Tag Archives: philippines

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


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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


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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

Taking It to the Streets 如果墙会说话

February 13, 2019 2019年2月13日

The sun shines brightly in a cloudless, blue sky while the sound of waves crash on a nearby beach. We’re in Liwa, a surfer community in the Philippines, and since it’s a weekday the town is mostly deserted, other than a few locals lounging in the shade watching Archie Oclos paint his newest mural.

Despite the sleepy setting, Oclos isn’t here on vacation—he’s on a mission. He defines himself as a provocateur, using art as a medium to broadcast discontent and raise awareness of social issues. And it’s a life that has repercussions. In a country that doesn’t tolerate dissent well, his murals have resulted in violence against him and threats to his family. But that’s only inspired him to keep working.

晴空万里,艳阳高挂,海浪拍击着附近的沙滩。这里是里瓦 (Liwa),菲律宾的一个冲浪目的地,因为是工作日,镇上一片冷清,只有几个当地人在树荫下看着 Archie Oclos 画着他的最新壁画作品。

尽管这样的环境令人昏昏欲睡,但 Oclos 不是来这里度假的,他有任务在身。他说自己是煽动者,以艺术为媒介,宣扬各种对社会问题的不满,提高人们的意识。在这个不欢迎异见的国家,他的生活自然不可能舒坦。因为创作壁画,他曾招来暴力对待,连他的家人也受到了威胁。但是,这只能进一步激励他去创作。

The profile of an indigenous character fills the center of the Liwa wall, rendered in a black silhouette with ochre line work, his bow and arrow stretching from the ground all the way to the two story roof. The character is a member of the Itas, considered to be the first inhabitants of Zambales, the province where Liwa is located. Stretching across the background in sea blue are rows of Baybayin calligraphy, a pre-colonial writing system that was used across the entire island nation at one point. A smaller line  in the upper left hand side, written in Tagalog, reads “You fight for the land and take good care of it.”

Oclos’s paintings generally focus on Filipino farmers and indigenous people. “They are the minority groups in our society,” he explains. “They are the most oppressed by military and the state forces, and there are lots of stories from the rural areas that need to be told.” A good example of the issues that he works on can be found in an installation at a sugar plantation called the Hacienda Luisita. It depicts a farmer hanging on a cross. The plantation, partially owned by the family of late former president Benigno Aquino III, has been dogged over the years with accusations of murder, land theft, and appalling conditions for its workers.

在里瓦一堵墙壁上,一个土著人物的轮廓填满了墙壁中央。以赭色的线稿描画,黑色的轮廓勾勒,他的弓箭从地面一直延伸至两层楼的屋顶。这个土著人物的原型是Itas族人,据说是里瓦所处的三描礼示省 (Zambales) 的第一批居民。横跨背景的是一行行海蓝色的比比贤文字(Baybayin),这是前殖民时代曾经在整个岛国使用过的文字。在左上方,有一排较小的加禄语写着“你要为你的土地斗争,并照料好这片土地。”

Oclos 的作品画的主要都是菲律宾农民和土著人民。他解释道:“他们是我们社会的少数群体,是受军事和国家势力欺压最严重的群体。在农村有很多需要讲述的故事。”在名为 Luisita(路易斯塔庄园)的甘蔗种植园,摆放着他的一个装置艺术作品,很好地体现了他所要表达的问题。这件作品描述的是一个农民挂在十字架上的情景。这片种植园的主人之一是已故前总统阿基诺三世的家族。多年来这里一直笼罩在谋杀、盗窃土地、剥削工人的指责阴影中。

Oclos comes from a family of farmers, and his parents migrated to Manila when he was nine years old. While his mother gave up farming to become a school teacher and worked for less than minimum wage, his father couldn’t find work, and they weren’t able to escape poverty. “We moved around Manila a lot,” the painter recounts. “Surviving on a day-to-day basis was  hard. There were times we went hungry, and sometimes we had only one meal of fish and rice per day.”

