Tag Archives: seoul

Shadows & Mirrors

A self-described “skateboarder and photographer,” Chris da Canha has a keen eye for color and light. Raised in South Africa and now based in Seoul, he’s traveled and shot in cities across Asia and Russia. His work, which has been featured in Maekan, Hypebeast, Vanity Teen, Ignant, and many other platforms, explores the subtle changes that play across the city’s architectural and human landscape.

“I learned how to shoot by walking the streets and hunting for the moments that felt right,” he explains. “I’m particularly excited by scenes showing poetic contradictions.” Often these contradictions are just subtle contrasts: a building warped beyond recognition in the hood of a car, a telephone pole whose bewildering network of cables is doubled by shadows. These familiar scenes are rendered slightly unrecognizable by precisely calibrated angles and light.


Chris da Canha 自诩滑板手和摄影师,对色彩和光线有着敏锐的眼光。他在南非长大,现居首尔,在亚洲和中东的城市旅行和拍摄。他的作品曾在 MaekanHypebeastVanity TeenIgnant 和许多其他平台上出现过,主旨在于探索城市建筑和人文景观中的微妙变化。

我通过在大街上散步,寻找感觉正确的时刻,学会了如何摄影。他说,我对呈现诗性矛盾的场景尤为激动。而这些矛盾往往只是微妙的对比:一栋映在扭曲得面目全非的汽车引擎盖上的大楼,被阴影所覆盖的电线杆网路。这些熟悉的场景,在精确校准的角度和光线的作用下,却被渲染得有些难以辨认。

Often the details in these images don’t jump out at first glance, so they reward unhurried contemplation. In the mirrored glass of a skyscraper, a view of the city is slightly stretched and distorted, almost seeming to waver like a mirage—and this, combined with the haze in the distance, gives the scene a slightly unreal feel. In one of the photos below, the intense yellow of the wall makes the rust on the bars of scaffolding seem somehow redder and dirtier; in the other, an almost opaque window casts a greenish tint onto the street below. Such subtle effects give his work an understated drama.


通常这些图片中的细节不会在第一眼就跳出来,它们会回馈那些不慌不忙的观者。在摩天大厦的镜子里,城市的景色被稍微拉伸和扭曲了,看起来就像海市蜃一样摇摆不定——再加上远处的薄雾,给人一种轻微的不真实的感觉。在下面一张照片中,强烈的黄色墙壁,使得脚手架上的锈迹看起来更红更肮脏;而在另一张照片中,一扇几乎不透明的窗户,把一层绿色的色彩投射到下面的街道上。这种微妙的效果赋予他的作品一种低调的戏剧性。

Fascinated though he is by the sharp contrasts in color and shadow in the built environment, Da Canha also takes pictures of people. In fact, the bulk of his work centers on human subjects, often strangers he spots on the street.

These images seem to split the difference between portraits and candid snapshots, an effect he achieves by closely cropping them. “When I shoot, I’m thinking about what information I want to show, and what doesn’t belong,” he explains. “That helps with the composition, and I suppose makes it seem more careful,” he explains. “I find faces interesting, more often than not, and when the information around the face isn’t worthwhile, I shoot a little closer, and that’s developed into a kind of street portraiture.”


虽然他被城市建筑环境中那些鲜明的颜色和强烈的阴影对比所吸引,Chris 也还会为人物拍肖像照。事实上,他的大部分作品都是以人为主题的,且通常是他在大街上发现的陌生人。

这些照片似乎在肖像和人物抓拍之间划分了界限,因为 Chris 通过仔细的剪裁来达到这样的效果。当我拍照的时候,我会想我想要展示什么信息,什么信息需要删除。他解释说。这对构图很有帮助,我想这让它看起来更细致,他解释说。我发现人物的面部往往很有趣,当面部周围的信息不值得入镜时,我就拍得更近一些,这就发展成了一种街头肖像画。

Da Canha has lived in Seoul for the past five years, and thrives in the crackling electricity of the city’s creative scene. “Seoul was recommended to me by a friend living here at the time. I came and have never looked back. Korea’s a wonderful country, splitting at the seams with energy, and Seoul gets bigger every time you blink,” he says. He’s especially enthusiastic about the country’s photography community. “You won’t find a friendlier group of talented people excited to create rad imagery.”


