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In Search of Home

Can you pinpoint the exact moment you left “home”? For some people, perhaps it was when they moved out of their parent’s houses and into their college dorms. For others, maybe the feeling didn’t hit until after graduation as they left behind their friends and took a leap of faith with a job in a new city. Either way, in the search for independence and opportunity, everyone eventually leaves behind a place they regard as home. And in this quest, they’re faced with the task of creating a brand new “home” for themselves.

More often than not, people are drawn to metropolises where opportunities are abundant. This migration in turns causes a constant demand for housing in major cities, where for most, renting is the norm due to the prohibitively expensive costs of buying property. But in China, as rent costs continue rising, it’s not uncommon for tenants to repeatedly move year after year. Curious about the effects of this constant displacement, we take a look at the lives of three Chinese youths living in Shanghai to explore how it affects their lifestyles, get their thoughts on living in a place that both belongs and doesn’t belong to them, and discuss what the idea of “home” truly means.


我们是从什么时候离开家的呢?大概是第一次兴奋地搬至学校宿舍,或者拿到大学通知书拖着不多的行李奔赴别的城市甚至国家吧。而对更多人来说,一切可能发生在毕业后,在陌生的城市拿到第一份工资,满怀信心决定打拼下去的那一刻。无论如何,在寻求独立和机遇的过程中,每个人最终都留在了他们认为是“家”的地方。

大城市机会充足,但人们租房的需求也会相应增加。随着租金成本的上升,租客年复一年地多次搬家的情况并不少见。如果下一年你仍旧不得不拖着行李箱,听着另一个中介喋喋不休的介绍,你会想要一个什么样的租住空间呢?

出于对这种不断辗转的生活的好奇,我们去到几个居住在外的不同的年轻人家里探险,有的人喜欢习惯带来的安全感,有的人看看空荡的四周希望自己可以说走就走,但出于上海的房价或者一些别的原因,他们都居住在这个不属于他们却又完全属于他们的空间里。我们和他们聊了聊租房对生活方式产生的影响,并随之探讨了下“家”的真正含义是什么。


Ian / Shanghai, China

“I don’t eat lao gan ma chili sauce because it’s too spicy.”

 

Born in 1994, Ian recently moved back to China after his studies abroad in Japan. Despite being Shanghainese and having parents that live in the city, he’s rented for most of his life since their house is inconveniently located on the outskirts of the city. Having rented for so long, he’s still unsure what “home” is supposed to feel like, but he’s content with what he has now. Today, like many, he shares an apartment with a few close friends as roommates.

Ian is someone who’s difficult to define, but his house is somewhat telling of his personality. Despite the spacial limitations, a large potted plant occupies the corner of his bedroom. From a never-been-used stretching machine to strangely shaped light bulbs, items without any immediately identifiable practicality populate his room. “I like things that are too pretty to be used, like a piece of kitchenware that’s so beautiful you just can’t bear using it. This is far more interesting to me than something that’s designed to be beautiful but without any functionality in mind.”

While Ian might seem borderline obsessive with decorating the apartment, he tells us he isn’t a materialistic person. Everything in his place appears to be flawlessly organized, yet a jar of opened lao gan ma chili sauce left out on the dining room table seems to break this illusion of perfection (even though it turned out to be his roommates). While he’s adamant about living independently, he isn’t overly concerned about personal space. “I don’t really care,” he tells us, shrugging. “It’s something I stopped caring about when I’m fine with roommates. It doesn’t matter because I wouldn’t be living in an apartment with people I don’t like in the first place.”


“我不吃老干妈的原因是它太辣。”

 

94年的 Ian 今年刚刚从日本留学回来,他算是一个纯正上海本地人了,但因为家离市区较远所以他很早就开始了租房生涯,从小经历寄宿生活的Ian对家的概念没有那么在意。跟很多上海租房青年一样,他跟自己的好朋友合租在这里。

房间不大,但一走进他的卧室立刻看到一棵巨大的植物,然后你会发现一些功能模糊的东西占据着这个空间:一个也许从来没被使用过的拉伸器,或者各种不同形状的灯。Ian 说:好看到没有用处的东西非常好玩,比如一个锅子,因为太好看了导致你不想使用它,这比一开始就创造一个没有用的东西要更好玩。

Ian 也是个没法被轻松定义的人,他超迷恋物质,喜欢用他们装饰自己的空间,但如果真的不买也不会觉得怎么样;他的生活似乎很虚拟,可是餐桌上也放着瓶盖打开的老干妈(最后证明是室友的物品);需要自己住,但他对私人空间也有不同的看法,“(我)不太在乎这件事,觉得在选室友之前就决定了这件事。因为你不可能跟一个你不能认可的人住在一起。


Kim / Daegu, South Korea

“My friends climb in through the window.”