He wanted to be an artist since he was a little kid drawing dinosaurs and cartoons, but his parents pushed him to become a doctor or a lawyer. “They didn’t support my art because of the stereotype that artists don’t make money, that it’s just a hobby.” Although he studied hard and got a scholarship to a science high school, the bug never left him and when he left for college at age 16, he decided to study art.His fraternity helped him get another scholarship to study for free, and he supported himself by working as a photographer’s assistant.

After graduation he started working in video games. He taught himself digital painting and sent a portfolio to an online job posting, becoming a concept designer for EA Games and Disney. It wasn’t satisfying work though, and he found himself asking, “What is the purpose of art during trying times?”

Oclos 出身于一个农民家庭,9岁的时候随父母移居马尼拉。虽然他的母亲离开了农田,成为了一名学校教师,薪水低于最低工资但父亲找不到工作,生活比较贫困。“我们在马尼拉经常要搬家。”这名画家回忆道,“这样难以为继的生活很艰苦。我们常常要挨饿,有时候一天也只能吃上一顿饭,只有鱼和米饭。


毕业后,他进入视频游戏行业工作。他自学数码绘画,后来又将作品集发给一个在线招聘的帖子,然后就成为了美国艺电公司 (EA Games) 和迪斯尼 (Disney) 的概念设计师。但是,这仍然不是他想要的工作。他问自己,“在艰难的时候,艺术的作用是什么?”

In high school he used to draw political cartoons, and during college he was part of a protest art group. So once he tired of the video game world, he went straight into political street art. Almost immediately he caught the attention of the military. As part of a 2015 event held by Food Not Bombs, an organization that gives out free food to the poor, he painted a mural of an old woman with a crown of thorns made of bullets. It was accompanied by the words, “Stop Lumad Killings,” a phrase that was trending on Twitter, sparked by a spate of murders that year of tribal leaders of the Lumad people. The Lumad are the indigenous majority in the Philippines, located mainly in Mindanao, an island at the southern end of the country. Some have accused the military of supporting the group that killed the leaders as part of a campaign to clear the land for corporations. Today, the Lumad face continued oppression, and Mindanao is currently under martial law.

高中的时候,他常常画一些政治漫画,到了大学期间,他又加入了一个抗议艺术团体。所以每当他对视频游戏世界感到厌倦时,他就会马上投身政治街头艺术。但紧接着他就引起了军方的注意。2015 年,他加入了“要食物不要炸弹反战团体” (Food Not Bombs) 组织的一次活动。这个团体常常给穷人派发免费食物。在这次活动中,他画了一个年迈的女人,头上戴着用子弹制成的荆棘冠冕。旁边写着一句话:“Stop Lumad Killing” (停止在卢马德的杀戮),这是当时上了 Twitter趋势的标签,指的是当年接连发生的针对卢马德部落领袖的谋杀事件。卢马德是菲律宾国内的主要土著部落,主要位于南部的棉兰老岛。有人指责军方,称他们是谋杀者背后的支持力量,目的是给大集团企业清除障碍。今天,卢马德依然要面对持续不断的压迫,棉兰老岛目前也处于戒严。

Early one morning a short while later,  someone in plain clothes approached Oclos on his way to work and put him in a headlock, choking him. After wrestling for a few moments, the man let him go. “I could tell he was military because of his hair cut, his muscles, and the way he talked. There were three or four of them, and the others were guarding him,” Oclos says. The man told him he knew who he was and where he lived. “Then he gave me a brown envelope containing pictures of my girlfriend, who is now my wife, and a lot of my relatives: my grandparents, uncles, parents—even the kids, my cousins.”

It backfired, though, and rather than scare him off, it motivated him to paint even more: “It made me see the power of street art. Simple, two-dimensional art with no sound or moving images can still impact the system. It’s a way to speak up.”

