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The Glamorous Boys of Tang 唐朝绮丽男

March 4, 2019 2019年3月4日

Years before Ang Lee’s gay Confucian melodrama The Wedding Banquet, or Tsai Ming-liang’s slow-burning cinematic exploration of crisscrossed desires Vive l’amour, Chiu Kang-chien’s 1985 film The Glamorous Boys of Tang debuted in Taiwanese cinemas. The blatantly queer and absurdly costumed film was not well received on an island still under martial law. Featuring exorcisms, gruesome deaths, and orgies, it naturally ran afoul of the authorities, resulting in heavy cuts. But it also represented a small milestone in Taiwanese queer cinema. Now Su Hui-yu has released a remake that hews closer to the script’s subversive edge than even the original. (Watch a trailer here).


1985 年,在李安的同志情节剧《喜宴》,以及蔡明亮缓慢探寻交织爱欲与城市疏离感的“水三部曲”都还未面世前,邱刚健的电影《唐朝绮丽男》在台湾院线上映了。电影中露骨的同性情欲和穿着奇装异服的画面,在当时仍在戒严的岛上并不受欢迎。这部以驱魔、死亡和狂欢为题的电影,理所当然与当局的立场发生冲突,影片也招致大幅剪裁。但它仍代表了台湾同志电影中的一个小小的里程碑。现在,导演苏汇宇重新翻拍了这部电影,比原作更加贴近剧本中的颠覆性。

Su’s version, which updates not only the technology but also the content to better reflect Taiwan’s diverse contemporary sexual realities, can be viewed as a four-channel video installation or a short film. Somewhere between respectful homage and radical remake, it resists easy classification, but partly for this reason it makes for a truly hypnotic watch. Su’s Dionysian vision celebrates queerness as something that refuses to be contained by normal modes of thought and experience. Instead, it presents the queer as what overflows and disturbs ordinary life, offering in its place agonies and ecstasies far stranger and more intense. To explore these themes in greater depth, I spoke with the artist about his remake, which had its European premiere in January at the International Film Festival Rotterdam.


苏汇宇的短片于今年 1 月在荷兰鹿特丹国际电影节上进行欧洲首映,也曾经在台湾以四道视频装置形式展出过。他的重拍有技术上的更新迭代,内容也更佳地反映当代台湾多元性别的现况。作品游移于对原作的致敬和激进的改编之间,难以定义。或许也正因如此,而更令人神往。苏汇宇纵欲狂欢的视界,颂扬“酷儿”作为一种对抗常规思维与经验模式制约的存在状态。伴随着更多诡异而强烈的痛楚和狂喜,它从庸常生活的框架中漫溢出来,并扰乱了原本的秩序。为了更深入探讨这些主题,我与这位艺术家讨论了他的作品。

Neocha: What was the initial impetus for The Glamorous Boys of Tang? What attracted you to the original work?

Su Hui-yu: Starting around 2012, I became interested in using my work to explore history in a dreamlike, psychedelic fashion. I drew on past works that were originally misunderstood, ahead of their times, or taboo, including films, photos, books, or counter-cultural events. Chiu Kang-chien’s The Glamorous Boys of Tang definitely fits this mold. But it wasn’t until 2016 that a well-known photographer and friend of mine, Chang Chao-tang, who was Chiu’s original cameraman, reminded me of the film.

I saw the movie posters when I was just a child, but revisiting the film again later, I understood why it was not commercially successful, and why the original script couldn’t be accurately reflected on screen. It was just too transgressive, with its beautiful boys, its threesomes, its juxtaposition of spiritual and sexual images, and its necrophilia. There was simply no way for it to be faithfully adapted in the martial law period. And so I became fascinated by the spirit of the original work and tried to reinterpret it to uncover new possibilities in an entirely different social context.


Neocha:《唐朝绮丽男》的最初创作动力是什么?是什么吸引你去看原作的?

苏汇宇: 2012年左右,我开始对一件事感兴趣——也就是借由自己的作品,以梦境般、迷幻的方式来探索历史。我利用了那些原本被误解、超前于时代或禁忌的作品,包括电影、照片、书籍或反文化事件。邱刚健的《唐朝绮丽男》绝对符合这个模式。但直到 2016 年,我的一个摄影师前辈张照堂,也是《唐朝绮丽男》本片的摄影,才让我再想起了这部电影。

我小时候就看过电影海报,但后来才真正看了电影。我明白为什么这部电影并不卖座,以及为什么最初的剧本不能在屏幕上准确地呈现。剧本实在太惊世骇俗了——漂亮的男孩、三人行、精神和性意象的并列,以及恋尸癖。在戒严时期,根本不可能忠实地将剧本翻拍成电影。因此,我被原著的精神深深吸引,并试图重新解释它,在一个完全不同的社会背景下发现新的可能性。

Neocha: Extremes of sex and violence play a role in this work and others by you. What keeps drawing you back to these themes?

Su Hui-yu: First, when viewed with unflinching eyes, sex and death are by their very nature beautiful. Second, when you juxtapose them, these two states seem to merge into something that transcends either of the individual terms. I was fascinated by this, but I also found that that these subjects and sentiments are not just personal but also closely tied to collective memories, society, ideologies, and moral systems.


Neocha: 在你的影片中有着极端的性与暴力。是什么让你回想起这些主题?

苏汇宇: 首先,当我们用无畏的眼光来看,性和死亡在本质上就是美丽的。其次,当你把它们并置时,性与死亡会融合为一,成为超越两者本身的某种状态。我对此非常着迷,但我也发现这些主题和情感不仅仅是个人的,还与集体记忆、社会、意识形态和道德体系紧密相连。

Neocha: In many ways, your interpretation of The Glamorous Boys of Tang seems incredibly queer but not “gay” in a straightforward or homonormative sense. How would you position your work vis-à-vis queer identities?

