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Picturing Loneliness in Japan

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

Schoolgirl Nightmares

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?”


这个世界,终究是残酷的吧。

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。

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Contributor: Yang Yixuan


脸书:  ~/chardinchardin
Instagram: @chardinchardin

 

供稿人: Yang Yixuan

What Money Can’t Buy

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?


钱,也可以是一种艺术吗?

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.”


他总共游历过美国、英国、印度、越南、尼泊尔等等十八个国家,收集当地的纸钞,其余遥远国家的纸钞、或是不再发行的绝版纸钞就从网路上购买。之后将纸钞上的名人肖像创作成这些幽默的折纸或是拼贴作品。

至今,他已经创作超过六十种国家纸钞的折纸。而这一切是从何开始?“一开始我是受到别人类似的作品启发。对我来说,用钱折紙这个概念很惊人也很有趣,所以我也开始尝试折纸,发现我不需要任何练习,第一次就可以折得很好。我能用纸钞折出各种新的造型,久而久之,我就爱上折纸了。”

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”。

“折纸只是我作品中的一小部分。我更感兴趣的是通过折纸,去消减金钱的价值。每张纸钞原本都有各自的币值,但是当纸钞成为折纸,名人肖像的尊严和形象被抹去,你再也无法认出纸钞的原型时,它们的价值便不复存在了。”

 

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

Websiteyosuke89.wixsite.com

 

Contributor: Yang Yixuan


网站: yosuke89.wixsite.com

 

供稿人: Yang Yixuan

Au Naturel

“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

A Thousand Paper Cranes

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?


哪一刻,你觉得你长大了?

“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。

但经济滑铁卢刺激了两件事情。

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。

另一件事就是促使日本流行文化行业进入“黄金期”。人们对经济不抱希望,急需在情感上得到抚慰和娱乐。

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.”


这两个方面综合起来,越来越多富有不同个性的女性偶像成为渡边佳织一代的“青春记忆”。

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.


渡边佳织笔下的少女形象中,传统的外形符号似乎在和叛逆不羁的灵魂无休止地斗争、共处。在她的几张典型风格的作品中,日本传统文化里的“千纸鹤”元素反而为画面注入了灵动和不安的气息——仿佛是少女的灵魂,美丽、脆弱、飞翔、如影随形。

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。

这种表面的乖巧与内心的反叛之间的矛盾,充斥在日本女性的成长经验中。渡边佳织说:“我可能并不寄希望于男女能完全平等,但我可以在这种情况下努力活得自由和快乐。”哪怕在当下,呼吁女性权利的声音越来越高,但不平等依然存在。少女在挣扎与妥协中成长——传统遗留在她们身上,千纸鹤却不停地鸣。

“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.


“当我觉得日本姜变得好吃了,就是我觉得自己长大了的那一刻。”

少女的成长就好像吃姜,生脆、酸甜、辛辣。对于小孩子来说,口感太复杂了,远不如一颗糖甜得那么简单喜悦。

但是有一天,你忽然发现自己能接受这复杂,从这生命赋予的丰富层次中找到自己的满足——大概这就是长大成人的那一刻。

Instagram: @watanabe_kaori_

 

Contributor: Cheng Li


 Instagram: @watanabe_kaori_

 

供稿人: Cheng Li

The Old

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。

“如果我没有拍这张照片的话,我们就不会共度非常有趣的半个多小时。可惜的是,现在我再也没撞见过这样拉卷帘的瞬间,也没有再见过这位婆婆了。”

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.”


但是街上随处可见的老人,让人不得不对日本的高龄化现象萌生隐忧。照片中的老人们,难道一直离群索居、独自生活吗?他们真正的生活境遇又是如何呢?

“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。

“我经常拍摄的这些区域正在以惊人的速度发生变化,各处迷人的古老建筑正在被拆除。当然,这不仅仅是建筑物正在消失,还有曾经在其中居住的人。这也让我的摄影工作看起来更加紧迫,而且在某种程度上,显得更为重要。”

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

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.


