Tag Archives: china

Drama & Absurdity

Born in 1982, Tang Dixin is a Hangzhou-born multimedia artist whose creativity seems to know no bounds as he effortlessly crisscrosses between painting, performance art, installation art, and more. Despite his artistic diversity, Tang’s works are united through a similar sense of dramatic apprehension and his love for absurd metaphors. In paintings, he invokes tension through the use of bright, vibrant lines, which slice through slabs of solid colors. Seemingly abstract at first glance, a closer look at his paintings reveals recognizable human forms and hidden layers of emotion. Tang’s painted works feel quite organic with his background as a performance artist, as each painting carries a visual dynamism that makes them feel closer to staged performances rather than static pieces of work.


1982年出生于杭州的艺术家唐狄鑫,他的创作领域横跨绘画、装置和行为艺术等多种媒介,充满戏剧性的张力,亦充满荒诞的隐喻。野性的张力通过大面积颜色和高亮度的线条轮廓呈现出来,看似具有模糊抽象的含义,实则在描绘具体而现实的躯体和情感,似乎正在通过画面上演一台虚构表演

In earlier years, Tang’s projects as a performance artist often involved putting himself in dangerous situations, such as leaping onto an active train track and hopping back onto the platform right before the train pulls in. Explaining with an impish smile, he tells us, “It’s using fear to stimulate my id.” And though he’s moved on from this risky method of creative expression, Tang’s paintings still adhere to the theme of “mutual destruction” that fascinated him as a performance artist; nowadays, it’s just explored via a different approach. “As a performance artist, it’s me physically conducting a certain act. When I paint, I’ll simply depict someone performing what I might’ve originally done. The message is the same, but it’s interesting to present it in a new way.”


早些年,唐狄鑫也创作行为艺术的作品,他常常会将自己置于十分危险的境地——比如俯身跳下铁轨,再在列车来临前果断跳上站台。他俏皮地说,那是因为想把心中住的小神仙吓一跳。相比行为艺术,他的油画亦传达出背后那个“互撕互毁”的过程,他说:“一个是我跳到人群中,另一个我描绘有个人跳进人群。要表达的内容其实也没什么不同,但一点也不想同归。”

Tang Dixin’s newest works are now on display at AIKE DELLARCO in Shanghai.

 

Date: November 8, 2017 ~ December 31, 2017
Opening hoursTuesday ~ Sunday 10:00am ~ 6:00pm

Address:
AIKE DELLARCO
Building 6, No. 2555 Longteng Avenue
Xuhui District, Shanghai
People’s Republic of China

 

Contributor: Chen Yuan
Image Courtesy of AIKE DELLARCO


目前,唐狄鑫的最新作品正在艾可画廊呈现,欢迎大家前往观瞻。

 

展期: 20171108日 —— 20171231
开放时间: 周二至周日 早上10点至下午6

地址:
中国
上海市徐汇区
龙腾大道25556号楼
艾可画廊

 

供稿人: Chen Yuan
图片由艾可画廊提供

The Moments In Between

Despite having worked as director Wong Kar-wai’s official set photographer and accumulated years of experience under his belt photographing strangers, landscapes, and countless celebrities, this legendary photographer still isn’t accustomed to being the focus of attention. With cameras turned on him at a recent press conference, he tells the room, “Feel free to ask plenty of questions because I don’t really know what to talk about.”

That’s Wing Shya for you.


他是香港著名导演王家卫的御用摄影师,也曾为张国荣拍过个人写真。他拍过许多明星,也拍过无数路人和风景。但是在面对几个记者的镜头时,他却说,你们可以多问我一些问题,因为我好像不知道要说什么。

这就是夏永康

Wing prefers keeping a low profile and to let his camera do the talking. Even though he’s always on movie sets and working with famous celebrities, he remains humble. “Everyone is busy filming the movie, and I’m there, crouched on the ground, trying to snap a few photos.”

On movie productions, there can be no interruptions when a take begins. It’s only after the director yells “Cut” that any photographs can be taken. As a result, what’s captured is the moment immediately following a take, a split second where the actors let their guards down and show themselves in a more vulnerable state. Wing loves to capture these authentic moments.


夏永康喜欢把姿态放低,躲在镜头背后。虽然时常出没于大牌云集的片场,但通常都是大家都在拍电影,只有我蹲在地上拍剧照。

那是身为剧照师的工作习惯——在正式拍摄的时候,不能够打扰入戏的演员们,只能在导演喊停了之后再拍。这样一来,镜头会捕捉到情绪和姿态都一下子放松的演员,那照片所呈现的感受,也就常常更为私密。夏永康很享受这样的视角,能够躲到背后记录下人们最真实的一面。

Wing says, “I like to document what happens after we wrap on set. People will often ask me, ‘Everything’s finished, so what is there left to shoot?’ But I pay them no mind and keep shooting.” Wing’s always ready on the side, waiting for the right moment – it’s this patience that has allowed Wing to capture his iconic image of Leslie Cheung in contemplation as the actor waited to begin a take. His understanding on the importance of waiting has also allowed him to document the honest range of emotions experienced by directors and crew members alike on various movie sets.

“I won’t try to overshadow the moment. I always try to make myself as ‘small’ as possible. I just enjoy the process of photography; I want to take in the atmosphere and people I’m photographing.” Wing confesses he won’t even look at photographs he’s taken in the past. For him, photography is about being present – it’s about witnessing the moment in real time. 


夏永康说:“我喜欢拍大家收工之后的状态。大家说,都结束了,怎么你还拍?我就还是拍。”缩在角落,等到最后,或许正因为这样,他拍到过张国荣在等开机时的沉思,也拍到了从导演到工作人员或忙碌或放空的神情,人世百态好像尽在其中。

我没有把自己放得太大,我把自己缩得很小。我就是享受,享受拍东西的过程,享受当下的那个环境,那些人。夏永康甚至不看自己曾经拍下的照片,对他来说,拍下的那一刻过去也就过去了,唯独当时当刻、此时此景,才是拍照最真实的意义。

Of course, the subjects, environment, and lighting aren’t always in ideal conditions. Often, Wing has to play around and experiment. “I like mistakes. So a lot of the time, I’ll just have fun and create something out of a mistake.” Wing recalls a time when he was faced with the challenge of shooting in an almost pitch-black room. After improvising and moving light sources around, he ended up taking a three-minute-long exposure. When the photograph was finally developed, he described the shot to be “beautiful, similar to shadows cast by tree branches.”