Su Hui-yu: To liberate our desires, we need to try to go beyond LGBT categorical thinking, no matter what our sexualities are. Only through a profound reconsideration of our bodies and minds can we shake off the vestiges of an ultimately conservative sexual imagination. In this respect, these matters should be important to everyone. This is what I took from Chiu Kang-chien’s film. Yes, it could be interpreted as a film about LGBT identities, but it could also be far more radical than that. So, for me, it’s not just a reshooting project but an attempt to redefine “queer” as a wider concept for everybody in order to free our bodies from outdated ideologies.


Neocha: 在某种意义上,你对《唐朝绮丽男》的改编带有很大的酷儿色彩,但这又不是一部传统同性恋霸权的“同志电影”。你如何定义作品对酷儿身份认同的观点呢?

苏汇宇: 依我之见,为了解放欲望,无论我们的性倾向是什么,都应该超越 LGBT 这种分类思维。只有通过深刻地反思身体和思想,我们才能扫除根本上保守的性想象。从这方面看来,这些问题对每个人都很重要。这是我从邱刚健电影里理解而来的内容。是的,它可以被解读为一部关于同性恋身份的电影,但它也可能远比那更激进。所以,对我来说,这不仅仅是一个重编的剧本,而是尝试重新定义“酷儿”为一个更广泛的概念,为了把我们的身体,从过时的意识形态中解放出来。

Websitesuhuiyu.com

 

Contributor: Brandon Kemp
Chinese Translation: Chen Yuan


网站suhuiyu.com

 

供稿人: Brandon Kemp
英译中: Chen Yuan

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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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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

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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The Art of Suggestion

October 18, 2018 2018年10月18日

If you did one sketch every day, what would you draw today?

The first time I saw the work of Du Juan, who draws under the pseudonym Xiao Duzi, I couldn’t find a title or an explanation, just a short date—a day, a month, a year—and this diary-like approach is what piqued my curiosity.

Look closely at the giant man with a house for a head and a black cloud hanging over his shoulders, and you’ll see that most of the space is left to the observer, left to the imagination.


如果每一天你都会画一张画,今天的你会画些什么?

第一次看到小杜子的画,就是没有命名、没有简介,只见一个短短的日期,某年某月某日。正是这充满日记性质的概念,充分调动起了我的好奇心。

仔细一瞧,一栋房子代替大脑,乌云悬浮在巨人的两肩,而更多的空白,则留给观者,留给想象。

For now these drawings are largely a daily record of experience. In 2016, when Du Juan returned from England, where she’d studied, she took a job teaching. “Art is art, teaching is teaching,” she says, explaining that she prefers to keep the two separate. “The only thing linking them is that, when I teach, I can pass on some fundamental skills and my understanding of art. But art requires independent thought,” she says.

As for her influences and inspiration, Du says that recently she gets a large part of her inspiration from poetry, and reads everything from Oscar Wilde to classical Chinese verse. “In general I like two types: poetry that offers a glimpse of life, and poetry that expresses an emotional state,” she says. “Particularly once you’ve acquired a little life experience, you can sort of understand the deeper meaning of classical poetry.”


这些涂画,暂时多是日常感受的记录。2016 年,从英国留学归国后,目前的小杜子,日常从事着教育工作。“创作是创作,教育是教育。”对她个人来说,更愿意把两者分开,“它们所具有的联系只是(让教育)把创作中一些体会和基础技术传授出去。而创作的事儿还得是独立的思考。”

而要说对创作的影响和激发,小杜子说近期,诗歌占了不小比重。王尔德也好,传统的古诗也好,“一般会喜欢两种,一种是对生活的洞见,一种是情感的抒发。尤其当慢慢有了些生活的阅历,多多少少才似乎明白古诗中的深意。”

The characters in Du’s drawings are just outlines and suggestions, but the details are unique. She thinks this may be because she likes to take slow, solitary walks, where she sometimes happens across intriguing sights that she incorporates into her art. “No matter what I draw, or what materials I use, or what style I’m trying out,” she says, “I always hope the drawing will contain something that’s quiet and not obvious but can nevertheless be understood.”


画里的人物轮廓模糊,细节却很独到,小杜子说,那可能是因为喜欢一个人散步,走得也慢,意外会看到些有感触的小东西。“只是无论画什么,用什么材料,尝试什么风格等等,都希望画里建构一份安静和不被识破但可被理解的内容吧。”

Behance~/XIAODUZI
Weibo: ~/艺术插画师小杜子


Contributor:  Chen Yuan


Behance~/XIAODUZI
微博: ~/艺术插画师小杜子


供稿人: Chen Yuan

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Comically Bizarre

October 2, 2018 2018年10月2日

We’re often limited in how much we can do and experience in our lives. To solve this dilemma, Chinese comic artist Nini created Maomao, an alter ego of herself who’s free to experience the things she can’t in her own life. “Maomao lives in a world of freedom, so she can completely be true to herself,” Nini says.

Born in the summer of 2015, Maomao is a blonde girl with unshaven legs who, in every scene, appears nonchalant about her nakedness. To understand Maomao, you only need to read the comics, but what about the artist behind her? To learn more about Nini, we decided to play a fun game of questions with her.


我们的日常生活充满了各种限制,于是漫画家拔丝拟泥(Nini)选择了创造另一个自己——毛毛,以体验她也许没办法亲身经历的生活场景。“毛毛活在一个相对自由的世界里,所以她能完完全全地做自己。”她说。

2015 年的夏天,毛毛开始出现在所有人的视线里,这个腿毛浓密一头金发的酷女孩,若无其事地裸体在每个场景里,把专属于 NiNi 的现实延伸开来。

关于 NiNi 的毛毛人格,我想有关毛毛的那些小漫画大概可以说明一切了,但关于 NiNi 本人的样子,我们找她玩了一个接力题游戏。

Basic Information

Name: Nini
Horoscope: Virgo
Birthday: August 23rd
Life motto: Be happy all the time.


