Tag Archives: project

The Cambodian Space Project

 

无法观看?前往优酷

The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.

 


គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។

 

Neocha: Why did you choose the name “The Cambodian Space Project”?

PoulsonHaving the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.


Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

PoulsonThe band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.

 

 


Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat


ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

NeochaHow did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

PoulsonI was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Rolland Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.


Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.


Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.


Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter


Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter

The Street Art of Candy Bird

Candy Bird is a renowned street artist and illustrator, who creates unique and playful visuals addressing social injustices and environmental concerns around the world. This year, Candy Bird was also one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.


Candy Bird是壹位知名的街頭藝術家和插畫師,他獨具特色且趣味十足的作品旨在揭露社會不公現象以及全球環境問題。Candy Bird是參與2015年Gap REMIX項目的12位藝術家之壹,該項目邀請每位藝術家以各自風格重塑經典的Gap logo,從而打造出壹個特別版系列T恤。

 

無法觀看?前往優酷

When Candy Bird first started experimenting with street art, it proved to be a challenge, especially financially. In his own words, “When I first started doing street art, I had no money. I was working two jobs: one in a noodle shop and one delivering stuff by motorcycle. When I was cruising around on delivery, I would look for walls that I could paint.” Many of his street art pieces could be found along his delivery route.


Candy Bird起初想要嘗試街頭創作,但事實證明這是壹場挑戰,尤其是資金方面。用他自己的話來說是“我壹開始塗鴉,我沒什麽錢。所以我就去打工。我打兩份工,壹個在拉面店,壹個是騎摩托車送文件。所以騎摩托車送文件的時候,我就順便找墻畫。”很多他的作品都出現在他騎行的路線上。

Born and raised in Taipei, Candy Bird has lived in the same bedroom his entire life, giving him a unique perspective on the city. He says, “Taipei is like a middle-aged man who still tries to wear the latest fashions. There’s a conflict between old and new, a transcendence of time and a feeling of loneliness. Before, Taipei used to be handsome, but now he’s a bit past his prime.”


在臺北出生長大的Candy Bird壹直以來都生活在同壹間臥室裏,這給了他獨特的視角去看這座城市。他說,“臺北是個穿著潮牌衣服的中老年男子,有種新舊沖突感,時空穿透性和寂寞共存,曾經很帥但有點年華老去。”

Candy Bird’s schedule revolves entirely around creating artwork and studying the works of others for inspiration. According to him, “My entire life revolves around art, it’s very simple. Some people will think an artist’s life is crazy and exciting, but it is nothing like that. I wouldn’t really view making art as my job. For me, it’s just like eating or drinking – if I don’t do it I won’t feel right.”


Candy Bird的生活幾乎都是在創作作品和從他人作品上學習且尋覓靈感之間循環。他說,“我的生活都跟畫畫有關,其實挺單純的。有些人以為我過得多屌多激情,但其實也沒怎樣。我不會視畫畫為我的工作,它就像吃飯喝水,不做就會感覺怪。”

Much of Candy Bird’s inspiration comes from his background in Buddhism. He is motivated to share with others the things that he has learned about life, meaning, and human relations through contemplation and observation. He says, “I like to observe others, especially really strange people who are excessively ambitious, or just common people on the street.”


Candy Bird大部分的靈感來源於他的佛教信仰,他希望與人分享他的人生哲學,關於生命、意義以及人際關系的東西。他說,“我喜歡觀察別人,觀察那些活得熱烈激昂的怪人,或只是販夫走卒的人。”

Each of Candy Bird’s pieces has an underlying message, whether about current events, politics or society. He tells us, “Ever since I first fell in love with street art, I realized that street art could broadcast messages to society from the wall, and it was more accessible to the public than any art gallery. I feel that as an artist, I have a responsibility to give something back to society and the world through my work. Maybe it won’t have any real effect, but that’s what I aspire to.”