当然,人物、场景、光线,不可能时时刻刻都完美,这时候夏永康就会想着和光影玩游戏。因为我喜欢错误。所以常常会在错误中去玩些什么。曾经有一次,在近乎全黑的空间里摄影,他亲自上阵打光,上下左右移动光源,最后把接近三分钟的长曝光照片洗出来,光影显得影影绰绰,像是枝叶树林的影子,很好看

Wing’s affinity for making mistakes is linked to his love of authenticity. As someone who’s passionate about capturing genuine moments, Wing prefers using film cameras, seeing it as a medium that’s able to better reproduce reality. The inherent constraints of analog film limit how much his photographs can be manipulated in post-production. What’s initially captured with the camera will often be the final result. For Wing, this is infinitely more fascinating.


所谓喜欢错误,其实是因为喜欢真实。夏永康偏爱使用胶片相机,无法加工修改,无需合成处理,照片中定格的瞬间往往就是最终呈现的模样,这对夏永康来说却更为迷人。真实就是有错误的。

Sometimes Wing will design a narrative and a setting to allow his subjects to better ease into a certain mood. But according to Wing, more often than not, he won’t set anything up at all. Instead, he’ll just let his models chat with an assistant, and he’ll start shooting from the side. “When shooting different people, I’ll use different methods.”


夏永康会设定一个剧本和环境来告诉被拍摄的人,好让人进入情绪,去捕捉情感流露的瞬间。但夏永康说,有时候他也不会假设场景,只让助理和那人先聊起来,他在一旁拍,拍摄不同的人,方法是不一样的。

These past few years, Wing has started photographing landscapes. Hazy, dark, and cryptic, his landscape photography is representative of the photographer’s own changing outlooks on life. Nowadays, when a day isn’t going right, he’ll embrace it as is rather than lamenting. “When it suddenly rains, I used to blame the weather. But now, I’ll work around the weather’s temperamental nature. I treat the weather as if were my girlfriend.”

For Wing, he sees many of his photos as a direct representation of his feelings at the time of capture. As life goes on, his photography changes with it. But to him, there’s never a need to look back and over-analyze the past – Wing lives and shoots in the present.

 


这些年夏永康也拍风景。镜头对准的内容有时候迷雾朦胧,有时候昏暗晦涩,很难让人不去联想到那是否是因为镜头背后的人产生了心境上的变化。夏永康说,如果突然下雨,以前我会怪天气,想为什么今天这么不顺利。但现在我会去和天气玩,把它当作我的女朋友。

但要说什么变化,夏永康却觉得他拍的内容只是当时情景和感受而已,每个阶段都有不同,不曾回头琢磨,也不曾思量过心态的改变——活在当下,就拍在当下。

So when approached with the opportunity to organize a solo exhibition, Wing delivered over 10,000 photographs to Karen Smith, the curator of the exhibition, allowing her to choose which images to showcase. The exhibition isn’t separated by celebrity portraits or personal projects; it spans across different time periods and is difficult to categorize into a single, all-encompassing theme. When asked about this, Wing chuckled, saying, “Theme? It’s hard to paint this exhibition in a single color. If you want to talk about the theme, it would be reality.”


所以在要办展览的时候,夏永康就把一万多张照片统统交管给策展人Karen Smith挑选,最后呈现时既没有刻意区分明星摄影和随手拍的内容,却又都涵盖到了各个时期,他很喜欢,却也让人很难一以概括,用一种相似的底色去描述。对此,夏永康笑着说:底色?那很难说是一种颜色。要说底色的话,就是真实吧。

Wing Shya’s solo exhibition is currently on display at the Shanghai Center of Photography. He’s also recently released a personal photography compilation book, which is available for purchase here. 


现在,夏永康的个人摄影展正在上海摄影艺术中心举行,他的个人摄影集也同期发售,点击此处可以购买。

Event: ACTING OUT – Wing Shya
Exhibition Date: 11/8/2017 ~ 1/10/2018
Opening Hours: Tuesday ~ Saturday

Address:
Shanghai Center of Photography
2555-1 Longing Avenue
Xuhui District, Shanghai
People’s Republic of China

Website: www.wingshya.com

 

Contributor: Chen Yuan
Images Courtesy of SCoP 


活动: “越轨・夏永康”
展期: 2017118——2018110
时间: 周二至周日

地点:
中国
上海徐汇区
龙腾大道2555-1
上海摄影艺术中心

网站www.wingshya.com

 

供稿人: Chen Yuan
图片由上海摄影艺术中心提供

A Flabjacks Takeover of Shenyang

Over recent years, artist Ton Mak has rallied together a friendly cohort of chubby creatures in her FLABJACKS universe. The latest additions to her imaginary world consist of Sausages From Around the World, a group of emotional sausages hailing from different backgrounds; Fanana, a crew of friendly banana creatures; and Pansy in Pants, who’s described as “an introvert who struggles to change out of her favorite pair of XXXXL underpants.” Having lived solely within the confines of Ton’s sketchbook for the past two years, Pansy in Pants and Sausages From Around the World have recently made their debut at Tales of Creatures From Quite Far Away, Ton’s solo exhibition in Shenyang 1905 Cultural and Creative Park.


