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Tokyo Blockparty 午夜暗巷里的法外狂欢

December 28, 2018 2018年12月28日

Around midnight, a black gear van pulls up in the laneway behind Shibuya Nonbei Yokocho, one of Tokyo’s most famous drinking alleys. The doors open and members of the Ill Effects crew pour out. They begin setting up a makeshift DJ booth and sound system in the narrow street, but there isn’t much urgency to their work: a few of them are just milling about, drinking, smoking, and shooting the breeze. However, as soon as the speakers are plugged in, DJ Vulgar steps behind the decks and sets the party in the motion.

People dance, passersby gawk, and others hang back sipping convenience store-bought booze as a crowd begins to gather in the street. Vulgar is chain smoking cigarettes as he mixes together electro bangers with hip-hop beats. As the set ramps up in intensity, the crowd’s rhythmic swaying and head bopping soon escalate into dancing frenzies. But just as the street party goes into full swing, the police turn up.

午夜时分,一辆黑色的挡风车停在东京涩谷最著名的酒巷 Nonbei Yokocho 后面的车道上。门开了,Ill Effects 的成员们涌了出来。他们不慌不忙地在狭窄的街道上搭建临时 DJ 棚和音响设备,团队里一些人还会到处走走逛逛,喝酒、抽烟、吹吹风。而当音响一插上电源,DJ Vulgar 就上台正式“开趴”。

当人群开始逐渐在大街上聚集,里面的人跳着舞,外面的路人盯着看,另外还有一些就喝着从便利商店买来的酒。Vulgar 一根接一根地抽着烟,并把电炮(electro bangers)和嘻哈节奏混在一起。随着人流越来越密集,场地也越来越紧张,观众的节奏也越来越有节奏地摇摆着,很快就变成了疯舞。但正当街头派对如火如荼的时候,警察来了。

The music cuts and Vulgar bolts around the corner, leaving his crew to deal with the authorities. He occasionally peeks around the bend to see how negotiations are going. Five minutes later, the cops leave, and Vulgar saunters back to the decks triumphantly. He flicks his long aqua-green hair and starts again. A fresh crowd begins to gather, replacing those that left during the short interruption. This time the show runs a little longer, 20 minutes, enough for about four songs, three cigarettes, and a freestyle cypher from a few Ill Effects rappers. Again, Vulgar spots the approaching authorities and ducks out.

音乐声戛然而止,Vulgar 迅速逃到拐角处,留下他的队员与当局交涉,而他时不时偷看一下谈判进行得如何。五分钟后,警察走了 Vulgar 得意地回到台上。他拨了拨他的水绿色长发,又开始了新一轮演奏。新一批观众聚集起来,取代了刚才中断时离开的那些人。这次演出时间长了一点,20 分钟,足足放了四首歌、抽了三支香烟,还来了一段《Ill Effects》的即兴说唱(freestyle)。但又一次,Vulgar 发现了警察局的人,赶紧避开了。

This is how a typical Ill Effects party goes down at their unofficial home at the back of Shibuya Nonbei Yokocho. A three-minute stroll from the Shibuya Crossing, behind a lantern-illuminated alley of bars, and tucked between two department stores, it’s a patch of rare inner-Tokyo space that can fit a small crowd, but it’s not ideal for avoiding the attention of the law.

It’s a mystery as to why Vulgar and his crew doesn’t get into more trouble considering that Japan only lifted its infamous Fueiho law—a piece of legislation that literally outlawed dancing—around three years ago. The 70-year-old statue came to be during World War II as a way for officials to keep control of dance halls, which were often used as prostitution hubs. For owners to run a nightclub, they were forced to apply for a “dancing license.” Although throughout the second half of the 20th century the police generally turned a blind eye to the regulation, there was always a risk that bored officers would arbitrarily enforce the rule if they felt like it.

这是典型的Ill Effects”团队如何在涉谷 Nonbei Yokocho 后巷,他们的“后院”举行的派对模式。从涩谷十字路口出发,在灯火通明的小巷后,夹在两家百货公司之间——这是一隅难得一见的东京腹地,可以容纳一小撮人,但它并不是块合适的“法外之地”。

在大约三年前,Vulgar 和他的组员们还没陷入大堆麻烦中,因为日本解除了臭名昭著的“风营法”(Fueiho,日本娱乐产业管理促进法),这项法律几乎禁止跳舞。这个有着 70 年历史的“法律”出现在二战期间,其时作为官员们控制舞厅的一种方式,而那时候的舞厅常常被当作卖淫中心。很多老板为了经营一家夜店,不得不申请跳舞执照。尽管在整个 20 世纪后半叶,日本警察通常对这一规定视而不见,但风险仍在:只要那些无聊的警察如果愿意的话,舞厅就会受到严厉的处罚。

For most streetside performers, police attention would be enough to call it a night, but the game of cat-and-mouse feels like part of the show for Vulgar. He proudly declares himself to be a chinpira (meaning “delinquent”), and in some ways, it feels like the boys in blue are an accessory to this image. “It’s just their job,” he says with unexpected empathy. “I know some of the young ones are Ill Effects fans too.”

