Tag Archives: china

Bodies in Darkness and Light 你的身体,我的锁骨

March 29, 2019 2019年3月29日
Wave and Reef 3, oil on canvas (120 x 150 cm)

On a hazy Saturday afternoon, Beijing’s 798 Art Zone feels like a small city center, buzzing with activity. There’s a refreshing excitement for art in the air. Chinese contemporary painter Xie Qi has agreed to meet in a coffee shop opposite UCCA to discuss her latest series of oil paintings, Clavicle.

“The themes I like the most are the big ones in life—tragedy and comedy together,” says the artist. Xie has been exploring the use of light and the human figure for years, giving her work a quality that’s both spectral and corporeal. For Clavicle, she added a new layer of drama by depicting the human body in various natural poses illuminated by expressive bands of light. The artist sees the clavicle as a line between portraiture and figuration, an axis holding the surrounding parts into focus.


在一个天气朦胧的周六下午,北京的 798 艺术区感觉就像一个缩小的市中心,人声鼎沸,热闹非凡,空气中弥漫着一股因艺术而生的兴奋气息。中国当代画家谢其此时正在 UCCA 尤伦斯当代艺术中心对面的咖啡馆里,讨论着她的最新油画作品系列《锁骨》(Clavicle)。

“我喜欢的创作主题往往是那些生命中的重要议题——悲剧,以及喜剧。”谢其说。多年来,这名艺术家一直在探索如何利用光线和人体来创作,而这也让她的作品充满一种既虚幻又写实的风格。在《锁骨》中,她通过极具表现力的光影叠加效果,勾勒出摆着各种自然姿势的人体,赋予此一系列更多戏剧性。在谢其看来,锁骨是肖像和人体之间的分界线,一条将四周部位划入焦点区域的轴线。

Purple Invading Red, oil on canvas (146 x 112 cm)
Timid and Strained 1, oil on canvas (88.5 x 69 cm)

Xie moved from Chongqing to Beijing more than 20 years ago to attend the Academy of Art and Design at Tsinghua University. She often wonders why she hasn’t left the city yet, especially since rocketing studio prices are making it increasingly hard for artists to support themselves. But she says the difficulties are worth it: “Comfortable is not good for art. Beijing relates directly to my work, and here I have to keep things simple.” Besides, she adds, the city gathers open-minded people from all walks of life, such as her friends, many of whom are her subjects for Clavicle.


20 多年前,谢其从重庆搬到北京,进入清华大学美术学院学习。她经常问自己为什么还没有离开这座城市,尤其是不断上涨的工作室租金让艺术家的生存变得日益困难。但她认为,承受这种困难是值得的:“舒适安逸并不利于艺术创作。北京与我的作品是直接相连的,而生活在这里代表我必须一切从简。”此外,她补充说,这座城市聚集许多来自各行各业的心态开放的人,譬如说她的朋友,其中许多位还成为了《锁骨》系列的模特儿。

Ruth Ruth in Blue, oil on canvas (77 x 155 cm)
Wave and Reef 2, oil on canvas (117 x 91 cm)
Timid and Strained 3, oil on canvas (117 x 91 cm)

Her process for this series began with setting the lights and photographing her subjects. “This was a moment different from ordinary life,” she says. “We could feel each other.” Based on the photos, she then drew on the canvas, paint the first layer, wait several days for it to dry, and then paint the second layer. It took her years to complete the entire series.

One of the most fascinating portraits is the profile of a man with a fearful expression, only partly visible in the ethereal darkness. Xie met the subject, French Lacanian psychoanalyst Michel Guibal, during an art residency in Paris. Guibal trained the very first school of Chinese students of Lacan. When Xie Qi took his photograph, he was ill and bedridden, but that didn’t prevent him from sitting for her. He passed away shortly thereafter.


在创作该系列作品时,她会先设置好灯光,拍摄下要画的人物对象。她说:“这个时刻与平时截然不同,我们要互相感觉到对方。”之后,在照片的基础上,她开始在画布上作画——先画第一层,等待几天颜料干后,再画第二层。她一共花了多年的时间才完成整个系列的创作。

其中最引人入胜的一张画像是一个男人的侧脸,脸上流露着恐惧的表情,在虚无的黑暗中若隐若现。这幅画的原型是法国拉康学派精神分析学家吉布尔(Michel Guibal),谢其是在巴黎一个艺术家驻留项目中与他相识。吉布尔是第一个给中国学生培训拉康的讲师。谢其拍摄他的照片当时他正身患重病,卧床不起。但他依然努力坐起来给她拍摄。在那不久之后,吉布尔就去世了。

Ruth, oil on canvas (120 x 120 cm)
Guibal, oil on canvas (120 x 120 cm)
Mr Meng, oil on canvas (110 x 90 cm)
Wave and Reef 1, oil on canvas (150 x 120 cm)

One might say that there is a psychological analysis behind Clavicle, as if the paintings were a direct representation of the mental state of the subjects. The artist, however, maintains that the identity and narrative of her subjects were never important to her—the body was not a means to an end; it was the actual end. “Appearance and shape, observed from different angles, are truly the main points,” she explains. “But of course there is always something behind it.”


有些人可能会认为《锁骨》一系列隐含心理分析的成分,每一幅画仿佛都是画中人物的精神状态的直接展示。但谢其坚称,创作对象的身份和故事对她来说并不重要,身体不是达成目的手段,身体本身就是目的。“从不同角度去观察外表和形体才是真正的重点。不过当然,创作背后总是不免地会有弦外之音。”她解释说。

Red Painted Body, oil on canvas (90 x 60 cm)

Xie’s dramatic use of light also powerfully conveys emotions. “The lights put the subjects on a stage, connoting a certain predicament or dilemma,” she notes. For her recent show in Shanghai, she expanded this use of light outside the canvas, with an installation of neon lights that immerses the audience in her world. She had the idea after learning that the gallery space had previously been a massage parlor and front for a brothel. She plays with the sordid history of the building, adding a new layer of lechery to the exhibition.

The Clavicle series is a breakthrough for the artist. She will soon release a catalog of the exhibition containing all the artworks. Given the explicit nature of the content, she’ll have to find an independent publisher, yet she doesn’t seem bothered much by this fact. “As an artist,” she says, “I have to find a way.”


此外,谢其运用戏剧性的光线来有力地传达情感。“灯光将人物置于舞台中,暗示着某种窘迫或困境。”她解释道。这次在上海的展览她特别将光线搬离画布外,通过霓虹灯装置,让观众更沉浸在她所创造的世界中。她是在得知画廊空间以前曾是一间按摩院和妓院的前厅后,才有了这个想法。她利用这幢建筑过去不洁的历史,让现场更流露一股纵欲的氛围。

对谢其来说,《锁骨》系列是她创作上的一次突破。不久后她将发表一本收录所有作品的展览目录。鉴于画面的内容较为赤裸,她必须寻找独立出版商,但她似乎不受这个问题的困扰。她说:“作为一个艺术家,我必须设法去找寻出路。”

Website: xieqi-art.com

 

Contributor: Tomás Pinheiro
Chinese Translation: Olivia Li


网站: xieqi-art.com

 

供稿人: Tomás Pinheiro
英译中: Olivia Li

A Tenacious Spirit 一块滑板上的无限人生

March 1, 2019 2019年3月1日

 

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To mark the launch of Skullcandy‘s wireless Push™ earphones, we teamed up with the brand to present a series of stories celebrating those in the creative community who push themselves to the limit and break boundaries.

In the first story of the series, we caught up with professional skateboarder Wang Di to chat about skating, perseverance, and the meaning of courage. For the second installment, we met up with tattoo artist Miho (Yao Meihui).


为庆祝蓝牙无线耳机 Push™ 的重磅推出,Skullcandy 与 Neocha正式携手合作,为你带来几位艺术家、运动员和音乐人,打破极限,自我出声的故事。

作为我们的专题人物的第一位,我们有幸请到了职业滑手王玓,请他与我们聊一聊关于滑板背后的故事,以及他对滑板与“Pushing Limits”的理解。而在下一期,我们则将与纹身艺术家姚美惠相约,讲述更多故事。

“The spirit of skateboarding is courage plus perseverance.”

滑板精神等于勇气加永不言弃。

Every skater has a stubborn, tenacious side. From popping ollies on the street to landing tricks on ramps and rails, learning to skate takes perseverance. For professional skateboarder Wang Di, the constant challenge is part of the sport’s allure. “Pushing limits is the only way to become one of the best,” he says. “I don’t give up easily. If I can’t figure something out today, I’ll push myself tomorrow.”

Born in 1995, Wang’s already been skating for over a decade. While his former classmates are stuck in the rat race, slaving away in front of a computer, he’s making a name for himself as a professional athlete. He owes his success to his refusal to give in, no matter how tired or frustrated he gets. “Skateboarding takes courage,” he says. “You have to be willing to challenge everything, you can’t back down.”


每个滑板人都有他固执、执着的一面。从在街上不断蹦跳到在坡道和铁轨上尝试技巧,玩滑板太需要坚持不懈的品质了。对于职业滑板运动员王玓来说,不断挑战这一切,正是这项运动诱人之处。

生于 1995 年的王玓,现在已经有十多年滑龄了。在他的同学们按部就班地读书、应聘、工作,走着规划好的人生路时,他却让自己的名字成为了滑板界的一道风采。王玓的成功归功于无论遭遇了多少疲惫或沮丧他都拒绝屈服。滑板它需要的就是你的勇气。他说,“你要敢于挑战这一切,不要缩。”

“I don’t give up easily. If I can’t figure something out today, I’ll push myself tomorrow.”