 

Kim moved from Korea to Shanghai four years ago for college, and after graduating with a major in business management, he began working as a part-time model.

When we met up with him at his apartment, he was groggy-eyed, having obviously just woken up but still greeted us enthusiastically alongside Boto, his dog. After a quick tour of his quaint space, he plops down crosslegged in the middle of the living room, telling us, “I feel like I don’t really need furniture or a bed. Since I was a kid, I’ve gotten used to sleeping on the floor.”

Eyeing his sofa, he quickly changes his mind, “Actually, I’ve grown pretty fond of sleeping on the couch lately.”

As we began to discuss what some of his favorite activities at home are, he reveals himself to be a major movie buff and tells us he’s infatuated with colors and how they can be used (showing us his sketchbook in the process). He says, at times, he’ll completely lose track of a movie’s plot but still find himself engrossed by the cinematography.

He explains that having the peace and quiet to get lost in activities he enjoys is what gives him the feeling of being home. But despite treasuring his time alone, Kim still often hosts small get-togethers at his place. “Even though I’m renting, I try to treat my apartment like my actual home and not just a place I sleep at. I like to smoke and drink here. I also like inviting friends over to smoke and drink together. I always end up making plenty of great memories no matter where I live, so whenever I move away out of an apartment, I feel quite sentimental about it.”


“朋友从窗子爬进来。”

 

Kim 是四年前来到上海念大学的金牛座韩国男生,学的是工商管理,但同时也是一个时装模特。他大概是我们拍到的最真实的租客了,睡眼惺忪地为我们开门,迎接我们的还有完全不怕生的小狗 Boto,在客厅里席地而坐,每个地方看起来都可以随时舒服躺下,我无所谓有没有床,在床上跟地上都可以睡,小时候习惯睡在地上,最近特别喜欢睡沙发上。

聊到喜欢的电影,Kim 表示自己对色彩非常敏感,有时甚至可以不那么注重剧情内容去喜欢一个电影作品,他非常热衷于王家卫的《重庆森林》,也喜欢看法国电影,但唯一不看的是恐怖片。看电影、听音乐、创作……Kim 说,他享受一个人安稳又平静的独处时间,这让他有种家的感觉。但他也喜欢在家里和朋友小聚,我会把租住的空间当成一个家而不止是一个房子,我喜欢在这里抽烟,喝酒,也喜欢请朋友到家里一起喝酒抽烟吃东西,在那个空间会有很多记忆,每次我搬离原本居住的地方,会非常不舍。


Dimola / Hangzhou, China

“Having alcohol at the house is mandatory.”

 

“To be honest, I don’t really care that I don’t own the house,” Dimola says, laughing. “Of course, if I did own it, it’d even better.”

Even though she’s moved six times since being in Shanghai, she doesn’t seem to mind. Her room is filled with an assortment of souvenirs from her travels. Although none of them have any practical use, she still feels like they’re an important part of her life. This strong sense of attachment has been a defining part of her personality since she was young. When she was a child, she read a book with a character named Dimola and loved it so much she decided to adopt it as her English nickname. It’s stuck with her ever since.

Dimola tells us that she prefers the inviting glow of incandescent lights over the sterile feel of white fluorescent lights – she feels that this warm light and her collection of toys and souvenirs go together perfectly, lending her space a welcoming and comforting feel. However, she often feels conflicted when she visits the clean and neatly organized apartments of friends.

With a tinge of jealousy, she would think to herself: How is possible for them to keep their place so tidy?

But often times, this envy is replaced with pity: It must feel quite lonely here.

In the past, Dimola has worked as a choreographer and event planner. She now works full-time as a new media editor but dreams of being a pastry chef. Her ever-changing career choices have taken her from Shanghai to Beijing (albeit only for three months) and back again.