对于大多数街头表演者来说,吸引到警察的注意力就够了,会适时结束了,但这种猫捉老鼠的游戏对 Vulgar 来说就像是节目的一部分一样,他自豪地宣称自己是个 Chinpira(意思是罪犯)。从某些方面来说,这个蓝头发的男孩正是他们组合形象的门面。这只是他们(警察)的工作,他带着意想不到的同理心说道。我知道有些年轻警察也是 Ill Effects 的粉丝。

 “Keep it real” are the only three words on Vulgar’s Facebook and Instagram bio. It’s also his e-mail sign-off. These three simple words have become a motto of sorts for him and his crew. For cynics, the proliferation of this slogan has made it devoid of all its meaning over the years. You’re more likely to see the words scrawled across a poorly designed t-shirt than associated with anything of any real substance. But the earnestness with which the Ill Effects crew embrace the terms brings it a renewed authenticity.

With Vulgar’s style, charisma, and talent, he could easily be making good money playing glitzy clubs in Roppongi to crowds of rich gaijins and businessmen drunk off bottle-service champagne. He’s instead sipping on convenience-store coffee and playing to a motley crew of listeners in a back alley. That seems as “real” as it gets.

“I wanted to play in a space where everyone can participate,” he explains. “Some people don’t like clubs, but they still like music. I’d say some of my most dedicated fans are homeless.”

“Keep it real”是 Vulgar 的脸书和 Instagram 简介上仅有的一句话。这也是他的电子邮件签名。这三个简单的单词已经成了他和他的组员的座右铭。而对愤世嫉俗的人来说,多年来这句话的泛滥,已经使它失去了所有的意义。你更有可能看到在一件设计糟糕的 T 恤上看到这潦草的字迹,和任何真正的物质都无关。但是,Ill Effects 这班人却马郑重其事地看待这句话,给它以新的“真实性”。

凭借着 Vulgar 的风格、魅力和才华,他可以很容易地在六本木市(Roppongi)的豪华夜店里赚大钱,去博得大批有钱的老外、能喝整瓶香槟酒的商人的喜好。但他却在喝便利店里的咖啡,给一群杂七杂八的听众在后巷演奏。这看上去再真实不过。


Oceans and decades away from tonight’s Shibuya street party, hip-hop was born. Like the thick layers of spray paint, poster glue, and inner-city grime that formed on the well-trodden streets of New York City, the late 1970s saw the genre emerge as an accumulation of influences. Built from the past, but something undeniably of the present.

“Fancy clubs aren’t the birthplace of hip-hop and dance music,” Vulgar says.

Real hip-hop attitude is synonymous with the grimy underbelly of the city. True hip-hop doesn’t care about the gold chains around your neck or your pricey limited-editions Jordans.

Vulgar’s Nicki Minaj-dubstep-EDM mashups may not be the same as Tupac’s politically charged anthems on All Eyez On Me, but the ideology is the same—a defiant stand against an, at times archaic, legal system, and a fight for unity in a world that loves to build social barriers.

This past summer marked the third year of illegal pop-up block parties for the crew, and it looks like it’s here to stay. “This adventure is my way of pursuing my love of street-centric hip-hop,” says Vulgar. “This is the dream. It’s not a bridge to something else. This is it. I am living the goal.”

今夜的涩谷街头派对和早先年代相比,已经沧海桑田,嘻哈音乐诞生了。就像在纽约,从 20 世纪 70 年代末开始的一层层厚重的喷漆、海报胶水和城市里的泥污,这逐渐累积成为一种影响后人的风格。一切建立在过去的基础上,但不可否认的是,它们是现代的产物。

高档夜店不是嘻哈和舞蹈音乐的发源地。” Vulgar 说。


Vulgar 的 Nicki Minaj 回响贝斯(dubstep)和电子舞曲混搭可能和 Tupac 在《All Eyez on Me》上发布的充满政治意味的作品不同,但其意识形态是一样的——在一个喜欢制造社会障碍的世界里,它是对一种过时的法律制度的反抗,是为团结而作的斗争。

刚过去的这个夏天,是组员们连续三年非法演出的 pop-up 派对,看似是要在这留下了。这次冒险是我追求的、对以街头为中心的嘻哈音乐的热爱的方式。俗话说。这就是我的梦想,不是通向其他事物的桥梁。它就是梦想。我活在我的目标里。

Instagram: @vulgar5111
Facebook: ~/illeffects2015


Contributor: Lucy Dayman
Photographer: Benjamin Hung

Instagram: @vulgar5111
脸书: ~/illeffects2015


供稿人: Lucy Dayman
摄影师: Benjamin Hung

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Land of 8,000,000 Spirits 为什么日本有八百万个神?