近年来,香港视觉艺术家Ton Mak用一系列胖乎乎的可爱角色打造出她的 FLABJACKS世界。这个充满奇妙想象力的世界最近又迎来了新成员:《Sausages From Around the World》(来自世界各地香肠),这是她根据不同文化背景和深层情感因素创作的香肠形象;《Fanana》,一群可爱的香蕉;以及《Pansy in Pants》,这是“一个内向的姑娘,一直努力减肥想要换掉她最爱的那条XXXXL号裤子”。在创作了两年之后,《Pansy in Pants》和《Sausages From Around the World 》最近终于从Ton Mak的绘画本中走出来,在沈阳1905文化创意园举办的Ton Mak作品展“来自平行世界的小胖团”(Tales of Creatures From Quite Far Away)中首次亮相。

Aside from the abundance of creativity displayed throughout Ton’s work, the most admirable aspect of her art is its sheer purity. FLABJACKS was originally a simple doodling exercise that acted as a form of stress relief. It’s now grown into a world of its own, filled with goofy, plump creatures who are all eager to share their own stories. Despite the success of FLABJACKS and the opportunities that have followed, Ton’s motivation doesn’t stem from the superficial pursuits of fame or money. The ultimate goal for her is and has always been to see people who meet her FLABJACKS characters leave with a warm, fuzzy feeling inside.


Ton Mak的作品除了展示出极其丰富的是想象力之外,更令人赞赏的是其极为纯粹的风格。最初,FLABJACKS只是她为了缓解压力,随意绘画的涂鸦。之后就像滚雪球一般,慢慢独成一体,形成一个独特的世界,里面充满了胖乎乎的角色,蠢萌蠢萌的,各自分享着有趣的故事。虽然FLABJACKS大获成功,但名声和金钱从来都不是Ton Mak创作的动力。她的最终目标是让大家感受到她在FLABJACKS角色中带来的那份温暖和舒心感。

From the Pansy in Pants series.
From the Pansy in Pants series.
From the Pansy in Pants series.
From the Pansy in Pants series.

By placing the chubby creatures of her FLABJACKS world in familiar scenarios we can all relate to, Ton playfully captures the happiness and drawbacks of everyday life. This is most evident in the newly released Pansy in Pants, which acutely portrays the joys of lazing around at home as well as the anxiety-ridden moments of self-reflection. Fanana and Sausages From Around the World similarly feature personable characters with relatable stories, but these two series touch on the idea of animism, a topic of interest to Ton. Animism is the belief that living beings and inanimate objects alike all have a unique spiritual essence of their own. By reimagining and personifying mundane items and foods as adorable creatures, Ton hopes to redefine the notion of what can be constituted as being truly “alive.”


她把FLABJACKS世界中那些胖乎乎的角色,置于能观众产生共鸣的熟悉场景中,以幽默风趣的方式,去捕捉平凡生活中的幸福和挫折。这一点在她最新发布的《Pansy in Pants》系列中尤其明显。这一系列敏锐地描绘出宅在家中的慵懒生活所带来的乐趣,以及在自我反省时所产生的焦虑感。而《Fanana》和《Sausages From Around the World》同样呈现了十分可爱的角色,讲述令人产生共鸣的故事,此外还探讨了Ton Mak个人崇尚的“万物皆有灵”的观念,她相信,生命体和无生命的物体一样都有着自己独特的精神。通过将日常的物品和食物幻化成可爱的角色,她希望能够重新定义“生命”的真正意义。

Sausages From Around the World
Sausages From Around the World
Fanana
Fanana
Fanana

Lately, Ton has begun experimenting with introducing a tactile component into her work. At her recent shows, this has been presented in the form of FLABJACKS plushies and bean bags. Her latest interactive offering comes in the form of What’s his face, a pink, furry wall with a friendly face that greets visitors to her Shenyang exhibition, beckoning them to step up and give it a good pet. “It’s sort of like giving a friend a pat on the back,” Ton explains the concept with a giggle.


最近,Ton Mak开始试验创作可触的实物作品。在最近的展览中,她以绒毛公仔和豆袋来呈现出FLABJACKS世界。她最新的交互式作品包括《What’s his face》,一面毛茸茸的粉红色墙壁,上面有一只萌萌的大脸,这是用来迎接她在沈阳举办的展览的观众们,可以直接走近并摸摸这面墙壁。“就像在拍朋友的肩一样。”Ton Mak 笑着解释作品背后的概念。

What's his face?

You can pet the furry wall and experience the whimsical world of the FLABJACKS in person at Tales of Creatures From Quite Far Away, which will be on display at Shenyang 1905 Cultural and Creative Park until January 25th, 2017. For more details about the event, click here or check below.


“来自平行世界的小胖团”展览将于阳1905年文化创意园一直开展到2017年1月25日。马上亲临现场,亲自抚摸一下那面毛茸茸的墙壁,体验充满奇思妙想的FLABJACKS世界。有关此次活动的更多详细信息,请点击此处或浏览下方信息。

Event: Tales of Creatures From Quite Far Away
Exhibition Dates: December 1st, 2017 ~ January 15th, 2018
Hours: 10:00am ~ 19:05 PM

Address:
Shenyang 1905 Cultural and Creative Park
No. 8 Xinghua North Street
Tiexi District, Shenyang
People’s Republic of China

 

Website: www.flabjacks.com
Facebook: ~/flabjacksart
Instagram: @flabjacks
Weibo: ~/flabjacks
WeChat: flabjacks

 

Contributor: David Yen
Images & Footage Courtesy of Ton Mak & Shenyang 1905 Cultural and Creative Park


活动: “来自平行世界的小胖团”
展期: 201712月1 —— 2018年115
时间: 早上10:00 至晚上 7:05

地址:
中国
沈阳市铁西区
兴华北街8号
铁西1905创意文化园

 

网站: www.flabjacks.com
脸书: ~/flabjacksart
Instagram: @flabjacks
微博: ~/flabjacks
微信
: flabjacks

 

供稿人: David Yen
图片与素材由Ton Mak与铁西1905创意文化园提供

Lu Yang on Death & Illness

A snippet from Delusional Mandala 《妄想曼陀罗》片段

Her works are strange and provocative – she’ll employ a tampon as a skateboard, prescribe artificial nerve stimulation as a means to create mystic states of consciousness, or even choreograph dance sequences using electrical shocks on the corpses of dissected frogs. Born in 1984, new media artist Lu Yang offers a matter-of-fact response to questions about her controversial works: “My works will often incorporate themes of death and illness, but aren’t these things that all living things experience?”