Candy Bird的每壹幅作品都有壹個隱射信息,無不關於當下實事、政治或社會問題。他說,“從喜歡上塗鴉那壹刻起,我發現塗鴉是墻上的擴音器,比在美術館裏更貼近大眾,適合講述關於社會的東西。我覺得身為壹個創作人,有義務通過自己的作品向世人傳達壹種社會責任的精神,雖然不壹定真有效果,但盡力去做就好。”

Website: candybird.net
Instagram
: @candybbird

 

Contributors: George Zhi Zhao, Adam J. Schokora
Photographer: Adam J. Schokora


網站: candybird.net
Instagram
: @candybbird

 

供稿人:George Zhi Zhao, Adam J. Schokora
照片攝影師:Adam J. Schokora

The Fantastical World of Fantasista

Fantasista Utamaro is a leading manga and multidisciplinary artist from Japan. Known for his ultra pop and technicolor sensibilities, Uta’s instantly recognizable work spans illustration, graphic design, animation, textile design, fashion design, and even outdoor landscaping. This year, Fantasista Utamaro was also one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.


ファンタジスタ歌麿呂は、漫画をはじめとする様々なジャンルの作品を制作する日本で有数な芸術家です。ウルトラポップと鮮やかな色彩感覚で有名で、見てすぐそれとわかる作品には、イラストレーション、グラフィックデザイン、アニメ、テキスタイルデザイン、ファッションデザイン、そして屋外の造園まであります。 今年、ファンタジスタ歌麿は、グラフィックTシャツの限定コレクションでGapの古典的なロゴを再考するためのREMIX Project で集められた12アーティストにも加わりました。

 

无法观看?前往优酷

Fantasista has been fascinated with Japanese manga and anime since childhood, and much of his work is about communicating and translating Japanese culture to a global audience. He says, “I get the impression that non-Japanese folks have a very limited and often inaccurate understanding of what Japan is really like. For example, when people from abroad think about Japan, they often just associate our country with anime. But I think that that kind of understanding is very shallow, and doesn’t really convey the deeper reasons of why anime is so fascinating. With greater cultural context, you can discover more interesting things.”


ファンタジスタ歌麿は、子供の頃から漫画とアニメに魅了され、自身の作品の多くは世界に日本文化を発信したり解釈して伝えたりするものです。このことについて、「日本人ではない人たちは、日本の実際の姿が全く完全に理解していなかったり、多くの場合正確に理解していないという印象を受けています。例えば、外国から来た人達が日本のことを考える場合、ただ日本をアニメと結び付けてることがよくあります。しかし、こういう理解はとても皮相的で、アニメが非常に魅力的である深い理由を伝えるものではありません。より大きな文化的な脈略から、さらに興味深いことがわかるのです」と述べてくれました。

A lot of Fantasista’s work involves onomatopoeia and using Japanese characters to express certain sounds. He says, “These are all common sounds that appear in Japanese manga as a way to visualize sounds and actions through text. I use them to bring another dimension into two-dimensional space, which gives the reader something unexpected and fun. It’s a little surprise that can create a small change in perception and engage with the reader’s state of mind.”


ファンタジスタ歌麿の作品の多くには、日本語の文字を用いて特定の音を表す擬声語が含まれていますが、同氏は「全ての擬声語は、テキストで音声や行動を可視化する日本の漫画によく見られる音です。擬声語を読者には思いがけず面白いと感じられるもう1つの次元を2次元の空間に加えるために使っています。擬声語は、感じ方に少し変化をもたらし、読者の気持ちを惹きつける可能性のある小さな驚きなのです」と述べています。

Although Fantasista’s work is often bright and overflowing with many colors, Uta is actually partially colorblind. He says, “I am able to distinguish some really bright colors, like Tokyo’s neon lights, or the colors in Akihabara district, but other than that, I have a really hard time knowing which color is which. Being colorblind has brought me some inconveniences, especially in my daily life. For example, I can’t distinguish between the stop and go signs at the crosswalk. When I’m doing print design, I have no way to do color proofing, so if I didn’t have other people helping me, I would never be able to do it.”


