’d been to the market more than once, back when it was still on Dingxi Road. Yet its new incarnation left me a bit shocked: everything had changed.


我们与 VSCO 携手走进上海仅存的二手服装交易市场之一“金煌煌”,试图向大家记录和呈现这个市场所经历过的辉煌。本文中所有照片都通过 VSCO X 强大的预设及编辑工具。现在就开启你的 7 天免费 VSCO X 试用创意之旅吧。

尽管此前已经做好了心理准备,但在我终于找到“金煌煌综合批发零售市场”的时候,内心还是震惊的。

整个市场,坐落在浦东南路高架与高科西路中间极其不起眼的一个位置,甚至哪怕依照着导航指示,司机师傅都仍走过了一条岔路。可以说,这里由外至内都有如迷宫,旧家电、老古董、二手服饰,一溜烟地铺陈开去,但视野范围内的人,却屈指可数。

纵然对以前“安西二手服装市场”有所了解的我,也不禁一愣:它变样了。


The “Hidden” Market

 

Sprawling across two floors, Jinhuanghuang is the successor to two different secondhand markets that no longer exist: one on Yuntai Road in Pudong, on the east side of the river, and one on Dingxi Road in Changning district. It offers all kinds of secondhand wares, but it’s still mainly a destination for the vintage apparel trade, as its alternate English name – “Golden Glory Textile Market” – makes clear.

Oddly, since the market isn’t small, the shops are packed tightly together. The cramped feel, along with a lack of ventilation and daylight, gives the place the damp, musty smell of flea markets everywhere. Still, the shop owners say they’re grateful for the space.


“躲起来”的市场

 

如今的“金煌煌”有两层楼,由以前浦东新区云台路和长宁区安西路两地的二手市场集合而成。虽说试图平衡各种类的二手货物,但仍主要是二手服装交易市场(这个市场的替代英文名称甚至被称为“金色纺织市场”)。

这里空间虽然不小,却和所有二手交易市场一样,到处充斥着一股陈年的、潮湿而晦涩的味道。这或是因为店面之间的空间都过于逼仄,久不通风采光所致。但即便如此,这里的店家对能找到此地也颇为“感激”。

Edited with VSCO X preset KP9 / VSCO X 滤镜 KP9 处理
Edited with VSCO X Preset KU8 / VSCO X 滤镜 KU8 处理

On the day I visited, I ran into several shop owners who had relocated from the old markets. Still as enthusiastic ever, each one without exception called out to the people passing by: “Come on in and take a look!” When I told them I used to be a regular at the old location, they opened up even more.

“This place is a bit out of the way, but it’s huge,” one shop owner told me in Shanghainese. “It’s actually been over a year since we moved from Dingxi Road.”

“That long?” I gasped. “I only recently heard about this place from a friend of a friend, and I decided to make a special trip out here today.”


我到访的那日,遇上不少从前从旧市场迁址而来的老板和老板娘,但凡有顾客路过的时候,他们无一例外,都会热心又腼腆地和人打招呼:“进来看看!”当得知我是以往的熟客时,谈话便显得更顺畅。

“这块虽然偏,但地方还算蛮大。阿拉从定西路搬到这里一年都有了喔!”听这位店老板的口音,是纯粹的上海人。

“噶长辰光!阿拉才听到消息,今天还是听朋友的朋友介绍的,特特为为跑过来!”

Edited with VSCO X Preset FP8 / VSCO X 滤镜 FP8 处理

Reportedly closed for fire safety concerns, the market on Dingxi Road was slated for demolition. The plans kept getting delayed, until one day, without warning, it finally did get demolished, and within a few weeks, no trace of the market remained.

“They tore it down so fast. They cleared everyone out in no time at all, and in the last few days, we were selling at fire-sale prices because we had to leave behind what we couldn’t sell,” the shop owner recalled, voice tinged with regret or sadness.


从前的安西市场,据说是因为消防原因不过关,早说要拆,却迟迟不见动工。到了真的拆迁时,几乎进行得悄无声息,不过几周,市场早已不见了踪影。

“那时候拆得太快,没几天工夫就都清场了。最后那些时候的价格实在是‘放血’甩卖,因为卖不掉的也都不会带走了。”老板说着,言语里竟听不出是遗憾还是感叹。

Edited with VSCO X Preset FP8 / VSCO X 滤镜 FP8 处理

“This new spot is pretty hard to find,” I said to the shopkeeper. “If one of my friends hadn’t been here before, I would’ve had no idea where to go.”

