Tag Archives: chinese

Motion Type Project

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.




《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.”


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."




Language is the foundation of culture. Fascinated by the relationship between the two, Taiwanese filmmakers Mu-Ming Tsai, Iris Lai, and Emily Hsiang were inspired to create Hanzi, a documentary that gives insight into Chinese visual culture and celebrates the beauty of Chinese typography.


“We found that Taiwan, more than anywhere else, has preserved traditional Chinese characters, or hanzi,” they note. (Mainland China uses a set of simplified hanzi.) “Every day we’re surrounded by this beautiful script, but we had never really sought to understand and appreciate it.” Beyond investigating character design, the filmmakers also use the documentary as a way to discuss other questions, such as how an ad’s typography exerts a subtle influence on viewers, how language shapes identity, and how handwriting is declining in the digital age. Seeking to explore even more possibilities in hanzi, they’ve interviewed people in United States, the United Kingdom, Hong Kong, Japan, and Taiwan.

“我们发现台湾是保存繁体字最完整的地方,而我们每天都环绕着这些美好的汉字,却不曾好好去了解或欣赏。” 除了对字体设计的研究,拍摄团队想借题讨论的议题还有很多,像是广告招牌上的字型视觉对人们潜移默化的影响、语言如何塑造身份认同、手写字在数位时代的式微变化等等。团队在拍摄期间内造访了美国、英国、香港、日本和台湾等地方,他们丢出了问题,在和众多访谈者的对话之中,寻找汉字更多的可能性。

One person they interview is Shao-Lan Hsueh, the creator of Chineasy, a visual approach to learning Chinese. Raised in Taiwan and based in England, Hsueh has designed a more fun, more effective learning method for anyone who studies Chinese as a second or heritage language.

This method takes advantage of the fact that Chinese writing is logographic. Unlike in English or other alphabetic writing systems, in logographic systems, the composition of a character can itself express meaning. Hsueh’s series of rich visual designs breaks hanzi down one by one, so that by looking at an image you can immediately connect it with a character’s meaning.

其中一位访谈对象,是图像式中文学习法 Chineasy 的创办人薛晓岚。她是一位住在英国的台湾人,为了下一代必须在外语环境中学习中文,她设计了一套让学中文更有趣、更有效的方法。


Another notable voice in the film is Jieguan Zhang, the owner of Rixing Type Foundry. Located in Taiwan, Rixing Type Foundry is the last surviving foundry for traditional characters, and it holds nearly 300,000 lead slugs inside. Twenty years ago, the advent of digital typesetting put an end to the age of printing as an art. Casting movable type is a technique that’s no longer needed, and one after another the foundries that used to support several households have now closed. Only Rixing, founded in 1969, remains. The reason lies in Zhang’s fondness for the profession of casting type: he doesn’t have the heart to let a tradition of such historical significance disappear forever. That’s why he’s fought to preserve this small storefront and the invaluable foundry inside.

另一位值得一提的访谈者,是日星铸字行的老板张介冠。位在台北的日星铸字行是世上仅存唯一的繁体中文铸字行,店内收藏了近三十万个铸铅字。二十年前,数位排版软体的出现终结了印刷术的年代。专为活版印刷存在的铸字技术,如今已不再被需要,曾经养活好几人家的铸字行,也一间一间关门了。其中日星铸字行是从 1969 年创立以来,坚持下来的最后一间。原因是张老板对铸字这行业的一片心意,不忍心让这项承载着重要历史意义的传统永远消失,于是把这一间小小的店铺,和里面极具价值的铸字,努力保存下来。

Everyone interviewed in the film is deeply engaged in the innovation and preservation of Chinese characters. In addition to Hsueh and Zhang, the film includes enlightening conversations with font designers, billboard makers, and some sixteen other people. “In the process of shooting, even we learned a lot,” admit the filmmakers. “We hope that Hanzi leads people to rediscover the typefaces around them, and learn about how characters are designed, and how important language is to culture. And if after seeing it you start to feel proud or thankful for this part of our culture, even better.”

Hanzi is now available for purchase. For more information, please visit their official website.



