Tag Archives: manila

A Layered World 跃然纸上的记忆

April 12, 2019 2019年4月12日
Girl Talk (2019) 18 x 24 in / Pen and ink on tracing paper 《Girl Talk》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

On average, Filipina artist Lui Gonzales uses five layers of paper to create one work. She starts by tracing along the paper with a pen, rendering the likenesses of people and everyday objects in meticulous detail. Then, after layering one over the other, she systematically tears the tracing paper from top to bottom. The torn edges of the paper decorate the pieces with striking lines that twist and turn to form dynamic figures and shapes. The resulting work is a feast for the eyes, each layer beckoning the viewer to come and explore its depths.

平均下来,菲律宾艺术家 Lui Gonzales 会用五层纸来做一个作品。开始时,她会先用笔在纸上描画,画面细致入微地展现着人物和日常物品;然后再把一张张的画叠起来,有计划地从上到下把画撕下来。而这些撕下的纸,Lui 则会用醒目的线条来装饰它们,扭曲、旋转的线条,形成动态的图样。她的作品可说是一场视觉盛宴,每一层纸张都在召唤着观看者来探索它的深度。

Conversational (2019) 36 x 48 in / Pen and ink on tracing paper 《Conversational》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Visitors (2019) 36 x 48 in / Pen and ink on tracing paper 《Visitors》(2019) 91 x 122 厘米 / 笔墨、硫酸纸

Gonzales first encountered art as a child. “When I was younger, my father let us read a lot of art books,” she says. What started as a hobby soon developed into a passion. In 2006, she was accepted at the Philippine High School for the Arts and specialized in visual arts. She went on to attend the University of the Philippines-Diliman, graduating with a major in painting in 2015. Since then, she has held multiple exhibitions at galleries and art spaces both in the Philippines and abroad.

Lui 接触艺术是在她儿时,“当我还小的时候,我父亲就让我们读了很多艺术书籍。”她说。这一开始的爱好很快就发展成一种热爱,在 2006 年的时候,她前往菲律宾艺术高中(Philippine High School for the Arts)就读,主攻视觉艺术。2015 年毕业于菲律宾大学蒂利曼校区(University of the Philippines-Diliman)的绘画专业。自那以后,她在菲律宾和国外的画廊和艺术空间举办过多次展览。

Spectators (2019) 36 x 48 in / Pen and ink on tracing paper 《Spectators》(2019) 91 x 122 厘米 / 笔墨、硫酸纸
Big Sky Minds (2019) 24 x 36 in / Pen and ink on tracing paper 《Big Sky Minds》(2019) 61 x 91 厘米 / 笔墨、硫酸纸

Many of Gonzales’ works possess a distinct, personal touch. She describes the process of drawing on paper as “immediate and honest,” and in this regard, her art is a personal diary of sorts. It is a manifestation of the process of recalling and interpreting the objects, events, and scenarios she has witnessed. Memory, and the various ways in which it reveals itself, plays a central role in her art.

In her first solo exhibition titled Colorless Confetti, Gonzales deconstructed the process of remembering, imagining memories as multiple, fragmented layers that appear before the mind in no coherent order. Some remain concealed, while others are in full view. Tearing through the layers of paper is an act of destruction, but even when torn, the pieces of paper still hold value. They are recalled and remembered, and therefore, brought back to life.

Lui 的很多作品都有着她鲜明的个人风格。她把在纸上绘画的过程描述为“直接的、诚实的”,在这方面,她的作品是日记式的,是回忆和诠释她所目睹的对象、事件和情景的过程展现。记忆,以及它揭示自己的各种方式,在 Lui 的作品中有着举足轻重之地。

在她的首个个展“Colorless Confetti”中,Lui 解构了记忆的过程,把记忆想象成多重的、支离破碎的层次,这些层次以不连贯的顺序呈现出来。一些仍隐匿在暗处,而另一些却暴露于众目睽睽之下。撕开一层层的纸的行为是破坏的过程,但即使撕破了,这些纸片仍然具有价值。他们被回想起来,被记住,因此也重新展现了生命力。

For Safe Keeping (2019) Varied Sizes / Mixed media《Conversational》(2019) 尺寸可变 / 综合材料

Gonzales further expands on this concept in her latest solo exhibition Circa. Organized by Kaida Contemporary and currently on display at the ArtistSpace Gallery of the Ayala Museum in Makati, the new show likewise focuses on the fleeting nature of memory. Gonzales examines the accuracy of our recollections, questioning whether our mental manifestations mirror what is true and real. The exhibit brings together an assemblage of scenes and portraits, taken out of their original sequence, and restructured on paper.