October 23, 2018 2018年10月23日

From Kazuki Okuda‘s pen comes a crocodile peeking out among the branches of an ancient tree and a giant graceful dragonfly perched on a girl’s chest. Other illustrations feature golden carp, green frogs, and emerald-headed mallards. We’re far from cities of concrete: this is a story of humans and nature.

Okuda’s works are exquisite and expansive, like a cicada’s delicately veined wings that, though small, create a resounding chorus from high in the trees. His works teem with all sorts of tiny creatures, and viewed from a distance, they form an epic, cinematic composition.



Okuda was born in Nara Prefecture and now lives in Kyoto. “The place I grew up has a lot of nature near where people live,” he says. In his view Japan is a mystical country, and the close relationship of nature and culture has given rise to a unique spiritual concept called yaoyorozu no kami (八百万の神, literally “eight million spirits”). Spirits, or kami, live in all things and are part of nature’s diversity. “While living there [in Nara], nature gave me the impression of both extreme charm and extreme fear,” he recalls.

这个奥田一生,生于日本奈良县,目前生活在京都,一个“被大自然环抱着,比邻人群之地”。在他眼里,日本是一个神秘的国家,自然和人文交织混合,因而也有一种独特的神学理论,“八百万の神”,即这个神灵 Kami 存在于一切事物里,囊括在自然万物中。“因而在奈良县生活,大自然给我留下的印象是既迷人又恐惧的。” 他说。

Insects feature prominently in Okuda’s art. These organisms have a particularly complex body structure that nevertheless looks very simple. One reason he draws them, he says, is that “although they’re beautiful, they cause fear. They simultaneously give rise to various conflicting emotions. They are living creatures like human beings, but they’re more a part of nature than we are, and unlike us, they are akin to the spirits. Using them, I can express the idea of yaoyorozu no kami and the various feelings I get from nature.”

奥田一生的画里常常出现昆虫。这种生物拥有非常复杂的身体结构,但看起来又非常简单。“(我画昆虫)其中很重要的一个原因是它们的视觉呈现。它们又美又让人心生恐惧,这也给了我很多矛盾的情感——昆虫是和人类一样的生命体,但它们融入自然的程度却超过了我们。并且,与我们不同的是,昆虫与出现在神性里的圣灵更相似。所以我借用它们的身形,以表达 Kami 的思想和来自大自然的各种情感。”

Nature is an important motif in Okuda’s work, and he shows this by insistently drawing living creatures. But he doesn’t want his paintings to show the splendor of nature alone—culture also occupies an important place. “I draw insects and living things with human beings to represent the wonders of culture and the wonders of nature,” he says.

“Insects and living creatures are an important channel through which we connect with nature. And this is an important theme,” he says. “I want people who see my pictures to be interested in nature and living things. And I also want them to have an adventure in the world inside the painting—an adventure at the intersection of culture and nature. something that’s fun.”



Website: isseinoissyou.michikusa.jp

Contributor: Chen Yuan

网址: isseinoissyou.michikusa.jp
Behance: ~/isseitakied303

供稿人: Chen Yuan

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Picturing Loneliness in Japan

October 8, 2018 2018年10月8日

Even though everyone experiences it in their lives, loneliness remains stigmatized. Acknowledging it can feel shameful, like an admission of weakness or vulnerability. But thinking about loneliness in a different light, and fully embracing it, can be liberating. Photographer Gili Benita recently traveled to Japan, where a glimpse into the country’s solitary life transformed his negative outlook: he realized he wasn’t alone in his loneliness—and he could even grow to enjoy it.