Website: www.hanzithemovie.com


Contributor: Yi Xuan

: ~/hanzithemovie


供稿人: Yi Xuan

Darting Between Fiction & Reality

  • Book by Wo Shi Bai. Swipe to read.


“A fiction within a fiction.”

“Cuts between perspectives in time and space.”

“Just read through your comics, some of them are really deadpan and really funny, some of them I don’t quite get, some of them really hit you in the gut.”

“The author is 30? Hahaha.”

“The author’s got to be a woman…”

All these are messages and comments left by readers of the comics of Wo Shi Bai, whose pen name literally means “I Am White.” For his fans, these comments have just about become required reading. Sometimes they point out a detail in a comic you missed, sometimes they leave you marveling at the reader’s overactive imagination.

And sometimes Wo Shi Bai will write a few words in reply, such as: “Thanks for the messages. I notice most of the feedback comes from people who don’t understand the comics or don’t get the point. Honestly, I drew them to record boring everyday experiences, really ordinary stuff. The first part is about the book the main character’s reading, or related to his mental state.”

“作者 30 岁?哈哈哈~”



From Chuck & The Portal / 来自《查克与传送门》
From Chuck & The Portal / 来自《查克与传送门》

As a comic artist in the internet age, Wo Shi Bai has been in dialogue with these unseen critics from the start. You could even say that the very existence of these readers, both the ones who get it and the ones who don’t, is what gave Wo Shi Bai the chance to change his life and focus on his creative work. That’s jumbling the timeline, though: in reality, it was an assignment from Gummi Comics in early 2017 that led Wo Shi Bai to start drawing seriously. Yet as anyone who’s read his work knows, this kind of jumble is the precisely what makes his comics so engaging: they leap and dart across space and time. Comics have an expressiveness that gives him a great deal of creative freedom.

“After drawing a few comics,” he says, “I found that a lot of ideas I couldn’t express in a single image I could express easily in comic form.”


这样讲似乎有点时间逻辑混乱,其实是因为 2017 年初的一次来自于《软糖漫画》的约稿,才让我是白真正开始画起了漫画。但是如果你也看过他的那些漫画,你就会明白这样的混乱恰恰是他漫画里一个很有趣的特质。从一个空间跳跃到另一个空间,从一个时间穿越到另一个时间。漫画的这种表达方式,给了他很大的创作自由,“在画了一些漫画之后,我发现我有蛮多单幅画面传达不了的想法可以用漫画的形式顺畅表达。”

  • Swipe to read.

  • This is my last story for Gummi Comics.

  • When I was coming up with the story, I started getting a migraine.

  • It usually takes three to four hours before I feel better.

  • I’ll feel better with the lights off. I’ll just sit in the dark and wait for the headache to pass.

  • Not doing anything, I began to drift into the recesses of my memories.

  • In 1997, my mom went to Japan to work at a clothing factory there. Seeing her off at the airport was the first time I took a taxi.

  • I was in first grade at the time, and I got extremely carsick. I regretted going along to see her off. (If I’d known I wouldn’t have come…)

  • My dad had been in a hospital long-term, and for the next three years I lived with my grandparents, aunt, and uncle.

  • All I did the whole day was play with the kids living nearby.

  • We brewed concoctions with pills, dead insects, and leaves.

  • Stuck firecrackers in toads’ mouths.

  • There was a kid a few years younger than us, and we didn’t always include him.

  • To grab our attention, he’d pretend to poop or masturbate.

  • Most of the time in the summer I’d watch T.V. by myself at home.

  • Sometimes I’d climb out of the second-floor windows and get lost gazing up at the sky.

  • The rooftop panels were burning hot in the sun.

  • In the building across the way, I’d sometimes see a little girl.

  • We’d undress for each other.

  • My memory is hazy. Maybe it was just me who undressed.

  • At the time, landlines had just become commonplace.

  • But I was terrified of picking up the phone. I don’t know why. Whenever it rang, I’d throw a blanket over it to muffle the sound.

  • Or sometimes I’d quietly pick it up and listen for a bit before gently hanging up. (Hello? Hello? Hello? That’s weird, someone definitely picked up…)

  • One particularly boring afternoon, I went through every corner of our house.