Oclos 在上班途中突然被一个身穿便服的陌生男子用手卡住脖子,让他难以呼吸。争斗了几分钟后,那名陌生男子就放了他走。“我知道他是军队的人,他的发型、肌肉和说话的方式让我确信这一点。他们有三四个人,其他人就在旁边帮他守着。” Oclos 说道。那个男人说知道他是谁,也知道他住的地方。“然后,他给了我一个棕色信封,里面是我当时的女朋友,也是我现在的妻子的照片,还有我很多亲人的照片:我的爷爷奶奶、叔叔、父母,甚至还有小孩,我的表兄弟。”


Recently, Oclos created his biggest political work to date, tackling the subject of extra-judicial killings here. After winning a Thirteen Artists award from the Cultural Center of the Philippines, one of the nation’s highest recognitions in the arts, he painted a mural on one of their outdoor walls. It depicted a dead body, rendered in black lines on a white background. He says the more than 20,000 strokes that make up the piece represent the amount of people estimated to have been killed in the country’s drug war led by the president, Rodrigo Duterte.

近日,Oclos 创造了他至今最大幅的政治主题作品,主题是当地法外处决的问题,并获得了菲律宾文化中心颁发的 Thirteen Artists 大奖——菲律宾艺术界最高奖项之一。随后,他又在一幢户外墙上绘画了一幅壁画作品,用黑色线条在白色背景上画了一具尸体。他说,这幅作品共画了2万多笔,代表了人们所估计在该国毒品战争中被杀害的人的数量这场毒品战争是由菲律宾总统罗德里戈·达特 (Rodrigo Duterte) 所发起的。

While taking a break from painting the mural, an elderly woman approached Oclos, saying that the piece was inappropriate, that it was overly negative. “I tried to convince her that we should see the face of death in order to appreciate the value of life,” Oclos argues. “Nowadays killing is normalized, which conditions people into thinking it’s okay to kill people. But it’s not.”

休息的时候,一位年迈的妇女上前跟Oclos说画这样的画不合适,太过消极了。“我试图说服她,我们应该直面死亡,才能体会生命的价值。” Oclos解释道,“如今杀戮被常规化,让人们慢慢对杀戮这个问题麻木起来。但这是不对的。”

Instagram: @tatak_a


Contributor: Mike Steyels
Photographer: Ed Enclona

Chinese Translation: Olivia Li
Additional Images Courtesy of Archie Oclos

Instagram: @tatak_a


供稿人: Mike Steyels
摄影师: Ed Enclona
英译中: 李秋群
附加图片由 Archie Oclos 提供

The Lokal Lifestyle

October 17, 2018 2018年10月17日

Poblacion is a study in contrasts. The neighborhood—Manila’s latest creative center of gravity—is a chaotic mix of high-rise hotels, open prostitution, innovative nightlife, and prolific eateries. Lokal, a street art-inspired hostel, sits comfortably in the middle of all this, with the red light district on one side and glitzy high rises on the other, unconcerned with either extreme. Its liberal attitude and live-and-let-live philosophy is what makes this such an appealing place for artists and travelers. And Lokal aims to play host to both.

Poblacion 是一个拥有多重面目的区域,这个社区既是马尼拉最新的创意中心,也是荟集高层酒店、色情场所、热闹的夜生活和众多餐厅的大杂烩之地。Lokal 则是一家以街头艺术为灵感的旅店,它舒适地坐落在这一切的中心地带,一边是红灯区,另一边则高楼林立,但这都与它毫不相干。它自由开放的态度和互不干涉的人生哲学,使它成为艺术家和旅行者都有相当吸引力的地方。而 Lokal 的目标正是招待好这两拨人马。

The street-level entrance, an alleyway with a row of graffiti-covered walls and a candy-cane floor, calls to mind a carnival ride. Featuring the work of Filipino artists like Apok, Distort Monsters, and Chase, the corridor is visible from the busy sidewalk, drawing in passersby and rewarding them with an eclectic mix of art not found anywhere else.