Lui 在最近的个展“Circa”上,进一步扩展了这一概念。这次新展同样关注记忆的转瞬即逝的本质,由 Kaida Contemporary 组织,目前正在马卡蒂阿亚拉博物馆的 ArtistSpace 画廊展出。Lui 检查我们记忆的准确性,质疑我们的精神表现是否反映了真实。这次展览汇集了一组场景和肖像,从原来的记忆顺序中取出,并在纸上重新构造。

Hey, Andy (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Hey, Reg (2019) 24 x 18 in / Pen and ink on tracing paper 《Hey, Andy》(2019) 61 x 46 厘米 / 笔墨、硫酸纸
Dwelling (2019) 48 x 36 in / Pen and ink on tracing paper 《Dwelling》(2019) 122 x 92 厘米 / 笔墨、硫酸纸

Gonzales’s largest work in this series is titled Crowded. At 72 inches wide by 42 inches long, the artwork uses ten layers of paper. Similar to other works in this exhibit, Crowded is a moment frozen in time. It depicts a large group of people as they weave their way amongst one another. “I like it when people are brought together into one setting,” Gonzales says. “I like observing how they all interact with each other, even if these events never happened in the same timeline. In my mind, they all morph into one another.”

Lui 在这个系列中最大的作品叫做《Crowded》(《拥挤》)。作品宽 72 英寸,长 42 英寸,用了足足十层纸。和本次展览中的其他作品一样,《Crowded》是凝固在时间中的一个瞬间。它描绘了一大群人,他们在彼此编织着自己的路。“我喜欢把人们集中在一个环境里。”Lui 说,“我喜欢观察他们是如何互相影响的,即使这些事件从未发生在同一个时间线上。在我的脑海里,它们都变成了彼此。”

Crowded (2019) 42 x 72 in / Pen and ink on tracing paper《Crowded》(2019) 107 x 183 厘米 / 笔墨、硫酸纸

Memories are fragments: scraps and pieces that our minds bridge together; the results are convincing but often inaccurate versions of events. The portraits in Circa are similarly disjointed, with faces seemingly in motion and no fixed expression. Instead, they shift and take on different forms, revealing a variety of emotions all at once.


Hi Bessy (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bessy》(2019) 91 x 46 厘米 / 笔墨、硫酸纸
Hi Bert (2019) 36 x 24 in / Pen and ink on tracing paper 《Hi Bert》(2019) 91 x 46 厘米 / 笔墨、硫酸纸

In Latin, the word circa means “around” or “nearby,” and in English, it is used for approximations. This exhibit is exactly that—a study in approximations. Each of the finished works contains a world of its own. The characters silently play their parts, and each silhouette is a recreation of something that once existed, and now, through its passage in the depths of memory, has been altogether transformed into something new. Circa is Gonzales’s examination of memory’s fickle nature and the many ways we perceive and process our experiences. Truth blends with emotions, sensations, and even imagination, ultimately creating a past that is always changing.