Having lived alone for so long, she admits that the idea of a place being “home” is becoming less and less clear to her. “Sometimes I guess I don’t regard my rented apartment as home per say. I’d say my true ‘home’ is still where my parents live. But, whenever I’m having a bad day, or if the weather is terrible, or if I’m having relationship troubles, whenever I get back to my apartment, it feels like everything will be OK.”


“家里一定要有酒。”

 

其实我不太在意这是不是我的房子,当然是我的房子就更好啦。已经搬过六次家的 Dimola 非常洒脱的看待租房这件事,她的房间里充满大大小小的旅行纪念品,但即使洒脱如她,也会在每次搬家时尽量保留这些看似无用的物品,就像 Dimola 这个来源于她小时候看的一本书里人物的名字一样,用了很久她都没有改。

因为不喜欢白炽灯的冷光,Dimola 屋里只亮着那盏暖黄色的台灯,温暖地包裹着整个屋子的繁杂,这也导致她去到那些家里空无一物的朋友家时,都会一边羡慕一边感叹这个人未免也太冷酷了吧。

在上海的几年之间她也试过去北京发展,但只在那里待了三个月就回来了。长期一个人在外生活,似乎对家的概念越来越模糊,有时候也会想我可能没有把租的房子真正当成一个家,因为真正的家还是在父母那里。但很多时候,比如天气特别冷,或者工作非常不顺或者失恋,只要一回到这里就会觉得其实也没什么大不了的。

Contributor: Shou Xing
Photographer: Ye Zi


供稿人: Shou Xing
摄影师: Ye Zi

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

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

Building Bridges Through Dance

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

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


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

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

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

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

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


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

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

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

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

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

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


Neocha: 能跟我们分享一下是如何实现这个项目的吗?

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

Welcome to Quick Style X Sinostage

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

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


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

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

 

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

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


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

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

 

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

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


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

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

 

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Neocha: What is your approach to teaching dance?

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


Neocha: 你是如何传授舞蹈的?

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

 

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

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

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


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

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

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

"We believe everyone can dance." - Bilal Malik

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

 

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


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

 

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

Soap Operas as Inspiration

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

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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。”

 

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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

Skating w/ Tony Gao & Simon Sun


 

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At a recent skateboarding competition in Shanghai, we met up with Tony Gao and Simon Sun, two young, up-and-coming skateboarders in the Chinese skate scene. Tony, now 15-years-old, first became interested in the sport at the mere age of five; he saw someone playing around on a skateboard near his house and was immediately captivated. He pled with his father to buy him a skateboard. Fast forward one year, Simon, his older cousin, saw Tony on his skateboard and was inspired to follow in his footsteps, picking up the sport himself. This was at a time when not many skateboarding resources were readily available online in China, so Tony’s father became their de-facto coach. He took the two to the local bookstore and found found an instructional book on skateboarding. Meticulously studying the book, he used to verbally coach the both Tony and Simon as they practiced. Tony smiles as he recalls these memories: “My dad, he doesn’t know how to skate, but he can teach. If I’m doing something incorrectly, he can see it right away. He instructed us as we skated.”


在前不久的一次滑板比赛上,我们遇见了来自西安的滑板兄弟高群翔孙坤坤,两位正在滑板届崭露头角的中国年轻滑手。今年15岁的高群翔,已经和滑板打了十年交道。五岁的时候,因为看见家门前有人在滑板,高群翔缠着爸爸给他买了第一块板。接下来的一年里,表哥孙坤坤也受到弟弟的影响跟着一起练习。最初,高爸爸就是他们的启蒙教练。那时候网上的滑板视频还不多,高爸就带着兄弟俩去当地的书店,被他找到了一本滑板教科书。你没看错,正是纸质教科书。在自己细心研究后,高爸以口头教学的方式带着兄弟俩一起练习。说起这段经历,高群翔也觉得很好笑。 “我爸爸虽然不会滑,但他会说啊。我哪里滑的不对,他一眼就能看出来。我们在一旁滑,他就用嘴巴教我们。

Simon Sun 孙坤坤
Tony Gao 高群翔

A decade later, Tony would become a national skateboarding champion. At the finals of this year’s G-SHOCK CHINA BEST AM competition, Tony took first place, finally realizing a dream that he’s hung onto for all these years. Shortly after, he took the championship title at the Huzhou Extreme Sports Competition, again showcasing his world-class potential. Tony shares of his competitive experience and how he feeds off the crowd’s energy, saying: “I love the atmosphere of a competition. When I see other skaters land new moves, it makes me want to get even better. When there are more people watching, I get more hyped up. Being around really talented skaters makes me want to push myself even harder.”