“突破界限才能成为佼佼者。我是不会心甘情愿放弃的,今天做不出来,明天也要拼出来!”

Wang learned perseverance from his father, who gave him his first board at age 12. When his son showed a talent for skating, he encouraged him to follow his passion as far as he could—and then keep going. Before long, Wang was taking home prizes at competitions.

Back in school, whenever a skateboarding event fell on a weekday, his family let him take time off to compete. “The longest I ever took off was a week. When I look back now, it’s hard to believe,” he says. “Compared to other parents of that generation, my dad was really open-minded. And he knows a lot about skateboarding—he started getting into it at the same time I did.” So when Wang announced he wanted to take the leap and skate professionally, his dad had his back.


王玓是从他父亲那里学会的坚持。也正是他父亲,在他 12 岁时送给了他人生第一块滑板。当王玓表现出滑板天赋时,父亲鼓励他尽可能地追随这爱好和激情——然后继续前进。不久之后,王玓就带回了在滑板比赛中赢得的奖品。

那时候王玓还在上学,但如果有滑板活动安排在周一到周五,他爸爸却允许他请假去外地比赛。我最长请过一个星期的假,现在想起来,我都觉得不可思议。王玓说,和其他同龄的父母比起来,我父亲特别开明。而且我爸其实还蛮了解滑板的,他也跟我一起开始了解滑板。”所以在王玓表明了他想继续当职业滑手的念头时,他的父亲亦表态支持。

“Pushing limits is the only way to become one of the best.”

“突破界限才能成为佼佼者。”

In China, skateboarding is still viewed with suspicion, and even finding a spot to skate is hard—you never know when you’ll be chased away by an overzealous security guard. So telling people you’re a professional skater raises more than a few eyebrows.

But thanks to the determination of skaters like Wang, things are changing. Skateboarding recently won Olympic recognition, and China will field a team in the 2020 Summer Games in Tokyo. Wang’s courage in defying convention has helped the sport go mainstream—though he puts it in much humbler terms. “The path was right for me,” he says. “All I wanted to do was focus on this one thing.”


在中国,滑板运动仍然不被看好,甚至找到滑板的地方也很难——你永远不知道什么时候你会被一个多管闲事的保安赶走。所以告诉别人你是一名职业滑手,引起的可不仅仅是别人的注意。

但得益于越来越多像王玓这样致力于滑板的选手们的努力,现在滑板运动为国际奥林匹克所认可,中国也将在 2020 年的东京奥运会组建一支专业滑板队。王玓敢于违抗先例的勇气,也帮助了这项运动的推广——尽管他以更加谦逊的方式表达了这一点。 “这条路很适合我,”他说, “就不要做别的了,就专注于一件事情。”

“All I wanted to do was focus on this one single thing.”

“就不要做别的了,就专注于一件事情。”

For Wang, doggedly training and daring to outperform the competition are at the sport’s heart. “The spirit of skateboarding is courage plus perseverance.” Mastering a new trick can take days or even months. Some take ten times as long as others. At its worst, it’s repetitive, tedious, and painful: you try the same trick over and over again, you keep falling on the unforgiving concrete. But diehard skaters keep getting up, bruised and bloodied, and hop back on their boards to try again. The feeling of finally landing that trick, says Wang, “is the rush of your life.”

Pushing limits doesn’t mean attempting flashy, dangerous maneuvers, he says. It means overcoming doubt. And the confidence and perseverance he’s gained on his board extend far beyond skating. “On my board, I don’t have a care in the world,” he says. “I feel there’s nothing I can’t do. Skating’s made me optimistic about life.”


对王玓来说,坚持训练并且敢于超越是滑板运动的核心。“滑板精神等于勇气加永不言弃。”一个动作的训练,很可能要花上几天到几月的时间,有时甚至要付出的十倍于别人的努力才能成功。最糟糕的是,这包含着重复、乏味、痛苦:你一遍遍地尝试同样的伎俩,又一次次摔倒在无情的混凝土上。但是顽强的滑手会不断站起来,带着淤青和血丝,然后继续跳上他们的板上再试一次。最终成功落地的感觉,王玓说,“就感觉人生达到了高潮。”

对他来说,挑战界限并不意味着拼命,也不意味着太过冒险。

王玓从滑板中汲取而来的坚韧和自信,早已超越了这项运动本身,融为了他生活的一部分。我在板上就没有烦恼的事情。王玓说,所有事情都觉得可以自己来解决的。滑板让我对生活的看法变得乐观。”

“Skateboarding takes courage. You have to be willing to challenge everything, you can’t back down.”

“滑板它需要的就是你的勇气。你要敢于挑战这一切,不要缩。”

Shop the Push™ wireless earphones at Skullcandy’s Tmall page or official website.


想收获一副属于你自己的 Skullcandy 蓝牙无线耳机 Push™,敬请登陆天猫或者官网订购。

Weibo: ~/王玓WD
Instagram: @wangdi_1995

 

Contributor: Chen Yuan
Videographer: Damien Louise, Paul Gardette, Ni Zhaoyu
Photographer: David Yen


微博~/王玓WD
Instagram: @wangdi_1995

 

供稿人: Chen Yuan
摄像师: Damien Louise, Paul Gardette, Ni Zhaoyu
摄影师: David Yen

Beauty at Any Price 当美丽变成一种血腥的理想

February 25, 2019 2019年2月25日
Tummy Tuck, 2013, oil on canvas, 140 × 119 cm

Cosmetic surgery is not for the faint of heart. No matter how you slice it, cutting people open to reshape their features is a gory business. Patients are wheeled home bandaged like mummies to start on a recovery that can take weeks. Once the swelling subsides and the scars fade, patients may well be happy with the results, but it’s a grim irony that a procedure to make you more beautiful can leave you looking—on the short term at least—like an extra in a slasher flick.

This awkward interim period, when patients have only just emerged from the operating chamber, is the starting point for Su Yang‘s paintings. Her work portrays in grisly detail the immediate effects of the pursuit of perfection: the bruises, the blood, the gauze, the swelling. She paints in oil and tempera, in garish reds and purples, and her works quite intentionally have something of a horror show about them. Yet the paintings are more than gross-out pics: Yang offers them as a critique of the beauty standards that lead women to submit to traumatizing procedures.


整容手术并不适合那些胆子不够大的人。无论如何,把人们的身体划开、切开、再塑形,听起来都像是一件血淋淋的可怕差事。手术后,整容者坐着轮椅,被包扎得像木乃伊,开始为期数周的恢复过程。一旦肿胀消退、疤痕淡去,他们可能对成果感到满意。但令人感到讽刺的是,整容手术明明是为了让人变得更美丽,却有可能让你(起码在短时间内)看上去像是血腥恐怖电影的一员。

当整容者刚刚结束手术,接下来要面对的那段尴尬过渡期启发了杨苏的创作。在作品中,她以触目惊心的细节,描绘出这种为追求完美所引发的立即后果:瘀伤、鲜血、纱布、肿胀。她使用油画和丹培拉,刻意涂上过分鲜艶的红色和紫色让作品看起来更惊悚。然而,她的画作不仅仅是一些令人不敢直视的画面,更是用于批判当今逼使女性经历这些创伤所达到审美标准的警语。

Rhinoplasty, 2013, oil on canvas, 152 × 137 cm
Injection of Hyaluronic Acid, 2014, egg tempera on clay board, 30 × 30 cm

Yang is a scholar and artist from China. She learned to paint and draw from her father, who began instructing her in European techniques at a young age. In college, at Tsinghua University, she continued to paint, and also studied sculpture, lacquer, glass art, and graphic design. While doing a master’s in fine arts at the State University of New York at Buffalo, she discovered an interest in feminism, and since then her art has explored the procedures that women, particularly Chinese women, undergo to make their bodies conform to patriarchal ideas of beauty. She’s now working toward a PhD in visual art at the University of Melbourne, where she uses her art and research to explore the demands women face in the name of beauty.


杨苏是来自中国的一名学者和艺术家。她从小跟着父亲学习绘画,教授她欧洲绘画的技法。在清华大学就读期间,她继续画画,同时学习雕塑、漆器、玻璃艺术,以及平面设计。在纽约州立大学水牛城分校(State University of New York at Buffalo)修读美术硕士学位期间,她渐渐发展了女权主义方面的兴趣。从那时起,她开始通过艺术去探讨女性——尤其是中国女性——为了父权社会的审美观念而整容的议题。现在,她正在墨尔本大学修读视觉艺术的博士学位,用自己的艺术创作和研究,探索那些“以美之名”对女性提出的种种要求。

Eye Lift, 2013, oil on canvas, 140 × 147 cm
Post-Laser Treatment 1, 2015, oil on canvas, 140 × 147 cm
Double-Eyelid Surgery, 2014, egg tempera on woodboard, 30 × 30 cm
Double Faces Post-Cosmetic Surgery, 2015, oil on canvas, 150 × 145 cm

Are her paintings a condemnation of cosmetic surgery? For Yang, that’s not quite the point. “It’s more that my works emphasize the ideologies that encourage many young Chinese women to become the same single person, without their own features,” she says. In that sense, she views these beauty-enhancement procedures as a symptom of a larger problem: the pressure to conform to uniform, unrealistic standards.