街道的入口,有一排满墙涂鸦的小巷和一条红白相间的走廊,让人想起游乐园的狂欢。走廊上有菲律宾艺术家的作品,如《Apok》、《扭曲怪物》(Distort Monsters)和《追逐》(Chase)。这些作品从繁忙的人行道上就可以看到,用来吸引过路人,并以其他地方看不到的各种融合艺术来使他们一饱眼福。

Lokal’s third-floor lobby greets visitors with a large mural, the centerpiece of the hostel, painted by Egg Fiasco, Manila’s most internationally recognized street artist. A host of other works cover the hallways, like the letter art of notorious graffiti writer Nuno and the politically charged paintings of Ang Gerilya. There are 15 rooms here, ranging from single and double private rooms to dormitories for four to six people, with a total capacity of about 50. Each room features its own artwork as well.

Lokal 的三楼大厅以一幅巨大的墙绘迎接游客,这幅墙绘是旅社的中心建筑,作画者是马尼拉最负盛名的街头艺术家 Egg Fiasco。而其他的一些作品覆盖了走廊,比如臭名昭著的涂鸦作家 Nuno 的书信艺术和政治色彩浓厚的 Ang Gerilya 的绘画。这里有 15 个房间,有单人间、双人间、有 4 至 6 人的青年宿舍,总共可容纳约 50 人。并且,每个房间都有自己的艺术作品。

Don Angelo Bautista, the owner, says he was inspired by Sydney’s Kings Cross district, which revealed the possibilities that street art can offer a neighborhood. “There are about 20 hostels there,” he says. “Backpackers were exploring and taking pictures with the street art in the background. So I realized if I had art in my hostel’s rooms, they would take pics in front of that too and tag it. It’s a natural marketing tool.”

“Plus, I knew that if I hung art on the walls, people would snatch it. But if we painted right onto the walls, no one could take it,” he adds with a sly smile. “Most accommodations are known for pilferage.”

店主 Don Angelo Bautista 说,他受到了悉尼国王十字区的启发——它向人展示了街头艺术可以为社区提供的种种可能性。“那里大约有 20 家旅社。”他说。“背包客正在探索和拍摄以街头艺术为背景的照片。所以我意识到,如果我在旅社的房间里有艺术品,他们也会在前面拍照并贴上标签。这是一种自然营销手段。”


His inspiration for the hostel was much more than practical, however: “When you get into business without passion or creativity, you won’t be able to bring out your full potential. It’s a back and forth transaction.”

In his travels, Bautista has noticed that street artists are often used for commercial gain. He didn’t want to be a part of that cycle, bringing some in to help promote the neighborhood and then abandoning them. “I’ve seen a lot of street artists when traveling around the world, and I’ve learned they need to be protected,” he explains. Nearly all the art on the walls is Filipino. It’s an important point to him: his hostel is a way to connect with the local culture—hence the name—and shine a light on artists from home. “I want the locals to get a chance, the same way I got a chance to run the hostel.”  He envisions the hostel as a node for artists to take advantage of, whether simply as a place to paint safely, to stay when visiting the area, or a place to throw events.


Don 在旅行中注意到,街头艺术家常常被用于商业目的。他不想成为这个循环的一部分,不想先请一些人来帮助推广这社区,然后再抛弃他们。“我在周游世界的时候看到过很多街头艺术家,我知道他们需要被保护。”他解释道。墙上的几乎所有艺术品都是菲律宾的。对他来说,这一点很重要:他的旅社是一种与当地文化联系的方式——也是这个旅店名字 Local 的来源(Lokal,音同 Local,意为“当地的”)——并且照亮了来自家乡的艺术家。“我希望当地人能有机会,就像我有机会经营招待所一样。”他把旅社想象成艺术家们可以利用的一个地点,不管是作为一个安全的绘画场所、还是作为参观该地区时的停留场所,或者是一个举办活动的场所。

Climbing the staircase to the treehouse-like rooftop reveals even more murals. A half dozen paintings grace the top of the building itself, and several more from across Poblacion are visible from this vantage point. “None of these murals were here before Lokal,” says Bautista, waving his arm at the surrounding buildings. “If you don’t have street art, then your neighborhood lacks character and color. Businesses that work with these artists should remember that without their talent, a wall is just a wall.”