十年过去,当时的滑板小子已成长为现在的全国冠军。在今年的G-SHOCK 硬碰硬 CHINA BEST AM总决赛上,高群翔便把这个他期盼已久的全国冠军头衔收入囊中,并且又在不久后举办的湖州极限运动大赛上迅速再摘一个冠军,充分证明自己的实力。作为一名人来疯式选手,高群翔向我们分享了他轻松拿下比赛的秘籍:我特别喜欢比赛的氛围,看到别人成了新动作,我就有加倍的动力想要去学。人越多,我滑得越兴奋,和厉害的人一起玩,他们能带动着我一起进步。

But behind Tony’s victories are the countless hours of practice and innumerable challenges he’s had to overcome. Recalling one of his most memorable injuries, he taps on his two front teeth and says, “These are fake. I’m lucky that my family is supportive. When I knocked these out they took me to the hospital right away. But do you really want me to share more about my injuries? I don’t remember most of them that clearly. It’s mostly the positive times that stick out in my mind.”


光环背后,练习的过程中自然吃过不少苦头,问起受伤的经历,高群翔却只是轻松地敲了敲自己的门牙:中间这两颗牙都是假的。好在家人都很支持我,牙掉了就带我去医院看呗。  真要说受伤的事情吗?我都记不太清了,我只能记得滑板特别开心的事了。

As long as it’s not raining, Tony says he’ll be out skating, and as we chatted, it was evident how much skateboarding truly meant to him – he clung onto his board the entire time we spoke. “I used to be a good-for-nothing kind of kid. I was bullied since I was young and didn’t have too much confidence. Skateboarding is basically my whole life now. I’ve made a lot of friends because of it, and it’s given me much more self-confidence.”


只要不下雨,高群翔便会天天带着他的滑板出门。聊天的过程中,他也时刻抓着自己的板子,能感受到他对滑板那种十分简单纯粹的热情。我以前是个性格特别孬的人,从小被人欺负着长大,也没什么自信。滑板现在几乎是我的全部吧,带给我很多朋友,也带给我很多自信。

Photographer: Wang Chenwei / 摄影师: 王晨玮
Photographer: Wang Chenwei / 摄影师: 王晨玮

The two cousins have differing opinions about skateboarding becoming an official part of the Tokyo 2020 Olympic Games. Tony finds it a bit ironic when he recalls his experiences of skating in public. “I guess it’s a good thing, now the way that people look at us on the street is different. It used to be unfriendly, like we were hooligans or something, but now people generally have a more positive towards us.” He continues, “Now that it’s an Olympic sport, a lot of different regions are in a rush to put together teams to compete, so it’s a chaotic period. But for me, I’m still just focused on my own skating.” Likewise, Simon also intends to concentrate on bettering his own skating. “We only care about making ourselves better, and as long as we continue to enjoy skating, that’s all that matters.” The simplicity and purity that these cousins hold towards the sport is a shining example to those who want to become successful in any endeavor. To find out more about Tony and Simon’s stories, check out our video at the top.


对于滑板运动即将在2020年成为东京奥运会官方比赛项目,兄弟俩有自己的态度。算是好事吧,现在街上人的目光变了,以前是很不友善的,觉得你是小混混,现在偶尔有点欣赏的目光了。说起在街上练习,高群翔有点苦中作乐的感觉。滑板现在进奥运会了,很多地方都在匆忙组建自己的省队,这算是个比较混乱的时期吧。但是对于我来说,我只管滑我自己的就好了。对哥哥孙坤坤来说,他的热情同样也只放在自己脚下的这块板上,我们只管提高自己的水平,滑的开心就可以了。这样简单又积极的心态,也正是成为一个成功的职业滑手的必备要素吧。关于兄弟俩更多的滑板故事,点击上方视频观看。

Weibo:
~/TonyGao
~/SimonSun

 

Contributor: Ye Zi
Videographers: Ye Zi, Damien LouiseYang Bingying
Photographer: David Yen
Additional Footage Courtesy of Liu Maomao