她的作品缤纷诡谲,把生理卫生巾当滑板、用神经刺激模拟妄想状态,甚至把医学解剖后的死青蛙接通电极……这位出生于1984年的新媒体艺术家陆扬,在被问及关于这些近乎禁忌的话题时,只是说:我作品里面出现很多关于死亡疾病这类信息的体现,但这难道不是我们每一个生物都会经历的东西么?

A video still from Delusional Mandala 《妄想曼陀罗》截图
A video still from Delusional Mandala 《妄想曼陀罗》截图
A video still from Delusional Mandala 《妄想曼陀罗》截图

The open discussion of death and dying have strangely become taboo subjects in our world. This cultural norm puzzles Lu Yang, who says her befuddlement is similar to how others are unable to understand why she confronts these taboo subjects. Meshing concepts from science, medicine, art, and religion, Lu Yang creates abormal worlds such as Delusional Mandala, a multimedia work that explores nervous system stimulation and thought control as an examination of death and dying.  Much like this project, many of her other works also incorporate a multidisciplinary approach to support her ideas and theories.


奇怪的是,偏偏对这样无可回避的终结问题,人们讳莫如深。陆扬说,这个原因她也不知道,就像他们不理解为什么我不避讳一样吧。不仅不避讳,陆扬甚至结合科学、医学、艺术、宗教,来创造了一个怪奇世界。《妄想曼陀罗》就是一部这样的作品:通过深部脑刺激,控制情绪和物理思想,进而深入探讨脑死亡。在陆扬的作品中,各个学科交融,各自成为某个理论的辅助理解。

A snippet from Delusional Mandala 《妄想曼陀罗》片段
A snippet from Delusional Mandala 《妄想曼陀罗》片段

Lu Yang is quite introverted and anxious about social interactions. “Normal” activities like traveling, socializing, or engaging in romantic relationships don’t appeal to her. Instead, she immerses herself in sixteen-hour work days. “Perhaps my brain is just wired to create,” she explains. “Working on a computer has a lot of advantages for me; it complements my personality. I’m an impulsive person, so I’m able to execute my ideas quickly through technology. […] Computers allow me to stay at home and just work. I’m happy that I’m able to be a recluse and also be able to support myself.”


打造出光怪陆离颅内世界的陆扬其实挺内向的,非常害怕社交。不论是旅游、交际、谈恋爱,那些大家觉得好玩的事一点都无法满足她。她的工作时长,保持每天在16小时。可能我的大脑结构就是喜欢做作品的大脑吧。电脑对我来说好处很多,太适合我的性格特征了。我是个急性子,电脑可以很快完成我的想法……而且电脑可以让我宅在家里工作,很开心地当个阿宅但是又能养活自己。

A snippet from UterusMan 《子宫战士》片段
A video still from UterusMan 《子宫战士》截图
A video still from UterusMan 《子宫战士》截图
A snippet from UterusMan 《子宫战士》片段

Lu Yang’s creative work has not only given her a passion to work for, but has also brought her new perspectives. Her UterusMan project was created in collaboration with an asexual Japanese individual who succeeded in the removal of their reproductive organs. For the project, they created a sexless superhero that uses an armored uterus shield and reproductive superpowers to defeat enemies. Doing away with traditional concepts of gender, the animation incorporates reproductive science through a groundbreaking and unconventional way.


而做作品本身给了陆扬以激情,也给了她新的角度。陆扬的《子宫战士》和日本一名成功切除了自己身上性器官的无性人合作,创造了一名无性战士作为主角。说是无性,但它又来源于女性体征的子宫,使它身披铠甲,以一系列生物遗传功能的超必杀孤勇作战。它消除了二元的性别对立,却把更广泛的生物信息科学问题纳入进来。

A snippet from UterusMan 《子宫战士》片段

The central theme of many of Lu Yang’s works is an examination of human nature or lack thereof. For example, dead frogs are able to dance when stimulated by electric shock, but this kind of display is completely devoid of human nature. Speaking on the distinctions between animal and man, Lu Yang says, “There are definitely differences. For example, the instinct of morality. But it really depends on what perspective you take. If you look at the distinctions through a human-centric perspective, you can find all kinds of differences, but if you look at it from the perspective of the universe, then maybe there aren’t any differences at all.”


陆扬主要的创作理念,有很多都在试图展现生而为人的本能:比如死去的青蛙依然能够通过电极反应抽搐跳舞”——这样的本能其实是消除人性的。关于其中人性和动物性的差别,陆扬说:区别肯定是有的,比如道德感之类?但是看你这个问题基于怎样的基数上看,如果你从人类中心主义看,肯定可以提出各种各样的道理和区别,但是缩放到宇宙范围去看,那可能根本没差别吧。

A video still from Wathful King Kong Core 《忿怒金刚核》截图

Lu Yang’s work forces us to reconsider our humanism and our preconceived beliefs. She views the world through a detached perspective – for her, art is never done just for the sake of art. “I like to think of these things as works or creative endeavors, I really don’t like to use the word ‘art.’” As for what inspires her, Lu Yang cites a diverse influences, including the likes of manga artist Hiroya Oku, film director James Wan, screenwriter Kankurō Kudō, Japanese writer Osamu Dazai, the theories of behavioral psychologist B. F. Skinner, and various religious philosophies. According to her, “The great works that they have created assist me in building a more prolific inner world. They’ll let you come to terms with the feeling of shame you experience in your shell as a human being. It’s fulfilling for me to explore the inner worlds that I’ve created. Through this perspective, the world is a wonderful place.”


陆扬的作品撇开了人类中心主义,也打破了人们惯常的观看习惯。她的视角很宏观,因为艺术并不仅仅是艺术。我更喜欢把这些东西叫做创作,作品,我非常不喜欢用艺术这个词。”影响陆扬的大师有漫画家奥浩哉、电影导演温子仁、编剧宫藤官九郎,作家太宰治,行为主义心理学家B.F Skinner和很多宗教大德的理论……陆扬说:他们这些厉害的作者作品,可以辅助我创造更丰富的内在世界,可以让你抛开自己作为人类没有一副好皮囊的羞耻感,遨游在自己创造的内在世界中也很快乐。从这些角度来说,地球很好玩。

A video still from Crime and Punishment 《陆扬妄想罪与罚》截图
A video still from Crime and Punishment 《陆扬妄想罪与罚》截图
A video still from Crime and Punishment 《陆扬妄想罪与罚》截图

Looking at life from a grander perspective, what is there to fear about birth and death?