He laughed. “Yeah. When I first moved in, the whole market was a ghost town. No one came here.”

Even after I found the entrance, I got lost again amid the sprawl of shops. Only after wandering around in circles for a while did I finally stumble across a stairwell next to a stall. Above the dimly lit stairs, looking like a long-lost friend, a sign read “An’xi Fashion Market.”

But now, after a year, patrons of the old market have begun returning, and business has picked up. “Still, it doesn’t compare to what it was like before,” the shopkeeper sighed.


“这个地方实在难寻,要不是有熟人带路,根本不晓得哪能走。”我感叹道。

因为在找到市场大门之后,我又迷失在偌大的市场里面,几经兜转,才摸索着找到某个摊位边的楼梯口,昏暗的台阶上贴着“安西服饰楼”,才算重会了“故地老友”。

老板一笑,说:“是的咯,刚搬到这里来,整个市场简直是空荡得吓人,完全没人的。”

好在现在由于熟客的回流,生意比开始要稍好一些。“但跟以前是没法比的。”老板又半带感慨地说了一句。

Edited with VSCO X Preset A2 / VSCO X 滤镜 A2 处理
Edited with VSCO X Preset AV8 / VSCO X 滤镜 AV8 处理

Less is More

 

Maybe because I saw so little foot traffic, the clothing selection seemed especially broad. Mountains of second-clothing from overseas sat waiting to be ironed and put up for sale.

Wholesale secondhand markets like this used to be quite large and do a brisk business. Bundles and bundles of clothes would arrive and get sent off again within a few days.

“In the old days, when the market was still on Dingxi Road, it was a madhouse! People would show up just after 9:00 in the morning, and on the busiest days we wouldn’t close till after 11:00,” recalled Xiao Chen, another shop owner. “Back then my son was just a little boy, and now he’s 29!”


麻雀虽小,五脏俱全

 

或许是因为人少,显得这里的服装货物尤其多。无数漂洋过海而来的各国二手服装,在这里堆积如山,等待熨烫出售。

曾经有很长一段时间,二手服饰批发的市场很大,“走货”速度也很快,衣服一捆捆地来,不日又一捆捆地被批走。

“最早的时候,市场还在老定西路靠近愚园路的地方。那时候是真忙,每天早上九点多就有人来了,最热闹的时候要到晚上十一点才好关门。”老板娘小陈与我说道,“那时我的儿子才只有几岁,现在已经 29 了!”

Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理
Edited with VSCO X Preset KU8 / VSCO X 滤镜 KU8 处理
Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理

“Sounds like you’re a veteran!” I grinned.

“Not at all,” she laughed. “The real veterans have all retired. I’m one of the younger ones.”

As we made small talk, I rummaged through her clothing, looking for potential additions to my wardrobe.

Each shop arranges clothes in its own way, mostly because the shop owners all choose their clothing differently. Some shops lay the items out right in front, with clearly marked prices ranging from a few dozen to a few hundred renminbi. Some are more selective, and some specialize in outerwear, intimate wear, or secondhand items from international brands. Sometimes you even find things by Gucci, Louis Vuitton, or Dolce & Gabbana, sold at a fraction of the original price.


“那你算是这里的老牌啦!”我说。

“哪有,以前老的那批人都不做啦!我们还算是年轻的喽。”她笑着说。

我和老板娘一搭没一搭地聊着天,一边随手翻着这里的衣物,试图找到合眼缘的一些。

这里的衣物分类方式与众不同,主要也是因为各家店主们的选衣定位不同。有很多店铺的衣服直接铺陈在外面,几十块到几百块不等,明码标价;有些店铺则精挑细选,或是专卖外套、内搭,或是主营国际大牌的二手老款,很多诸如 Gucci、LV、Dolce & Gabbana 等国际品牌,也会在此露脸,并且以低于市场价好几倍的价格抛售。

Edited with VSCO X Preset AL3 / AL3 VSCO X 滤镜处理
Edited with VSCO X Preset C7 / VSCO X 滤镜 C7 处理
Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理

Xiao Chen says there used to be even more kinds of shops, with some that specialized in leather accessories and clothing. Many of the most famous vintage or buyer shops in town still source items from Jinhuanghuang. “My customers range from older folks out for a deal to merchandisers who come to buy in bulk,” she explained.