基本信息

姓名: NiNi
星座: 处女座
生日:8.23
人生信条:及时行乐

Favorite Things

Favorite subject: Art, lalala.
Favorite food: Sweet, spicy, cold.
Favorite Song: Ugh, how am I suppose to pick just one.
Favorite movie: Can’t decide on a favorite, but the first movie that comes to mind is Happy Together.
Favorite colors: Red and green. Pink and purple. Purple and green.
Favorite novel: I don’t read books.
Favorite comic artist: I like any comic artist with a playful spirit.


个人偏好

科目: 美术课啦啦啦啦
食物: 甜的辣的 冰的
歌曲: 好烦 这要怎么选
电影: 讲不出最爱但是脑海里第一个浮现的是《春光乍泄》
颜色: 红配绿 粉配紫 紫配绿
小说: 不看小说
漫画家: 拥有有趣灵魂的漫画家都喜欢

Miscellaneous Q&A

 

The place you wish to go most: The fewer people, the better.
A period of time you miss the most: Studying for my entrance exam to postgraduate school. Boohoo.
Favorite activity: Taking walks on nights with pleasant weather.
Happiest memory from this year: Getting into postgraduate school.
Favorite ice cream flavor: Sea salt.
Worst fear: Bugs on my legs.
If you were an object or animal, what would you be: Probably a pig.
Number of secret crushes: One or two?
Something you can’t stand: A windowless room.
The person you want to see the most: I want to take a shower.
Where you’ll end up in ten years: Living in a friends’ house.
Favorite thing about yourself: Tough question.
Saddest experience: Too many to name.
Pets you’ve owned: I can’t even take care of plants. Forget it.
Something you refuse to eat: Insects.


个性问答

 

最想去的地方人少就好
最怀念的日子
考研5555
最喜欢做的一件事
天气好的傍晚去散步
今年目前为止最开心的一件事
考上理想中的研究生了
喜欢的冰激凌类型
海盐
最怕什么东西
腿很多的虫子……
用一种东西(或动物)比喻自己的话会是
猪吧
暗恋过几个人
一两个?
无法忍受的是
没有窗户的房间
现在最想见的一个人现在想去洗澡
觉得自己十年后会在哪里
朋友家蹭住吧
对自己最满意的地方
: 这题好难
伤心的经历
: 太多了
养过的动物
吊兰都养死的人,算了
不敢吃的东西
虫子

Have you ever been too shy to confess your love: Nope.
Would you rather have someone who loves you or someone you love: Both.
Most coveted Valentine’s Day gift: Buy me a house?
Normal bedtime: Usually 1 or 2 am.
How much do you drink: I’m an alcoholic.
What would you wear on a date: Something comfortable.
Most trusted people in life: My mom and my friends.
The person you love is asleep in front of you, what do you do: Turn on air conditioning.
Biggest regret of 2018: 2018 isn’t over yet.
The most touching memory: Someone letting me stay at their house.
Mom or dad: Mom.
The last time you gave a heartfelt laugh: This afternoon.
Your favorite person: Caishen, the god of wealth.
Biggest desire: Make a ton of money.


会因为害羞而不敢跟人表白么:不会
选择你爱的人还是爱你的人
:都要
情人节最想收到的礼物
给我买个房?
通常几点上床睡觉
通常一两点
喝酒么
: 一个酒鬼
与喜欢的人见面,想要穿成什么样
: 舒服的
最信任的人
: 我妈和好姐妹
如果看到自己最爱的人熟睡在你面前你会做什么
开空调
最想不好穿什么颜色的时候,你会选择什么颜色
黑色
2018 年你最后悔的一件事是什么
2018年还没完呢
曾经有过最被感动的事是什么
被人收留
比较喜欢爸爸还是妈妈

最近一次发自内心的笑是什么时候
今天下午
现在你最喜欢的人是谁
财神爷
目前最大的愿望
赚很多钱

Weibo: @拔丝拟泥
WeChat: WILDWORLD


Contributor: Shou Xing


微博: @拔丝拟泥
微信公众号: WILDWORLD


供稿人: Shou Xing

The East Was Red

August 10, 2018 2018年8月10日

“The east is red, the sun is rising. From China comes Mao Zedong.” So goes China’s most famous propaganda song, “The East is Red.”

China in the 1960s and 1970s was indeed red. From the propaganda posters covering the streets and alleyways, to the copies of the little red book in everyone’s hands, to the Mao badges on their chests, red—symbolizing leftism, communism, socialism, and revolution—filled every aspect of people’s lives and thoughts.

In a new project entitled The East Was Red, artist Sheila Zhao finds old photographs from that time and retouches them, highlighting the political atmosphere of the time.


就像歌里唱的那样:“东方红,太阳升,中国出了个毛泽东。”

六七十年代的中国,确实是红色的。从大街小巷遍布的宣传画,到人手一份的 “毛主席语录” 或毛主席勋章——象征着左派、革命、社会主义和共产主义的政治红色,充斥着人们生活和思想的方方面面。

而这个系列名取自红歌《东方红》(The East Was Red),Sheila Zhao 找到当时的老照片,并进行了再度创作以突出那个时期的政治气氛。

Born in Beijing in the 1980s, at age seven Zhao moved to the US, where she grew up and studied. Of course, without the benefit of personal experience, Zhao is a stranger to those times, so hard for outsiders to grasp or comprehend.

But Zhao’s love of documentary photography, especially historical images, transports her back in time. “I’m not a historian or an expert in the Cultural Revolution, by any means,” she says. “I look at that time in history from the point of view of someone interested in the images it created, and in what that says about the country’s collective identity at the time.”