  • In a bedside cabinet, I found a pile of five-mao coins. I exchanged them for a kind of popsicle called “Mr. Banana.”

  • I also dug up my aunt and uncle’s book that taught newly married couples how to maintain their relationship.

    I also flipped through my aunt and uncle’s

  • At the time, Hong Kong just transferred its sovereignty back to China. By the time Macau was handed back over, my mom moved back.

  • I used the allowance money she gave me to buy accessories for my Mini 4WD racer.

  • Not long after, this entire neighborhood where I grew up was demolished.

  • Revisiting the area, there are no traces of my childhood to be found.

  • I think the migraine is easing up.

  • I think I still remember the phone number from that old house. I wonder what would happen if I called it.

Wo Shi Bai was born in Shanghai’s Songjiang district, and in a comic titled Migraine, he talks about his childhood there. The main character, drawn simply as a boy with hair, represents the author himself. But in Song, another comic, the story he tells is fictional, and for that fiction, he created a character with nothing but eyes and a mouth. That’s right: no eyebrows, nose, ears, or hair.

“I only kept the eyes and mouth, and added a human outline, to have a minimal vehicle of expression. That’s how the blank little guy came about,” he says.

Readers often think this blank character – xiao bai ren (小白人) – is Wo Shi Bai, because their names are so similar.

“Some of my moods and states come through in that character,” he concedes, “So there’s a part of ‘myself’ inside. Really, every writer’s characters probably have something of themselves inside.”


很多时候,读者也会把小白人和我是白本人联系起来,因为他们的名字太像了。“通过 ta,我的一些状态和情绪具象化了,所以有一部分的‘我’在ta里面。实际上每个作者创作的人物都有一部分自己存在吧。”

  • Swipe to read.

Wo Shi Bai’s comics always alternate between these two figures. Maybe the one with the hair represents reality, while the blank one represents fiction, and only by combining both their stories can you come close to getting a complete picture of Wo Shi Bai. You start to see how much he enjoys this “back-and-forth” creative style – darting back and forth between fiction and reality. It’s like the series of illustrations he once drew called Chuck and the Portal. The feeling of being here one moment and flying somewhere else the next is what he likes best about his creative work. “When I’m at home drawing by myself, I feel like I’m on some remote island,” he says. It’s a solitary, quiet feeling, and I get lost in my thoughts and my creative work. Especially when it’s raining – then I feel even more cut off. The rain adds another barrier between you and the outside world.”

我是白的漫画总是在这样的 2 个主角里摇摆,有头发的那个或许代表的是现实,而那个小白人代表了虚构。而将这两个不同角色的漫画故事混合在一起看,似乎才能更为接近一个完整的“我是白”,你会发现其实他很享受这样的一种“穿行”式的创作方式,在现实和虚构里穿行。就像他曾经画过一套名叫《查克与传送门》插画作品一样,这种忽而在这里,忽而又飞到了那里的感觉,恰恰是他在创作时最享受的时刻。“一个人在家里画画的时候,我感到仿佛置身孤岛。这样孤独而平静的感受让我完全沉浸在思考和创作中。特别是下雨的时候,更加会觉得和外面隔绝。下雨把你和外面的世界又隔了一道屏障。”

  • Closet by Wo Shi Bai. Swipe to read.

  • When my grandmother was in my great grandmother’s body

  • My mother was already in my grandmother’s body.

  • And at the same time, I was already in my mother’s body.

  • But there’s no one inside my body because I’m a boy.

  • I didn’t quite understand how people were born into this world, so that was my theory.

  • The grown-ups told me that babies are born after you get married, but this didn’t feel like a satisfying answer.

  • Isn’t getting married just a bunch of people getting together to eat a meal?

  • How does eating food produce babies?

  • So the only explanation is that everyone already exists inside other people. I was quite happy with myself after coming up with this answer.

  • I thought about all of this inside a closet at my kindergarten.

  • Ten minutes ago, I talked in class, and my teacher put me in here as a timeout.

  • I didn’t feel like I was being punished. It felt fun.