所有人都曾经历过孤独。可人们却觉得孤独是可耻的,承认孤独,就等同于承认自己的弱点或缺陷。不如,换一种角度来思考孤独呢?拥抱孤独,也是在解放自己。摄影师 Gili Benita 最近前往日本,在那里,他所瞥见的各种孤独生活,改变了他对孤独的负面想法:他意识到,孤独者并非他一个,他甚至学会去享受孤独。

Benita’s newfound understanding inspired his photo series Kodoku (Japanese for “loneliness”).  While the series is filled with snapshots of strangers, the project was a way for Benita to look inward and understand himself. Each passerby represents Benita’s own solitude: a single figure in the distance strolling along sandy dunes with the vast ocean spreading out before him; a man enjoying the pleasant weather, reading and lounging in the park by himself; a single beam of light illuminating the face of a woman with her eyes closed, as if savoring the shadows that seem to be swallowing her. In each image, Benita removes the melancholy associations of being alone, substituting a sense of freedom, serenity, and empowerment.

Gili 的新发现激发了他创作《Kodoku》(日语意为“孤独”)摄影系列。虽说系列中他所拍摄的都是陌生人,但这个项目也是 Gili 自我反思与了解自己的一种方式。照片中的每位陌生人都折射出 Gili 自己内心的孤独:一抹剪影,在远处沙丘上漫步,他面前是无垠大海;一个男子,独自在公园里读书和闲逛,享受着宜人天气;黑暗中的一束光,照在一名女子的脸上,而她正闭着眼,像是在细细品味这即将把她吞没的阴影。在这些照片中,Gili 抛弃掉孤独一贯所伴随的忧郁情绪,取而代之呈现出自由、安祥和静默的能量。

“This project is really important for me, because it allowed me to reconcile one of my biggest issues in life,” Benita shares. “These photos allowed me to finally have an honest conversation with myself.”

Rather than avoiding solitude, Benita now welcomes it. He now understands loneliness to be a natural part of human existence and believes that once a person accepts this, they can begin to appreciate its beauty.

“这个项目对我来说非常重要,因为它帮我克服了在生活中面临的一个最大的问题。” Gili 说,“这些照片让我终于能和自己进行了一次坦诚的交谈。”

现在,Gili 不再逃避孤独,转而去拥抱它。他明白,孤独是人类存在的一部分,如果你能坦然接受它,就可以开始欣赏到它的美。

Website: www.gilibenita.com
Instagram: @gilibenita


Contributor: David Yen

网站: www.gilibenita.com
Instagram: @gilibenita


供稿人: David Yen

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Schoolgirl Nightmares 女孩们,这个世界终究是残酷的

September 26, 2018 2018年9月26日

The world can be a cruel place.

But in it, Japanese artist Kazuhiro Hori sees young girls as the quintessential embodiment of innocence and purity. Channeling this outlook, his illustrations depict nightmarish worlds populated by rosy-cheeked schoolgirls in distress. The cake frosting has turned into a strong adhesive, gluing the girls in place like mouse traps; pools of strawberry jam puddle up underneath them, vibrant like freshly spilled blood; and possessed dolls claw at them, eyes gleaming with malicious intent. Hori’s illustrations, while steeped in a sense of horror, beckons viewers to look on in disbelief and ask, “What exactly is happening to these girls?”


在日本画家堀一浩(Kazuhiro Hori)的眼里,女孩是一如既往地天真烂漫,她们有着稍泛红晕的稚嫩脸庞,身穿象征纯洁的高校制服,但迎接她们的却不是一个单纯美好的世界。奶油蛋糕变成邪恶兹生的温床,草莓果酱流淌成鲜血,一个一个被赋予了生命的绒毛玩偶,伺机而动,贪婪地向女孩伸出魔爪。他的画作让人感到不寒而栗,甚至不忍去直视。这些女孩,到底发生了什么事?

“I work in an art school filled with 18- to 20-year-old girls,” Hori explains. “So from my perspective as a male, it looks like these girls live in a colorful, carefree world of cuteness and fun. They’re surrounded by their favorite food, music, manga, and friends. But the truth is, they experience a lot of worry and anxiety. A vague sense of unease towards the future awaits them. And unfortunately, their dream world is going to be replaced by the cruelness of real-life society.”

“我在一所学校工作,这里的学生大多是十八到二十岁、正在学习艺术的女孩。就我一个男性的眼光,这些女学生活在一个可爱、充满欢乐、色彩斑斓的世界里,被喜欢的食物、音乐、漫画书和朋友围绕着。但事实上,她们也有很多烦恼和忧虑,一股关于未来的隐约不安感也如影随形地相伴。很不幸的,将要取代她们所想的美好世界的,是一个残酷的现实社会。” 堀一浩这样解释道他的创作动机。

“I don’t think the real world is only filled with bad things,” he clarifies. “I’m just tapping into my personal feelings of different situations and observations, and then turning them into drawings.”