她的作品是对整容手术的谴责吗?对于杨苏来说并不完全是。“我的作品更多的是想强调那种鼓励中国年轻女性将自己变成同一个模子刻出的产品、失去自我特色的意识形态。”她解释道。从这个意义上来看,她认为这些让人变美的手术隐含一个更大的问题:让人们顺应不切实际的统一标准的压力。

Rhinoplasty, 2013, oil on canvas, 152 × 137 cm
Recovery Period, 2014, oil on canvas, 127 × 165 cm
Double Faces Pre- & Post-Cosmetic Surgery 3, 2016, oil on canvas, 112 × 163 cm
Double Faces Pre- & Post- Cosmetic Surgery 1, 2016, oil on canvas, 113 × 150 cm

In her academic work, Yang focuses on China, where cosmetic surgery is a booming industry. She notes that the pressures to look pretty are somewhat different in Australia and the US. “The notions of beauty are localized and formed by their own cultural and social histories,” she says. “However, I also see similarities in these standards, which are partly formed by a global consumer culture.” Her subjects are not limited to China but seem to show women of various ages and ethnicities.

She also doesn’t solely paint straightforward post-op portraits. Some of her works use cosmetic procedures as a starting point but take a more fantastic turn, with faces within faces, or people peeling off their skin.


苏的学术作品研究了审美标准如何影响中国女性。她指出在这么一个整容行业蓬勃发展的国家里,女性承受的变美压力,与在澳大利亚和美国有所不同。她说:“人们对美的看法是本地化的,受当地文化和社会历史所影响。不过,这些标准也有相似之处。部分原因是全球消费文化所导致。”她的研究对象不限于中国女性,也会涵括不同年龄和国籍。

她的创作不只描画人们的术后肖像,其他一些作品以化妆过程作为出发点,再加入一些奇幻的构想,譬如脸中有脸,或是人们剥掉皮肤。

 

Stripping Off Face 1, 2015, oil on canvas, 148 × 150 cm

Critiques of cosmetic surgery often poke fun at the dead eyes or frozen smiles of a procedure gone awry. Yang takes a different tack, showing a side of the cosmetic industry that’s seldom seen—the seamy underbelly, as it were, that’s surgically tucked out of sight. For many people, it seems, beauty is a bloody pursuit.


人们在批评整容手术时,常常会举例一些失败的案例,譬如那些死气沉沉的眼睛或是僵硬的笑容。但杨苏却采取了不同的策略,她选择揭示美容行业鲜为人知的一面——通过手术隐藏起来的丑陋。对许多人来说,美丽也是一种血腥的理想。

Liposuction of The Legs, 2014, oil on canvas, 124 × 166 cm
Post Laser Treatment 2, 2015, oil on canvas, 161.5 × 115.5 cm

Websitesuyangvisual.com

 

Contributor: Allen Young
Chinese Translation: Olivia Li


网站suyangvisual.com

 

供稿人: Allen Young
英译中: 李秋群

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Memes, Refashioned 对生活报以真诚的假笑

January 30, 2019 2019年1月30日

There’s no obstacle in life that can’t be overcome with a genuine smile. But even in the hardest of times, a polite, insincere grin (even an awkward one) can still make do. On this premise, a meme was born.

If you have any investments in the meme economy, then you’ve probably heard the name Gavin Thomas. Best known as the “boy with the fake smile,” the eight-year-old American has gone viral worldwide. His hilariously insincere expression has garnered him huge followings on Instagram and Weibo alike. Just six short months after joining the latter, he’s already won over millions of followers, and many Chinese netizens are even hailing him as “world-class meme material.”

Recently, Chinese fashion label BIZZCUT released a line of products with the boy (or rather the meme) himself. It includes hoodies, iPhone cases, blankets, and even mousepads. Named auspiciously with the upcoming Chinese New Year in mind, the Peace and Prosperity collection pairs Thomas’s iconic fake smile with vibrant colors and bold Chinese characters, showing that memes can live beyond our device screens and find a place in the real world.

BIZZCUT was launched in 2014 and is run by a small but dedicated team made up of two fashion designers, a design assistant, a graphic designer, and a three-man operations department. We recently interviewed Da Yao, a graduate of Italy’s Istituto Marangoni and the founder of BIZZCUT, about her newly released designs and the challenges of running an independent brand in China.


世上没什么困难,是一个微笑不能克服的。如果有,那就抱以一个尴尬而不失礼貌的假笑——此处应有表情包。

如果你是关注网络文化的潮流青年,那么你一定知道这个红遍大江南北的假笑男孩Gavin Thomas。从 Instagram 火到微博,他的粉丝量在注册短短半年内就突破百万大军,堪称世界级的网红表情包。

最近,国潮品牌 BIZZCUT别闹联手腔调假笑男孩本人联名合作,出了包括卫衣、手机壳、毛毯和鼠标垫等等一系列周边,并为了呼应即将到来的中国新年,这个系列取了个非常讨喜的名字:平安富贵Gavin 标志性的假笑,配上大量鲜艳的色彩和硕大醒目的中文字,让原来活在手机里的假笑表情包,比起不正经来,更多了点酷。

我们采访了 BIZZCUT 的主理人大妖,毕业于意大利马戈兰尼设计学院(Istituto Marangoni)服装设计系的她,于 2014 年创立了这个品牌。现在的团队已经有另一个服装设计师、一个设计助理和一个平面设计师,和三人的运营团队。

Neocha: BIZZCUT’s Gavin Thomas collection draws on the aesthetics of memes; it’s a large departure from the approach of other domestic fashion brands. How did this idea come about? What was it like working with him?

Da Yao: When someone from Taobao Kongdiao (a fashion-focused platform run by the Chinese e-commerce behemoth) approached us about doing a collection with the “fake smile boy,” I was on board immediately. I’m a fan of Gavin myself, and I often use his sticker memes on WeChat. It felt like something in tune with the spirit of our brand, so everything just happened quite organically. It was a smooth process overall. Gavin and his mom approved our initial drafts right off the bat. It felt like we were on the same wavelength, so it was quite enjoyable working together.


Neocha: BIZZCUT “假笑男孩系列的产品有着浓浓的表情包风格,和一般国潮牌不太一样。是什么促成了这个系列的诞生?和假笑男孩的合作过程是怎样的?

大妖: 当时淘宝腔调的小二来问我们愿不愿意做一个合作款,得知是和假笑男孩合作我们毫不犹豫就答应了。因为我自己也是 Gavin 的粉丝,平时聊天也常会用他的表情。同时他的气质和我们品牌调性挺契合的,所以合作自然达成了。过程也非常顺利,我们提交初稿的时候就得到了 Gavin 和他妈妈的认可,可以说是一拍即合,非常愉快。

Neocha: What do you think are the primary reasons young people are drawn to your brand?

Da Yao: Maybe it’s our design philosophy. Compared to other brands, we don’t take ourselves that seriously. We enjoy making designs around self-deprecating humor. People are under a lot of stress nowadays, so a dose of quirky, offbeat humor resonates with them. Another thing is our perspective of what’s “cool”: Every brand wants to talk about being cool. To us, being cool is about exuding confidence. In other words, being “cool” in your own eyes is what’s most important. We hope that our products can help give people this type of self-confidence.


Neocha: 你觉得 BIZZCUT 能够吸引这些年轻人最重要的原因是什么?

大妖: 可能是我们的设计态度吧。相比较很多品牌我们可能显得没那么严肃和正经。就是说我们会用比较自嘲的方式去做设计,现在人生活工作压力都很大,所以一些出其不意、搞怪幽默的设计就会让很多人有共鸣。还有就是我们对酷的看法:每个品牌都在谈论酷,而事实上真正的酷首先是一种由内而外的自信,也就是自以为酷很重要。我们希望自己的产品能给大家这样的自信。

Neocha: What are some of the brand’s underpinning design philosophies and inspirations?

Da Yao: It all starts with me thinking about whether it’s something I personally like—otherwise it’ll never hit the shelves. Secondly, it needs to fall in line with the brand of humor we’re known for. I like design that makes use of pop art; mainstream culture is also something that needs to be considered. After all, being a designer means staying open-minded. It’s about finding a balance between your own aesthetic preferences and what speaks to the masses.


Neocha: 在做设计的时候,你们的态度和出发点是什么?

大妖: 出发点是我首先自己很喜欢的单品才会上架售卖。其次就是符合我们品牌幽默有趣的定位,一些波普感的设计是我比较喜欢感兴趣的,至于大众文化潮流我觉得也很有参考的必要,毕竟作为设计师还是要有一个开放的姿态去做设计,从个人审美趣味和大众喜好之间寻求平衡吧。

Neocha: It’s been a few years since BIZZCUT was founded, and the brand has built a large following of dedicated fans. During this time, what are some the most difficult struggles and challenges you’ve faced?

Da Yao: The biggest risks we took thus far were our releases for the second half of 2018. We tried out some more serious designs, but the reception was lukewarm. It helped us realize that our audience still enjoys how we bring happiness with simple, unsullied humor. But we’re now back on track. This process provided us with a lot of clarity.


Neocha: BIZZCUT 从诞生到现在也有好几个年头了,目前也吸引了一大批忠实粉丝。但这个过程中你们有碰到过独立品牌好险差点没活过来这样的情况吗?

大妖: 最险的基本就是 2018 后半年吧,做了一些比较严肃正经的尝试,结果不是很理想,后来发现大家还是喜欢简单和纯粹的快乐,现在基本回到正轨了,这个过程中自我认知也清晰了许多。

Neocha: Once a brand becomes overly commercialized, it can leave a bad taste in people’s mouths. How do you strike a balance between an authentic independent spirit and being profit-oriented?