  • Seeing all my peers outside, all well-behaved, and me not having to be part of it gave me inexplicable joy.

  • On my way home, I shared the baby theory with my mom. After hearing it, she laughed, and that’s when I knew something was off about my answer.

  • A few years later, an older kid in the neighborhood told me the truth of it all.

  • And much to my surprise, it turns out the answer was hidden in the curse words that we commonly used.

  • Since then, nothing has shocked me more.

In fall 2017, Wo Shi Bai held his first solo exhibition in Shanghai where he met his online fans for the first time. “Maybe because everyone there was a fan of my comics, I felt they all had a few similar traits: they were delicate, shy, and quiet,” he says. Yet they may have even more in common with the blank character in his art. Maybe they too go to work by themselves, come home by themselves, eat takeout by themselves, read by themselves. Maybe they have also a pet at home and a fantasy world inside their heads. And maybe in Wo Shi Bai’s comics they find a resonance with their lives that they’ve long been missing.

在 2017 年秋天,我是白在上海举行了他的一次个人展览,在这个展览上,也是他第一次和互联网上的粉丝见面。“可能是因为喜欢我的这些漫画的缘故,所以感觉大家身上都有一种相似的特征:细腻,害羞,还有安静”。不过,他们和漫画故事里的那个“小白人”,也许真的有不少的相似性,也许他们也是一个人上班,一个人下班,一个人住,一个人吃便当,一个人看书,然后家里也有个小宠物,在脑海里有一个幻想的世界,而我是白的这些漫画,让他们找到了那种久违的共鸣。

  • 158 Days by Wo Shi Bai. Swipe to read.

  • After every shower, I have to wipe the floor dry.

  • My bathroom has a slanted floor, so a lot of the water ends up not going down the drain.

  • The carpenter didn’t realize this until after he finished laying all the floor tiles.

  • He said: (Sorry about that).

  • It takes me five minutes to dry the floor every single day.

  • Over the course of a year, that adds up to 76 hours.

  • Over 50 years, that adds up to 158 days.

  • 158 days…

  • In Interstellar, there was a planet where the entire surface was covered in shallow water.

  • If I had to wipe water off the floor without any sleep or rest for 158 days straight, I’d imagine the scene would look something like that.

  • (Drip drip)

  • This is some kind of punishment.

  • It’s a sentence passed down to me by that carpenter.

  • To be precise, it’s the result of him mentally checking out for a moment.

  • Some stray thought that distracted him.

  • (A-choo!)

Weibo: ~/WoShiBai
Douban: ~/WoShiBai
WeChat: WoShiBai


Contributor: Dawen Ding

微博: ~/WoShiBai
豆瓣: ~/WoShiBai
微信: WoShiBai


供稿人: Dawen Ding

Capturing Intimacy with No. 223

Beijing-based photographer No. 223 documents the people and relationships in the world around him through a lens of intimacy. His work, self-described as “free, spontaneous, unconventional, and unreasonable,” offers viewers a deeply personal look into his views on sexuality, the human body, and life in general.

While best known for his photography, No. 223 is also an avid author and independent publisher. Despite his versatility in mediums, his overall creative aspirations are one in the same. He tells us, “Sex is an essential part of life, so I try to depict as such in my works. It’s just like eating, sleeping, going out, and socializing. I just choose to record it objectively, not for the purpose of voyeurism or exposing secrets. I like the human body, so naturally, that means a lot of my works will be related to the human form.”



For personal projects, No. 223 often enlists friends as models. He’s found this approach to produce a much more organic and collaborative dynamic that allows everyone to be themselves. “The subjects in my photographs are often chosen subconsciously,” he shares of his intuitive approach. “For example, the first time that I meet somebody, I might have a strong desire to take their photo. On the other hand, when it comes to friends who I’ve known for a long time, I may not want to just casually take their photo. The action of photography comes instinctively. Some of my subjects will think that I’ve captured a sexier or more carefree version of their normal selves, while others will think that I made them look like a mess without proper styling, but to me, I feel like I’m just showing them in a natural state.”