在拉丁语中,“Circa”的意思是“在周围”(around),而在英语中,“around”又用来表示近似。这个展览就是一个关于“近似”的研究。每一副完成的作品都包含了一个属于自己的世界。那些人物无声地扮演他们的角色,每一个剪影都是对曾经存在的事物的再创造。而现在,通过它在记忆深处的通道,已经完全转变为某种新的东西。“Circa”是 Lui 对记忆变幻无常的本性、以及我们感知和处理经验的检查。真相与情感、感觉甚至和想象融合在一起,最终创造了一个不断变化的过去。

Guided (2019) 18 x 24 in / Pen and ink on tracing paper 《Guided》(2019) 46 x 61 厘米 / 笔墨、硫酸纸

Exhibition Dates: April 12, 2019 ~ April 27, 2019


Artist Space, Ground Level
Ayala Museum Annex
Makati Ave. (Corner of De La Rosa Street)
Metro Manila, Makati City


Like our stories? Follow us on Facebook and Instagram.


Instagram: @lui_gonzales


Contributor: Elle Lucena
Chinese Translation: Chen Yuan

活动名称: “Circa”
展览日期: 2019年4月12日——2019年4月27日


Makati Ave. (Corner of De La Rosa Street)
Artist Space 1F


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


Instagram: @lui_gonzales


供稿人: Elle Lucena
英译中: Chen Yuan

Conscientious Storytelling 一张照片,一种生活

February 27, 2019 2019年2月27日

It’s a rainy afternoon in Manila, and the few pedestrians who remain in the streets are moving along with hurried steps, desperate to get out of the downpour. Under the cover of a black umbrella, 27-year-old photographer Jilson Tiu is walking along at a much more leisurely pace, seemingly unfazed by the rain; this indifference towards the weather is made more apparent by the uncapped 70-200mm Canon lens on the DSLR loosely slung around his shoulder, gathering droplets of rain with every gust of wind. “Sometimes I wish my camera was as waterproof as me,” he chuckles as he wipes it with a shirt sleeve.

在马尼拉的一个下午,雨正淅淅沥沥地下。街上行人稀少,大都行色匆匆,着急地避开这场大雨。在一把黑色雨伞的庇护之下,27 岁的摄影师 Jilson Tiu 的步伐显得悠闲得多,似乎丝毫未受倾盆大雨的影响。一颗没有掩护的佳能 70-200 mm 镜头和单眼相机就这么挂在脖子上,随风刮来的雨水沿着镜头滴落,更衬托出他对雨天的毫不在意。“有时候,我真希望相机能和我一样防水。”他笑着说,随手用衬衫袖子擦拭相机。

Tiu is a street photographer and photojournalist who’s been covering stories across the Philippines since 2010. He’s worked with media outlets like CNN Philippines, the Financial Times, Esquire, and more. Today, he isn’t on assignment but seems no less purposeful as he makes his way through Tondo, one of the most densely populated parts of Manila. This district houses some of the city’s most derelict slums and is where Tiu was born and raised; it’s also become one of his favorite places to shoot street photography. “There’s so much going on and it’s challenging to frame the scenes around here,” he says, “I feel like my photography gets better every time I visit.”

Jilson Tiu 是一名街头摄影师和摄影记者,从 2010 年开始拍摄菲律宾各地的故事。他曾为多家媒体工作,包括菲律宾 CNN、《金融时报》(Financial Times)、《君子杂志》(Esquire) 等等。他今天没有工作任务在身,但也并非是漫不经心地闲晃在汤都区(Tondo)的街道上。汤都区是马尼拉人口最密集的地区之一,许多被社会所遗弃的贫民窟以此地为家。而这里,正是 Jilson Tiu 出生和成长的地方,最近则成为他最喜爱街拍的地点之一。“这里总是有很多有趣的事情在发生,找寻构图的过程也充满挑战。我觉得每次来这里,我的摄影技术都会进步。”

It’s not just technical skills that make Tiu such a brilliant street photographer, though—he’s been able to avoid a common pitfall of street photography: a lack of authenticity and connection. Although often unintentional, many street photographers falsely represent the individuals they’re capturing. They end up with images that offer a distorted view into the lives of people they know nothing about. And without a real connection between the subject and photographer, the resulting images lack crucial context. This means that the shots only feed into a self-serving narrative the photographer has dreamed up, one that’s completely detached from reality.

As a Manila native, Tiu has an insider perspective that imbues his work with an unmistakable sincerity and empathy. His images present the city as he knows it, a vibrant and beautiful metropolis teeming with untold stories.