Sheila Zhao 其实是 80 后,在北京出生,七岁时搬到美国,并在那里完成了学业。照理说,Sheila 对那个时代是陌生的,没有亲身经历的加持,也很难理解和感受。

但对纪实摄影尤其是老照片的热忱,把 Sheila 带到了这段历史面前。“我不是一个历史学家,也不是一个研究当时运动的专家。我从一个对所创造的形象感兴趣的人的角度来看待历史上的那段时期,以及这个国家当时普遍存在的集体认同感。”

All of the images in The East Was Red, and all her other archival images, were acquired from second-hand antique markets near Beijing and Shanghai. As the majority of the photos were taken in the 1960s and 1970s, a common theme stood out:  “I noticed the photographer and those being photographed from this period, whether consciously or not, brought politics into the shot,” she says. Clearly, people in that time lived entirely under its shroud.

Fascinated by this, Zhao began retouching select photos from her collection, coloring over the posters, images, Mao badges, and books of quotations with a cherry red, using the color to stand in for these thoroughly political objects. On the one hand, this alludes to the color’s political significance, and on the other, it lets the viewer, who can see how prominent the red is, understand just how widespread Communist ideology and the cult of personality had become throughout China. 


《东方红》系列的所有照片,Sheila 档案中的其他照片一样,都是在北京和上海附近的古董二手市场淘到的。这个系列则大多选取于上世纪六七十年代间所拍摄的照片,几相比较,有个异常明显的特征浮现出来:“有趣的是,我注意到在这个时期,摄影者和被拍摄者都有意无意地把代表政治的东西包括进来。” 可见,那时期的人们完全生活在其笼罩之下。

于是,Sheila 在再度创作的过程中涂红了标语、照片、勋章和 “红宝书”。鲜艳的大红色被用以代替这些照片中这些充满政治意味的 “物件”,一来对应 “红” 的隐喻,二来,观者只消参见照片里红色有多么壮观,就能发现当时的共产主义思想和个人崇拜情结,在全中国是有多普及。

“China underwent a very unique socioeconomic movement at the time, which coincided with the rise of photography. It happened to be when cameras became more accessible, leading to more people using them as a means of self-expression,” Zhao says. “In the early 20th century, photography was still something that was reserved for the privileged. By the mid-20th century, cameras became even more common. Although they were still considered a luxury, there wasn’t that sense of exoticism of being imported anymore. Looking at photos from that era, it’s quite interesting to see how political doctrines influenced people’s lives.”


“中国当时所经历的是一场非常独特的社会经济运动,也恰巧发生在摄影史上,当时越来越多的人开始有机会通过摄影媒介表达自己的观点。” Sheila 说,“在 20 世纪初期,摄影仍然是特权阶层的活动。但到了中期,相机的使用开始变得越来越平民化,尽管还稍显奢侈,但它已不再那么具有‘舶来品’的异国气质。所以在照片中,我发现当时的政治辞令是如何影响人们描述和记录自己生活的方式,这是非常有趣的。”

Websitesheila-zhao.com

 

Contributor: Chen Yuan


网站sheila-zhao.com

 

供稿人: Chen Yuan

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The Two Sides of Li Daiguo

July 20, 2018 2018年7月20日

 

无法观看?前往优酷

We caught up with Li Daiguo for an afternoon jam session, accompanied with vocals by Chacha and woven—perhaps—around the theme of sleep. Li’s music hovers on the edge of reality and nothingness, and listening to it you can’t tell, to paraphrase Chinese philosopher Zhuangzi, whether you’re dreaming you’re a butterfly, or whether you’re a butterfly dreaming you’re you. We’ve taken a part of the music and paired it with images, and we invite you to come along in this sonic reverie.

“Improvisation isn’t a genre, because it’s hard to determine what’s going to happen,” says Li. “Even if we repeat the performance, we’re ‘resuming’ it, not ‘replaying’ it, so it’s organic. You find a path in your own habits, a way in, and you have to protect it, build it up, so you can always get back, and then freely go on toward somewhere you never imagined.”


这是李带菓即兴的一个下午,和 Chacha 的人声一起,即兴的主旨也许关于睡眠。它像是现实与虚无的一个交界,你可能是庄周,可能是蝴蝶。后来我们重新剪接了音乐、配了画面,你只当一起做个梦,游一游。

“即兴不是一种风格,因为很难界定会发生什么。即使是我们所谓的重复它,也是我们‘仍在做’,而不是我们‘再次做’,所以它是有机的。你以自己的习惯找到一条路径,从那里进入,你如何保护它、如何建立它,以便你可以随时到达那里,再自由前往意想不到的地方。” 李带菓这样讲。

Who exactly is Li Daiguo?

First and foremost, a musician.

Born in the US, he first began studying Western classical instruments at the age of five. In his adolescent years, he explored instruments from other regions, and in college, he studied Chinese regional music and its cultural roots, while also studying twentieth-century literature and philosophy. Today, he’s become an established musician with experience in over 20 Eastern and Western instruments, in addition to beatboxing, Tuvan throat singing, and other vocal arts. For years he’s been going head-to-head with musicians from around the world, and this multifaceted exploration has led him to stop using labels to define himself. Whenever something resonates with him, he uses it to sow seeds, raise ripples. You never know where inspiration might come from,” he says. “Everything can influence me in some way.”


李带菓是谁?

音乐人是他的身份。

出生在美国,5 岁开始学习西方古典器乐,少年时接触了更多的地方器乐,到大学阶段便深入研习各地地域性音乐及其背后的历史文化,同时研究二十世纪文学和哲学。如今在二十多种东西方乐器和 beatbox、呼麦等人声中游弋,数年来与世界各地音乐人的“摩拳擦掌”,多维度的探索使得他摒弃了标签式的表象标准,他听到什么信息有共鸣,就拿那些来播下种子、掀起涟漪,“你不知道它来自哪里,因为所有东西都会对我产生影响。”

Listen to select tracks from Li Daiguo below / 点击即可试听李带菓的几首歌曲


Side A: “Listen”

 

So what’s the best way to approach Li’s music?