经冢真代说灵感的来源最早是一只已经死去的狗,演变到现在的人形,成为这个若有所思、举止微妙的女孩。她就像演员一样,有不一样的装扮,穿梭在各种情节里。“我习惯把我内心深处各种情绪都交给她。虽然她们看起来没什么情感,其实我只是把情感都藏起来,尽量不去显现出来而已。”

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.


表面粗糙的纹路,让女孩多了饱经岁月的沧桑。这种自然、不经修饰的质地是经冢真代特别选择的。“材料一开始我尝试了很多种,最后用黏土,很喜欢它的纹路透露出满满生命感的感觉。”

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.”


至于她们头上那些异想天开的物品,实在让人没办法不去注意。这些物品有些没来由,纯粹好玩,有些则是为了配合品牌或展览所设计。这些东西不是没有功用,它们是帽子,某种意义上来说,作为一个分散观者注意力的工具。“我把人物形塑出来,就像是把我自己公开放在众人面前一样,有时候会觉得很没有安全感。所以我把一些东西放去头上,像戴帽子一样,把观众视线先引导到上面,这样第一眼就不会直视我本身。也许我还是不想让人一眼看穿吧。”

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

 

Contributor: Yang Yixuan


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

 

供稿人: Yang Yixuan

Danchi Dreams

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

Kyoushuu

Will Matsuda is a Japanese American photographer whose personal works are largely influenced by two seemingly unrelated topics: the beauty of nature and an eagerness to better understand his own mixed-racial identity. Following these thematics, his latest photo series, Kyoushuu, takes a look at Kyoto – the city where his parents met and lived – through atypical perspectives.


日裔美籍摄影师 Will Matsuda 的个人作品,灵感源于看似毫无关联的两方面:一个是来自于大自然的美景,另一个则来自于他对了解自身不同种族身份的渴望。他的最新摄影系列《Kyoushuu》也延续着同样的主题,并以独特的角度来定格京都——这也是他的父母相遇、生活的城市。

Sharing his experience of shooting the project, Matsuda tells us, “It rained nonstop for almost the entire week I was there. Almost all of these photos were taken in the last day and a half while I was in Kyoto, due to the fact that those were the hours where there wasn’t torrential rain. This definitely led to a kind of strange, dream-like quality to the photos I took while I was there.”


他与我们分享道:“我在那里的整个星期里,几乎都在下雨。整个系列里的大部分照片都是我在京都最后一天半的时间里拍摄的,因为只有在这些时间里是没有下暴雨的。也正因如此,最后拍摄出来的照片有了一种奇怪的、梦幻般的感觉。”

Matsuda cites the novels of Haruki Murakami as one of his influences: “There’s this sort of slow magical realism that creeps into some of these photos, and that’s definitely inspired by Murakami, or The Wind-Up Bird Chronicles in particular. There’s this great quote from the book that I think about a lot: ‘To know one’s own state is not a simple matter. One cannot look directly at one’s own face with one’s own eyes, for example. One has no choice but to look at one’s reflection in the mirror. Through experience, we come to believe that the image is correct, but that is all.'”


Matsuda 表示,村上春树的小说是他摄影创作的影响之一:“这其中有些照片,像是流露着一股缓慢的魔幻现实主义,这很显然是村上给我的启发,尤其是他的《奇鸟行状录》。这本书中有一句话经常让我思考:‘了解自身状况并非易事。比方说,人无法以自己的眼睛直接看自己的脸,只能借助镜子,看镜里的反映,而我们只是先验性地相信映在镜中的图像是正确的。’”

For Matsuda, photography has become a way for him to explore the notion of home, belonging, and heritage. He tells us, “I’m interested in the intersection of my Western gaze and my inherent Japanese-ness, which is familiar to anyone with a diasporic identity. I have an idea of Japan that is profoundly shaped by my socialization in the West through images and narratives about Japan in pop culture, from katakana text on seemingly every streetwear brand to the whitewashing of Hollywood. I hope to subvert the image of Japan that has been fed to me by tapping into something deeper, something within me. I find that photography is a really powerful tool to unveil my subconscious, and maybe even my own histories, to myself.”