Lu Yang’s exhibition, Lu Yang: Encephalon Heaven, is currently on display at Beijing’s M WOODS Museum, see below for details.


的确,跳出地球回头去看,生老病死又有什么可怕的呢?

目前,陆扬这些充满个人风格的作品可以在北京M WOODS – 木木美术馆看到,欢迎大家前往观瞻。

Images Courtesy of M WOODS 图片由木木美术馆提供
Images Courtesy of M WOODS 图片由木木美术馆提供
Images Courtesy of M WOODS 图片由木木美术馆提供

Event: Lu Yang – Encephalon Heaven
Exhibition Dates: October 28, 2017 ~ February 11, 2018
Opening Hours: Tuesday ~ Saturday 10:30am ~ 6pm (Last entry at 5:30pm)

Address:
M WOODS
D-06, 798 Art Zone
No. 2 Jiuxianqiao Road
Chaoyang District, Beijing
People’s Republic of China


活动: 陆扬:脑髓天国
展期: 20171028 —— 2018211
时间: 周二至周日 早上10:30 至晚上 6:00(最后入馆时间下午 5:30

地址:
中国
北京市朝阳区
酒仙桥路2号 中二街
798艺术区 D-06
木木美术馆

Website: luyang.asia
Vimeo: ~/luyang

 

Contributor: Chen Yuan
Images Courtesy of M WOODS and Lu Yang


Website: luyang.asia
Vimeo~/luyang

 

供稿人: Chen Yuan
图片由木木美术馆Lu Yang提供

Finding Family with Cheuk-Yin

   Listen to the full audio story in English / 点击此处收听完整故事(英语)

As the modern world continues to race toward the future, we can find ourselves constantly groping for radical or material ways to find our identities in it. But while we might be obsessed with going forward and discovering the new, we sometimes forget to look back and to the old — to our own pasts.


随着现代世界不断地向未来迈步,我们急于以各种方法和手段来找寻自我认知。但就在我们埋头向前和发现新知的过程中,我们时常就会忘记回首过往——我们自身的过往。

Cheuk-Yin To is a photographer we used to work with. One summer evening, we caught up at the office where he shared a special story with us, of how he took a side trip on a whim only to find both his roots and a few long-lost relatives.


Cheuk-Yin To是曾与我们合作过的摄影师。在一个夏夜里,我们就在他的办公室,听他说了一个特别的故事——那是在一次无意的旅行中,他竟意外发现了自己失散已久的远亲和血脉的故事。

To Family Village sits on one of the many distributaries in the Pearl River Delta region. Yin老家的村庄位于珠江三角洲地区众多分支之一

“To be honest, it kinda broke the spell a bit. I wanted my ancestral village to be with like, old school donkey carts and stuff. It’s not like that anymore. There’s mopeds, there’s smartphones. Everyone’s in on this now.” — Yin remarking on his unexpectedly modern ancestral “village.”


“老实说,这有点出人意料。我一度希望我祖辈的村庄,还留有老式的驴车和其他东西。但事实已经不是那样了,那里有电瓶车,还有智能手机。大家都迈入了现代社会。”

——Yin不曾料想到祖辈“村庄”早已现代化了

Yin with his uncles and cousin on the far right. His grandfather’s older cousin is seated. Yin和他的远房叔伯及表亲,他的大叔公坐在正中
Yin’s grandfather’s cousin (the younger of two brothers). Yin的小叔公
Yin’s grandfather’s cousin (the elder of two brothers). Yin的大叔公

“Within the next generation, it’s not going to be the same anymore. I don’t think kids these days will actually stay in these villages; they’ll all go to the cities and no one’s going to maintain the traditions.”


“到了下一代,这里的情况就会变得不一样了。我觉得现在的孩子不会再待在这些村庄里,他们都会去往城市,要留存这些传统都后继无人了。”

The two girls, Qingqing (left) and Yingying (right) are the daughters of a cousin Yin did not meet and are referred to as nieces. 青青和莹莹,这两个小女孩是Yin的侄女,她们的父亲是Yin未曾谋面的表亲
Lunch prepared the first day of Yin’s visit. Yin第一天到访时乡亲为他准备的午餐
Yin’s aunt with the family Gai Lan crop. Yin的阿姨和自家的芥兰田
Yin’s uncle and nephew (cousin once removed). Yin的叔叔和侄子
Yin’s cousin. Yin的侄子
Eating sugar cane the traditional way. 嚼甘蔗
Yin’s niece “plays” with a chicken during an evening stroll with the family. Yin的侄女在和家人傍晚散步时逗鸡玩

“My grand aunt made a feast that could have fed double the amount of people. […] We all ate together and watched TV at the same time, just like every other Chinese family.”


“我的叔祖母做了一桌大宴,都够两倍的人来吃了……我们都聚在一起边吃边看电视,就像其他中国家庭一样。

“To Family Village, Wangniudun Town, Dongguan City” 老家之村,东莞,望牛墩镇

“You can’t describe this experience. If someone else were to find their roots — completely unintentionally…I think that’s the reason why I was so happy.”


“你无法用语言描述这次的经历。如果是别人这样发现了自己的血脉——完全是无心插柳的情况下……我猜这就是我这么开心的原因吧。”

This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more of MAEKAN’s audio content on Neocha, click here.