Da Yao: Commercialization isn’t necessarily a bad thing. Good business practice means getting more than what you’ve invested, and I think having an entrepreneur mindset is important for designers. We’re not artists. Design is intrinsically linked with marketing. That said, we still strive to strike a balance between mass appeal and our independent spirit. I consider this to be the most interesting part of being a designer—it requires an equilibrium between business acumen and artistic sensibilities.


Neocha: 很多品牌一旦走上商业化,年轻用户就会显得抗拒。你们在独立设计和商业化两者之间,是怎么权衡的?

大妖: 商业化不是一件坏事,商业规则要求一个基本的水平线以上的投资回报率。我觉得商业规则对设计师来说很重要,我们不是艺术家,设计的根本也是为了销售,在这个过程中我们一直在努力平衡独立设计和大众趣味的关系,我觉得这也是设计师这个职业比较有趣的一点——它需要商业嗅觉和艺术品味相结合。

Neocha: What do you think the most important qualities are for an independent brand?

Da Yao: The most important thing is the “independent” aspect of it naturally. Something we constantly remind ourselves comes from a quote by Hu Shih: “What is independence? Independence is following your heart. If you’re free but not independent, then you’re a slave. Independence means not being blind, not being duped, not imitating others, and not relying on others. It means not trusting what you hear second-hand, not trusting thoughts that aren’t your own, and not trusting vicarious experiences relayed by someone else. This the spirit of independence.”

In other words, it’s important to not blindly follow trends.


Neocha: 你觉得对一个独立设计品牌来说,最重要的特点或品质应该是什么?

大妖: 最重要的特点当然是独立啦。引用一段我一直用来提醒自己的话吧,胡适先生讲的:什么是独立呢?‘独立是你们自己的事,给你自由而不独立这是奴隶,独立要不盲从,不受欺骗,不依傍门户,不依赖别人,不用别人耳朵为耳朵,不以别人的脑子为脑子,不用别人的眼睛为眼睛,这就是独立的精神。

不跟风,不盲从这个就是最重要的。


Neocha: How would you describe the BIZZCUT attitude in one single word?

Da Yao: Humorous.


Neocha: 用一个词总结形容“别闹”的调性,你会用?

大妖: 幽默。

Neocha: Aside from your online shop and brick-and-mortar retail location, you’ve recently opened a space for hosting events and exhibitions. Why this expansion?

Da Yao: This space is something new for us. There aren’t long-term goals for it. It’s just a place where we can meet and chat with guests, a place where we can share our design philosophy with people. At the same time, we do plan on hosting events catered to people looking for fun things to do.


Neocha: 除了线上线下店之外,你们最近还开了一个空间,可以举办各种艺术活动之类的。为什么想要开拓线下活动空间?

大妖: 那个空间也是一个新的尝试吧,也不算一个长期的规划,就是想找个地方招待一下一直以来想和我们见面聊天的顾客,然后让他们更加了解我们的设计态度,同时伴随一些有趣的活动,让大家找到一个好玩的去处。

Neocha: What can we expect from BIZZCUT in the future?

Da Yao: Surviving is high on our list of priorities. Refining our products and coming up with more thoughtful designs is also very important. We’d also like to work with some shopping centers and media platforms to do a pop-up store. Aside from these things, we’ll be putting out a premium collaborative projects once every year.


Neocha: 对未来别闹的发展,你有什么计划?

大妖: 未来发展的话,先是活下去吧。然后把产品的品质更优,设计更成熟一点吧。也会和一些媒体和商场合作做一些 Pop-up Store,还有就是每年做一次优质的联名款。

Taobao: bizzcut.taobao.com
Instagram: @bizzcut_official

 

Contributor: Chen Yuan
English Translation: David Yen


淘宝: bizzcut.taobao.com
Instagram: @bizzcut_official

 

供稿人: Chen Yuan
中译英: David Yen

Fighting Evil with Evil 黑吃黑,恶制恶

January 16, 2019 2019年1月16日
“Ye Zhong and You Guang are evil spirits who appear in the dead of night and strike fear in other devils. Fighting evil with evil, men came to evoke their names to ward off war and plague, calling them the Gods of Night.”

 

This is the description that opens the photo series Historical Photographs of the Gods of Night Vanquishing Demons, by Chinese digital artist Zhao Guodong. The series was inspired by folktales that date back to the Han dynasty—in the tales, Ye Zhong and You Guang were menacing deities believed to be powerful and evil enough to fend off wounds and plague.


“野仲、游光厉鬼也,三更出而百鬼惧之。后人以恶制恶,题其名可避刀兵瘟疫,谓之夜游神。 ”

 

这是赵国栋夜游神降妖旧影系列所撰的开篇描述。作者本人是一位原画设计师,这原本是他自己的一个故事创作,灵感来自于汉代的民间传说:野仲、游光实为传说中的厉鬼,当时人们以其之名来辟兵辟疫(指避免受兵器伤害、免遭瘟疫)。

“The night deities are beings whose unparalleled malevolence is believed to counteract lesser evils,” Zhao explains. “I think the main reason people put their belief in these wicked deities as opposed to good spirits wasn’t that they wanted evil beings to destroy one another but that they considered the compassionate deities unreliable. Even today, the world is paralyzed with similar fears: for the common people, law and justice aren’t enough to shake off the uncertainty and fear of falling prey to evil-doers. People cheer on vigilantes who operate outside of the law. This observation, combined with my interpretation of the demons and gods of ancient lore, is what inspired this series.”


 “这里的夜游神,就是以恶制恶的凶神。”国栋说,“我觉得人们之所以寄希望于凶神而非善神,其根本原因不是希望恶鬼自相残杀,而是对于善神的手段并无信心。时至今日,全世界都依然会充满这样的恐惧,即法律和正义无法使普通人摆脱对恶人的恐惧和忧虑,我们越来越寄希望于个人英雄的非法制裁。正是基于这样的创作初衷,结合古代的神魔怪志,就有了这个系列的插图创作。”

While undeniably nightmarish, the demons and beasts of Zhao’s work are a marked departure from the over-the-top character designs of Hollywood blockbusters. He explains he didn’t want to overdo their features, and against the ramshackle, overgrown backdrops, they look even more realistic. The spirits he’s conjured—from a chimerical beast with a lion’s head and a dragon’s body to a humanoid creature with jagged horns—are all culled from Chinese mythology. I love animals, especially the legendary creatures depicted in traditional Chinese sculptures,” he notes. “It was from studying their forms that I learned about how art can be powerful and humorous at the same time.” 

Zhou, leveraging Chinese mythology and modern fears, has managed to restore one of China’s oldest folktales in spine-chilling fashion. Don’t stare too long at these images after dark, or you just might find yourself inside one of these haunting dreamscapes the next time you close your eyes.


这些宛如梦魇中的奇禽异兽,和好莱坞大片中的设计形象不一样,国栋说他“并没有给予过分夸张的造型设计”,龙首狮身、牛头人面,都从中国神话传说中而来,再加上荒草萋萋的布景,看上去就更真实。“我非常喜欢动物,更喜欢中国雕塑里的动物和神兽。它们都非常的有趣。我从这些传统的石兽形象中学到了一种艺术的拙劲,一种很内敛的幽默感。”

昏暗的光景下,看着图中的奇兽,仿佛令人置身幻境一般,而中国历代还有多少神话传说,也实在是巧绘难描。

Weibo: ~/sandaosi
 


Contributor: Chen Yuan
English Translation: David Yen


微博: ~/sandaosi
 


供稿人: Chen Yuan
中译英: David Yen

Neighborhood Stories 王占黑:一个老小区的小朋友

December 24, 2018 2018年12月24日

For my interview with Wang Zhanhei, one of China’s youngest writers, I arranged to meet her in Dinghaiqiao, a neighborhood on the outskirts of town.

From the subway, I had to pick my way through an open-air market, where stalls with an assortment of vegetables, baskets of fruits, and buckets of freshly caught carp—some still flopping about—lined the road. Two blocks later, I turned down an alleyway barely wide enough for a person, walked a few hundred more meters, and finally arrived at the place where we’d agreed to meet: Dinghaiqiao Mutual Aid Society, a volunteer-run organization that offers assistance to migrants and manual laborers. It’s a place that Wang often visits.

When I arrived, she was already inside, engaged in a lively conversation with some of her friends.


我和王占黑的采访,相约在“定海桥”。

地铁下来,沿着一条马路菜场曲折地走,最先迎接我的是铺了满街的蔬菜、水果,和一条冷不丁从水盆里跳出来的鲫鱼。两个路口之后,再拐进一条一人窄的小路走几百米,就是“定海桥互助社”了。这是一个关注工人群体和移居人口的自发性组织,身为半个作家半个教师的王占黑,会不定时在这里出没。

再往里探一探头,王占黑已经在和好友坐着聊天了。

1 / Unsung Heroes

Displayed on a shelf directly inside the entrance are Wang’s two recent books, Jiedao Jianghu (“Neighborhood Adventurers”) and Kong Xiang Pao (“Air Cannon”), the latter of which just won the inaugural Blancpain-Imaginist Literature Prize. The cover jacket contains a short bio:

Born in 1991 in Jiaxing, Zhejiang Province, Wang Zhanhei graduated from Fudan University with a degree in literature. Her stories Neighborhood Heroes, which originally appeared on Douban, have been published in ONE, FurongShanhua, and the Sinan Literary Journal.