作品の多くの色は明るく、たくさんの色で溢れているファンタジスタ歌麿ですが、実は部分的な色盲で「東京のネオンの光や秋葉原に見られる色のようないつくかの非常に明るい色は識別することができますが、その他の場合、色の識別は私にとっては困難です。色覚異常なので、特に日常生活である程度の不便はあります。例えば、横断歩道で「止まれ」と「進むことができる」の信号の区別ができないんです。捺染デザインをする時に、色校正ができるはずがありません。ですので、他の人が助けてくれなければ捺染デザインはできないのです」と説明してくれました。

Fantasista likes to keep his creative process fluid and open, and he is inspired by simple things such as exercise and walking through nature. He says, “There are a lot of things in nature that give me subtle hints and point me in the right direction creatively. After all, nature is the prototype of good design. I don’t like to have an outcome when I start doing anything. By looking at things with an open mind, and accepting them in their natural forms, ideas naturally surface.”


ファンタジスタ歌麿は、創造のプロセスを常に柔軟で妥協の余地のあるものにしたいと思っており、運動や自然の中を歩くことのようなシンプルなことから着想を得ています。そして、「自然には、何気ないヒントを与えてくれたり、創造の正しいプロセスを示してくれることがたくさんあります。結局、自然は良いデザインの原型なのです。何かを始めようとする時に、結果を得てしまうことはしたくないのです。心を広くして物を見て自然の形を受け入れることで、アイディアは自然に明らかになります」と述べています。

For Fantasista, creativity is a constantly changing process of continual growth. He reflects on his own career and how his work has developed: “Early on when I was drawing manga, my work would change together with popular styles at the time. But through it all, the themes have stayed the same. My work is an expression of pop culture and creativity, while at the same time also exhibiting some traditional elements. It’s about celebrating the power of human imagination.”


ファンタジスタにとって創造性とは、継続的成長において絶え間なく変化するプロセスである。彼は、自らの経歴と制作がどう成長してきたのかを次のように振り返る。「初期、私が漫画を描いていた頃は、作品が当時人気のあったスタイルに応じて変化していました。ただし、その間もずっとテーマは変わっていません。私の作品は、伝統的な要素を示すと同時に、ポップカルチャーと創造性の表現方法です。それは、人間の想像力の強さを称えるものなのです」

Websitefantasistautamaro.com

 

Contributors: George Zhi Zhao, Adam J. Schokora
Photographer: Adam J. Schokora


ウェブサイトfantasistautamaro.com

 

投稿者: George Zhi Zhao, Adam J. Schokora
カメラマン: Adam J. Schokora

Kiran Maharjan & the Prasad Project

Kiran Maharjan (aka H11235) is a Nepalese artist who uses street art to address social issues within his community. Kiran is one of the primary organizers of the Prasad Project, a street art initiative to make a positive impact on Nepalese youth through workshops, exhibitions, and public murals.


Kiran Maharjan (又名H11235) 是一位力图用街头艺术解决他周遭社会问题的尼泊尔艺术家,也是Prasad项目一个通过研习会、展览和公共壁画积极影响尼泊尔年轻一代的街头艺术联盟的最早组织者之一。

Neocha: How did you get into street art?

Kiran: I used to be influenced by classical European Realism, and I’ve always been intrigued by faces. I used to do portraits with charcoal and other mediums before I got into street art. Later on, I would be introduced to the graffiti and street art scene through skateboarding culture, especially the graphics on the skate decks.

I came to a turning point when I started to bring my works to commercial galleries in the city with the hope of being exhibited. All of them turned me down. Some considered me an amateur and didn’t want to showcase my work, while others turned me down because they simply weren’t interested in my style. This rejection became a driving force for me to use the streets as a medium for expression. That was four years ago, and since then I’ve always been active and present on the streets, continuing the process of growth and change.


Neocha你是如何涉足街头艺术领域的?

Kiran我曾深受古典的欧洲现实主义影响,并一直对人脸非常着迷。在涉足街头艺术之前,我就常用炭笔或其它工具绘制肖像。再之后,滑板文化,特别是滑板画,为我打开了涂鸦和街头艺术的大门。

人生转折点出现于我开始拿着自己的作品,带着可以出展的希望去那些商业画廊时。当时,他们全都拒绝了我。有些画廊认为我是新人而不想展出我的作品,而另一些则对我的作品毫无兴趣。那次的被拒,成为后来我选用街头作为表达媒介的一个驱动力。那已经是四年前的事了,自那之后,我就一直频繁走上街头,不停成长和蜕变。

Neocha: What is the Prasad Project about?