Additional Images Courtesy of Wang Chenwei


微博:
~/TonyGao
~/SimonSun

 

供稿人: Ye Zi
视频摄影师: Ye Zi, Damien Louise, Yang Bingying
图片摄影师: David Yen
附加素材由刘毛毛提供
附加图片由王晨玮提供

East x West with Bohan Phoenix

 

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For Chinese American rapper Bohan Phoenix, the subject of identity is thematically central to his music. Having spent his formative years in the U.S., the Hubei-born rapper has gained a sharp insight into both cultures that he channels through his bilingual lyrics. Bohan’s music – which often touches on positive, universal messages of love, acceptance, and pride – is a way for him to reconcile his Eastern and Western identities as well as narrow the cultural divide between the two different worlds.


对于美国华裔说唱歌手Bohan Phoenix来说,身份认同是他音乐的核心主题。这位出生于湖北、在美国成长的说唱歌手在美国和亚洲地区越来越受欢迎。他所创作的双语歌词,正是他跨文化成长背景的体现。Bohan的音乐大部分都是在传递爱与接纳、忠于自己等正能量信息,他希望通过自己的音乐来缩小东西方文化的鸿沟,并以此调和自己介于这两种文化间的身份认同。

Take a listen to select tracks from Bohan Phoenix below:

Bohan Phoenix – PRODUCT (prod. Yllis)
Bohan Phoenix – EASTSIDE (prod. Drummy)
 Bohan Phoenix – 3 DAYS IN CHENGDU (prod. Jachary Beats)


下面是Bohan Phoenix的几首精选歌曲:

 Bohan Phoenix – 一摸一样 (prod. Yllis)
Bohan Phoenix – 东边 (prod. Drummy)
 Bohan Phoenix – 回到成都 (prod. Jachary Beats)

This cross-culture pollination has gifted Bohan a versatility and open-mindedness that’s abundantly evident on the JALA EP released earlier this year. From “EASTSIDE,” an AutoTuned R&B song with Bohan singing instead of rapping, to “NO HOOK,” a trapped out collaboration with Chengdu’s Higher Brothers, Bohan’s sound is not only reflective of his cultural influences but also of the diverse musicians who have inspired him over the years, a list that includes the likes of Jay Chou, Eminem, 2Pac, and D’Angelo. The final song of the EP, “3 Days in Chengdu,” introduces listeners to an introspective side of Bohan. Delivering the opening verse completely in Chinese, Bohan speaks of missing his late grandmother and shares an apologetic confession for not finding the time to call his mom more often. But it’s not just the intro, Chinese lyrics throughout the song display a sense of emotional vulnerability that has often been avoided in the Western mainstream hip-hop of recent years. “Being a rapper in America, there are certain things that come with it,” Bohan says. “You have to act or look a certain way and it can’t be compromised all that much. There’s less emphasis on some of the macho parts of Western hip-hop in China. But stereotypes within the genre are starting to change now in the West as well.”


在今年早些时候发布的《加辣》EP中,Bohan借助自己的跨文化背景大玩了一番。从大量Auto-Tune处理的R&B歌曲《东边》,到与成都说唱组合Higher Brothers合作的《NO HOOK》,你能感受到他的音乐受到不同类型的音乐人影响,包括周杰伦、Eminem、2Pac和D’Angelo。而EP的最后一首歌曲《回到成都》,Bohan放慢了节奏。歌曲开头以中文演绎,讲述Bohan对自己已故姥姥的思念,以及对于太少抽时间给母亲打电话的歉意。这段歌词所透露的脆弱情感,在近年来的西方主流嘻哈文化中难得一见。Bohan表示:“美国的说唱歌手,有时候会有一些不言而喻的要求,你的行为和造型似乎都要遵循某种标准,这一点你不能有太多的自由。但中国嘻哈不一样,没有像西方嘻哈中那样非要强调这种男子气概。当然,在现在的西方嘻哈,这种现象也开始改变了。”

With the recent conclusion of his JALA Asia Tour, Bohan has now officially moved back to China, and joining him is his DJ, longtime collaborator, and close friend Allyson Toy. For Bohan, this move was first and foremost about being closer to family. Secondary to that, both him and Allyson want to be involved in China’s music scene, seeing it to be a refreshing change of pace from the oversaturated music scene that left them feeling jaded in New York. “Having the courage to move back to China and experience a different side of things has been a big milestone for me,” Bohan tells us. “Howie Lee has talked to me about the Chinese Dream a lot. I feel like there have always been opportunities for creatives in China, but now there’s a bigger audience. The equivalent of the ‘American Dream’ has always existed here and right now it’s more alive and well than ever. There seems to be more opportunities now in China for young creatives.”