作为街头摄影师,Jilson Tiu 的出色之处并不仅限于他的摄影技术。更重要的是,他成功避开了街头摄影一个常见的问题:缺乏真实性和连结性。很多街头摄影师常常会以错误的角度呈现他们的拍摄对象,以至于最终成果反映出的不过是自己一无所知的陌生人的生活切面。如果摄影师和拍摄对象之间不能产生真正的联系,那么也会使照片缺少重要的背景情境。意味着这样的创作,只是一个以自我为中心的叙事者的个人满足,是完全脱离现实的。

身为土生土长的马尼拉人,Jilson Tiu 能够从当事人的角度出发,这让他的作品充满一种无可比拟的真诚和同理心。他的街头摄影真切地呈现出他所了解的马尼拉,一个充满活力的美丽城市,包容着无数不为人知的故事。

Since Manila isn’t often seen in a positive light, his work is a breath of fresh air. The capital of the Philippines is often associated with trash-strewn streets, derelict slums, and in recent years, Duterte’s bloody, inhumane war on drugs. “There’s no denying that, it’s here,” Tiu says. “But there is so much life in Manila. It’s a place where both the positives and negatives of life intertwine, and I want to bring it all out through my photography. I want to change people’s view of Manila not by removing the true, negative aspects of the city but by showing the smiles and hope that coexist alongside these things.”

考虑到那些常和马尼拉联想在一起的负面形象,他的作品相当令人耳目一新。说起这座菲律宾首都城市,人们总会想到垃圾遍地的街道、废弃的贫民窟,以及近年来,因为杜特尔特所发起那场违背人道的毒品战争而成为的一处血腥战场。“这些都是不可否认的事实,确确实实发生着。”Jilson Tiu 说,“但是,在马尼拉有非常多样的生活,光明和黑暗在这里交织汇合。我希望通过自己的摄影,将这些不同面向都呈现出来。我想改变人们对马尼拉的看法,不是靠抹去那些负面事实,而是将与这些阴暗共存的希望和笑容展示出来。”

While Tiu enjoys capturing the city’s charms, his background in photojournalism means that he believes the good and the bad both deserve equal representation, In fact, capturing the ugly truths is often times of greater importance to him. “No matter if it’s the drug war, the pollution, or the city’s congested streets, there’s something to be learned,” he says. “These documentations can help show us the errors of our ways, and remind people—whether they be individuals, communities, or politicians—that we can do better.”

虽然 Jilson Tiu 喜欢捕捉这座城市的魅力,他的新闻摄影背景也使得他相信好的和坏的事实都应该获得平等的展现。对他而言,揭示丑陋的真相往往更具有显着的意义。“不论是毒品战争、污染、或城市拥挤的街道,都能让人们有所启示。”他说。“这些纪录可以帮助我们认识所犯下的错误,并提醒人们,不论是个人、团体或政治人物,我们都可以做得更好。”

As the day winds down and the rain subsides, Tiu begins packing up his camera. Just a few hours on the streets has filled his CF card with hundreds of images. While he’d be happy if he ended up with a few shots he liked from the day, it’s not a big deal if he doesn’t. Rather than being driven by a need to “get the shot” at all times, he finds that it can be more meaningful to just appreciate moments for what they are. Grinning, he says, “Sometimes the greatest scenes are the ones you see when you don’t have your camera.”

随着狂风逐渐平息,雨水也逐渐消退,Jilson Tiu 收起了他的相机。在街上游荡的几个小时已经让他的相机记忆卡多了数百张图片。如果有拍到让自己满意的照片,当然很值得高兴。但即使没有,也无所谓。他并不是怀着“拍到好照片”的意图在拍摄的,他觉得单纯去感受那些时刻的存在更耐人寻味。他咧嘴笑道:“最好的画面往往出现在你亲眼看到,但手边却没有相机的时候。”

Website: www.jilsontiu.com
Instagram: @jilson.tiu


Contributor: David Yen
Chinese Translation: Olivia Li

网站: www.jilsontiu.com
Instagram: @jilson.tiu


供稿人David Yen
英译中: Olivia Li

A Short Tour of Manila

March 3, 2016 2016年3月3日

In her photography, Catherine Ramos (aka Kleng Ramos) likes to capture the life, charm, energy and the colors of the everyday scenarios that she encounters in the streets of the Philippines, or wherever she goes to travel. She first started shooting in high school with a simple point and shoot digital camera, and ever since then she gets a thrill in capturing things that are rarely seen.