Succinct and straightforward, this statement of fact is the book’s only introduction to the author.

As it happens, since she graduated from Fudan University, Wang has been working as a high school instructor, teaching seniors in an international program. She only sees herself as a writer when she’s actually writing—the rest of the time she calls herself a working stiff. When we arranged to meet, she texted me that she happened to have the day off, but she followed this information with a frowning emoji: “Next week I have to work six days straight.”


1/发现英雄

在定海桥互助社进门处的一排小书柜上,摆着王占黑的新书《街道江湖》和《空响炮》,后者让她刚刚荣获首届宝珀·理想国文学奖。翻开简介看:

“王占黑,1991 年生于浙江嘉兴,毕业于复旦大学中文系。曾在豆瓣写了一系列‘街道英雄’的故事,已有作品散见于《ONE一个》《芙蓉》《山花》《思南文学选刊》等。”

简洁,平面,寥寥几句事实性的陈述,这是书上对她的全部介绍。

事实上,从复旦研究生毕业后,王占黑现在是一所高中的老师,教国际班的高三。作家这个身份,她自己觉得,只有在写作的时候是,其他时候,她也会用“社畜”来形容自己。相约采访前,恰巧赶上了调休,王占黑没忘记发一个“sad”的表情,“接下去又要连上六天班了。”

The interview officially began as we strolled among the clusters of low-rise apartment buildings in the neighborhood and chatted.

The neighborhood consists of typical working-class housing, and was reminiscent of the place Wang herself grew up in. Familiar sights and sounds filled the streets: neighbors cheerily greeting one another, older folks and young kids dawdling along the streets, and identical square laundry racks sticking out from every window.

“I still live in an old building like this,” she said. She spoke calmly, though her eyes constantly looked this way and that, fascinated by everything around her. She’d point out cats busily cleaning themselves, tame rabbits hopping about, overgrown loofah vines climbing the walls, and balconies decorated with potted plants.


那天我们真正的采访,是在对周遭老公房的闲逛途中开始的。

这是典型的“工人新村”,和王占黑从小的生长环境很像,邻里间闹忙的招呼声,形形色色的儿童和老叟,甚至还有一色一样的长方形晾衣架。

“我现在还住在这样的老公房呀。”她的语调漫不经心,眼神却总在到处张望,指给我看正在舔毛的猫咪、大门牙的兔子、攀缘蔓生的丝瓜藤,还有户高楼的人家种了好多盆花草。

In her Neighborhood Heroes series, the “neighborhoods” are the apartment blocks and residential complexes built as worker housing in the late 20th century—a common sight in Chinese cities—while the “heroes” are the ordinary residents: security guards, fruit vendors, trash collectors. These humble characters take center stage as the stars of her stories.

Wang has a knack for striking up conversations with strangers. As we walked and took pictures, curious neighbors would approach us, and she readily made small talk.

“Is this your dog? What a good boy!”

“Yep! He’s an old dog, over ten years old. He was even on T.V. back in the day.”

“That old? How long have you lived here?”

The conversation was animated, with the old man speaking in Shanghainese and Wang answering in her Jiaxing dialect. As the sky darkened above us, her eyes seemed to gleam even more brightly.


“街道英雄”这个系列的小说,“街道”,指的就是老公房、老小区、上世纪末建的工人新村;“英雄”就大不同了,看门的、卖水果的、捡垃圾的,在王占黑的笔下,这些人物用吴语作对白,摇身一变,成为登台亮相的主角。

王占黑是善于和这些人打交道的。我们一路走一路拍,碰到好奇的街坊来问,王占黑会自然地搭话:

“爷叔这只狗是你养的哦?噶乖。”

“是的,伊十几岁咯!老早还上过电视的。”人家答。

“哇岁数老大啦!那爷叔你住这里多久啦?”

老爷爷讲着上海话,占黑讲着嘉兴方言,两个人开开心心聊起天来。外面的天光渐渐变暗,却显得她的眼睛特别亮。

Wang gives her characters intriguing names: Xiao Guan (Little Official), Lao Jin (Old Gold), Chun Guang (Spring Light), and so on. Many of these are cobbled together from names she heard called out in waiting rooms in banks or hospitals, or which she happened across in short news items. With some rearranging and a lot of revision, she created a series of old “neighborhood heroes.”

“In the beginning, both books were called ‘Neighborhood Heroes,’ but the titles were overhauled in the editorial process,” she recalls. “I suppose everyone’s definition of a hero is different. For some people, heroes are mighty individuals, such as a military general. But my interpretation is different.”


王占黑给小说里的人物取名很有意思。小官、阿金、春光……很多人名是她从医院或银行的叫号板上东拼西凑来的,加上日常见闻的琐事,拾掇一下,加上不断修改,构建出一个个生活在街道里老英雄。

“其实两本书(《街道江湖》和《空响炮》)最开始我都起了‘街道英雄’这个名字,但最后过审的时候改了。”她说,“可能是大家对‘英雄’的理解不一样吧。对有些人来说,英雄是很伟大的,是那种领军人物。但我的理解不一样。”

Wang began writing the first piece in her series just after high school, inspired by Xiao Guan, a security guard who looked like he’d been around the block a few times and would make a good story. But once she got to university, she stopped, and when she eventually looked back, the stories and their characters had aged: she discovered that heroes can grow old. They’re just ordinary people.

Not long ago, speaking on Yixi—a platform akin to TED talks—Wang said: “There are a lot of lovable people in that world, and a lot who are lovable and despicable at the same time. But I like to see them as larger than life. Others might say they’re just the common folk, but I like to see them as heroes. Others might say they’re a lost cause, but I want to sing their glories.”

When she published the collection in two books, she changed the title from “Neighborhood Heroes,” but her name for the people hasn’t changed. She still calls them heroes.


早在高三毕业的时候,王占黑就开始写了这系列的第一篇,那时候她看到的看门人小官充满着江湖气。但是到大学以后停一停,再回过头来看,故事和人物就多了几个立面——因为她发现,英雄是会老的,英雄也是平凡人。

在不久前“一席”的讲座上,王占黑是这么说的:“在那个世界里面有很多可爱的人,也有可爱又可恨的人,有人会觉得他们是小的,但我愿意把他们看大了;有人会觉得他们是平凡的,我愿意叫他们英雄;有人会说他们是历史上一批走到穷途末路的人,但我愿意写他们的生龙活虎。”

正式出书的时候,“街道英雄”这个书名改了,但对那些人的称谓没改,还是叫英雄。

2 / A Little Kid in Momentous Era

Ah Ming is one of Wang Zhanhei’s many neighborhood heroes.

One day around noon, when the trash collectors got to the last building, they picked an old woman out of the trash. She’d fallen head-first into the bin and was now fast asleep. When they pulled her out, her whole body gave off a sour stench, and her hair was soaked in a soupy liquid. Wrapped around her breast was a misshapen rubber apron. They turned her over to look and saw—good lord, it’s little old Ah Ming! The one who lives in the garage at the western end of the neighborhood.
(Click here to read more from this excerpt)

In fact, stories like this aren’t so unusual in the Yangtze region, not even in Shanghai. After a layoff or some other misfortune, some people turn to scavenging to get by. A lot of what they take can’t be sold, and they end up hoarding piles of trash. Their stories make the news all too often. But these people, who often face looks of contempt from strangers on the street, are too quickly forgotten about.

But Wang writes about them.

In the story, Ah Ming is fished out of the trash bin and sent to the hospital, but before long she goes back to her trash-picking life. Wang doesn’t give her a tragic ending, yet the story gives you pause.


2/大时代,小朋友

阿明老太太,也是王占黑笔下众多街道英雄中的一个。

“有一天中午,捉垃圾的人捉到最后这栋楼,从垃圾桶里捉出了一个老人。她一头栽进去睡着了。拖出来的时候,浑身酸臭,汤水浸透头发,胸前揣着一块变形的橡胶板。人们翻过身来一看,呀,是住在最靠西边车库里的阿明老太太。”
(点击可阅读更多《阿明的故事》节选)

好巧不巧,这样的故事大概在江南一带并不罕见,在上海也有。因为下岗或种种缘故,有些人会为了减轻家庭负担出来捡垃圾,捡来的垃圾很多又卖不掉,囤积如山。这样的人事,大多数会出现在新闻报道里,众人看一看,啧啧议论两声,忘了。

但王占黑写下来。

小说的结尾,阿明被人从垃圾桶里捞出来,医院里呆呆,不久又继续过上了捡垃圾的生活。她没有给她悲惨的结局,但看完让人久久沉默。

There’s also Chun Guang, who works as a carpenter, Zhao Guangming, who delivers milk, Mei Fen, a middle-aged woman who waits anxiously for her daughter to find a husband. Wang writes their everyday household struggles.

Over time, her cast of characters grew and grew, and eventually became a series. Wang also came to understand her own style. “After figuring out what my quirks were, I got a clearer sense of what I wanted to write, what I could write, and what I could try to write. Some people love to banter and are always shooting the breeze. Some people are always thinking about the past, and are a bit solemn. I want to include a lot of different kinds of people, and use different styles.”