Kiran: The word “Prasad” is a Sanskrit term that means sweet offering that is given during prayers in a Hindu temple. We named our project after this because it’s our offering to the people through the medium of street art. Also, the first hero that we painted as a mural for our project, Laxmi Prasad Devkota, has the middle name “Prasad,” and that seemed fitting with our idea.

With this project, we hope to tackle one of the major contemporary problems being faced in our country: youth migration. Nepal has had a long history of political turmoil in addition to a worsening economic situation. A lot of our young people travel to the gulf and other countries to work as migrant workers in the hopes of a better life and income. Sadly, this has resulted in a brain drain in Nepal, and the bad living standards and unsafe working conditions abroad have only made the situation worse. Every day, the dead bodies of our migrant workers return back to Nepal.


Neocha能不能跟我们讲讲Prasad项目是什么?

Kiran“Prasad”是一个梵文词,指印度教寺庙里分发给祷告者的甜祭。将这个名字定为项目名,是因为这项目也是我们通过街头艺术这个媒介献给人们的美好礼物。而且,我们为这个项目绘制的第一个壁画人物,Laxmi Prasad Devkota,中间名也是”Prasad”,这也正好契合了我们的主题。

通过这个项目,我们希望解决我们国家当今面临的一个重大问题: 青年流动。很长一段时间,除了经济不断恶化,尼泊尔还要面对政治动乱。许多年轻人为了更好的生活和收入,移居到了海湾地区和其它国家。遗憾的是,这直接导致了尼泊尔的人才严重流失,而他乡恶劣的生活条件和危险的工作环境更是让这种现状雪上加霜。每一天,我们都有在外打工者的尸体被送回尼泊尔。

Neocha: How does Prasad use street art to address the problem of youth migration in Nepal?

Kiran: The project tries to communicate that it’s possible for young people to be successful and to have a fulfilling life here in Nepal. One of our main themes is hometown heroes. Heroes are people who are born and raised in Nepal and have stayed here, making a difference in the country through their respective fields. Through their work, they’ve made a mark on the country, or even on the world. In order to commemorate them and inspire the youth, we paint public spaces with murals of these local heroes.

Since street art is a medium of the youth and so highly visible to the general public, it becomes a very powerful medium to talk about these issues. Street art is relatively new in Nepal, so it also spreads the message that with creative ideas, a DIY attitude, and new mediums of expression, it’s possible to solve our problems. We work with the youth directly, so it makes it easier to get this information out into the community.


NeochaPrasad是如何用街头艺术为尼泊尔的青年流动问题进行呼吁呢?

Kiran这个项目力图传递一个信息,即,年轻人留在尼泊尔是有可能成功并过上充实生活的。我们的创作主题之一即是家乡英雄,那些土生土长、驻守着这片土地、通过各自的领域一点点改变着这个国家命运的尼泊尔人。他们,用他们的事业,将自己的印迹留在这片国土,甚至这个世界上。为了纪念他们并启发年轻人,我们在公共空间画上了这些本土英雄的壁画。

街头艺术是年轻人的表达方式,在公共场所也有极高眼球吸引力,所以它自然成为了探讨这类问题一个强有力的媒介。街头艺术在尼泊尔相对而言还算新事物,所以它也传递着富有创意的、满怀DIY姿态的、具有全新表达方式媒介的讯息。因此借由它来解决这些问题是可行的。我们与年轻人零距离接触工作,所以这让信息可以轻易传播到整个社群。

Neocha: What are the current and future plans for the Prasad Project?

Kiran: We’re now in the second phase of the Project, and we’ve continued to travel to different regions of the country in order to spread our message. In each city we visit, we conduct workshops with local youth to teach them street art, and we collaborate with them to paint two murals of local heroes. It’s a great way to take the skills that they’ve learned and try them out on the streets. It’s also a way for us to speak to the public about the project, as a lot of people come up and ask us questions regarding the work. Every mural is different and unique because it comes from the vibe of that specific city and its youth. In the end, the work belongs to them. It’s their city and their responsibility, so I think we need to make them understand that.