Growing up, many young girls will eventually step into a world inconsistent with how they might’ve imagined it in their youth, a place that’s perhaps not as bright or kind as they originally envisioned. Hori’s work—while cynical and distrustful—is simply his way of bidding farewell to the innocence of youth, a sendoff for the girls who sooner or later will be confronted with the unsympathetic realities of life.

“我不认为外面的世界是全然的坏。我只是提炼出我的感受,把它们画出来而已。” 日月星移,女孩总有一天要进入一个与她们想像不同的世界,也许是一个光明渐失、不再充满善意的地方。而堀一浩的画作带着一点悲观和警世的意味,不过是一场目送,眼看这些女孩向真实人生起程罢了。

Instagram: @chardinchardin


Contributor: Yang Yixuan

脸书:  ~/chardinchardin
Instagram: @chardinchardin


供稿人: Yang Yixuan

What Money Can’t Buy

August 16, 2018 2018年8月16日
Money Soldiers

Can money be a kind of art?

Everyone knows what paper money looks like, but not everyone’s observed it closely. For Japanese origami artist Yosuke Hasegawa, whose imagination borders on madness, banknotes are worth more than their face value. Bills from different countries have different designs that reflect their history and culture,  but most feature a portrait of a famous historical figure. Yet what if those figures could cast off their stolid, decades-old appearance?


来自日本的折纸艺术家长谷川洋介(Yosuke Hasegawa)对于纸钞这个每个人都习以为常、却不曾仔细观察过的日常用品,怀抱着几近疯狂的想像,对他来说,纸钞承载的不单单只有金钱的重量而已。各国纸钞因应各地历史和文化有着不同的设计,最普遍的是印有当地伟大历史人物的肖像。如果,这些名人能够摆脱百年来一如既往的严肃样貌呢?

Lincoln Cup (USA)
Lincoln Ninja (USA)
From Mongolia
From India
From Japan

Hasegawa has traveled to eighteen countries, including the US, the UK, India, Vietnam, and Nepal, and he’s collected money from all of them. Banknotes from more distant countries, or those that have been discontinued, he buys on the internet. Then he uses the portrait on the bill to make playful origami or collage pieces.

So far he’s made origami works with banknotes from 60 countries. How did he start doing all this? “At first, I took inspiration from another people’s money origami. Using money was very shocking and interesting for me, so just I tried to fold some. And I found out that I could do it perfectly on the first try, even without practice,” he says. “I made something new every time. And I couldn’t stop folding money.”



Party Queen (UK)
Jackson Clown (USA)
From Japan

“What I keep in mind when I fold origami is that the edge and folding lines should be sharp and crisp. Image, nuance, and balance are important, as is how it fits with the portrait,” he explains. “Traditional Japanese origami is mathematics, but my money origami is kind of freestyle folding.”

“在折纸过程中,我经常面临的挑战是如何让肖像清楚地展示,同时折出锋利的边缘和干净的收边。构图、平衡、微妙的细节之处,它们如何与人像契合,是我折纸最重视的部分。” 他进一步解释,“传袭于日本传统的折纸艺术,这是一种与数学原理相近,需要精密计算的艺术。但我折纸的时候更倾向于自由发挥。”

Einstein on the Street
Elizabeth on the Street

In Hasegawa’s hands, money becomes like a kind of art. He sees it simply as a medium, dismissing any thought of its conventional worth and endowing it with a new value.

“Origami is only part of my money works. I’m more interested in the demolition and rebirth of the value of money,” he says. “Each banknote has a value, but after it becomes origami, maybe you can no longer recognize that value.”

在长谷川洋介的手上,钱俨然成为一种艺术。他将之视为一种单纯的素材,脱去普遍 “价格” 的思考,再赋予新的 “价值”。



Mao Flaming Star
Nobody Recognizes
Chase Your Dreams
Landscape of the Money World
Money 911 Landscape
Delusion Landscape of Money



Contributor: Yang Yixuan

网站: yosuke89.wixsite.com


供稿人: Yang Yixuan

Au Naturel

July 12, 2018 2018年7月12日

“To see a World in a Grain of Sand / and a Heaven in a Wild Flower”: the plant art of Raku Inoue calls to mind William Blake’s “Auguries of Innocence,” finding countless worlds in each meticulously arranged insect.

Born in Japan and based in Canada, Raku Inoue, one of the founders of Reikan Apparel, is a multimedia artist who uses materials scavenged from the great outdoors to create elaborate works of art. He collects flowers, twigs, and leaves—which are then trimmed and layered—to arrange colorful 3-D sculptures of familiar insect forms. Each lifelike piece showcases his masterful artisanal skills. Yet more than a vessel of self-expression, his work is a way of paying homage to the intricacies of Mother Nature and sharing that with every attentive viewer.