When a regular shows up, Xiao Chen brings out the latest items, often still bunched out and wrinkled in large bags. As a favor she lets them comb through the clothing before it even makes it onto the shelves.


老板娘小陈告诉我,以前市场里的衣服种类更多,还有专门卖皮衣皮鞋皮包的。那些知名的复古买手店,也有不少是从这里进货,“我这里常来一些中老年的客户,也有固定的大客户,一次进好多咯。”

这些大客户倘若来,老板娘们会拿出很多刚进的、没来得及整理挂烫的衣服,直接装在袋子里,熟客来的时候优先让他们挑选,权当送个人情。

Edited with VSCO X Preset AV8 / VSCO X 滤镜 AV8 处理

A Hundred Different Styles

 

In Shanghai, where it can feel as though things get more expensive by the day, the market’s down-home prices are a rarity.

That’s why fashionistas from nearby universities come here to shop: the deals are good and the styles are quirky, with plenty of clothes to choose from. But perhaps an even bigger draw are the shop owners themselves, especially the women, who all have their own unique style and are happy share a few fashion tips.


一件衣服的一百种搭配方式

 

对于上海日益攀升的物价,这里的衣物价格拥有与之完全不符的亲切。

所以周边大学里的热衷服装搭配与设计的学生也会选择来此地消费,一来便宜量多,二来风格迥异,可供选择的余地也多,再有,就是这里的店主,尤其是老板娘们,对穿衣打扮也有着自己独到的眼光,能说出不少门道。

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That’s especially true of the shop owner Li Zi.

Her shop was one of the main reasons I came, and she certainly lived up to her reputation.

Dressed in a colorful sweater, she excitedly offered fashion advice as I browsed her racks of clothes.

“He’s tall and skinny. I think he’ll look better with loose, baggier clothes,” she told another customer before turning to me. “Those dress pants are a bit flamboyant, but if you pair them with a solid-colored top, I guarantee they’ll look amazing.”


尤其是这家老板娘,俐子。

这家店我是慕名而来,未曾想真的收获颇丰。

“他人高,又瘦,要穿宽大一点的衣裤,显得更好看。”
“你别看这西裤格子颜色花,但配素一点的上衣,上身绝对好看。”
……

老板娘俐子热情地拉着我,分享着她的穿搭心得。

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“You’ve got a real eye for fashion. Do you ever help your kids pick out what to wear?” I asked.

“My son used to look down on these clothes because they were secondhand. But now that he’s got a job and has learned a thing or two, he’s slowly taking an interest. Now he says, ‘Mom, this brand’s too expensive! My boss wears clothes that cost only a few thousand, and what I have on costs ten times as much,” she laughed.

Here, if you’ve got a keen fashion sense, you can create an eye-catching look with seemingly ordinary vintage wear. You don’t need a lot of money to put together an outfit, just patience and personal taste. After a day spent scavenging the market, while some visitors might come away empty-handed, others might walk out with armfuls of loot.


“阿姨眼光这么好,个么(那么)会给儿子女儿打扮伐?”

“以前我儿子他不肯穿,嫌弃是二手的。但现在工作了以后,‘识货’了,慢慢接受起来。但他现在倒要跟我说,‘妈妈这个牌子的衣服太贵了喔!我老板才穿几千块一件的(品牌衣服),我倒要穿上万的!’”

俐子阿姨爽朗地笑着,她身上的衣服也是一件设计独特的针织衫,款式十分雅致。

在这里,独到的眼光往往能让简单的搭配异常出彩,点亮不少看似平凡的旧衣;在这里,选搭衣服的时候,甚至也并不是依靠消费能力,而要考验各人的品味与耐心——四处兜转了半天,有些人很可能一无所获,有些却能满载而归。

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“GOLDEN GLORY TEXTILE MARKET”

 

For all the warmth the shop owners show, they’re noticeably on their guard. Each time I asked, “Ayi, do you have a business card?” the answer was a resounding “no.”

This is because of the legal gray zone these shops operate in. On the one hand, they want more people to know about the market, so they’ll get more customers and do more business. But they’re even more worried that too much exposure might hasten the market’s closure.  “It’s only a matter of time before this place is demolished, too,” they told me.