爬楼梯到树屋状的屋顶,会发现更多的墙绘。五六幅油画装点着旅馆的墙壁,从这个有利的位置俯瞰,还能看到更多的画。“这些墙绘在洛卡尔之前都没有,” Don 一边说,一边向周围的建筑挥动手臂。“如果没有街头艺术的话,那么这个社区就缺乏个性和色彩。和这些艺术家一起工作的企业应该牢牢记住,倘若没有他们的才能,一堵墙就只是一堵墙。”

Instagram: @lokalhostel


Contributor: Mike Steyels
Photographer: Jilson Tiu

网站: lokalhostel.com
Instagram: @lokalhostel


供稿人: Mike Steyels
摄影师: Jilson Tiu


A Light to Resolve All Darkness

March 21, 2017 2017年3月21日

Low Leaf is a Filipino-American singer, songwriter, producer, multi-instrumentalist, and artist based in Los Angeles, California. Recently she released her new album, the self-produced Palm Psalms: A Light to Resolve All Darkness. Fusing together acoustic instrumentals, ethereal vocals, and electronic ambiance, the album takes us on a journey through transcendent soundscapes. Check out our conversation with Low Leaf below about her thoughts on art, culture, music, and creativity.

Low Leaf是一名菲律宾裔美国歌手、作曲家、制作人和艺术家,擅长多种乐器,目前定居洛杉矶。最近,她推出了自己制作的全新专辑《Palm Psalms: A Light to Resolve All Darkness》。这张专辑结合了原声乐器、空灵的歌声和电子音乐多种元素,带领听众穿越到一个超然的音乐世界。最近我们与 Low Leaf对话,了解她在艺术、文化、音乐和创意方面的一些想法。

Listen to select tracks from the album below, or purchase the full album on Bandcamp.

Low Leaf – Dreaming Awake

Low Leaf– Cleansing Incantation

Low Leaf– Inlight

Low Leaf – It Is Within


Low Leaf – Dreaming Awake

Low Leaf – Cleansing Incantation

Low Leaf – Inlight

Low Leaf – It Is Within

Neocha: What is creativity to you? How do you channel your creativity across different mediums?

Low Leaf: For me, creativity happens when I am flowing in complete harmony with myself and life in the present moment. No matter what outside circumstances are happening, I am constantly processing, releasing, renewing or creating… life is creation. Every day is different, so I have to be open to how creativity is revealing itself to me in the moment, and not my idea of what creativity should look like or be. All I know is that creativity begins with a feeling, and my heart knows it when it feels it. So I just follow that feeling whether it means music, visual arts, dancing, cooking, or just listening to nature.

Neocha: 对你而言,创意是什么?你如何通过不同媒介来表达自己的创意?

Low Leaf: 对我来说,当我和我的生活处于一种和谐平衡时,创意就会出现。无论外界发生了什么事,我都在不断地消化、释放、净化自己和创造新的东西,生活本身就是一种创作。每一天都是全新的,所以我必须以开放的态度,来面对当下涌现的创意,无论它是以什么形式出现的,而不是以我的想法来定义创意是什么。我只知道创意起源于感觉,当创意出现时,我的内心会有所感觉。所以,我只是跟着自己的感觉走,不论它是有关音乐、视觉艺术、舞蹈、烹饪,或者只是聆听自然的声音。

Neocha: How do native and indigenous cultures influence your art and philosophy?

Low Leaf: The biggest common thread that I’ve found that always inspires me from all indigenous cultures is their interconnectedness with nature, and living life with the cycles of Mother Earth. I’ve always felt that connection close to my heart, so naturally I’m drawn to how indigenous people preserve the sacred, create sustainably, and generally have a deeply woven sense of respect for the mysterious unknowns of life. Being Filipino-American has given me something else to identify with that, to this day, is continuously unfolding before me. The biggest influence has been trying to understand my identity through the hearts of all Filipinos around me in my life growing up in LA. We are almost a different breed than those that grew up in the islands, in that we share this longing to return, to understand who we are, and why we are here. So I feel like this longing has inspired me the most to seek truth, seek wisdom, and seek to understand!