We plan to do this until the end of 2016, covering five more cities with street art, workshops and exhibitions. We hope to continue the project even after that with new initiatives.


Neocha: Prasad项目于当下以及未来有哪些计划?

Kiran我们目前处于这个项目的第二阶段,为了传播我们的理念,我们不停前往国内各个地区。在每个去过的城市,我们举办研习会,教当地青年街头艺术,我们也与他们合作绘制两幅当地英雄的壁画。这是让他们掌握并实践这些技能的最佳方式,也是我们向公众传播这个项目的一种途径,因为会有很多人上前对我们的作品进行询问。每一副壁画都是不同且独特的,因为它们都是来自各个城市和其年轻人群的特定环境。这些作品终是属于那些年轻人群。这是他们的城市,是他们的责任,我想我们需要让他们明白这一点。

我们打算2016年底之前都这么做,将我们的街头艺术、研习会和展览再覆盖五个城市。同时也希望之后能够带着新方案将整个项目延续下去。

The Photography of No. 223

No. 223 (aka Lin Zhipeng) is a photographer known for his ability to show the volatile, primal energy of China’s younger generation. His work explores topics of love, sexuality, gender, free expression, and consumption within the context of modern China. No. 223 was one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.


编号223(又名林志鹏)是一个以表达躁动的青春荷尔蒙而被众人所知的中国新生代摄影师。他的作品探寻的正是当代中国最受关注的主题:爱、性、性别、自由。编号223是参与2015年Gap REMIX项目的11位艺术家之一,该项目邀请每位艺术家以各自风格重塑经典的Gap logo,从而打造出一个特别版系列T恤。

 

无法观看?前往优酷

The name “No. 223” comes from one of the characters in the classic Hong Kong film Chungking Express. According to No. 223, “Wong Kar-wai is my all-time favorite director. I love his work, and that’s where the name came from. Now most people just call me 223 – some people don’t even know my real name.”


“编号223”的名字源于经典港片《重庆森林》中的一个角色。编号223说“王家卫是我最喜欢的导演,他的作品我都很喜欢,所以我的名字也是出自他的作品。现在大家都叫我223,一些人甚至从来不知道我的真名。”

The photography of No. 223 often gives the viewer a voyeuristic look into his life. According to him, “I try to be open and just share everything… my feelings, my insecurities, my experiences, my joys, my pains, my struggles.” Authenticity is key, since all of his images “are an expression of real people and real sensibilities.”


编号223的作品常有一种让别人窥视他生活的观感。他说,“我试着展示所有,和大家分享一切……我所感知的、我的不安全感、我的经历、我的快乐和痛苦、我的挣扎。” 真实才是关键,而他所有的照片“都是对真实的人和内心的一种展现。”

Much of 223’s work captures his friends and the people around him, making him more than just a sideline observer. “When I’m shooting, I’m a participant. I’m in the moment and in the environment together with my subjects.” According to him, “the imagemaking process is a mutual experience.”


许多223的作品中出现的都是他的朋友以及身边的人,这让他可以更多地感知,而非仅仅作为一个陌生的旁观者。他说,“拍摄时我自己也是参与者,我与拍摄对象共享那个时光和同一空间。拍摄的过程是一场相互的体验。”

No. 223 continues to live and work in Beijing when he is not traveling abroad. He regularly publishes collections of his photographs, which are readily available for purchase on his website.


除了经常出国旅行来丰富自己的灵感,编号223的大部分时间都在北京工作生活。他会定期出版自己的摄影集,并在自己的个人网站上出售。

Instagram: @finger223
Website: linzhipeng223.com

 

Contributors: George Zhi Zhao, Adam J. Schokora, Leon Yan
Photographer: Adam J. Schokora

 


Instagram: @finger223
网站: linzhipeng223.com

 

供稿人:George Zhi Zhao, Adam J. Schokora, Leon Yan
照片摄影师:Adam J. Schokora