随着JALA在亚洲巡回演出结束,Bohan也正式回归了中国。和他一起搬过来的还有他的DJ,也是他长期合作的好友Allyson Toy。对于Bohan来说,这是一个让他拉近与家人距离的机会。除此之外,他和Allyson都看好这里的前景,可以一同来推动中国音乐的发展。与之前在过度饱和的纽约那种被慢慢淹没的感觉不一样,这里有一种耳目一新的感觉。Bohan告诉我们:“鼓足勇气回到中国,体验不同的世界,这对我来说是人生的一个重要里程碑。Howie Lee(北京的电子音乐制作人/DJ)已经跟我提过很多次‘中国梦’。我以前一直觉得在中国是有机会去发挥创意的,不同的是,现在这里有了更多的观众。‘中国梦’一直存在,但现在它比以往任何时候都更好、更旺盛。现在的中国可能会给年轻创意人才提供更多的机会。”

In a time where much of mainstream rap has become predictable and formulaic, Bohan stands out by being a rapper who can fully and unapologetically be himself, an outspoken third culture kid unafraid of challenging conventional hip-hop archetypes. “It took me a while to get over my fear of not being understood, but then I realized that I could create and didn’t have to just imitate,” he shares.”Now, I understand my music to be a reflection of self. It’s all of my emotions – when I’m happy, when I’m upset, all of my insecurities and my possibilities. My music is me.”


在当今许多主流说唱方式变得过于公式化的时候,Bohan脱颖而出,无所谓地做着真正的自己,一名不怕挑战传统Hip-hop的第三文化小孩(third culture kid)。他说:“我花了很长一段时间来克服自己对于不被理解的恐惧,但后来我发现,我也可以创造,而不只是模仿。现在,我明白到,我的音乐就是自我的写照,是我的情绪,高兴、不高兴、所有的不安全感和可能性。我的音乐就是我。”

If you’re keen to learn more about Bohan’s story, check out the fun animated spot our creative agency made for Beats By Dre featuring him and his crew.


欢迎点击收看我们创意机构为Beats By Dre创作的动画短片,讲述了Bohan Phoenix的故事。

 

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Website: www.lovelovenyc.com
Facebook: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
Weibo: ~/bohanphoenix
Xiami: ~/bohanphoenix

 

Contributor & Photographer: David Yen
Videographer: Ye Zi, Damien Louise
Music: Howie Lee

Special Thanks to Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.


网站: www.lovelovenyc.com
脸书: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
微博: ~/bohanphoenix
虾米: ~/bohanphoenix

 

供稿人与图片摄影师: David Yen
视频摄影师: Ye Zi, Damien Louise
视频音乐: Howie Lee
特别鸣谢Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

The Boys of Summer

Yuzhou Feigou (whose moniker roughly translates to “A Worthless Cosmic Dog”) is studying visual communication design at the China Academy of Art. Despite declaring to us, “I’m a conservative guy,” his newest illustrations boldly explore themes of homoerotic desire and fantasy. Featuring a cast of young male characters flaunting their luscious bodies, the lazy scenes and bright colors create a sense carefree summer days. Feigou’s simple, yet distinct, style hasn’t gone unnoticed. Recently, VOGUE Me tapped him to create artwork for the magazine’s October issue. Despite this commission, Feigou told us he isn’t interested in becoming a professional illustrator. Even though drawing is just a “passion” project for him, he assured us with a smirk: “As long as I have that lust within me, I’ll keep drawing.”