Matsuda 认为,摄影是他了解家庭、归属感和文化传承概念的一种方式。他说:“其实我对自己身上的西方视角与日本文化内在的交融很感兴趣,这种交融对于任何在异国生活的人来说都并不陌生。我对日本的看法,很大程度上是受我在西方生活时那些流行文化中日本影像和描述的影响,从街头品牌上的片假名文字到好莱坞的电影等等。我希望能通过挖掘更深层次的东西,颠覆一直以来人们被灌输的对日本的印象。我觉得摄影是揭开自我潜意识、甚至了解自己过往很有用的工具。”

Website: willmatsuda.com
Instagram: @willfujiomatsuda

 

Contributor: George Zhi Zhao


网站: willmatsuda.com
Instagram: @willfujiomatsuda

 

供稿人: George Zhi Zhao

Facades

In both graphic design and photography, attention to composition and color are crucial in creating a visually engaging image. With these overlaps, it was only natural for Tokyo-based graphic designer Ka_nai to begin dabbling with photography. While he doesn’t consider himself a photographer, he’s created an ongoing photo series dedicated to the random walls and building facades that’s grabbed his attention over the years. His ever-growing image collection, uploaded on Instagram under the hashtag #ザ壁部 (meaning “The Wall Department” in English), is a fun showcase of how his two skill sets feed off one another. Since the idea’s inception in 2012, his photos have inspired many others to contribute to the hashtag, which now boasts over 75,000 posts from users all over the world.


无论是摄影还是平面设计, 构图和色彩都是决定视觉效果是否有吸引力的关键因素。而东京平面设计师 Ka_nai 正是出色运用这两种因素,以墙壁和建筑立面为素材,创作出一系列令人惊艳的摄影作品。这是他的一个长期项目,他将这一系列的摄影作品发表在Instagram 上,统一贴上了标签 #ザ壁部(意为“墙壁部门”)。多年来,许多人也受到了这个概念的灵感启发,一起来丰富这个标签。现在,Instagram 上一共有超过 7 万个标签为 #ザ壁部 的帖子,发帖用户遍布世界各地。

Ka_nai describes his foray into photography almost as if it were an accident. He tells us, “Soon after Instagram launched, I saw one of my friends using it and was inspired to try it out myself. At the time, it was just about following my close friends and them following me back. Many of them had beautifully curated feeds that focused on certain themes, such as landscape or pets, so I started thinking about if I could do something similar. I happened to have a photo of this interesting, but dilapidated, wall sitting on my camera roll so I decided to throw an Instagram filter on it and post it. When I saw that it started receiving positive feedback, I thought ‘This is it!'”


Ka_nai 从不以摄影师自称,他说自己开始接触摄影也是纯属意外。“Instagram 出现后不久,我看到一位朋友在玩,就想着也去玩玩。那时候,我的关注者都是一些好朋友。但是我的很多朋友都会精心按照特定主题来管理自己的账号,所以我开始考虑自己是不是也可以做类似的事情。我在自己拍的照片堆里偶然看到了一张照片,上面是一幢残旧的墙壁,我用 Instagram 滤镜处理了一下,就发上面去了。结果发现大家都挺喜欢这张照片的,我当时就想,‘这正是我要找的主题’!然后从那时候起,我就开始专注拍摄墙壁和建筑立面了。”

While many of Ka_nai’s images are simple snapshots of mundane settings, his keen sense of observation offers a refreshing perspective on the ordinary. Similar to his own work flow, he urges creatives to think outside of the box and explore concepts from different angles, no matter what medium or discipline they might be working in. “For me, I find that when looking for good shots, I might have to walk around and examine a building from different sides,” he says. “Usually, the most interesting ideas aren’t immediately obvious.”


虽然 Ka_nai 作品大多都是平凡日常的场景,但他以敏锐的观察,呈现出令人耳目一新的视角。他鼓励创意人跳出思维定式,无论是以什么媒介或在哪个领域创作,都应该从不同的角度去探索各种概念。“我发现,在拍摄的时候,最有趣的墙壁往往不是一眼就能看到的。有时候,在一幢建筑的背面,你会找到更有趣的画面。”

Instagram: @ka_nai

 

Contributor: David Yen


Instagram: @ka_nai

 

供稿人: David Yen

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