Neocha: 原住民文化对你的艺术和理念有何影响?

Low Leaf: 我发现所有原住民民族文化的最大共同点,是它们与自然之间的相互关联,以及他们遵循地球运转规律的生活方式,这也一直是我创作的灵感。这种相互联系一直存在于我的内心深处。自然而然,我会好奇想了解原住民如何维护他们的神明、他们怎样以遵循可持续方式进行创造,以及他们对生命的神秘未知所怀有的深深的敬意。作为一名菲律宾裔美国人,我有了更多不同的文化认同。在洛杉矶成长的过程中,我一直试图通过观察我周围的菲律宾人来了解自己。和在菲律宾群岛长大的人相比较,我们似乎来自不同的种族。也因为如此,我们都有一种回归的渴望,想去了解我们是谁,为什么会出现在这里。所以我觉得这种渴望一直鼓舞着我追求真理,寻求智慧,了解真相!

Neocha: How do you define your purpose in creating art and music?

Low Leaf: I believe the gift of creation given to an artist, is to use art to process and express life. Art and music are one in the same to me. When I’m creating music, I’m seeing visuals in my mind’s eye, and when I’m creating visual arts, I’m listening to how shapes and colors sound. I believe the purpose of these things are to bring us closer to what feels like home, within. To me, that place has been the state of being in complete unity with the Creator inside my heart. So I try my best to create from that space whenever I’m channeling, and in order to do that, I must tune up my body, soul, and spirit like an instrument every day.

Neocha: 你如何定义自己对音乐创作的追求?

Low Leaf: 我相信上天赐予艺术家的礼物,是让他们用艺术来处理和表达生活。当我创作音乐时,我的脑海会浮现一些视觉效果,当我创作视觉艺术时,我会透过画面里的颜色和图案而听到背后的声音。我相信音乐和艺术的存在,是为了让人们在内心上有一种回归“精神家园”的感受。对我来说,精神家园代表着我与内心的“造物主”合二为一的时候。所以,在我创作的时候,我总是努力回到“精神家园”的状态,每一天,我必须像帮乐器调音一样,调整我的身体、灵魂和精神。

Neocha: How do you reconcile the past with the present, the archaic with the modern?

Low Leaf: We have forgotten so much of ourselves as a collective species, and you can see this when you look out into the world and see how much disharmony there is on every level. Generally speaking, those who do “wrong,” know not what they do, because they know not who they are. When people are in complete alignment with their deep-rooted purpose for being on this earth, it’s always somehow in an ultimate act of service to others. After all, we are truly here for each other. To leave behind more beauty than what was here before we came; to create that world we ought to live in, we can only do these things when we do that thing that we came here to do. Technology amplifies the process of channeling forgotten knowledge because it makes all information that I wish was available growing up so accessible. In the world of knowns, anything can be revealed to you, so long as you have the will to seek truth.

Neocha: 你如何平衡过去和现在,传统与现代?

Low Leaf: 人类相对于自然来说,是以一个集体的形式出现的,这也是经常被我们遗忘的一个事实。你看看外面如此纷乱不和谐的环境,就会发现这点。那些做“错”的人并不知道自己在做什么,因为他们还没有认清自己是谁。人们回归至自己内心深处的生存目的时,总是会以某种方式在为他人服务,毕竟,我们真的是为彼此而存在的。我希望我们走后留给世界的东西,能比我们来之前更美好。要做到这些事情,我们就必须要先实现我们降临世界的目的。科技有助于传播那些被人们遗忘了的知识,它使得许多我希望在自己成长过程中可以得到的信息变得如此容易获取。在已知的世界,你可以找到所有的答案,只要你愿意去寻求真理。

Website: creatordiy.com
Facebook: ~/eatlowleaf


Contributor: George Zhi Zhao
Images Courtesy of Low Leaf

网站: creatordiy.com
脸书: ~/eatlowleaf


供稿人: George Zhi Zhao
图片由Low Leaf提供

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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