宇宙废狗,一个在中国美院念视觉传达的学生。尽管他宣称:“我是个保守的人!”但他的插图却不然。他最新的插图主题大胆地探索同性恋的欲望和幻想:以一群年轻的男性为主角,展现他们丰美的身材。其中慵懒的场景、明快的色调,营造出无忧无虑的夏日风情。他简单、透彻又独特的风格不会被忽视,今年的《VOGUE Me》十月刊就把他的作品收入了内页。尽管这样,废狗还是表示他对成为职业插画师没有太大兴趣,绘画对他来说只是一个“激情”项目。“只要还有情欲的话,我就会一直画下去。”

Weibo: ~/宇宙废狗
Instagram: @_dagou

 

Contributor: Shou Xing


微博: ~/宇宙废狗
Instagram: @_dagou

 

供稿人: Shou Xing

Xander Zhou Spring/Summer 2018

For the unveiling of Chinese designer Xander Zhou‘s latest collection, the runaway was transformed into an office-like environment, or more specifically, the headquarters of an imaginary corporation called “Supernatural, Extraterrestrial & Co.” But instead of white-collared workers, Zhou’s office is populated with uniformed staff in glittery tracksuits, bowling uniforms, oriental garments, and other outlandish outfits. Every outfit is a “standardized uniform” in Zhou’s reimagining of modern society in an alternate reality, but the details in each design help draw attention to the diverse origins and cultural backgrounds of Zhou’s imaginary characters. For every single one of his collections, Zhou has described his design approach to be similar to producing a movie, with each look helping to build a cohesive and compelling narrative.


新一季的Xander Zhou的T台被打造成一个巨大的办公室场景,但里面可不仅仅只有西装革履的上班族,更充满了外星人、餐厅服务生、神秘的东方法师等各种角色,乍一看他们隐藏在现代文明之下,却在各自的着装细节里透露着自己身份的线索。对设计师而言,整个系列就像一次个人电影创作,所有look一起构建出最终完整的剧情。一起来看看这场Xander Zhou SS18台前幕后精彩的“演出”。

Website: www.xanderzhou.com
Instagram: @XanderZhou

 

Contributor: Shou Xing
Images Courtesy of Xander Zhou


网站: www.xanderzhou.com
Instagram: @XanderZhou

 

供稿人: Shou Xing
图片由Xander Zhou提供

The Collage Art of He Chong

Collage art has been a long-established form of art. It’s a versatile medium that’s unrestrained by conventional forms of artistic expression and can be used to document time, history, and change. Beijing-based artist He Chong is one of the few Chinese artists who work primarily in this medium. But aside from his collage art, He Chong is also an avid photographer whose weapons of choice are Lomography cameras. In a way, his style in both mediums is quite similar, psychedelic and surreal but presented in a unique retro aesthetic.


拼贴是一门悠久的艺术形式,变化多样的作品不仅限于艺术的表达方式同时可以作为记事方式存在。北京艺术家贺翀是目前为数不多的将拼贴作为主要创作手段的艺术家。贺翀在生活中的另一个身份便是与Lomo相机打交道,就如同Lomo的理念一样,复古与迷幻是他的专属风格。

When talking about the current state of collage art in China, He Chong tells us: “Most of the collage works that people know of are made by foreign artists. In China, there are only a few artists that work in this medium, and most of them are art students who might learn about or use collage for a class assignment. But I feel that in both the fields of art and design, collage is a medium that has impressive visual potential. I believe it has a bright future.”


当谈论到拼贴艺术的现状时他说:“目前呈现在大众视野中的作品大多为国外的艺术家创作的,国内只有少数艺术家会用到这个创作手段,大多都是美术学生在上课会学到或者用到这个方式,但不论在设计领域还是艺术领域中,拼贴都可以满足大多数人的视觉需求,所以我想前景应该是一片大好的。”

As a self-described reclusive artist, He Chong spends his free time with his wife creating collages, taking photographs, or walking in the park. He’s someone who has found happiness in living a laid-back lifestyle rather than chasing superficial pursuits. He Chong’s work is much like his attitude towards life, relaxed and unconstrained. The creative freedom of collage art seems to perfectly go hand in hand with the mellow, carefree attitude that He Chong lives by.


贺翀自称为“闭门造车”型的艺术家。闲暇生活便是同妻子一起做拼贴、拍照、逛公园,自由自在的幸福。贺翀的作品就如同他的生活一般不受约束,拼贴本身创作上的自由与他生活的自由结合在了一起。

Weibo~/朵儿赛

 

Contributor: Sonic Yuan


微博~/朵儿赛

 

供稿人: Sonic Yuan