Wang doesn’t purposefully romanticize her characters, nor does she intend for readers to leave with some profound takeaway. She describes these older residents in old neighborhoods in a four-word phrase:

Laid-off factory workers have an expression, nan bao nü chao: “secure men, super women.” It means the men work as security guards, the women work in a supermarket. For every ten families where factory workers were laid off, seven or eight are like that. Mei Fen and her husband were no exception.
(Click here to read more from this excerpt)

Secure men, super women. These are trivial things—nothing thrilling or out of the ordinary. But isn’t there a heroism in these stories?


还有做木匠生活的春光,给家家户户送牛奶的赵光明,等女出嫁等到心焦的中年妇女美芬,这些小老百姓的家长里短之事,王占黑把他们当成“人物志”来写。

人物越来越多,渐成一个系列,王占黑也慢慢意识到自己的风格。“发现自己特点之后,会更明确自己希望写什么样的,能够写什么样的,还可以尝试写什么样的——比如有些人是那种很戏谑的形象,就是我们常说的‘嘲叽叽’的;还有些是怀旧的,有些严肃的。会希望包括很多不同人,用不同的方式。”

当然了,她不会刻意美化这些人物,也不会给他们附加宏大的主题。她用四个字,专门概括这些在老小区里老区的人。

“下岗工人里有一句话叫作‘男保女超’。男的当保安,女的当超市店员,十个下岗双职工家庭里,七八个是这种搭配。美芬夫妻随大流。”
(点击可阅读更多《美芬的小世界》节选)

“男保女超”,细民琐事,也可能就是些陈芝麻烂谷子,但怎么不能说成是“英雄传奇”呢?

On our way to the market, Wang stepped into a little shop selling eggs.

She doesn’t have to ask how much fresh chicken eggs and salted duck eggs cost per pound. After her father passed away, she had to take charge of the cooking. “My mom can’t cook, so I learned from my dad,” she says. From a young age, Wang followed her father around the neighborhood, and a lot of what she knows, like how to talk to strangers and how to haggle over prices, she learned directly from him.

Wang’s fiction is based on the stories of city dwellers set against the backdrop of fast-moving times. She doesn’t look down on her characters from on high, but sees herself as “a little kid from an old neighborhood.” She looks up to everyone in older generations, and her veneration of these heroes comes partly from her respect for her elders. and partly from her inborn empathy.

Before we get to the market, Wang says she doesn’t want to take photos there. “There are a lot of ways to connect with familiar spaces,” she says. “But this sort of ‘photo shoot,’ I don’t know, it feels wrong.”


我们走去菜场,在一家卖蛋的小铺前,王占黑走了进去。

鸡蛋多少钱一斤,咸鸭蛋多少钱一斤,王占黑知道。爸爸去世后,她是那个掌厨的人。“我妈妈不会做饭。这都是我爸爸教我的。” 占黑从小跟着爸爸在街道里窜,怎么跟陌生人搭话,怎么讨价还价,她得到了真传。

王占黑的小说,就取材于这大时代背景下的小市民故事。她不会把自己放在很高的位置去看,反而把自己当成 “一个老小区的小朋友”,所以觉得每个长辈都高高大大。伟岸的英雄形象,一是来自于对年长者的尊敬,二则来自于下笔时不自觉的悲悯。

就在要走到马路菜场的路上,王占黑和我说,我们就不要去那里拍照了吧。“和熟悉的空间沟通的方式有很多,但这样‘摆拍’的话,我不知道,我有点难过。”她说。

3 / A Pen in My Father’s Hand

Her new book Jiedao Jianghu is dedicated to “Jia Tao the king.” Jia Tao was her father, who didn’t actually read her stories. “He’d just pick one up, look at the title, and say something like, ‘Oh, you’re writing about Ah Ming! Looks great!'” she reminisces.”My mom’s the one who often reads my books and proudly shows my work to other people.”

Wang is an animal lover. When we ran into a dog that came up to her barking, she just held a finger up to her lips to tell it, “Shh! Stop barking. You’re going to get yelled at.” Her dad also loved animals. The two of them used to talk about what they’d name their dog if they had one, but sadly Wang’s mom wouldn’t let them get one. “I still want a dog, but my boyfriend doesn’t,” she sighs.


3/“老王的一支笔”

新书《街道江湖》的卷首,印着“献给嘉涛大王”。嘉涛大王就是占黑的爸爸。虽然,爸爸本来不会看她的小说。“我爸爸以前会拿起来看看标题,‘哦,写阿明啊!写得不错!’就这样。反而是我妈妈,会经常看,也喜欢拿给别人看。”

王占黑喜欢小动物。小区里碰到人家屋里的小狗,冲她汪汪叫,她举起手指向它示意:“嘘!勿好叫了噢,要被骂了。”

占黑的爸爸也喜欢。以前父女两个会凑一起商量,家里要是养狗的话要叫什么名字。但可惜的是她妈妈不让。“现在我也想养,但是我男朋友不让……”说着,很无奈的样子。

What her father passed on to her is small but substantial. “My dad liked how I’d meet different people and ‘forge my own path.’ He didn’t teach me anything groundbreaking, but he had his own personal life philosophy. Most of all, he gave me a pair of eyes to observe the world around me. In some ways, I’m just a pen in his hand, recording the world we both lived in.”


爸爸给她带去的财富,很细小,却很有分量。 “我爸喜欢我结交不同的人,‘出去闯’。他倒没有教我很了不起的事,他有自己的一套哲学在。但他给了我一双眼睛,去看身边的世界。”王占黑一直这么说,“我可能就是老王手下的一支笔吧,去写下我和他共同生活的世界。”

When praising a writer’s work, critics sometimes say that it epitomizes an age, or that it raises a style to new heights. Yet Wang isn’t that sort of writer, nor does she aspire to be. She discovers people who have been washed ashore by the waves of time—wary grains of sand, swept away, stranded, and heaped together to form a beach where Wang Zhanhei, like a curious child, kneels down with her magnifying glass and calls out to her dad to come take a look.

No matter how many neighborhoods there are, or how many stories, for Wang, the real hero is her father.

Not long ago, I clicked on her Douban page in search of a bibliography of her works. Looking at the comments section, I noticed next to her name a few extra words: “Jia Tao the king.”


Both of Wang Zhanhei’s books, Jiedao Jianghu (“Neighborhood Adventurers”) and Air Cannon are now available (in Chinese) on the Neocha Shop.


文学史上称颂作家,会说其人其作品“代表了一个时代”,或者把某种风格特质“提高到一个新的高度”,但王占黑不是这一类,也没有这样的野心。她发现了被时代浪涛拍到岸边的那些人,一个个,像一颗颗谨小慎微的沙石,不当心被卷走了,不当心留下了,更多细碎的沙砾聚成了滩。王占黑是会好奇地蹲下身、拿着放大镜、叫爸爸快来看的那个人。

其实无论再多的街道,再多的故事,大概在她心里,爸爸才是那个永远当之无愧的“英雄”吧。

文章写到这里,我点进她豆瓣找书目链接。在评论区瞥了一眼,忽然发现在她“占黑”的名字边上,有个小括号,静默地写着“嘉涛大王”。


王占黑的两本著作《街道江湖》和《空响炮》都在 Neocha 商店中有售。

Douban: ~/WangZhanhei

 

Contributor: Chen Yuan
Photographer: Chan Qu


豆瓣~/WangZhanhei

 

供稿人: Chen Yuan
摄影师: 
Chan Qu

Bauhaus in Shanghai 度过了一世纪的包豪斯

December 10, 2018 2018年12月10日
Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe-Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

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Interior Landscapes 一个现实的理想主义者

December 3, 2018 2018年12月3日

Zeng Linshu defines herself as a “realistic idealist.” Her paintings are mostly inspired by her active inner world and the society around her. Inspiration can alight on any piece of space or scenery, people or things, actions or forms.

There’s a world at the heart of her work, but she doesn’t try to advertise it. Instead she hopes people on the outside can softly come in. Through warm, muted, reserved tones, Zeng gives voice to her inner feelings and her stubborn pursuit of beauty. “The world in my paintings is free and unbound, brimming with the limitless possibilities of art,” she says. “And it’s these endless possibilities that lead the public deep in thought—an exploration of humanity, life, and philosophy.”


Linshu 琳姝定义自己,是“一个现实的理想主义者”。她的绘画,多数的灵感来源都是活跃的内心世界或者现实的社会,一切的空间与景、人与物、行为与形态都有被灵感恩赐的可能。

画的内心有一个世界,但琳姝并不渴望对外宣扬,而是希望外面的人能够悄然走进。在内敛、含蓄的温柔色彩背后,琳姝在表达着自己的内心所感和对“美”的执着追求。“绘画里的世界,自由且奔放,充斥着艺术领域的无限可能;也正是这种‘无休止’的可能引领大众走进了意识的空间深层——对人性、生活及其哲学的探讨。”

Website: linshu.strikingly.com
Behance
: ~/Linshu Zeng


Contributor: Chen Yuan


网站: linshu.strikingly.com
Behance
: ~/Linshu Zeng


供稿人: Chen Yuan

Light Up Bashu 当“非遗”传统撞上当代艺术

November 27, 2018 2018年11月27日
Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军

What happens when “intangible cultural heritage” meets contemporary art, when digital installations enter the urban landscape? The results are nothing short of magical.

Known for its rich history, Chengdu, the “city of flowers and brocade” and capital of Sichuan province, is holding an exhibition of public art centered on cultural heritage. Light Up Bashu Lumen Prize featured exhibition puts paper cutting, embroidery, Chinese opera, traditional handicrafts and other aspects of “intangible” culture into contact with digital art. (“Bashu” is another name for Sichuan.) With rare ambition, the show aims to create a unique “artistic dialogue across space and time” and bring the public to the intersection of tradition and contemporary art. The exhibit will also introduce international artists to China’s heritage and bring the essence of “Bashu culture” to the world stage.