如果说一花一世界,那么在 Raku Inoue 井上罗来 的手中,一虫能代表着大千世界。

目前为品牌 Reikan Apparel 的主创者之一的 Raku Inoue,生于日本,长于加拿大,他惯以大自然随处可得的花草枝桠作为媒介,再把这些细枝末节拼接成昆虫的模样,堆叠的叶片让昆虫的身体变得饱满、立体且五彩斑斓,既显得良工巧匠,又浑然天成。这不仅仅是创意的表达,Raku Inoue 的作品更包含着对自然万物的细腻感受,并传递给每一个悉心的观者。

Behance: ~/RakuInoue
Instagram: @reikan_creations

Contributor:  Chen Yuan

Behance: ~/RakuInoue
Instagram: @reikan_creations


供稿人:  Chen Yuan

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A Thousand Paper Cranes

June 11, 2018 2018年6月11日

Can you pinpoint the exact moment when you became an adult?

Painter Kaori Watanabe says, for her, it was “when Japanese ginger first tasted good.”

Born in 1984 in Shizuoka, Watanabe is a graduate of the Kyoto Saga University of Arts. She creates elegant paintings of young women with flowing hair and porcelain skin in traditional Japanese kimonos. While beautiful, the body language and demeanors of Watanabe’s characters give glimpses of doubt, a silent internal struggle. But what are these characters struggling against? What are their aspirations?


“当我觉得日本姜变得好吃了。”渡边佳织(Kaori Watanabe)说。

渡边佳织于 1984 年出生于日本静冈,毕业于京都嵯峨艺术大学。她画中的少女让人印象深刻。在形象上,长发、和服、富士山、白白净净的脸庞,就像是从谷崎润一郎的《细雪》中走出来“雪子”;然而在肢体语言和面部表情上,那些沉默和倔强显得暧昧而充满意味——女孩们想要挣脱——挣脱什么?飞向什么?

When Watanabe was still a child in the 1980s and 1990s, Japan experienced severe economic turmoil.

But this period of strife led to two pivotal cultural shifts in the country.

First, it led Japanese women to begin joining the workforce en masse, furthering the cause of feminism. In 1985, the government enacted the “Gender Equality Employment Act” to protect women from gender discrimination in the workplace. 

Second, it ushered in the “Golden Age” of Japanese pop culture, as people lost hope in the economy and urgently sought emotional solace and entertainment. 

20 世纪八九十年代,也就是渡边佳织的少女时期,日本经历了严重的经济动荡。


一件事是更多的女性主动或被动地涌入社会寻求工作,日本女性主义在那个时期得以高度发展。1985 年,日本颁布了《男女雇佣均等法》,为女性在就业中遇到的性别歧视提供法律保护。


With the rise of feminism and growth of the entertainment industry, a new wave of strong female characters—both real and fictional—would emerge as iconic figures in Japanese pop culture.

As a teenager Watanabe fell in love with art and punk rock.“The three things that defined my youth were MTV, the singer Jun Togawa, and the painter Kajiwara Hisako,” she says. “After we got MTV, I became obsessed with it. I spent all my free time glued to the set. Jun Togawa was a singer in the 80s — she was totally punk. Kajiwara Hisako was a painter from Osaka who worked in a traditional Japanese style, and I was really into her work. I loved punk rock, but back then I couldn’t find anyone who wanted to form a band, so I wrote poems to express my emotions. Even today I still include small poems on some of my paintings.”


在渡边佳织的青少年时期,就爱上了朋克和艺术。“要说我青春期的三个关键词,就是 MTV、户川纯、梶原緋佐子 。自从我们家装上 MTV 以后,我就迷上了它,一有空就看;户川纯是 80 年代很火的一个朋克风格的创作女歌手;梶原緋佐子是我很喜欢的以日本传统风格为主的京都女画家。我很喜欢朋克乐,但那时我找不到和我一起组乐队的朋友,所以我就通过写诗来表达我的情感。现在我仍然会在一些画上写诗。”

In Watanabe’s female figures, traditional symbolic forms and a rebellious, unconstrained spirit appear side by side, in a state of constant struggle. Some of her typical paintings feature Japan’s traditional “thousand paper cranes,” which give the work a sense of restlessness and anxiety—as though the cranes were the young women’s souls, flying away one after the other in their beauty and their fragility.