“All kinds of theories could easily be applied to explain the ideas behind my music,” he says. “But they might not entirely be true. The truth is . . . I don’t know! I just do something that feels good from my heart to my brain to my body. I’ll stop there. I’m not going to oversell it.” In marketing, the pitch is usually better than the product, he quips, then gives a belly laugh.

“So a lot of things are there for no reason, or the reason lies in what they do. Too many words, too little thought. The things we want to grasp are often beyond our control, so it’s best to stop right at the edge of what you can feel but can’t understand. Experience it, hold on to your perception.”

It’s nearly impossible to shoehorn his music into a theory, of course. His music seems to touch the truth or essence, as though it were the natural sounds of notes or the inner connections between things. It approaches the dao, but you can’t grasp the truth itself.


Side A:听”

 

到底,听他音乐的打开方式是什么?

“如果要套各种理论来解释我的音乐理念很容易,但可能不太真诚。真诚的应该是,我不知道呢!我就做一个让自己从心里到脑袋到身体都舒服的,我就停在那个里面,不再推销了。”各种名义的推销,噱头往往大于本质,李带菓直指出来,然后抱以率性地狂笑。

“所以很多东西,它没有理由,或者理由已经在它的行为里面。话太多,因为想法太少,那些想抓到的东西往往是超越我们控制范围的,所以不如停在你没办法知道的边界,但你感觉到了。去感受它,保持你的觉知。”

若以理论来强名于他的音乐,当然不太可能。他的音乐似乎在触摸真相或本质,犹如音律的自然发声、事物的内在联系……几近于道,而你无法抓住真相本身。

For performances, Li’s most frequently used instruments are the pipa, cello, and mbira (an African instrument that’s played by plucking it with a thumb). “When I use an instrument, I’ll think about the sound and vibrations it produces. I respect its original sound more because there’s a historical context there. It’s able to tap into a higher frequency. Someone asked me once, ‘That mbira instrument you use, why don’t you recreate something similar yourself? Or experiment with distortion pedals?’ The answer is simple. To me, the way the instrument was originally constructed is already close to perfection.”


李带菓最常用琵琶、大提琴和 Mbira(津巴布韦手指琴)来弹奏和创作,“在乐器使用上,我会从它的声音和振动来考虑,我更尊重它的原生音乐,因为它有那个历史,它能接通能量的概率更高。有人问我,你那个 Mbira 的非洲乐器,怎么不自己创作?或者加效果器做各种实验?因为对我来说,它那个系统和乐器的结合已几近完美。”

He adds, “So why do I perform with the cello and pipa? It’s because they’re fairly common instruments that many people are used to hearing here. From silk strings to steel strings, there’s so much potential in these instruments themselves, but frankly, old songs aren’t as compelling anymore. I spent much of my youth with these instruments, understanding their aesthetics, so I’d say I’ve become fluent in that language. But the mbira is a more narrowly regional instrument. It’s evolved in its own way. If in the future, I have the chance to express myself within that realm, I’ll let it happen. If not, I won’t fake it just to make something new.”


他又补充,“那为什么会用琵琶、大提琴创作?因为它们在地域范围内已经传播很广,丝弦也成了钢弦,这些乐器本身也有更多的可能性,老曲子的整个编曲没有那么大吸引力了。并且我从小在那个器乐的体系里,消化了它的审美,知道怎么用它的语言说话。但是 Mbira 地域性更窄,那个地区有他们慢慢的进化方式。但如果以后我能自然地在它的体系里说自己的话,那我也会允许它发生,如果没有,也不会为了‘新’去假装‘新’。”

Li’s wide-ranging insight into blending Chinese and Western culture is what allows him to experiment and innovate with musical instruments. “The real fusion is when music’s different souls are combined. There’s no incompatibility between past and present, because everything flows in one stream. As long as this fusion is still happening, then it’s just the evolution of a traditional form.”

“Those who aren’t willing to evolve have lost their way. Same for those who blindly pursue change, changing their posture and their performance. Then they add some drums, mix the traditional and the Western, the old and the new—their environment has warped their sensibilities. They’ve lost their roots, forgotten what’s most true. Perhaps this connection to roots is a sort of instinct, but if you truly seize its essence, you can summon its spirit.”


他对中西方文化融合的不拘一格的洞察力,的确带来了器乐上的更多探索与创新,“真正的混搭,混的是音乐的灵魂。并不存在过去与现在不相容,因为都在一条河里流淌,只要是这个东西还在发生,它就是一个传统的进化。”

“不愿意进化,是因为他们迷路了。或者有些人盲目地求变,变着姿势演奏,然后动次打次,传统加西方、老加新,环境的洗脑影响了审美,他们丢了根,忘了最真诚的东西。有可能这种根源性的链接是一种直觉,但如果是真的抓到了它的内在,那么你就可以把那个鬼叫出来。”

As of late, Li’s music sounds very electronic. “These are all acoustic instruments,” he clarifies. “All I’m doing is amplifying certain frequencies of their existing sound. It sounds like a synthesizer. A lot of people can’t believe the sound is being plucked from a string since it sounds like a group of instruments. But the instrument’s original sounds are all there, layered and nuanced. If you manipulate sound with acoustic instruments, you can be more flexible and create different sounds. The instrument shouldn’t be something you’re dependent on, but rather it should be a tool that represents and serves you.”