Chris 在首尔生活了五年,在它创意界蓬勃发展期中成长起来。当时住在这里的一个朋友向我推荐来首尔的。我来了,从未回头。韩国是一个神奇的国家,充满活力,你眨眼间,首尔就好像变得更大了。他说。他对这个国家的摄影界特别有热情。你不会找到一个更友好的充满才华的大集体来创造这样的图景了。

Da Canha has shot for fashion and lifestyle brands, and has a collection recently appear in Dreamingless. He’s also begun a yearlong project intended for print, with 12 series of photographs grouped together under different aesthetic themes. Photography is his job, but it’s also his hobby, and he’s always on the lookout for something striking. “Daily life is more enjoyable when you’re actively looking for what you like.”


Chris 也为拍摄时尚和生活方式品牌拍摄照片,并有一个专题集最近出现在 Dreamingless 上。他还开始了一个为期一年的项目,计划刊印成册,将呈现 12 个系列的照片和其不同的美学主题。摄影是他的工作,但也是他的业余爱好,他始终都在寻找那些令人注目的东西。当你积极地寻找你喜欢的东西时,日常生活就会变得更加愉快。

Websitefourfiftyonedegrees.com
Instagram: @chrisdacanha

 

Contributor: Allen Young
Chinese Translation: Chen Yuan


网站fourfiftyonedegrees.com
Instagram: @chrisdacanha

 

供稿人: Allen Young
英译中: Chen Yuan

Love Through the Lens

Like the Beatles, Jeon Yunyoung thinks all you need is love. The Seoul-based photographer, who works under the name Neuj, sees love as an omnipresent force that powers the world, and believes it comes in all shapes and sizes. His photography reflects this belief, sometimes in obvious ways, with lovers locked in a passionate embrace, and other times more subtly, by choosing as his subject a close friend or family member.

“I want to convey all the emotions I feel in my photographs,” he explains. “But I also hope that, by sharing my work, and by establishing a relationship between artist and audience, I can spark new feelings.”


像披头士乐队(Beatles)一样,首尔摄影师 Jeon Yunyoung 也认为“爱才是人们最需要的”(All we need is love)。他将爱视为一种无所不在的力量,是世界的原动力。他坚信,爱会呈现出各种形态。他的摄影作品恰恰反映出这种信念,有时,爱以明显的方式呈现,譬如热情相拥的恋人;有时则更微妙,譬如摄影的对象是他的好友或家人,爱就通过镜头含蓄地展露。

“我希望在照片中传达出自己的所有情感。”他解释道,“但我也希望通过分享我的作品,建立艺术家和观众之间的联系,以此给观者带来一些新的感受。”

Website: jeonyunyoung.com
Instagram@neuj_

 

Contributor: George Zhi Zhao


网站: jeonyunyoung.com
Instagram@neuj_

 

供稿人: George Zhi Zhao

City Fragments

How are our lives shaped by a rapidly changing urban environment? Korean artist Min Joonhong‘s multimedia works seek to answer this question.

His assemblages, which have been shown in London, Seoul, and Milan, are often large enough to fill entire galleries. With such size, it comes as something of a surprise that his central London studio, housed in a nondescript office building, is so small. “Here I work on scaled-down versions of my concepts, so I can familiarize myself with how they’ll be pieced together,” he explains. “This helps me work quickly once I’m in the actual space.” Each sculpture is created on location and customized according to the amount of space available.


日新月异的城市环境,究竟是如何塑造我们的生活的?对此,韩国艺术家 Min Joonhong 通过自己的作品以进行探讨,目前已经在伦敦、首尔和米兰展出。

组合艺术作品往往有着非常可观的体积,常常会占满整个画廊。但 Joonhong 的工作室却位于伦敦市中心里一栋普通办公楼里的小房间,实在让人意外。Joonhong 说,“我会先在这里将概念做成缩小版本的作品,熟悉一下各部分是如何拼凑在一起的。这有助于我到了实际场地时能更快完成作品。”每件作品都是他在展出场地上完成的,依据可用空间大小进行定制创作。

Efficiency and discipline are fundamental to Min’s creative process. He sticks to a rigid work schedule he sets for himself every day. Even outside his working hours, he says he spends much of his free time thinking about how to improve his art.