本文为Neocha和MAEKAN媒体及内容合作篇。点击此处获悉更多在Neocha网站上的MAEKAN音频内容。

Media Partner: MAEKAN

Script and Narration by Nate Kan
Audio by Elphick Wo
Photos by Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN


媒体合作伙伴: MAEKAN

脚本解说: Nate Kan
音频制作: Elphick Wo
图片拍摄: Cheuk-Yin To

图片、音频与文字由MAEKAN提供

Media Partner: MAEKAN

Contributor: Nate Kan
Audio: Elphick Wo
Photographer: Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN


媒体合作伙伴: MAEKAN

供稿人: Nate Kan
音频制作: Elphick Wo
摄影师: Cheuk-Yin To

图片、音频与文字由MAEKAN提供

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。

 

无法观看?前往腾讯视频

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。

 

无法观看?前往腾讯视频

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。

 

无法观看?前往优酷

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。

 

无法观看?前往腾讯视频

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

TRANSIT

TRANSIT is a new video series by Vans that aims to explore the different forms of public transportation in China, South Korea, Singapore, and Malaysia. The series follows members of its Asia skate team as they explore and rip up the pavement in iconic cities across the four countries. At the helm of the videography efforts is Tommy Zhao, a Shanghai-based skater, photographer, and filmmaker who’s been documenting the Chinese skateboarding scene for nearly a decade. Having witnessed firsthand the growth of Asia’s skate scene over the years, Zhao believes that there are better things ahead for the sport, especially with brands like Vans helping to champion local skaters. “I’ve had a really good relationship with Vans since they’ve started up in China, and they’ve been really supportive of not just my skate videos but the whole skateboard scene,” says Zhao. “Having a skate team, going on tours, and doing grassroots events, Vans has given the opportunity to a lot of skaters in China to live the dream life of skating and traveling to some of the best skate spots in the world.”


Vans最新推出的《TRANSIT》影片系列,旨在探索中国、韩国、新加坡和马来西亚,这四个亚洲国家的公共交通是如何重要,它们成功帮助了滑板选手穿梭于各地。该系列还介绍了亚洲滑手,在这四个亚洲国家,他们用滑板在人行道上探索,冲出一条新路。这一影片系列的掌镜人是Tommy Zhao。他是来自上海的滑手、摄影师和摄像师,曾以影像记录了中国滑板近十年的时间。Tommy高兴地说道,“滑板运动在亚洲正处于上升阶段,这太令人惊喜了。现在的滑手肯定比以前多。十年前的上海,你都很难在晚上的大街上找到滑手,但现在,你去任何一个三线城市,都有可能看到滑板爱好者在当地的广场上闲逛。”

Having witnessed firsthand the growth of Asia’s skate scene over the years, Zhao believes that there are better things ahead for the sport, especially with brands like Vans helping to champion local skaters. “I’ve had a really good relationship with Vans since they’ve started up in China, and they’ve been really supportive of not just my skate videos but the whole skateboard scene,” says Zhao. “Having a skate team, going on tours, and doing grassroots events, Vans has given the opportunity to a lot of skaters in China to live the dream life of skating and traveling to some of the best skate spots in the world.”


这些年来,Tommy亲眼见证了亚洲滑板界的成长,他觉得滑板运动在未来会有更好的前景,特别是当Vans这样的品牌也开始为当地滑板选手提供帮助了。Tommy说:Vans进入中国以来,我一直跟他们合作得很愉快,他们不仅支持了我拍摄滑板运动,也对整个滑板界提供了很多帮助。Vans组织了一支滑板队,举办巡回活动,去各地举办活动,让中国很多滑手可以去圆他们的滑板梦想——去世界各个最好的滑板场地玩滑板和旅行。

By bringing together skaters from each featured region and giving them the chance to explore one another’s home turfs, TRANSIT captures the strong sense of community that’s intrinsic to the sport, demonstrating skateboarding’s status as a universal language that transcends cultural barriers. “When you get taken around by local skaters versus being there just as a tourist, you kind of become a local for that short amount of time,” Zhao comments on the experience. “It’s also refreshing to be reminded that even though we may all be from such different places, when we all sit down for a meal or to hang out, everyone’s the same. We just want to have a great time and share it with friends and family.”


在《TRANSIT》中,来自不同地区的滑手齐聚一堂,去往对方家乡,体验当地的滑板场地。影片展现出了滑板运动所特有的强烈团体感,证明滑板是一种超越文化隔阂的通用语言。Tommy说:“你不再是像个游客一样,而是能够跟着当地的滑手到处逛,在这段短暂的时间里,你几乎就变成了当地人一样。值得一提的是,即使我们来自不同的地方,但是,当大家坐下来吃饭或一起玩的时候,所有人都是一样的。我们只是希望玩得开心,并且与朋友和家人分享这份快乐。”

However, as to be expected, local authorities tend to be less than enthused with skaters visiting their neck of the woods. “Getting kicked out of spots is just part of skating,” Zhao says, shrugging. “It might rain, someone might get hurt, security might show up, or all of these might happen at once. When you travel around with eight to twelve people on these trips, it doesn’t make it any easier. It draws a lot of attention and a lot of the times you just have to figure out how to deal with security guards or the police.


然而,在大多数城市,当地政府对滑板运动就不一定那么欢迎。“滑手常常会被人赶离场地。”Tommy耸耸肩说道,“可能会突然下起雨,说不定有人会受伤,保安可能会出现,也可能这一切同时发生。哪怕有812个人同行时,也不会让情况变得容易。因为这样会引来很多人关注,很多时候你还需要去应付保安或警察。”

Skateboarding has long held a bad rep among non-skaters, being defined by its anti-authoritarian, anti-establishment roots. But with its induction into the 2020 Summer Olympics, skateboarding is becoming recognized as a legitimate sport on an international level. Zhao sees both the ups and downs of skateboarding’s newfound validation. On one hand, skateboarding will receive more exposure and support, which will in turn produce more skaters and open up opportunities for emerging talents. However, once skateboarding becomes propped up in the mainstream, it’s doomed for commercialization. “It can produce a lot of greed within the sport, and when a lot of politics get involved, things can get messy,” Tommy comments. “Apparently the Chinese Skateboard Olympic team are some kids they picked from the Shaolin Temple and have never skated in their life. They will be coached and taught how to skate as if it were gymnastics. Their mentality towards skateboarding will probably be a lot different than other kids who pick up skateboarding just for fun. But who knows. Maybe they’ll win gold.”

Check out TRANSIT episodes one and two below.