Being that No. 223’s photography is so closely interlinked with his own life and interpersonal relationships, there are certain topics that he’s continuously inspired by and hopes to further explore in his work going forward. “What moves me the most is observing people as they slowly change over time,” No. 223 tells us. “Their skin, their gaze, their hair, the wrinkles around their eyes, their body, and so on. I wish I had the chance to capture these changes that I notice every time I see them.”


For No. 223, his creative objectives aren’t just about the superficial documentation of personal moments. The intimate nature of his work reflects his ambitions of understanding the notion of self. His photography is both passive observation and a form of self-expression. “Many of my works are about my personal journey and the things I’ve encountered in my daily life. My works that concern sexuality and the human form fall into the latter category, but it’s not that I’m focusing on sex or the human body, but rather, I see my work as being related to life and growth. Sex just happens to be a part of that.”

Ultimately, No. 223’s creativity is driven by a personal desire to better understand his own role in this world as well as the ever-changing relationship between humans and society.


Website:  linzhipeng223.com

Contributor: Chen Yuan

Image Courtesy of No.223


供稿人: Chen Yuan


10 Inspiring Chinese Photographers

Information overload in today’s media landscape is a real problem. The signal-to-noise ratio on all our social media feeds could be optimized. To help combat your “following” fatigue and filter through the noise, we’re releasing Neocha Roundups, a series of short-form articles with recommendations of Asia-based creatives whom we follow closely and think you should be keeping an eye on.

In the first installment of Neocha Roundups, we’ll be taking a look at the Instagram photography scene in our home turf of China. Instagram-savvy users might already be aware of several big-name Chinese photographers, such as Jennifer Bin, 5.12, hx1125, amongst others, who have all played a part in popularizing the app in the Middle Kingdom and amassed sizable followings in the process, but many more talented photographers still remain very much off the radar. To help introduce some of these hidden gems into your Instagram feeds, we’ve compiled a list of accounts that have inspired us lately.

“信息超载”是现代人在频繁接触媒体的生活中,常会面临到的困扰问题。社交媒体每天传递给我们大量信息,其中很多是不被需要的“噪音”。而这些“噪音”其实是可以被过滤、及优化的。为了帮助减少你成天接收这些“噪音”随之而来的疲劳,我们开启了新的企划单元――“Neocha 精选集”。这是一系列的短篇文章,向你推荐几位值得关注的亚洲创意人士 。

在 “Neocha 精选集”的第一篇,我们将目光放在 Instagram 上来自中国艺术家的摄影作品。常用 Instagram 的用户,可能已经注意到了好几位知名的中国摄影师,比如 Jennifer Bin5.12hx1125 等等。他们让 Instagram 普及到了更多中国用户,并在这个过程中获得了大量的粉丝关注。但还有更多有才华的摄影师,远在人们的视线之外。为了让你在 Instagram 上搜索到一些隐匿又有才的中国摄影师,我们列出了一批最近给我们以无数灵感启发 Instagram 摄影师账号。



Capturing moments of hilarity and the subtle interplays between environment and people, photographer Liu Tao‘s (@grinch0748) account offers a unique and whimsical look at life in Hefei. While his humor-filled work has garnered him a devoted fanbase on Chinese social media, his Instagram is an underappreciated treasure trove of street photography.

摄影师刘涛@grinch0748)的镜头往往会捕捉到欢闹的时刻,以及环境与人之间微妙的互动感,为观看合肥的日常生活提供了一个独特而又异想天开的角度。虽然他充满幽默的摄影作品,已经为他赢得了许多中国社交平台的忠实粉丝,但他的 Instagram 却是街头摄影的一个未被开发的宝库。



Already a well-established name in the Chinese photography scene, Luo Yang‘s (@luoyangphoto) Instagram account offers a refreshing perspective of femininity in an evolving China.

摄影师罗洋@luoyangphoto)的 Instagram 账号已经在中国摄影界名声显赫,它为发展中的中国提供了一个全新的女性视角。



Using a subdued palette of colors, Shanghai-based photographer @harry.lil channels a sense of calm and tranquility throughout his work. Primarily focused on portrait photography, his Instagram portrays young Chinese females with equal parts attitude and equal parts grace.