This incessant self-reflection carries over to the thematics of his works. Min looks to “uncomfortable memories” for inspiration and says that the best way to harness the anxiety and alienation of modern urban life is to channel them toward art. By reimagining the city environment, Min explores what’s left out in contemporary urban society.


Joonhong 创作的基础,源于效率和自律。他严格遵循自己订下的工作日程,在工作时间之外,也用很多时间以琢磨改进自己的艺术创作。

这种不断的自我反省,同样反映在他的作品主题上。Joonhong 说自己会从那些“不愉快的记忆”里寻找灵感,在他看来,驾驭现代城市生活中的焦虑和孤立感,最好的方式就是在艺术中寻找出口。从城市的角度来看,他正在建构一个如今城市化社会其遗漏部分的叙述作品。

Min’s vertical sculptures are designed to resemble a futuristic skyline. Yet his interest in the urban environment is also visible in his choice of materials. From broken furniture to discarded packaging, he scavenges random objects from London’s streets, reassembling them to create model high rises and skyscrapers.

Finding new uses for these left-behind items is his way of engaging with the past, just as building elaborate cityscapes is his way of embracing the future. As cities around the world continue to reinvent themselves, Min’s work invites us to consider how yesterday’s discarded junk can help us imagine the world of tomorrow.


Joonhong 对城市环境的兴趣,也体现在他所选择的材料中。他从破碎的家具到被丢弃的包装,他将自己从伦敦的街道上搜罗到的物品,重新组装成高楼和摩天大楼的模型,这样的垂直雕塑模拟着城市的天际线。

如果说,为这些被人们所遗弃的物品寻找新的用途是他与过去打交道的方式,那么,组装精致的城市建筑模型则是他拥抱未来的方式。随着城市向着“明日世界”这个目标不断建设,Joonhong 的作品恰恰是在邀请观众思考:属于昨日的物品究竟是如何被不断丢弃和回收的呢?

Websiteminjoonhong.com

 

Contributor: Juliet Fang


网站minjoonhong.com

 

供稿人: Juliet Fang

Magazine B

Issue No. 46 "Pantone"

“Colors can be read.” This was my stunned takeaway from reading “PANTONE,” the 46th issue of B magazine.

That a simple print publication could so thoroughly alter my perception, comprehension, and attitude towards a subject—a brand, no less—astounded me. Long an admirer of Pantone, I came away with an even deeper appreciation of it. But even readers unfamiliar with Pantone, or any other brand featured in an issue of B, will be left inspired and hungry for more.

B is an independent, ad-free publication produced in South Korea. In each issue, it offers insightful stories on a specific brand, but it abides by a strict editorial policy and receives no financial compensation in return. Recently we caught up with editor-in-chief Eunsung Park to learn more about his vision for this one-of-a-kind magazine, and about his thoughts on the future of print media.


“我竟然能读出色彩。”这是我第一次读到《B》杂志第 46 期的感受,那一期的主题是“潘通色卡”。这个看似普通的出版物,却神奇地影响了我对一个品牌的认知、理解和态度。加之原本就对此感兴趣的心态,再去探索杂志内容背后的意义,我会对它越爱越深;而哪怕是原本不熟悉它的人,在看完整本杂志后,我相信你们也会更想要了解它的故事。

《B》杂志是一本无广告的、独立出版的月刊杂志。它用其独有的调性为读者介绍全球值得推荐的品牌和它们的故事。独特的选题标准,独特的撰写角度以及独特的视角,组成了这本独一无二的杂志。

Issue No. 44 "Vans"
Issue No. 13 "Lego"

Neocha: Your official criteria for featuring a brand are price, practicality, beauty, and philosophy. What do these mean to you?

Park: Our publisher, Suyong Joh, created those criteria in the initial planning stages of the magazine. But that doesn’t mean we use price, practicality, beauty, and philosophy as metrics to evaluate the brands we choose. Instead, we believe a good brand can’t rely only a single factor, whether that’s its price point, its usefulness, its design, or its ethos. All these factors must combine to form a balance that fits the brand. What we want to convey is that each brand has its own way of achieving that balance—just as every beautiful person has their own balance of different charms.


Neocha:你们对于品牌的筛选标准是价格、实用性、美学和品牌理念。这些标准对你来说代表什么?