在滑板圈外的世界,滑板一直以来名声都不太好。因为它是反权威、反体制的根源。但是,随着2020年夏季奥运会的举行,滑板正渐渐成为国际上公认的一项合法运动。滑板运动近年来的兴起,Tommy既看到优点,也看到了它的弊端。一方面,滑板运动将获得更多的曝光和支持,这会产生更多的滑板运动员,并为新兴的滑手健将提供机会。但另一方面,一旦滑板成为主流,它注定要走向商业化。Tommy说:“这可能会让体育运动也受到利益的影响,而当很多政治因素介入其中时,事情就会变得一团糟。”“显然,中国的滑板奥运代表队是他们从少林寺中挑选出来的一些孩子,他们在此前的生活中,从未接触过滑板。他们会被教导如何去滑,就像体操一样。所以他们玩滑板的心态可能也会和其他玩滑板的孩子大不相同。但这事,谁知道呢?也许他们会赢得金牌也说不定。”

一起来观看完整的影片吧。


Episode 1 – “Shaolin Shadows”

 

 

无法观看?前往优酷

The debut episode, “Shaolin Shadows,” sees Vans skaters from China, Hong Kong, and Malaysia meet up to explore China’s Hunan province and rip up the streets of Changsha and Zhengzhou’s Shaolin Temple.


在系列第一集影片《Shaolin Shadow》中,来自中国大陆、香港和马来西亚的亚太区滑手一起去探访了中国湖南,从长沙街头滑到郑州的少林寺。


Episode 2 – “Satellites”

 

 

无法观看?前往优酷

In the second episode, “Satellites,” Australian skaters Bibi Bradbury and Ben Currie join Vans riders from Hong Kong, China, and South Korea as they explore and skate the less-visited areas of Seoul.


在第二集影片《Satellites》,澳大利亚滑手Bibi Bradbury和Ben Currie加入香港、中国和韩国滑手的队伍,跟着他们去探访首尔鲜为人知的场地。


The rest of the series will see the Vans skate team hit Southern China, Singapore, and Malaysia. Stay tuned to this space to watch the remaining episodes in full!


在系列的其它影片中,将会看到Vans滑板队在中国南部、新加坡和马来西亚的滑板旅程。敬请关注,观看系列的其它集影片!

Website: www.vans.com.cn
Instagram: @vans_cn
Weibo: ~/VansChina

 

Contributor: David Yen
Images & Videos Courtesy of Vans China


网站vans.com.cn
Instagram: @vans_cn
微博: ~/VansChina

 

供稿人: David Yen
图片与视频由Vans China提供

No Word From Above

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.


李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。


No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.


《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui

$37

Buy Now


Li Hui《No Word From Above》

¥168

立刻购买

Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD

全副产品信息:

  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Websitewww.huiuh.com
Instagram: @huiuh_

 

Contributor: George Zhi Zhao


网站: www.huiuh.com
Instagram: @huiuh_

 

供稿人: George Zhi Zhao

Soap Operas as Inspiration

A snippet from Episode 3 of Hello, Finale!  《你好,尽头!》第三集 片段

无法观看?前往优酷

Chinese multimedia artist Tao Hui’s newest series, Hello Finale!follows nine different individuals making a phone call to close acquaintances. Inspired by film, soap operas, and even local news, the series explores topics of love, life, and death through the overarching theme of “all things must end.”


这是艺术家陶辉的作品。他的新作系列《你好,尽头!》讲的是9个不同的人分别给各自亲友或他人打电话,这些灵感来源于对电影、电视剧,甚至市井新闻报道内容的再创作,内容则讲述的都是一些和尽头相关的主题,爱、生命、死亡等等

For Tao Hui, who grew up during the peak era of cable television, TV has been central in his creative growth. Observing his mother, an avid fan of Taiwanese writer Qiong Yao, cry when watching Yao’s shows, led Tao to propose the questions of “What is the relationship between reality, television shows, and films” and “What role can art play in exploring their dynamic?”


对陶辉来说,他成长在电视媒体的发展和顶峰时期,从小的媒体启蒙就是电视。陶辉曾说自己的妈妈特别爱看琼瑶剧,看得入戏时常常会边看边哭。这让陶辉不禁反思起现实和影视剧之间的关系究竟是怎样的?艺术创作又将以怎样的身份介入?

Tao Hui’s goal is to clearly define the often blurry line between TV shows and reality. In Hello, Finale!, Tao intentionally cherry-picked footage with minor acting slip-ups. “I don’t want the audience to fully believe what I’m showing them. I want them to see the flaws and understand this is what a performance is. There are parts that are real and parts that are fake.”


那根模糊于戏里戏外的分界线,陶辉想把它挑出来。在这次《你好,尽头!》的制作过程中,陶辉故意选了一些没那么完美的成片,“我希望观众不要完全相信我提供的内容,就是想让观众看到出错的部分,意识到这就是表演,有真实有虚假。”

With thoughtfully produced television shows and movies becoming increasingly difficult to find in China, the general public has grown accustomed to the visually grandiose films that are made for fast profit. “This is to be expected in our modern life. The pursuit of beauty has always been a large driving force behind human motivation, and as our society develops, people have more money to spend on their pursuit of beautiful things. Hence, it’s even more important to separate works that are made for profit and works with artistic intentions.”


现在耗时长且制作精良的影视剧越来越少,公众视线似乎更容易聚集在美色创造的商业电影之中。陶辉说,这是这个时代的必经之路啊,美色一直都是一股强大的生产驱动力,而且社会的发展导致消费力大增。但是我们还是要把这种类型的影视剧和有艺术追求的影视作品做个区分。

Discussing favorite directors, Tao Hui names Abdellatif Kechicheall, Asghar Farhadiof, and Michael Haneke to be his current picks. And even though the three don’t share any stylistic similarities, the common denominator is that their films are far more thoughtful than typical Hollywood blockbusters. “I feel like for-profit movies are made for the average consumer, created for mass appeal and satisfying the public,” Tao says with a shrug. “For-profit films and video art should be differentiated. The former is a product; it’s something for people to consume. The latter is created with the goal of provoking discussion and making people think.”