上海摄影师 @harry.lil  的摄影作品色调柔和,呈现出平静和安宁的感觉。他的摄影以肖像作品为主,在他镜头下的中国年轻女性,兼备个性态度与优雅魅力。



Often blurring the line between conceptual photography and fashion photography, Leslie Zhang‘s (@lesliezhang1992) Instagram is home to a quirky collection of colorful images that, at times, feel like scenes straight out of a Wes Anderson film.

摄影师张家诚@lesliezhang1992)的作品模糊了概念摄影和时尚摄影之间的界线,他的 Instagram 上展示了一系列独特的影像作品,色彩丰富又充满趣味。



While his account has accumulated an impressive following, @youknowcyc_ only skyrocketed in popularity over the past year. Comprised of neon-lit cityscapes and vertigo-inducing vantages, the Shanghai-based photographer’s account shows off various Asian metropolises in their full grandeur.

@youknowcyc_ 是这几位摄影师中粉丝数量最多的其中一位,但其中有一大批粉丝都是在过去一年间暴涨的。他的作品多为亚洲大都市中霓虹灯闪烁或是令人眩晕的城市景象。如果你喜欢这样的摄影风格,这位来自上海的摄影师绝对不容错过。



Cathy Liu’s (@lvlvlcy) Instagram account is a visual travel diary that takes viewers from the forests of Hokkaido to the alleyways of Morroco. Her account is a delightful recap of the beautiful architecture and stunning sights she’s stumbled across in her adventures across the world.

Cathy Liu (@lvlvlcy)的 Instagram 可说是一个视觉旅行日记,可以让关注者从北海道的森林一路“旅行”到摩洛哥的街头小巷。她的照片常常纪录下偶然发现的美丽建筑和绝妙景色,活泼轻巧地勾勒出她在环游世界的冒险之旅。



Photographer and co-founder of independent publishing studio Same Paper Xiaopeng Yuan (@xiaopeng_yuan) uses his Instagram to inject a healthy dose of surrealism into the mundanities of life in China.

摄影师兼独立出版工作室 Same Paper 的共同创办人袁小鹏(@xiaopeng_yuan),将他的 Instagram 作为中介,在中国平凡的世俗风景中注入了一剂超现实主义的新能量。



Coming from a videography background, He Xilin (@aero.h) offers his perspective of China via atmospheric, cinematic snaps that transports viewers into scenes reminiscent of director Wong Kar-wai’s work.

来自拍摄动态影像的背景,何西林 (@aero.h) 透过他独具氛围感、像电影一般的影像作品,透露了他对中国的看法。将观者直接带入画面中,让人联想到王家卫导演的作品。


Radiating a sense of tenderness and delicacy, Hangzhou-based photographer Li Hui’s (@huiuh_) Instagram features a collection of beautiful analog snapshots that explore intimacy, relationships, and vulnerability.

来自杭州的摄影师李晖@huiuh_)在 Instagram 收录了一系列作品,探索人与人之间亲密关系和脆弱性,展现了毫不掩饰的温柔美感 。



Based in Chongqing, photographer @by.harper takes to the skies to capture jaw-dropping aerial perspectives of the city. From crisscrossing highways to geometric building formations, his account shows off the many shapes and forms of China’s “mountain city.”

重庆摄影师 @by.harper 喜欢从高处捕捉城市中令人瞠目结舌的上空视角。从纵横交错的高速公路,到几何建筑形态,他的作品展示了中国“山城”的多种样貌。

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.




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.”



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.”



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.”



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。


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.


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.”


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

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


Contributor: Chen Yuan
Image Courtesy of AIKE DELLARCO



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



供稿人: Chen Yuan

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?”


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.


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.”


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.


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.”


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.


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)

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

酒仙桥路2号 中二街
798艺术区 D-06

Website: luyang.asia
Vimeo: ~/luyang


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

Website: luyang.asia


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。


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。



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。



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。



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。



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。


"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


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.”


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?”


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.”


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.”


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.”




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

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



网站: ~/TaoHui


供稿人: Chen Yuan