Park:这些标准是杂志创始人 Suyong Joh 在筹办杂志的初始阶段所订立的。但是,这并不意味着我们在选择品牌时会将美学、价格、实用、品牌理念作为评价品牌的指标。相反,我们相信,一个好的品牌不能依赖单一的指标,不管是价格、实用性、设计或是品牌精神。所有这些因素都必须结合起来,达至适合该品牌的平衡。我们要传达的理念是,每个品牌都有自己独特的方式来达到这种平衡,正如每个人的美丽都是各种魅力组成的平衡。

Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"

Neocha: What’s your best-selling issue? Do you have a personal favorite?

Park: “Lego” and “Muji” are our best-selling issues. Our newer issues like “Acne Studios” and “Monocle” have had a good amount of sales. Our city issues always do well. If I were to choose an issue from that pool, it would be “Monocle.” It was a meaningful experience to cover a fellow media brand, and we got positive energy simply by following their journey and observing their achievements.


Neocha:你们最畅销的杂志是哪一期?你个人最喜欢哪一期?

Park:“乐高”和“无印良品”是我们最畅销的两期杂志。我们最近推出的杂志,如 “Acne Studios” 和  “Monocle” 销量也很好。我们的城市主题杂志也卖得不错。如果一定要选一本个人最爱,可能是 “Monocle” 这一期。以一个同行媒体品牌为主题是一次挺有意义的经验,我们在了解他们的发展历史和成就这个过程中也获得了满满的正能量。

Issue No. 44 "Vans"

Neocha: How much time do you spend researching a brand when starting a new issue?

Park: We always approach the brand as if we knew nothing about it. If we think we already know it well, we run the risk of falling into boxed thinking, but if we keep an open mind, we discover new perspectives. That’s why we try not to overstudy the brand beforehand. We believe that rich stories should come out of the people we meet, and we try to keep a keen eye for observation by limiting our own voice.


Neocha:筹办新一期杂志前,你们一般要花多少时间来研究一个品牌?

Park:我们始终坚持以“一无所知”的态度去了解品牌。如果我们认为自己已经很了解这个品牌,很容易就会掉入固定的思维,但如果能够保持开放的心态,就有可能有新的发现。这也是为什么我们尽量不事先过度深入研究品牌。丰富的故事应该来自于我们遇到的人,同时,我们会努力限制我们自己的声音,以保持敏锐的观察。

Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"

NeochaB is perfect for aspiring entrepreneurs, people in search of unbiased information, or anyone interested in brand marketing and management. But not all readers may be equally familiar with every brand. How do you appeal to a diverse audience?

Park: The point is not how well readers know the brand, but rather how well we, as creators of the magazine, refrain from taking a know-it-all attitude. Instead of providing answers, we hope to help people pay attention to what’s happening. I believe you can do that regardless of your depth of knowledge.


Neocha:《B》杂志非常适合有抱负的企业家,那些想寻找有关品牌客观信息的人,或是任何对品牌营销和管理有兴趣的人。但并非所有的读者都熟悉每一个品牌。你们要如何吸引如此广泛的读者群?

Park:问题的关键不在于读者要多了解一个品牌,而是我们作为杂志的创造者如何避免采取一种“已知”的态度。我们希望能帮助读者去注意当下,而不是提供答案。我相信不管你懂多少都是可以做到这一点的。

Issue No. 61 "Acne Studios"

Neocha: You’ve done countless interviews. Which would you say is the most memorable?

Park: We’ve done too many memorable interviews. But if I were to choose one from the past year, it would be the interview with architect Andreas Fornell in the “Acne Studios” issue. He worked at Acne Studios in the past and now manages his own firm. As someone with experience from both the inside and the outside, he could look on the brand with affection and provide a pointed assessment all at once.


Neocha: 你们做过非常多的采访。哪一次对你来说是最难忘的?

Park: 我们做过太多令人难忘的采访。但如果要我从去年的采访中选一个,那应该是在 “Acne Studios” 那一期里与建筑师 Andreas Fornell 的采访。他曾在 Acne Studios 工作,现在在经营自己的公司。作为一个有来自内部和外部经验的人,他可以对这个品牌提供充满感情又一针见血的评价。

Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"

Neocha: Since its launch in 2011, B has released more than 60 issues. What sort of challenges has it faced along the way?