While the thousand paper cranes that populate her work are deliberate, Watanabe is unable to explain their precise meaning. “At times, I suppose they’re symbolic of certain emotions. Or maybe they’re a nod to the spirits in Japanese folk tales that can take on people’s souls, as in the novel Onmyōji: the cranes would be either shikigami, which are spirits, or shikifuda, which are paper puppets that house spirits.” By including these inanimate yet mysterious elements in her figure paintings, she blurs the lines between fiction and reality, between the ancient and the contemporary.

The friction between surface cuteness and inner rebelliousness reflects the experience of growing up as a woman in Japan. “I don’t hope for complete gender equality, but in the current situation I can still strive to live a happier and freer life,” says Watanabe. Feminist voices are making themselves heard more loudly than ever, but gender inequality is still very much present, and young women grow up in struggle and compromise. They’re expected to carry on a tradition, but the thousand paper cranes still cry out.

画上这些千纸鹤,渡边佳织当然是用意的,却说不清明确的理由——“它象征着某种情感,亦或像是那种日本民间神话中可以摄人心魂的神灵,就像是《阴阳师》中阴阳师所役使的灵体 Shikigami,或是一种寄居在纸制人偶中的叫做 Shikifuda 的灵体。”渡边佳织将这些看起来没有生命却极具神秘感的元素融入她的人物绘画中,现实与虚构、古代与当下的界限就这样被打破了。


“The moment Japanese ginger first tasted good—that’s when I knew I’d grown up,” Watanabe says.

For many young women, growing up is like ginger: tangy, tart, spicy, sweet. For children, the flavor is too complex, worlds away from the straightforward sweetness of candy.

But one day you suddenly find you appreciate this complexity and can take satisfaction in the multilayered bounty life offers. Maybe that’s the moment when you grow up.




Instagram: @watanabe_kaori_


Contributor: Cheng Li

 Instagram: @watanabe_kaori_


供稿人: Cheng Li

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The Old

May 28, 2018 2018年5月28日

According to the most recent statistics, as of October 2017, 27.7% of Japan’s population, or around 35 million people, are 65 or older. While Japan’s rapidly aging population has long been an issue for the country, the numbers are still shocking.

Born in Manchester, England, photographer Lee Chapman has lived in Japan for over two decades. His photo series The Old turns his lens onto Japan’s aging society. They still stagger along on traffic-clogged thoroughfares and eke out a living in alleyway shops.

最新统计显示,截至 2017 年 10 月,日本 65 岁以上老年人口为 3515.2 万人,占总人口的 27.7%。虽说对日本老龄化社会所面临的诸般问题早有耳闻,但真正看到数据时,却依然显得触目惊心。

出生于英国曼彻斯特的摄影师 Lee Chapman,已经在日本生活了二十多个年头,他的这个摄影系列《The Old》,正把镜头聚焦于在日本生活的垂垂老者──车水马龙的大路上,他们依然蹒跚地走着;沿街的小店里,他们依然勉力维持着生计。

“I was initially fascinated by Tokyo’s older areas and districts,” Chapman says. “These neighborhoods often have large elderly populations, so a series of photos featuring them just gradually built up.”

Almost none of the individuals featured in this series were deliberately chosen – most were just chance encounters. “They are mostly all people I spotted on the street, in bars, or in restaurants,” he says. “People that to me at least are interesting, and people whose faces, or the situation I photographed them in, seemed to tell a story.”

“我是先为东京较古老的城区所吸引,而这些地方往往聚集着大量的老年人口,因此一系列以他们为特色的照片才逐渐建立起来。” Chapman 说。

所以镜头里的老人们绝大多数都是 Lee Chapman 在街上随机遇到的,而并非经过层层挑选的拍摄对象,“他们基本上都是我在街上、酒吧或餐厅看到的人。他们是对我而言至少有意思的人。他们的脸上,或者我拍下他们的那刻情景里,似乎都在讲述一个故事。”

One particular photograph that’s engraved in Chapman’s memory is his shot of a silver-haired woman rolling up metal shutters.

“I initially saw only her hands and feet, and then as her face appeared, I quickly got the shot,” he says with a grin. “But the main reason it’s one of my favorites is that when she saw me standing there, she immediately – and rather forcefully – commandeered me into helping her . . . After opening it, she invited me inside to chat with her.”

最让 Lee Chapman 感到动容的一张照片故事,是这个拉卷帘门的老婆婆。

“这是我很满意的一张照片。她站在卷帘门背后,起初我只看到她的手和脚,当卷帘门缓缓上升,她的脸最终出现的时候,我当即按下了快门。” Chapman 说,“但我最喜欢这张照片的主要原因之一,是她看到我站在那里,她立即,甚至是不容分说地,请我帮她拉开卷帘。然后老婆婆还邀请我进屋聊聊天。”

She ended up becoming just about the only person in the series Chapman would spend time with. Chatting with her, he learned that this was her former store, but as age began taking its toll, she closed down the shop and converted it into a living space.