“GOLDEN GLORY TEXTILE MARKET”


连问几家店铺的老板娘:“阿姨名片有伐?”得到的回答却都是“没有”,热络地招揽之余,那些防备的神色也显得格外突出。

介于这里的灰色属性,店家们往往带着一种极其矛盾的心理,一方面他们当然希望知晓这里的人越来越多,好带来更多客流量跟生意;但另一方面,更让他们不安的是,这种过度曝光不知道会在什么地方加速推动市场的再一次消亡,这里迟早也是要拆的。

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As the last of the daylight receded, and I slowly made my way outside, I turn back to take one final look at the market. The neon red sign seems to be using its last remaining strength to illuminate the words “Golden Glory Textile Market.” But once I crossed the hectic traffic of West Gaoke Road, an overpass blocked the market from view. And just like that, it was gone.


天色渐晚,我慢慢踱出市场,回身一看,那块红色的招牌好像用它仅剩的一点微不足道的力气追赶着印着“ GOLDEN GLORY TEXTILE MARKET ”,但一穿过车流不息的高科西路,一切都被巨大的天桥挡住,什么也看不到了。

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Begin your free VSCO X trial today for access to the complete VSCO preset library, newest editing tools, and inspiring educational content.


今天就开启你的 VSCO X 免费试用,获取整套 VSCO 滤镜库、最新修图工具和教程内容吧。

Contributor: Chen YuanShou Xing
Photographer: Chan Qu


供稿人: Chen YuanShou Xing
摄影师: Chan Qu

Summer Love Aria

 

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“Summer Love Aria” is a long-overdue collaboration between Shanghai-based musicians ChaCha and Akin. The instrumental, produced by the ever-versatile HARIKIRI, works in tandem with ChaCha and Akin’s crooning vocals to form a soundscape that’s equal parts dreamy and funky. Pairing Akin’s buttery smooth delivery with ChaCha’s sultry and seductive voice, the single captures the feel-good vibes of a summer romance from two different perspectives.


《恋恋夏日咏叹》由常驻上海的音乐人ChaCha 及 Akin 合作而成。多才多艺的音乐制作人 HARIKIRI 担任编曲与后期制作,为二人的低吟浅唱构建了一个梦幻却时髦的音景。Akin 绵滑的唱腔与 ChaCha 诱人的歌声两相融合,从两个角度演绎出夏日恋曲的浪漫情调。

  

“My life revolves around love,” ChaCha tells us. “But it’s not limited to romantic love. It includes the love between family and friends, the love for our world and for Mother Nature, the love you feel when pursuing your passions, and the love you feel for yourself. These are the things that make life worth living.”


“爱,是我赖以生活的空气。” ChaCha说,“但它不仅仅是恋人之爱,亲情之爱、友情之爱、对世界和自然的爱、对所做之事的爱,以及对自己的爱,都是保持生活运转的最核心的动力。”

Weibo:
~/xhaxha
~/lilakin

 

Contributor: David Yen
Images Courtesy of PaulbtRose


微博:
~/xhaxha
~/lilakin

 

供稿人: David Yen
图片由PaulbtRose提供

Dualities

Room 2 (2016) 66 x 110 cm

When your eyes have come to expect dazzlingly bright works of art, it’s a surprise when you find yourself staring so long at the color black.

These layers of black are not silent, but neither are they deafening.

Rather, it’s like a dialogue without words.


在看过无数眩目的艺术作品之后,你毫无防备,竟对着一页的黑色看了这么久。

这样层叠的黑,并非静默,也绝无喧嚣。

那更像是一种无声的对话。

Wood Block 10.1 (2017) 90 x 120 cm
Wood Block 10.3 (2017) 90 x 120 cm

Born in Russia, raised in Ukraine, and currently based in Beijing, Alëna Olasyuk is the artist behind these achromatic works, all of which were created using traditional Chinese ink.

Using carved wood in lieu of standard canvases, Olasyuk’s Wood Blocks series is a work of patience and diligence. Anyone can touch the works, anyone can feel their imprint on their own body. Bodily impressions and visual perception overlap: the painting is no longer a painting, the wood is no longer wood. They encourage the viewer to interact with the work. It’s a dialogue between humans and art.


Alëna Olasyuk 在俄罗斯出生,在乌克兰长大,如今长居北京。我们所看到的黑,正是她用所钟情的中国墨水一笔笔画的。

这个系列叫做《Wood Blocks》(《木格》),Alëna 在已镂刻的木雕上耐心地描绘和涂色,最终形成了我们现在所见到的作品。每个人都可以触摸它,每个人也都能在自己身体上留下作品的印记。身体的感知和视觉的观感交叠,画不再是画,木也不再是木。它鼓励着观者与作品进行交互,这是人与作品的对话。

Wood Block 10.2 (2017) 90 x 120 cm

In traditional Chinese art, black and white symbolize the relationship between all things. They’re two extremes that achieve harmony in contrast and movement.