最近他又在做些听上去很电子的东西,“那些都是原声乐器,我只做了一件事,就是放大已经存在的声音的某个频率,听起来就像一个合成器。他们不相信那是一根弦弹出来的,感觉是一大堆乐器,其实那些原声状态都在,每一秒都和你的身体有共振,听起来更多微妙的层次。你用原声乐器去控制的话,更有选择更自由,也会有更多内容在那里面。是它在代表你、为你服务,而不是去依赖它。”


Side B: “Look”

 

What’s this kind of person like in everyday life?

As we chatted face to face over the table in the backyard of a vegetarian restaurant, his waist-length hair, sometimes gathered with a pin in a topknot, hung around his neck in a braid. The light breeze sprinkled parasol leaves onto our table and dishes. He brushed off the leaves and continued to eat with relish. “It doesn’t matter where you’re from. Everyone loves Chinese food,” Li surmised. “But 90% of the actual cuisine, most people probably can’t stomach. Many people have a limited palette.”


Side B:视”

 

这样一个人,在日常中会是什么样子呢?

我们在功德林后院的饭桌上面对面聊着,他及腰的长发盘在脑后、插上发簪,有时也会编起麻花辫绕在脖子上。风吹散的梧桐絮飘落在饭菜上,他撇一撇继续大口吃饭,“各种肤色的人,基本上都喜欢吃中国菜,也百分之九十吃不惯,他们的味觉比较窄。”

Curiously enough, Li—despite being a food lover—has actually been a vegetarian since he was 19. He believes we’re all animals. “People refuse to eat cats or dogs in many countries, but they’ll happily eat beef, pork, or poultry. They don’t view these things as related. But if you take the time to befriend a cow or a pig, you’ll discover the emotions they experience are the same emotions we experience. Their actions and feelings are similar enough that we shouldn’t be seeing them as only meat. I’m not a vegetarian because of dietary restrictions or an opposition to killing. It’s because these animals are products as soon as they’re born. That’s pretty bad.”


我却是好奇那么爱吃的一个人,却从 19 岁就开始奉行素食,他认为我们都是动物,“比如说很多国家的人,他不吃猫狗,但他会吃牛和猪、吃鸭吃鸡,他不会把那些当成有关系的东西,但如果你去试一下,跟一头牛或猪有感情,然后反射一下人与人之间的那些感情、各种行为,已经够接近到我们没必要去这样分。我吃素不是吃或者杀的问题,是因为从它们一存在就是一个商品,这个不是特别好。”

As we walked along the sidewalk after our meal, he carried his pipa on his back and lugged his cello behind him. Craning his neck to speak, he stumbled on a step and nearly took a tumble, but he recovered his balance with a series of comedically theatrical movements. Having spent the afternoon together, I was already quite familiar with his silliness, but the absurdity of the maneuver still left me laughing. “You know Charlie Chaplin?” he asked. “You could say that he’s a pessimist. But he wanted to make the world a better place with his comedy. I’m the same way. I know all of his choreographed movements come from the heart. I want to be the Charlie Chaplin of music. It’s my dream,” he said with a decisive glint in his eyes.


茶余饭后的路上,他背着琵琶、拖着提琴,顾着讲话就没留意人行道的上下台阶,绊了个踉跄,刚反应过来就顺势做起戏剧化的夸张肢体动作。其实聊了那么会儿,我们已在一个频道里见怪不怪,但仍旧被逗乐了,他讲:“你知道卓别林,你也许可以说他是一个悲观主义者,但他通过他的喜剧是想做些好事情,我也是。他所有的那些动作那些编剧,我知道他是用什么心在做,我跟他是一样的,我要做各种音乐卓别林,这是我的梦想。”李带菓尤其肯定的闪着光芒在说。

Later on, as I combed through all of the audio and video footage, I noticed that he would often approach the camera or the microphone to add a high-pitched “Ah!” as a coda to something he’d said. Li’s playful quirkiness, mischievous tendencies, and contagious charm have won over those who’ve been fortunate enough to get to know him.

In the past, Li used to be fond of words and language, but then he grew tired of writing and concluded that true expression didn’t need very much actual language—and that language itself could be another musical form. So he then blended words into his music, either through singing, recitation, speech, laughing and crying, or in duets with one instrument and one voice, telling a story, singing a story in the music. He also began making film shorts and theater pieces.”


在后期整理时,我发现在录音或影像的收尾,他常常会凑近镜头或者话筒发一声短促音高的“啊”作为结束。这些小细节让见过李带菓的人,也大多会被他的调皮、他的趣味、乃至他的妖娆所感染。

他以前很喜欢语言和文字,后来写多了,就觉得真实的表达不需要那么多实际的语言,它也可以是另外一种音乐表现形式。于是他接下来会把词融进他的音乐里,从好好唱,到朗诵、说话、哭笑,或者一个乐器加一个人,在音乐里讲故事、唱故事。同时,他也开始做小短片和剧目。


Li currently lives in Dali, China, a town known for its beautiful mountains, clouds, and scenery. There he can enjoy the brilliant splendor of the great outdoors.

In the natural world, all sound is improvised. What we call music is adding to or subtracting from these existing vibrations.


如今李带菓居住在大理,那里的山、云、日月都很美,可以在大太阳底下奔跑。

声音在自然声场里即兴涌动,我们对振动传播的信息做了加减法,便成了那个被叫做音乐的存在。

“Nobody can create music that resonates with everyone, everywhere, at all times,” he says. “Only the sounds of nature hold this universal appeal: the sounds of cascading waterfalls, chirping birds, rolling ocean waves, and the pitter-patter of rain. In terms of transmission strength, nature is definitely the most powerful. If you want truly stereoscopic sound, you might as well go into the wilderness and take in the sounds rather than purchase a bunch of fancy equipment. It’s extremely pure. Your mood or mental state can only affect how much of that beauty you can take in. Or from another perspective, the cars outside, the fruit vendor’s call—if you can listen to how they come together, that’s also a kind of natural beauty. Or again, if you’re not influenced by your body, by material values, but can tune in directly to the universe, that’s also a way. In that case, music and art are unnecessary—they’re superfluous, they become self-expression. So I’m just a bird, and all I’m doing is chirping.”