Sa kanyang potograpya, gusto ni Catherine Ramos (na kilala rin bilang Kleng Ramos) na kumuha ng larawan ng buhay, alindog, enerhiya at  mga kulay ng araw-araw na senaryo na nakakasalubong niya sa mga lansangan ng Pilipinas, o saan man siya maglakbay. Nagsimula siyang kumuha ng larawan noong siya ay nasa mataas na paaralan na may simple point at shoot digital camera, at simula noon ay nakakuha siya ng kagalakan sa pagkuha ng larawan ng mga bagay na pambihirang makita.

When asked about Manila, her home city, Catherine tells us, “What I like the most in this city is that there’s always something going on here. This city is busy, yet so lively.” For her, there are always new hang-out places, dining and drinking places pop up constantly, and there never seem to be a shortage of events. The locals in Manila also really know how to have fun and be hospitable.

Nang tanungin siya tungkol sa Maynila na kanyang tahanang lungsod, ikinuwento sa amin ni Catherine na, “Ang pinakagusto ko sa lungsod na ito ay laging mayroong kakaiba dito. Ang lungsod na ito ay abala ngunit buhay na buhay.” Para sa kanya, laging maraming lugar na pasyalan, kainan at inumang lugar na patuloy na lumalabas, at waring hindi kailanman nauubusan ng mga pagdiriwang. Alam din ng mga tao sa Maynila kung paano magsaya at maging magiliw sa panauhin.

Catherine comes from San Juan City, Metro Manila. This is the city that she loves the most and is most familiar with. This part of Manila offers many little surprises to visitors, from cool neighborhood street art to delicious food served in its small local restaurants. While not exactly a pedestrian city, she tells us Manila is rapidly making improvements to make the city more walkable and safer.

Si Catherine ay nagmula sa Lungsod ng San Juan, Kalakhang Maynila. Ito ang lungsod na pinaka gustong-gusto niya at pinaka pamilyar sa kanya. Ang bahagi ng Maynilang ito ay nag-aalok ng maraming maliliit na sorpresa sa mga bisita mula sa magagandang sining sa kalsada ng lugar hanggang sa masasarap na inihahaing pagkain sa maliliit na lokal na restawran dito. Habang hindi pa eksaktong lungsod ng mga taong naglalakad, sinabi niya na mabilis na nagkakaroon ng mga pagbabago ang Maynila para malakaran nang ligtas ang lungsod.

“If you are into thrift shops or you would like to shop for vintage and artsy stuff,” Catherine tells us, “you can go to Cubao X, which is located in Cubao-Quezon City, or the Future Market in Manila.” If you want to check it out, Catherine advises that Future Market only happens on Saturdays. At the thrift stores in Cubao X, you can find used clothing, shoes, vintage memorabilias, old cameras, watches, furnitures, vinyl records, books and much more.

“Kung ikaw ay mahilig mamili sa mga ukay-ukay o gusto mong mamili ng antigo at masining na kagamitan,” sinabi sa amin ni Catherine na, “maaari kang magpunta sa Cubao X, na matatagpuan sa Cubao-Lungsod ng Quezon, o sa Future Market sa Maynila.” Kung gusto mong mamili, ipinapayo ni Catherine na ang Future Market  ay nagaganap lamang tuwing Sabado. Sa mga ukay-ukay sa Cubao X, makikita mo ang mga nagamit nang kasuotan, sapatos, antigong mga palamuti, lumang kamera, relo, muwebles, vinyl records, aklat at marami pang iba.