We recently interviewed four of the exhibitors, along with the Guan Huijun, co-founder of the curatorial team Here Your Art, Asia exhibition manager of Lumen Art Project, to get a look at the convention-busting works that these international artists with their culturally diverse backgrounds have created.


当“非遗”传统撞上当代艺术,当数码装置搬进城市景观,会造就出怎样的一番奇景?

以“花重锦官城”闻名的四川省首府成都,基于其悠久的文化历史打造的非遗主题公共艺术展览:巴蜀之光”暨英国流明数码艺术大奖中国成都特展,就将剪纸、刺绣、戏剧、传统制造技艺等 非遗” 文化与当代数码艺术结合,以空前之势形成一场独特的 超时空” 艺术对话,既把普罗大众纳入到半传统半当代的语境中去,也让国际艺术家了解中国非遗,并向世界传递 蜀地文化” 的精髓。

最近,我们采访了本次参展的 4 位艺术家及其策展团队 Here Your Art 的联合创始人即英国流明数码艺术奖项亚洲展览总监管蕙珺,来看看这些来自不同的国度、拥有不同的文化背景的他们,在此次为中国“非遗”传统文化为母题展览中,所创作出的超越惯常经验的作品,和其所表达的丰富而灵活的形式及内涵。

Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017 /2017 年英国流明数码艺术奖冠军
Thijs Biersteker / Voice of Nature 泰斯·比斯克/自然之声
Lumen Prize Winner 2017/2017 年英国流明数码艺术奖冠军
Why did you choose to showcase this aspect of China’s intangible culture?


Guan Huijun: China’s cultural heritage, and Sichuan’s in particular, has a distinctive charm and a rich historical significance. In today’s rapidly developing cities, it’s a challenge to get the public, especially young people, interested in understanding, studying, and passing on traditional forms of culture, and that’s why we chose intangible heritage as our theme. Digital art, meanwhile, is emblematic of the internet age—it’s a new force that lets us keep pace with the times. We were thinking: can we use an up-to-date means of expression, something that has a certain uniqueness and memorability, to increase local connections so that everyone can better understand and participate?

Thijs Biersteker: My piece is centered on trees. Nature has always been a very important theme in Chinese art. From Li Cheng to Fan Kuan, trees have been central. As an artist I use technology as my paint to weave together art, data and nature.

Stefan Reiss & Alexander Janke: We chose to focus on kite making. The kite was invented by two of China’s great minds, the philosopher Mozi (470-391 BCE) and the engineer Lu Ban (444-507 BCE). Mozi lived a century later than Confucius and wrote about the use of kites in China during his lifetime. At first kites were mainly, though not only, used for military purposes, e.g., for measuring distances, calculating wind power and direction, and lifting fireworks or observers.

Our main interest in the kite comes from the fact that it’s Chinese in origin and was a philosophical invention put to military uses. Over the centuries it spread out over the globe and was used for different activities, from sports and leisure to religion.

Lien-cheng WangI wanted the elements I chose to relate to people’s lives and to cut across time and space. So I chose four themes that could do that: “Nature,” “Humanity,” “Food,” and “Animals.”


为什么会选择(这一项)非遗文化作为母题?

 

管蕙珺: 中国的非遗文化,特别是四川的非遗文化,是特别有韵味和历史传承厚重感的文化标杆。在急速发展的城市里,如何让大众、年轻人更愿意了解学习和传承,是我们选择这个文化母题的初衷。而数码艺术,则是在互联网时代标志性的产物,是与时俱进快速迭代的新力量。我们一直在思考,是否能用紧跟时代的表达方式,带着一定的独特性和记忆度,增加本地链接,让大家更好地理解和参与进来。

泰斯·比斯克: 我的作品是“自然之声”,以树为主题。大自然一直是中国艺术中一个非常重要的主题。从中国画家李成(晚唐)到范宽(宋朝),树木在他们的作品中都有举足轻重的地位。而我则用数码技术把艺术、数据和大自然交互起来。

斯蒂芬·瑞斯和亚历山大·扬克: 我们选择的是“风筝”这项非遗文化作为创作的母题。风筝是中国哲学家墨子和鲁班的发明。墨子比孔子晚出生一个世纪,他一生都在宣扬风筝的用途。在发明风筝之后,它们不仅用于军事目的,例如测量距离、计算风力和方向以及举起烟火或观察员。这是一种哲学上的发明,几个世纪以来,它遍布全球,用于不同的活动,从体育、休闲到宗教意义。

王连晟: 我希望所选择的元素是更贴近人们的生活,是具有超越时间性的。所以我选择四个”自然”、”人文”、”食物”、”动物” 贴近人们的元素做为发展。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 2016 年英国流明数码艺术奖艺术家
What do you think is most interesting about your piece?


Thijs Biersteker
: Just as a tree creates a tree ring every year, with Voice of Nature we create a tree ring every second. We do this using sensors and data points, showing people the tree’s state of being in real time. This immersive audio-visual installation is also interactive: it responds to the people surrounding and touching it, creating a connection between the art piece, people, and nature.

Stefan Reiss & Alexander Janke: In our eyes, the combination of haptic materials (a sculpture with made of steel, gauze, and strings) and projection and light is very unique. What we try to achieve is a fusion of sculptural installations—with a strong connection to the tradition of Russian, French and German constructivism and minimalism—and contemporary digital interventions with 3D and 2D programming and animations. And we even added LEDs to this advanced art piece.

Lien-cheng WangMy work is a moving light sculpture titled Four Scenes of Shu Dao. (Shu Dao can roughly be translated as the “dao” or “way” of Sichuan.) It has four parts. The first, “Nature,” is an image of a bamboo grove, the sun and the moon; the second sculpture, “Humanity,” showcases Chinese totemic symbols and the art of bian lian, or face-changing, an important part of Sichuan opera; the sections on “Food” and “Animals” are developed around images of hot pot, spicy peppers, and pandas. What these four images echo are the four seasons in Chinese ink painting. The theme also echoes the Daoist idea of the growth of all things.


对你来讲,这次作品最有趣的部分是什么?


泰斯·比斯克
: 树每年都长出一圈年轮。通过“自然之声”这个作品,我们每秒创造出一个树的年轮。我们使用传感器和数据点,向人们展示树的实时存在状态。这种沉浸式的视听装置也是交互式的,它响应周围的人并触摸树。这样,它就在艺术品、人和自然之间建立了一种联系。

斯蒂芬·瑞斯和亚历山大·扬克: 在我们眼里,用钢、纱布和绳子制成的雕塑,其投影和光线都很独特。我们试图实现的是雕塑装置的融合——与俄罗斯、法国和德国的建构主义和极简主义的传统紧密结合——以及 3D 和 2D 编程和动画的当代数字介入。我们甚至也把发光二极管加入到这件作品里了。

王连晟: 我的作品名称叫做 “蜀道四象” 为一动力灯光雕塑,而雕塑中的主题总共分成四个面向。在自然的面向中,是竹林、日月为主题的图像;以人文为主题的雕塑中,可以看到四川变脸与图腾;在食物以及动物为主题的部分,是以四川火锅、辣椒、熊猫等图像做为发展,四象呼应的是中国水墨画中的四时,在画面的主题上也呼应了百物生焉的状态。

Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
Stefan Reiss & Alexander Janke / O.T. 981: Transformation of the Kite 斯蒂芬·瑞斯与亚历山大·扬克/O.T. 981风筝的转换
Stefan Reiss is Lumen Prize Finalist 2016 /2016 年英国流明数码艺术奖艺术家
What message are you looking to convey?


Thijs Biersteker
: I hope this public artwork will re-connect people in cities to the voice of nature, putting us more in balance and interweaving us with what surrounds us and is part of us.

Stefan Reiss & Alexander Janke: In the first place, we created a work that can be experienced with the whole body and all the senses. The sculpture invites everybody to step inside and feel the dimensions of the kite. Next, we provide a link from traditional Chinese kite making to our Western interpretation of the kite. We also emphasize the development of the kite from a military invention to a civil use today.

Lien-cheng WangI want the public to see several paper-cutting styles. The lights, which seem to breathe, symbolize Bashu’s energy. And by wandering back and forth through the giant sculpture, the audience can experience anew the beauty of Sichuan’s intangible culture.

Guan Huijun: As curator, not only do we try our best to be good “narrators,” we also help international artists “interpret” Chinese culture, grafting together Chinese and foreign creative languages. This also reflects the founding mission of Here Your Art: to create groundbreaking, innovative digital exhibits and artworks, to try to break through the boundaries of conventional exhibits, works, and audiences, and to tear down the barrier between the audience and the art.


这次展览,你希望通过作品向社会和公众传递什么信息?