A closer look shows that Olasyuk’s works are more than simply blanketed in pure black ink. Viewed from the front, the entire frame appears to be engulfed in a murky obsidian, with only faint lines visible, but when the same work is observed from a different angle, threads of silver, glimmering colors, and a new world of texture emerge. Darkness reveals itself as light. These perspectives open up an entirely new reality, and as viewers contemplate them, the meaning of dualism becomes clear.

It’s a dialogue between the self and its inner essence. 


在中国艺术中,黑白两色反映的是事物之间的关系,它们是两个极端,在对比和运动中两相制约,以达到和谐。

但其实细看,Alëna 作品中的黑也并不是全黑。直面画布的时候,你会看到条条延展开去的黑色细线;然而,换个角度,你会将看到一个充满着银丝、明亮的颜色和纹理的新世界。玄黑,转而显现为光明。这样的视角开启了全新的现实,使人们在理解这些作品的同时,体悟到了“二元论”。

这是自身与内在的对话。

Duality 1 (2016) 56 x 76 cm
Duality 2 (2016) 56 x 76 cm

But how to achieve balance in this dualistic world?

Olasyuk’s series Duality presents the idea of a natural balance. In fact, duality itself is part of balance. It’s part of the purpose and very notion of life. But if one doesn’t accept this dual nature, the natural balance can’t exist. Complexity and concision, chaos and balance, movement and stasis, transience and infinity – these are the subjects Olasyuk is eternally exploring in her works.

It’s the perpetual dialogue between humanity and the universe.


那么,如何在这个世界的二元性下保持平衡呢?

Alëna Olasyuk 的作品系列二元性代表了自然平衡的思想。其实,二元性本身就是平衡的一部分,是生活的目标和理念的一部分。但是如果不接受事物的两重性,这种平衡就不可能存在。复杂与简约、混沌与平衡、运动与静止、短暂与无限——这些是 Alëna 在她的作品中永恒探索的主题。

这也是人与天地世界的亘古对话。

Duality 4 (2017) 75 x 105 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm

Websiteolasyuk.com
Instagram: @olasyuk_a

 

Contributor: Chen Yuan


网址olasyuk.com
Instagram: @olasyuk_a

 

供稿人: Chen Yuan

Young & Restless

 

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Today’s Chinese youth have veered away from the country’s conservative roots. They’re breaking through societal expectations in bold, fearless ways to pursue their passions and express themselves.

Our new series, US, spotlights this generation of newly minted freethinkers who are unafraid of questioning tradition and dated ideologies as they reshape the social and cultural fabric of modern China.


今天的中国年轻一代与中国传统的保守思想背道而驰。他们大胆、无畏,打破社会期望,追求自己的激情,直率表达自我。

我们的全新系列《在下》,聚焦这些有着自由灵魂的年轻思想家。他们无惧于挑战传统和过时的思想,同时重塑着现代中国的社会和文化结构。

From left to right: Lao Wang, Yee Qi, and she who shall not be named / 从左到右: 老王,戚烨,不能说出名字的人

In the first installment of US, we meet up with Lao Wang, an illustrator and tattoo artist; Yee Qi, a member of the K-Note dance crew and the founder of independent fashion brand Yee Quadrant; and a visual artist who, due to personal reasons, we are unable to reveal on screen post factum (her face and voice have been disguised, but her commentary unchanged).

The three Shanghai-based creatives chat with us about what it means to be young in China, the role that music plays in their lives, and their perspectives on love in modern times.


在第一期的《在下》,我们找来插画家和纹身艺术老王、K-Note舞蹈队的成员和独立时尚品牌 Yee Quadrant 创始人戚烨,以及一位视觉艺术家,由于私人原因,不方便在屏幕前露脸(我们对她的面部和声音进行伪装处理,当然,她的评论会保留不变)。

这三位创意人会跟我们聊聊,谈论在中国年轻意味着什么,音乐在他们的生活中扮演的角色以及他们对现代爱情的一些看法。

Contributor & Photographer: David Yen
Videographers: Damien Louise, Cheok Lai


供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise, Cheok Lai