“没有人可以做出让所有人在所有地区所有时代都接受的音乐,只有瀑布、鸟叫、大海、雨声,可以让人应该都会产生共鸣。从传播能量的角度来说,肯定是大自然提供的是最有力的。你搞立体声,搞各种声音装置什么,不如去森林里面,没办法,那个东西是非常纯粹的,那个根是在声音里面,你的状态和情绪只会影响你能吸收那个美的多少。换个角度来讲,外面的车、卖水果的吆喝,如果你能听到他们结合的一个点,那也是他们完成的一个自然美。再或者如果你不受五脏六腑、物质价值体系的影响,而是直接从宇宙里接收信息,那也是一种方式。那样说的话,是不是什么音乐什么艺术都是不需要了,都是多余的,都是为了自我表达。所以我也只是一只鸟,我也在叫而已。”

Music is a journey for your senses, it’s a vessel, a medium that allows you to visit unknown realms. It’s something that allows you to tune into internal and external experiences. Music is indescribable.

“In a sense, music is a conversation with another universe,” Li says. “One that goes beyond all the small talk of our daily lives.”


音乐是当下的感官旅行,是一个载体、一个渠道,停在不知的边界,引你进入更内外的体验,不可描述。

“那是在另一个世界的交谈,在某种意义上,胜过今日我们听到的许多交谈。”

Website: lidaiguo.com
Xiami: ~/lidaiguo

 

Photographer & Contributor: Chan Qu
Videographers: Anais Siab, Damien Louise
Special Thanks to ChaCha & Yongfoo Elite


网站: lidaiguo.com
虾米~/lidaiguo

 

图片摄影师与供稿人: Chan Qu
视频摄影师: Anais Siab, Damien Louise
特别鸣谢 ChaCha 与雍福会

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Balancing Act

June 22, 2018 2018年6月22日
Holes

Shanghai-based artist and designer Tan Chengyan paints only a handful of subjects: women’s bodies, mushrooms, circles, and holes. Simple shapes fit her abstract style. She views her art as a balancing act between emotion and logic, and a desire for balance likewise runs through her life, both as she alternates between art and design and as she selects the tools to produce her work.


上海艺术家和设计师谭成彦笔下的主题——女性身体、蘑菇、圆圈和洞——寥寥可数,与她的抽象派风格相得益彰。艺术对她来说,是感性与理性之间的平衡,也是贯穿了她的生活的渴求:无论是艺术和设计之间的思维转换,或是具体到绘画创作时的工具选择。

Mushroom Mushroom Mushroom 1
Women on the Blue Tree

Water and ink represent her emotional side. The first thing she does when creating a new painting is to dampen the paper with water and draw the main shapes in ink. Then she watches as the ink bleeds onto the wet surface. “The procedure of brushing paper with water is particularly important—it leads me to a state beyond consciousness,” says Tan. Seeing ink merging with water, her mind enters a zen space, and that’s when the shapes start to materialize.

Then her logical side, represented by acrylic, gouache, and colored pencils, takes over. She draws the shapes with acrylic or gouache on top of the initial layer and waits until their edges blur. Only at that point does she have a clear idea about the painting’s subject. She then adds details and clarifies subjects with colored pencils.

Underneath these soft and feminine shapes lies a slow process of creation that she describes as “primitive and organic,” and which gives her works their vital simplicity. These themes are also part of an organic process.


水和墨如同她感性的一面。作画时,她会先把画布和纸全部涂湿,用墨在上面做出基本图形,看着水和墨互相交融,形成自己的模样,“上水这一步对我来说特别重要,因为它是让我进入到 ‘意识外’ 状态最关键的一步。”当墨与水相互交融,她慢慢沉浸其中,画面便开始在脑中成形。

而丙烯、水粉和彩色铅笔则代表了她理性的一面。用丙烯或水粉在第一层上画出形状后,随着图形边缘慢慢晕开,她脑中才会出现对主题的定义。最后则会用彩色铅笔铅勾线,去以凸显图形并让主题更加清晰。

她的画作常由柔软、婀娜的形状组成。其中循序渐进的创作过程——用她自己的话说是 “原始、有机的”——带来了简洁、充满生命力的效果。而这个主题的成形也是一个有机的过程。

A Big Woman and an Orange Girl
A Big Woman and an Orange Girl (process)
A Big Woman and an Orange Girl (process)

Tan first began drawing circular, hole-like shapes in high school, though at the time she didn’t know what prompted them. In middle school, she had struggled under the intense pressures of academic competition, and when she was admitted to an arts high school, the relaxed, free environment made her feel as though “she had suddenly opened up.”


从高中开始,她就在纸上记录这些图形,虽然当时并不知道特别原因。在那之前,她就读的是普通初中,常常被排名和学业的压力闷得透不过气,而在高中考上了艺术院校后,自由和放松的环境让她感觉 “自己一下子就释放了”。

States 7, No. 2
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States 8, No. 2

Looking back, Tan thinks her adolescent years set the stage for her later work. A budding sexuality left her at times feeling lost and at times full of hot-blooded passion: “I just felt an energy I needed to release. What was it? I don’t know, but on the paper before me, I saw those forms.”

College was another dark period, and Tan took refuge in the library, where she discovered, in art books and journals, the work of pioneering artists like Yayoi Kusama and Georgia O’Keeffe, who profoundly influenced her approach to artistic expression.