Park: We face different difficulties with every issue. We may have published 66 books, built up a sales record, and made a name for ourselves, but that doesn’t mean the process has become any steadier or more peaceful. And it will continue to be a challenge in the future. Creating a brand, especially sustaining a media brand, is like a battle. Fighting through unexpected issues and seeking solutions gives us an outlet for our creativity.


Neocha: 自2011年推出,《B》至今已经发行了 60 多期杂志。在这个过程中,杂志面临过什么样的挑战?

Park: 我们办每一期杂志都会面临不同的困难。即便我们可能已经出版了 66 期杂志,有了不错的销售记录,也有了一定的知名度,但这并不意味每期杂志的筹办就能变得更顺利或简单。在未来,我们依然要面临各种的挑战。创造一个品牌,尤其是维持一个媒体品牌,就像是一场战役。在应对各种意想不到的问题、寻求解决方案的过程中,我们也是在发挥创意。

Issue No. 46 "Pantone"
Issue No. 46 "Pantone"

Neocha: “Independent” is a label that’s thrown around a lot nowadays. What qualities do you think make a magazine truly independent?

Park: In my opinion, independent magazines don’t rely on typical advertising models the way legacy media do. Instead, their creators take more risks taking a freer and bolder approach to content planning and creation.


Neocha: “独立”是现在常用的一个标签。你认为一本杂志应该有哪些品质才能真正称得上独立?

Park: 在我看来,独立杂志不应像传统媒体那样依赖广告。相反,他们的创办者要勇于承担更大的风险,在内容策划和创意方面会采取更自由、更大胆的做法。

Issue No. 46 "Pantone"

Neocha: Where do you see print media headed in Asia?

Park:  I think it’s important to see print media outside a regional context—to see it as its own thing. In countries where English isn’t the main language, people might think language is a barrier. Yet if we leverage the power of the content itself, that limitation becomes meaningless. As for the future, we should focus on what print media can do best, instead of doing the same things as digital media. I believe in the lasting strength of the printed word, the flow and pace of stories told on paper.


Neocha: 你觉得亚洲纸媒的未来如何?

Park: 很重要的一点是要抛开区域来思考纸媒,把它单独地来看待。在非英语国家,人们可能会认为语言是一个障碍。然而,如果我们利用内容本身的力量,这种限制将不再存在。至于未来,我们应该专注于纸媒的优势之处,而不是与数字媒体做同样的事情。我相信印刷出来的文字,以及纸媒呈现的故事节奏感是有着持久性力量的。

“Lego” is now available on the Neocha Shop in limited supply. The “Star Wars,” “Vans,” “Acne Studios,” and “Pantone” issues will be made available soon!

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现在,“Lego” 专刊在 Neocha 商店中限量贩售。另外,“Star Wars”、“Vans”、“Acne Studios” 和 “Pantone” 也即将面世!

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《B》第 13 期 “Lego”

¥130

立刻购买

Product Details:

  • Year of Publication: 2013
  • Number of Pages: 160
  • Dimensions: 17 cm x 24 cm
  • Price: 19 USD

详情

  • 出版年份:2013
  • 页数:160
  • 尺寸: 17 x 24 厘米
  • 价格:130 RMB

Website: magazine-b.com

 

Contributor: Handowin Ho
Photographer: David Yen


网站: magazine-b.com

 

供稿人: Handowin Ho
摄影师: David Yen

In the Studio with Hongdam

Ilwol Hongdam is one of South Korea’s most famous tattoo artists. He estimates that over the past four years he’s inked over 3,000 tattoos, and he’s recently begun traveling internationally to reach clients in Shanghai, Hong Kong, New York, and Paris.

Such a career was unimaginable in Hongdam’s youth: providing tattoos is illegal in Korea. Growing up, Hongdam steered clear of tattoos, which were associated with gangs. Only after graduating from college did he discover there was less of a stigma in foreign countries. He recalls being shocked by online images of doctors, police officers, and members of other respectable professions with tattoos. That it could be natural for a teacher to write on a blackboard with a tattoo exposed shattered his preconceptions at a time when he was having difficulty finding a career.