他谈起喜欢的电影导演:柯西胥,法哈蒂,哈内克——很难一以概括的风格,但可以肯定的是,三者都绝非商业大片的导演。“我认为商业电影是为了消费观众情绪、满足观众情感。我们还是要把商业影视剧和有艺术追求的影视作品做个区分,一种是商品,只是为了消费;而另一种却是为了引发思考。”

 

无法观看?前往腾讯视频

More of Tao Hui’s work is currently on display at Shanghai’s Rockbound Art Museum as part of HUGO BOSS ASIA ART 2017. Click here to find out more.


在近期上海外滩美术馆举办的“HUGO BOSS 2017亚洲新锐艺术家大奖中可以看到更多陶辉的作品。点击这里可以购买展览门票。

EventHUGO BOSS 2017亚洲新锐艺术家大奖
Exhibition Dates: 10/27/2017 ~ 2/11/2018

Address:
Rockbund Art Museum
Huqiu Road 20
Huangpu District, Shanghai
People’s Republic of China

 

Website: ~/TaoHui

 

Contributor: Chen Yuan
Image Courtesy of Tao Hui and Rockbund Art Museum


活动HUGO BOSS 2017亚洲新锐艺术家大奖
展期: 2017年10月27日——2018年2月11日

地点:
中国
上海黄浦区
虎丘路20号
外滩美术馆

 

网站: ~/TaoHui

 

供稿人: Chen Yuan
图片由陶辉与上海外滩美术馆提供

Tibet Trilogy

Roof 雪顶

Matt Lindén is an English-Finnish photographer who, for many years, has journeyed again and again to a place dear to his heart: the Himalayas. A graduate from the Master’s program in documentary photography at the London College of Communications, Lindén prefers his life of photographing distant lands to a life spent chasing society’s status quo. When traveling, he spends a large portion of his time learning about the local people, cultures, and histories of the places that he visits. In the two years that he spent living in Tibet, Lindén experienced everything from coming down with altitude sickness, to communicating in the Tibetan dialect that he learnt while living in Lhasa, to living with and alongside local families. While immersed in the local culture, Lindén documented his experiences in the Tibet Trilogya series of works that captures the majestic mountains and endless skies of Tibet in both color and monochrome.


马特·林登(Matt Lindén),芬兰籍英国摄影师,他常年会出没于挚爱之地:喜马拉雅。毕业于伦敦传媒学院纪实摄影硕士的他,不爱名利爱江山——他钟爱去到荒芜而严酷的环境中拍摄,用大量时间去了解特定地区的人文历史。在西藏旅居的两年中,他体会过高原反应、用在拉萨学会的藏语与当地人沟通、与藏民一同生活起居。深入了解当地的文化的时候,他亦创作了系列摄影作品《西藏三部曲》,有彩色、有黑白,有凌厉的雪山、也有包容的蓝天。藏地的自然风景,在他的镜头下,展现出浸润着情感的微光。

Overcome 征服
Stupas From Hepo Ri 哈不日山的佛塔
The King 万山之王

In Lindén’s Black and White series, the contrast between the land and the sky creates a stunning visual impact. Without having to worry about color, Lindén was able to capture the interplay of light and shadow to express the desolate mood of the unforgiving environment.


在对比分明的《黑白》系列中,贫瘠的山石和耀眼的天光相互映衬,Matt试图用黑白照片向大家阐述藏地严酷艰苦的生存环境。

Energy 能源

“I felt like I was so far away from everywhere,
from Lhasa, from the world, from everyone.
Almost as if I’d found some distant, long-lost world.”

— Matt Lindén


那一刻我感觉世界上所有地方都离我很远
我远离拉萨,远离所有人
就好像我找到了一个失去已久的全新世界
——马特·林登

Stormy clouds near Sera 色拉寺的雨云

In Lindén’s eyes, Tibet isn’t only a monochromatic world – it’s full of color as well, especially in moments when the sun highlights the fissures of the mountains, revealing them in all their splendor. His Colour series seems almost like a love letter from the photographer to his surroundings, recounting his treks through the Karuola glaciers.


但是在Matt眼里,西藏不仅仅是非黑即白的世界,它充满着独特的色彩,高原上强烈的阳光往往也会让山脉上的色彩更加生动。《彩色》系列,就是摄影师献给卡若拉冰川徒步之旅的情书。

Yak at Kharola 卡若拉冰川的牦牛
Slide 坡
Kharola I 卡若拉冰川 I
Blur 模糊

Lindén’s Electric series documents the photographer’s trip across Tibet by automobile. Capturing dusk and nightfall outside of his car’s window, Lindén somehow makes the vastness of the landscapes seem smaller and quieter. Through long and double exposure, Lindén reveals the blur of mountain ranges, shapes, and animals in dreamlike images.


Matt开车穿越西藏时拍摄了《电光》系列。透过夜晚昏暗的车窗,那些广袤的风景似乎变得更加渺小了,山峦、动物,形象模糊且不可辨认,经过他的长曝光加二次曝光的艺术化处理,《电光》系列中令人着迷的显影映入眼帘。

Swim 游泳
Squiggle 波纹
Jump 跳跃
Earth 大地

Tibet Trilogy is currently on display at the BROWNIE Gallery Store in Shanghai, see details of the exhibition below.

 

Exhibition Dates: November 9th to December 7th, 2017
Opening Hours: Daily, 10am~10pm

Address:
Kerry Center (North Section)
1515 Nanjing West Rd, 2nd Floor, 06B
Jing’an District, Shanghai
People’s Republic of China


现在,马特·林登的摄影展《西藏三部曲》正在BROWNIE Gallery Store展出,欢迎大家前往观瞻。

 

展期: 2017年11月09日——2017年12月07日
时间: 早上10点至晚上10点

地址:
中国
上海市静安区
南京西路1515号 二楼 06B
静安嘉里中心北区

Website: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

Contributor: Chen Yuan
Images Courtesy of BROWNIE


网站: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

供稿人: Chen Yuan
图片由 BROWNIE 提供