回望过去,她觉得对性懵懵懂懂,时而失落、时而满血复活的青春期,奠定了她后来创作主题的雏形——“觉得心中有种能量想要释放出来,那是什么样的东西呢?我不知道,但就这样自然而然地出现在了我面前的纸上。”

大学对于她来说,是另一个黑暗时期。于是,图书馆变成了成彦最爱去的地方,她也在当时大量接触了草间弥生(Yayoi Kusama)、乔治亚·欧姬芙(Georgia O’Keeffe)等以女性主题闻名的先锋艺术家家的作品。这对她自身的艺术表达方式造成了深远的影响。

Three Women and the Sunset

A turning point came in 2009, when, after graduating from college, Tan decided to move to the Netherlands to pursue a master’s in fine arts. Not only was this her “most prolific” period, it also, more importantly, helped her give expression to the forms she had been seeing in her mind all those years.

“Women’s bodies, mushroom shapes, holes, and circles: all these connect me to energy of the universe. When I paint these shapes, I always feel I’m elevated to a higher spiritual plane beyond material things,” she says, “I start to think that a lot of problems in my life aren’t really problems, because when I enter that level I’m more tolerant of everything that occurs in life.”


2009年可以她艺术创作的折点,当大学毕业后,成彦选择了去荷读艺术硕士。时间最“多”的候,也让长中的一一呈现。

的身体、蘑菇形状、洞和圆圈接通我和宇宙能量我就感觉自己被带到了超越物质层面的更深层的精神空间成彦,“我会现实中的很多问题问题了,因到了那个层次之后对生活中的一切都变得更加包容。

Do the female forms she creates represent herself, then?  Tan doesn’t think so. “It would be too restrictive to say this is me.  Through the female shapes I paint, I want to explore a path to the universe.”

In terms of life, if art is her emotional side, her logical self comes forward through design. In 2017, Tan and her partner, Carmelo Ferreri, founded the design studio Melo & Yan, which specializes in branding and illustration. In her opinion, and in her practice, art and design are not opposed to one another, but rather nourish each other. “Design reflects the times, and can also inspire my art. It’s a balance,” she says. That’s also her attitude toward art: “It’s only good when all elements reach a balance.”


那么,画中的女性代表了她自己吗?她并不这么觉得:“如果说这是自己,有点太限制了,因为我想通过创作的女性图像探索通往宇宙的通道。”

在生活层面,如果说她在艺术创作时是感性的,那么她理性的自己则会在做设计时出现。谭成彦在 2017 年和另一半 Carmelo Ferreri 成立 Melo & Yan 设计工作室,专注品牌设计与插画。在她眼里,艺术与创作并不矛盾,而是有着相互滋养的关系:“设计更加能体现时代的信息,也可以给创作带来灵感。就是个平衡,” 这也是她对画的态度,“一张画,能达到平衡才是比较优秀的作品”。

Website: chengyantan.com
Instagram: @chengyan_tan

 

Contributor & Photographer: Jiang Yaling
Additional Images Courtesy of Tan Chengyan


网站: chengyantan.com
Instagram: @chengyan_tan

 

供稿人: Jiang Yaling
附加图片由 Tan Chengyan 提供

Motion Type Project

April 23, 2018 2018年4月23日

With the advent of digital media, motion graphic design’s role in the dissemination of information is becoming even more important. By using a combination of animated images, text, and other dynamic elements, motion graphics help convey information in an easily digestible and visually engaging way. But despite the ubiquity of motion graphics today, most projects rely on the Latin alphabet and relatively few projects with Chinese characters even exist.

Due to the complex nature of Chinese script – where shape, sound, and meaning are interwoven into each character – design guidelines tailored for Western script aren’t suitable for the Chinese written language.

To help Chinese-speaking designers reconsider the possibilities of Chinese motion design, Taiwanese designer and creative director of Studio 411 Ting-An He created Motion Type Project. The project, which was showcased via a series of exhibition, highlights how a Chinese character’s square-block limitations, strokes, and polysemous nature can be reimagined as moving text. The innovative project went on to take Best Design at the 2017 Golden Pin Design Award.


随着数字媒体的发展,动态图文设计也逐渐扮演起资讯图像传播的重要角色。通过文字、图画和动态元素的结合,动态图文帮助传达更易于理解的视觉资讯。然而到目前为止,在多数动态图文的著名案例中,都以西文字体为主,很少见到特别针对中文动态设计做探讨的相关实验创作。

中文的造字系统和书写方式,与西文的拉丁字母有多处不同,其“形音义”能够相互结合。若套用西文动态设计的方法,则未必全然合适。

为了帮助中文设计师重新思考汉字动态设计的可能性,来自台湾的汉字动态专案的设计师何庭安、台北市411影像工作室的创意总监,借此发展出《汉字动态专案》,并举办了一系列大规模的动态设计实验巡迴展览,呈现汉字所独有的横竖撇捺、复杂笔画、方正结构、一字多义等特性。

《汉字动态专案》就是为完全从中文字出发创作的动态设计展览,荣获了 2017 年金点设计奖年度最佳设计奖

Dōng (or 东 in simplified Chinese) translates to "east."
Zhù (or 筑) translates to "build."
Yóu (油) translates to "oil."
Shuǐ (水) translates to "water."

“Soon after Motion Type Project was launched, a large number of Chinese graphic and motion designers responded,” Ting-An He tells us, beaming with pride. “It created a more experimental and boldly creative atmosphere around motion design and typography in the region. Although many people will imitate or plagiarize our work, I have long dreamed of seeing this scene come to life in the graphic design industry.”


“在专案上线后不久,涌现了大量同样使用中文的平面与动态设计师同业们,他们也引发了对于字体的动态设计更加实验、大胆的创作风气。虽然有不少人将之认定为模仿或抄袭,但这反而是我对于平面设计界期待已久、极度乐见的景况。”何庭安如是说。

Fēng (or 风 in simplified Chinese) translates to "wind."
Tàn (弹 in simplified Chinese) translates to "elastic."
Jié (截) translates to "cut."
Kuāng (框) translates to "frame."
(玉) translates to "jade."

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