Ilwol Hongdam 是韩国最著名的纹身艺术家之一。他估算了一下,过去四年来他的纹身作品已经累积3000多件。最近,他开始环游世界,在上海、香港、纽约和巴黎等城市留下自己的纹身作品。

这样的职业在 Hongdam 年轻时是不可想象的,因为在韩国,纹身依然违法。人们总是将纹身与帮派联系在一起,从小到大 Hongdam 都尽量避免与纹身扯上关系。直到大学毕业后,他才发现原来在外国纹身并非是不良身份的象征。当他第一次在网上看到医生、警官或其他受人尊敬的职业工作人员竟然也有纹身时,感到十分震惊。一名在黑板上写着板书的老师,手上的纹身就这样坦然地暴露出来,原来这只是再普通不过的事情。当他为找工作而烦恼的时候,这个发现彻底颠覆了他的想法。

Hongdam’s background is in traditional Korean art, and from the delicate flower petals and gentle animals that abound in his work, one might expect this to have always been his interest. However, Hongdam says he originally wanted to pursue fashion, and was devastated when he was rejected from the department. Reluctantly, he enrolled in Korean Art and had a low opinion of it until he went to an exhibition by one of his upper classmates. “He wasn’t famous or anything, but his work—a large painting of a woman on silk—was so different from what I had thought of as Asian art.” Hongdam recalls thinking it only meant ink drawings on hanji (traditional Korean paper), so he was surprised by the mix of materials such as oil and acrylic. “It seemed like the division between Asian and Western art was breaking down, and I was shocked that Asian art could do so much, that it could represent things in new ways.”


Hongdam 学的是韩国传统艺术,在他的作品中,常常能看到那些精致细腻的花瓣和温和的动物。人们可能会想纹身就是他的兴趣所在,然而 Hongdam 说他最初想学的其实是时尚专业,当他被学校拒绝时感到十分挫败。最后,他不太情愿地进入了韩国艺术专业,一直以来他对这个专业都兴趣乏乏,直到他去参加一个高年级校友的展览。“他不是什么著名艺术家,但有一幅作品是在丝绸上画的巨幅女性画像,这完全颠覆了我印象中的亚洲艺术。” Hongdam 回忆说。他一直以为亚洲艺术就是在韩纸上的水墨画,所以他对于这种混合不同材料,譬如油画颜料和丙烯颜料,来创作的方式感到很震惊。“这打破了我心中关于亚洲艺术和西方艺术之间的疆界,原来亚洲艺术也可以有这样丰富的表现形式,我真的很意外。”

After working for a time as an art teacher, Hongdam turned to tattoos, both out of curiosity and as a way to keep drawing. Given his traditional training, this turn is both natural and unusual. Unlike irezumi (Japanese tattoos), which are characterized by thick lines that cover large portions of the body, Hongdam’s tattoos resemble the lighter, minimalist style of more traditional ink-wash paintings. One characteristic of traditional Korean art, he says, is that “the canvas is not filled but uses the beauty of blank space, the emptiness.”


在作为一名艺术教师工作了一段时间后,Hongdam 开始纹身的工作,一方面是出于好奇,另一方面也算是他用来继续画画的一种方式。既然他接受的是传统艺术教育,这一转变可以说是既自然、又非比寻常。不像 Irezumi(日式纹身)的线条粗厚,往往覆盖身体很大部分,Hongdam 的纹身则更精细、简约,就如同传统的水墨绘画,“ 传统韩国艺术是画布不会被填满,而是充分利用留白的一种艺术。” 他说。

Hongdam also sees similarities between traditional Korean art and tattoo as a medium. Most of the material and sense of color comes from nature, such as muk (Korean ink), which comes from charcoal trees, and hanji, which comes from mulberry trees. Skin, too, is a natural medium, and Hongdam finds fascination in working with various skin tones, which bring out or tone down his art. He observes one more common feature: “You can’t fix mistakes in traditional ink paintings. You can paint over a mistake in oil, but in once you make a mark with ink, that’s it. That’s why traditional ink artists tend to work in constraint and under high pressure.”