If you want to eat and have a good variety of choices, Catherine recommends that you try the Greenfield Weekend Market on Shaw Boulevard in Mandaluyong City. “A lot of food stalls are set up there during the weekends. Apart from that, artwork and vintage finds could also be bought there,” she says. Sometimes, it is possible to catch some musical performances from local bands while enjoying your food at this park.

Kung gusto mong kumain at magkaroon ng maraming pagpipilian, inirerekomenda ni Catherine na subukan mo ang Greenfield Weekend Market sa Shaw Boulevard sa Lungsod ng Mandaluyong. “Maraming puwesto ng pagkain doon tuwing huling linggo. Bukod doon, mabibili rin ang mga gawang-sining at antigo,” kuwento niya. Minsan, maaaring makakita ng ilang musikang pagtatanghal mula sa mga lokal na banda habang kumakain sa parkeng ito.

“If you would like to watch local bands, be it mainstream or indie,” Catherine says, “I suggest that you go to Saguijo and B-Side which are located in Makati City, or Route 196 which is located in Quezon City.” For contemporary art, Catherine highly recommends the Pinto Art Museum in Antipolo City, Rizal. While it is actually just outside of Manila, the museum is a very famous destination for art enthusiasts.

“Kung gusto mong manood ng mga lokal na banda, mapa- mainstream o indie,” kuwento ni Catherine, “Iminumungkahi ko na magpunta ka sa Saguijo at B-Side na matatagpuan sa Lungsod ng Makati, o Route 196 na matatagpuan sa Lungsod ng Quezon.”Para sa mga napapanahong sining, higit na inirerekomenda ni Catherine ang Pinto Art Museum sa Lungsod ng Antipolo sa Rizal. Habang sa katunayan, ito ay nasa labas ng Maynila, ang museo ay napakasikat na destinasyon para sa mga tagahanga ng sining.

“Nowadays,” Catherine says, “people here in Manila are starting to favor more local cafes, even though famous coffee chains could be found in almost every street – especially around the busy areas of Manila.” To try the local brews, she recommends checking out Local Edition, Yardstick and Commune, which are located in Makati City.

“Sa kasalukuyan,” kuwento ni Catherine, “ang mga tao dito sa Maynila ay nagsisimulang higit na paboran ang mga lokal na kapehan, kahit na ang mga kilalang tindahan ng kape ay matatagpuan sa halos lahat ng kalsada– lalo na sa buong abalang lugar ng Maynila.” Para subukan ang lokal na paggawa ng kape, inirekomenda niya na magpunta sa Local Edition, Yardstick at Commune, na matatagpuan sa Lungsod ng Makati.

As a street photographer, Ramos has come across a lot of different encounters while out shooting. There was one time when she approached a homeless woman to ask if she could take a portrait of her. “Despite the hardships that the woman obviously had been through, I was amazed how excited and happy she was when I asked her to be photographed,” Catherine says, “That encounter made me realize a lot of things and I can say that it was the most memorable experience I had so far while shooting the streets of Manila.”

Bilang litratista ng lansangan, naranasan ni Ramos ang maraming iba’t ibang hamon habang kumukuha ng larawan. Isang beses nang lumapit siya sa babaeng walang tahanan para hilingin kung maaari siyang makakuha ng kanyang litrato. “Sa kabila ng kahirapan na halatang pinagdaraanan ng babae, humanga ako kung gaano siya kasabik at kasaya nang hilingin ko na kunan siya ng litrato,” kuwento ni Catherine, “Ang karanasang iyon ay nagmulat sa akin sa maraming bagay at masasabi ko na ito ang pinaka hindi malilimutang karanasan na mayroon ako habang kumukuha ng larawan sa mga lansangan ng Maynila.”

Website: triplekleng.blogspot.com
VSCO Gridvsco.co/klengramos


Contributor: Leon Yan
Photographer: Kleng Ramos

Website: triplekleng.blogspot.com
VSCO Grid: vsco.co/klengramos


Kontribyutor: Leon Yan
Litratista: Kleng Ramos