“It was a very interesting half an hour or so that I wouldn’t have had without taking that photograph,” he says. “It’s also even more poignant now as I’ve never seen the shutters raised since, let alone seen the lady herself.”

这次经历几乎算是 Chapman 在拍摄这一系列中唯一与之“共度时光”的老人了。聊天里,Chapman 得知照片里拍的是老婆婆从前开的小店,但因为她年事已高,疲于经营,现在这里只算是她的住所,早已不作商铺。


With the sheer amount of elderly citizens in modern Japan, many have voiced concern for their well-being. Must they live the rest of their lives alone? What are the realities of their living situations?

“The lady who I talked with was living by herself and was clearly very lonely,” Chapman notes. “Her kids didn’t live nearby, and she couldn’t get out much, a situation that, given Japan’s aging population, is sadly only going to get more common.”


“就我之前提到的那位拉卷帘门的老太太来看,她一个人生活,显然很孤独。她的孩子不住在附近,她也无法独自出门。” Chapman 说,“鉴于日本人口老龄化的情况,很遗憾这样的事只会变得更加普遍。”

In the middle of the fast-paced city, the old get by at their own inevitably slower rhythm. Leading slow lifestyles, the aging population of Japan can struggle to find belonging in the rapidly developing metropolis. Chapman says that this series has helped him come to terms with the impermanent nature of the world around him.

He tells us, “These areas I often shoot in are changing at an alarming rate and fascinating old buildings are being demolished everywhere. Of course, it’s not just the buildings that are disappearing, but also the people who once inhabited them. This element also makes my work seem more pressing, and in some small way, more important,” he says.

在快速发展的城市夹缝中,老人们用自己缓慢而不得已的节奏生存着。因此拍摄这个系列,让 Chapman 更加意识到了周围世界的无常性。


Website: leechapman.photos
Instagram: @tokyotimes_lee


Contributor: Chen Yuan

网站: leechapman.photos
Instagram: @tokyotimes_lee


供稿人: Chen Yuan

Self-Portraits in Clay

May 22, 2018 2018年5月22日

Masayo Keizuka, who lives in Sapporo, makes clay sculptures with an almost magical therapeutic effect: spend a while looking at them and you’ll come away with a deep sense of calm. These crafted figurines all have the same bobbed hair, the same long neck, the same sunken shoulders. Asked who the character is supposed to be, Keizuka readily replies, “It’s me.”

住在日本札幌的雕塑艺术家 経冢真代,她的雕塑作品有种神奇的疗愈作用,看着久一点,可以感受到一股深深的平静力量。这些被捏造出来的小生命看起来是同一个人,鲍伯短发、倾斜的肩膀、长长的脖子,问到她们的身份,经种真代毫不掩饰地回答 “她就是我。”

Keizuka says her earliest inspiration came from a pet dog who passed away ago. Later she moved on to human shapes, and eventually settled on this pensive, delicate little girl who, like an actor, is constantly trying on new costumes and stepping into new storylines. “I pour everything I’m feeling into her. She may not look like she has any emotions, but really I just hide them and try not to let them show,” she explains.


A rough surface gives the figures a worldly or even world-weary air. Keizuka specifically chose this natural, unpolished texture. “I tried out a lot of different materials, but in the end I went with clay. I really like how its grain gives the sculptures the sense of being fully alive,” she says.


Perched on each figure’s head is an object or animal that’s whimsical and impossible to ignore. Some of these are random or just for fun, while others are designed for a specific brand or exhibit. Keizuka describes these items as hats, a way of diverting the viewer’s attention. “When I shape these characters, it’s as though I’m putting myself on display in front of a crowd. Sometimes it makes me feel quite vulnerable,” she explains. “I add something to the figure’s head, as if they were wearing a hat. It draws the viewer’s attention away, so they’re not just looking at me at first glance. Maybe I’d rather not have people see through me.”


Website: www.masayokeizuka.com
Instagram: @keizuka masayo


Contributor: Yang Yixuan

网站: www.masayokeizuka.com
Instagram: @keizuka masayo


供稿人: Yang Yixuan

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Danchi Dreams

April 2, 2018 2018年4月2日
Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.

DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.

“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.

从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”

Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”

Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.

《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo


Contributor: George Zhi Zhao

网站: danchi-dreams.com
Instagram: @cbje_tokyo


供稿人: George Zhi Zhao

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