Hongdam 认为,传统韩国艺术和纹身之间的共同点在于 “媒介”。大部分的材料和色彩灵感都来自大自然,譬如他所用的韩国墨水(muk)就是来自木炭,而韩纸则是来自桑树。皮肤也是一种天然媒介,在各种肤色上创作对他来说是一件充满魅力的事情,因为不同的肤色会突显或是柔和他的艺术。他还观察到这两种艺术间的另一个相同点: “在传统水墨画中,一旦画错了是没有办法去弥补的。这和油画不同,因为在油画中你可以直接在画错的地方上继续画,遮掉错误。但一旦你用墨水画多了一点,也就无可挽回了。这就是为什么传统的水墨画艺术家总是在紧张与高压的状态下工作。”

The pressure is even greater for tattoo artists, whose canvas is after all a client’s body. In this, Hongdam sees enormous responsibility. “You know how listening to an old song brings up memories of when you first heard it, like how it was snowing that day or how you were with your first girlfriend? Tattoos are the same. When you look at a tattoo you think back to the artist, and how you felt when you got it,” Hongdam says. “A tattoo you get in a bad environment becomes a scar. I keep this in mind because it’s really important, though it’s hard if the client is rude.”

Asked if he has any particularly memorable clients, Hongdam is quick to reply: “I remember so many of them.” Once he spent three days giving a tattoo to a dermatologist from Paris who specialized in tattoo removal. He’s even given tattoos to celebrities, though because he lacks a television in his office, he sometimes fails to recognize them.

Sometimes he still feels nervous, despite his years of experience in the business. “One time a client kept crying through the process. At first, I thought it was because of the pain, but he told me the tattoo was of his mother’s words, and she had just passed away.” Of course, many people get tattoos for much lighter reasons. “One foreigner said the first thing they drank in Korea was banana milk – which comes in a very distinctive can – and said they wanted it tattooed because it was their image of Korea.”


这样看来,纹身艺术家的压力甚至更大,毕竟他们的“画布”是客户的身体。也正因如此,Hongdam 觉得自己有着很大的责任。“你应该也知道,听一首老歌,你脑海里就会浮现一些回忆,想起你第一次听到它的时候,想起那天下雪,想起你和第一任女朋友在一起的时候。纹身也是这样。当你看到一个纹身时,你会回想起这名纹身师,想起你纹身当时的感觉。” Hongdam 说,“如果你是在恶劣的环境中得到这个纹身,那它就会变成一道疤痕。我一直提醒自己这一点,因为它非常重要。当然要做到这一点并不容易,特别是遇到不礼貌的客户时。”

当他被问及是否有什么特别难忘的客户,Hongdam马上说:“非常多。” 有一次,他花了三天时间给一个专业去除纹身的巴黎皮肤科医生纹身。他也曾经给名人纹身,但因为他的办公室里没有电视机,所以有时候就算是名人他也会认不出来。

尽管已经有多年经验,他有时候仍然会感到紧张。“曾经有一位客户在我为他纹身时一直哭。一开始我以为是因为痛,但他告诉我这个纹身是他母亲曾经说过的话,而她刚刚去世了。” 当然,很多人纹身只是出于更简单的原因。“曾经有一位外国人说,他在韩国喝的第一瓶饮料是香蕉牛奶,他觉得这种牛奶的瓶子形状很特别,纹这个图案也是因为它代表了自己对韩国的印象。”

Even though Korea isn’t the first country that come to mind when one thinks of tattoos, Hongdam says the tattoo scene there is developing quickly. His age puts him somewhere between an older generation that still views tattoos negatively and a more open-minded younger generation, and this fact informs his work.

“Some people think of me as a tattoo artist and not an artist, which is surprising. To me, they are very much the same. Tattoo artists are artists. Some people work with wood or rocks—I’m just someone who works with skin. Why should people who do tattoos only do tattoos, or why should people who paint on canvas be restricted to that medium? I want tattoos to become a natural part of art and society.”


尽管说起纹身,韩国可能不是你第一个想到的国家,但 Hongdam 认为,纹身文化在韩国正在迅速发展。从年龄上看,他介于视纹身为不良标志的旧一代,与态度开明的年轻一代之间。

“有些人认为我是一个纹身艺术家,但又不是艺术家,这一点挺令人惊讶的。对我来说,这两者是一样的。纹身艺术家就是艺术家。有些艺术家用木材或岩石来创作,而我则是在肌肤上创作。为什么纹身艺术家就只能做纹身,为什么画画的人就只能用画布来创作? 我希望纹身能成为艺术和社会中自然存在的一部分。”

He’s not dogmatic about what tattoos should be, and he remains open to all kinds of inspiration. “I don’t want to be an artist who says tattoos have to be one way, or that ink painting should be another—I don’t really find that exciting or appealing. If we weren’t open to new ideas, we wouldn’t have watercolor tattoos, fine line tattoos, pictorial tattoos, or anything else. Though it’s intimidating to encounter ideas you disagree with, we have to be exposed to them, so we can either accept or reject them and see where to go from there.”