泰斯·比斯克
: 我希望这个公共艺术作品能把城市里的人们和来自大自然的声音重新联系起来,使我们更加平衡,并与周围的事物交织在一起,成为我们的一部分。

斯蒂芬·瑞斯和亚历山大·扬克: 首先,我们创作了一部艺术作品,它能够体验整个身体和所有的感官——它邀请每个人走进去,与动画一起,从各个维度感受风筝;第二,我们建立了一个从中国传统风筝制作到西方对风筝的解释的关系;且还强调了风筝从军事发明到民用的发展。

王连晟: 我希望观众可以看到许多镂空剪纸风格的雕塑中,像是呼吸的灯光象征着巴蜀的活力。而透过观众在巨大的雕塑中穿梭、游走的方式,使大众再次注意到四川非物质文化遗产之美。

管蕙珺: 作为一个“策展人”,我们不仅仅力争做一个好的“叙述者”,也在本次展览中协助国际艺术家能够更好地“读懂”中国文化,嫁接中外不同的创作语言。这也体现了 Here Your Art 创立的使命——尽我们所能输出具有突破性和创新性的数码艺术展览及作品,试图打破常规展览、艺术品与观众的边界,破除艺术与大众的隔阂。

Lien-Cheng Wang / Four Scenes of Shu Dao 王连晟/蜀道四象
Lumen Prize Finalist 2017/2017 年英国流明数码艺术奖艺术家
What does this show mean for you?


Thijs Biersteker
: I hope to work more in the Chinese market and together with Chinese artists and companies to create work that bridges the boundaries between people, nature, and innovative technologies.

Stefan Reiss & Alexander Janke: We think that Light Up Bashu has been a great opportunity to explore new fields of art and experiment with new technologies. O.T. 981 is an artistic milestone for us because we fused art history with modern technology in Chengdu. It’s also the first time we created a piece as an artistic duo.

Lien-cheng Wang: Intangible heritage is an important part of history. I think it’s the embodiment of modern culture and the legacy of the past. Tangible cultural heritage focuses more on the masterpieces of the past, and what I’m more interested in here are the early stages of a project. I’ve used several images of intangible culture to develop the art visually, and added modern technology.

Guan Huijun: What does this show mean to us? Our previous answers have made this clear. On a more concrete level, when residents wander over at dusk to see the works, the light in their eyes and the smiles on their faces mean a tremendous amount to us.


对你而言,你认为此次展览具有怎样的意义?


泰斯·比斯克
: 我希望能在中国市场上创作更多作品,与中国的艺术家和公司一起创造出超越人、自然和科技界限的作品。

斯蒂芬·瑞斯和亚历山大·扬克: 我们认为,“巴蜀之光”是一个,要么探索新领域的艺术创作和实验的新技术。而《O.T. 981》这个作品是我们里程碑式的作品,我们把艺术史和现代技术融合起来;这也是我们第一次以二人合作形式创作的一件作品。

王连晟: 非物质文化遗产在历史中是一个重要的元素,我认为它是一种现代文化与过去传承的体现,与有形文化遗产不同,有形文化遗产更注重的是过去的人类辉煌的状态。而这次的作品我更在意的是前期的调研,我取用了许多非遗的形象来做为艺术品的视觉发展,并加入现代的科技去呈现。

管蕙珺: 对于这次展览的意义,我想前面两点应该说明的很清楚。一个更直观的表现就是,当周边居民黄昏时分散步闲逛到作品面前,眼睛中闪过的光亮与嘴角的笑容。

Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军
Studio Gibson/Martelli / Star Gods, Moon Rabbits 英国电子艺术团队吉布森/马尔泰利/星神,月兔
Lumen Prize Winner 2015/2015 年英国流明数码艺术奖冠军

Four short questions on new topics, new media, new work. Artists and curatorial teams may have different interpretations, but these artworks spanning media and fields all explore, in broad strokes or with minute precision, the interactive relationship between contemporary art and traditional culture.

Light Up Bashu Lumen Prize featured exhibition will run until December 3rd at Chengdu’s International Intangible Culture Heritage Park.


短短 4 个问题,涉及新话题、新媒介、新创作……虽然艺术家们和策展团队对主题和作品有着不同的阐释,但这些跨媒介、跨领域的艺术作品,都在或写意或细腻地表达着当代艺术与传统文化之间互通互激的关系。

本次展览在中国成都国际非物质文化遗产博览园举办,展期将持续至 2018 年 12 月 3 日。

Address:
601 Guanghua Ave. 2nd Section
Qingyang District
Chengdu, Sichuan
China

Websitewww.hereyourart.comwww.lumenprize.com
Instagram: @here_your_art@lumen_prize
Facebook~/hereyourartchina, ~/lumenprize
WeChat: hereyourart


供稿人: Chen Yuan


地址:
中国
成都四川
青羊区
光华大道二段 601号

网页www.hereyourart.comwww.lumenprize.com
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供稿人: Chen Yuan

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China in Black & White 删去色彩后,一片寂静的中国

November 14, 2018 2018年11月14日

Camera slung across her back, self-taught photographer Qiang Jing has criss-crossed Gansu, Chongqing, Beijing, and Sichuan, eventually ending up in Yunnan, a province of captivating beauty in southern China. In her photos, she drains the color from China’s street scenes, leaving only a desolate black and white. Even the country’s panoramic landscapes look less magnificent through her lens.


她带着相机,走过甘肃、重庆、北京、成都等地方,最终落脚在云南这片恍若仙境的土地。从大学开始自学摄影的强婧,在她的照片里,中国日常街景的颜色都被删去,留下一片略显萧瑟的黑与白。此时,再辽阔的山河,看上去也不那么壮丽了。

Qiang Jing was born in Gansu province and now lives in Kunming, a city she didn’t choose at random: “I like the dazzling sun here, it takes me back to my childhood. Kunming has a brilliant blue sky and soft, billowy clouds. The city moves at an unhurried pace, and locals are the salt of the earth—simple, honest people.”

But the year-round warmth hasn’t brightened her shots. Instead, she captures scenes of ruins and debris that seem caught amid the constant changes of the world, steeped in both life’s bitterness and its joy. Their immense silence draws you in, speaking more eloquently than any words.


强婧生于中国甘肃省,现定居于云南昆明,会选择留在这里并不是偶然, “我喜欢这里灿烂的阳光,让我有种恍然回到小时候的气息。这里有蔚蓝的天空,云卷云舒,还有城市里慵懒的步调和没什么心眼、老实憨厚的当地人。”

可是,这里常年的温暖却未照亮她的景框,取而代之,是烟消云散后的残破景象。之中透露出一丝穿梭于人间冷暖、品尝到悲欢离合的细末余味,叫人深深沉浸在这画面制造的巨大静默里,无声胜有声。

“I take my camera and wander aimlessly through the streets, snapping photos of things that resonate with my current mood.” Her specialty, street photography, relies on individual emotions, because she doesn’t just document outdoor scenes from an objective angle. It’s more personal.

“Photography, for me, is an expression of inner feelings, an emotional outlet, as well as a form of therapy. What I shoot is just my inner state, and that’s why I enjoy taking pictures. On streets full of uncertainty and conflict, I find a peace, a unity with myself.”


“我拿着相机在街上漫无目的地游荡,拍下那些和当下内在的我引起共振的事物。” 她擅长的街头摄影,是要带着浓郁的个人情感去拍的,因为她记录的不仅仅是从客观视角出发的外在景象,更多的,还有自己的内心。

“摄影对于我是一种抒发内心感受的行为,一种情绪的宣泄,也是一种自我疗愈的方式。我拍下的即是我内心的样子,这也正是我享受摄影的原因,在充满不确定性和各种冲突的街头,找到一丝平静、和与自我的统一。”

Ever since she first began taking pictures, Qiang has made a habit of going out shooting on a semi-regular basis. She uses black and white so no colors will interfere with her vision—it’s the format that best expresses her feelings of solitude.

Set against the vastness of the world, people are insignificant specks, and her photos convey this sharp sense of loneliness and isolation. “I hold my breath and press the button to open the shutter: for me, photography is a sort of ritual. It’s like I’m mourning the passing of an instant, of everything that’s vanished around me, a reality that actually existed and will never exist again.”


从开始拍照到现在,强婧一直保持着一段时间就会固定上街拍摄的习惯。之所以选择黑白摄影,是因为没有颜色去扰动视觉,是最能表达她内心的孤独感的形式。

对比这个偌大的世界,人不过是渺小的客体。从她的照片里,的确感受得到这一股强烈的孤寂与脱离感。“吸气屏息,按下快门——对我来说,拍摄像是一种祭祀仪式,仿佛在追悼过去每一刻时间的逝去,那些从我身上消逝的一切,真实存在过、现又不复存在的事实。”

“Behind my photos, there’s a story about the loneliness of growing up, about love and hate, and ultimately about letting go,” she says. She puts all her pent-up feelings into her photography and creates a series of images that brim with emotion.

The darkness in Qiang’s pictures coexists with the light: neither is possible without the other. “Kunming is gradually having an effect on me,” she says. “Just as plants grow toward the sun, maybe I can eventually break free from my former melancholy and give voice to a tougher, stronger version of myself.” Now that she’s mastered darkness and light, her journey as a photographer goes on.


最后,强婧向我们娓娓道来,“在我摄影的背后,是一个关于成长过程中所感受到的孤独,以及爱与恨,最后放手的故事。” 她将长久以来累积的情绪通通投注在摄影里,成就了这一张张承载饱满情感的影像。

但事实上,强婧照片里的黑暗,与光亮永远都是并存的,两者是缺少了彼此即不成立的存在。她说 “昆明这座城市,正慢慢影响着我。仿佛植物会向阳生长一样,渐渐地,也许我能从最初的忧郁中挣脱出来,表达一个更有韧性、更坚强的自己。” 掌握了光和暗,她的摄影之旅将继续下去。

WeChat: jingjingzai2010

 

Contributor: Yang Yixuan


WeChat: jingjingzai2010

 

供稿人: Yang Yixuan

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