他不打算对纹身订下什么教条,他对各种想法持开放的态度。“我不想成为一个要求纹身必须怎样,或者要求水墨画应该怎样的艺术家,我觉得这样做很无趣。如果我们不接纳新的想法,就不会出现水彩纹身、细线纹身、图案纹身等等。不同的想法可能是一种挑战,但我们必须要先接触到这些不同的想法,才能决定要接受或是拒绝它们,再看看如何进行下一步。”

Hongdam hopes younger people see in him an example. “Other than deciding to be a tattoo artist, I’ve decided very few things for myself. Mostly I’ve followed advice from my parents or teachers. The first thing I decided after thinking about what I was good at and what I wanted to do was to become a tattoo artist,” he says. “So I have no regrets—this is something I’ve chosen. In art or anything else, I think it’s important for people to take ownership of their own decisions.”

“It’s a lot like tattoos,” he adds. “Clients often ask their friends where they should get their tattoo. And if they regret their decision, they blame their friends. I think choosing a path is a lot like choosing where to get a tattoo.”


Hongdam 希望年轻人能以他为鉴。“除了做纹身艺术家这个决定,我自己其实很少决定任何事情。大部分时候我都只是按照父母或老师的意见走。在我认真思考了自己擅长什么和想要做什么后,立即就决定成为一名纹身艺术家。我没有遗憾,因为这是我的选择。不论是艺术,或是其它任何事情,我认为对人们来说,自己的决定要自己做,这一点是很重要的。”

他补充说道:“这一点和纹身很像。一些客户经常会问他们的朋友在哪个部位纹身比较好。如果他们事后后悔,就会去怪朋友。我认为人生选择走哪条路,和选择在哪里纹身是一样的。”

Website: iwolhongdam.com
Facebook~/ilwolhongdam
Instagram: @ilwolhongdam

 

Contributor: Eugene Lee, Joe Park


网站: iwolhongdam.com
脸书~/ilwolhongdam
Instagram: @ilwolhongdam

 

供稿人: Eugene Lee, Joe Park

“Flower”

Ever since China overcame its rampant opium problem of the 19th and early 20th century, the country has held an antagonistic stance towards mind-altering substances of all types. This aversion is even reflected in the language; In Chinese, “drug” translates to du ping, which literally means “poison,” a term that harbors a much more sinister connotation when compared to its linguistic counterpart in English. Anyone who grew up in a traditional Chinese household can likely attest to how they’re raised with the notion of all drugs being extremely addictive and inherently bad, with marijuana being no exception. Considering that such a negative outlook on drugs is rooted in the public consciousness, it’s no surprise that cannabis remains as stigmatized and illegal as ever in China and nearby regions. However, in the West, ganja has steadily been gaining social and legal acceptance in recent years.

Born in Korea, raised in the States, and now living in Hong Kong, photographer Alex Maeland has experienced first hand how divided Eastern and Western opinions can be when it comes to the subject of cannabis. His new photo series, “Flower”, which will be debuting at the McNamara Art Projects in Hong Kong this weekend, ultimately stems from a personal curiosity towards the cultural differences when it comes to the topic of ganja. By highlighting the beauty of cannabis plants through his photos, Maeland hopes to shed the stereotypes associated with the substance and invite people in the region to reexamine the taboo topic in a new light.


摄影师 Alex Maeland 在生于韩国、长于美国、现居香港,这样的生活经历让他亲身体会到了东西方国家的人们,对于大麻持有截然不同的看法。本周末,他将在香港的 McNamara Art Projects 展出其全新摄影系列《“Flower》(),而这个系列的创作动机正是出于他对世界各地大麻文化差异的好奇。Maeland 通过镜头,呈现出大麻植物的美感,希望借此改变人们对这种植物的一些偏见,并重新审视对这个禁忌话题的认识。

An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一

“Spending enough time in places like Los Angeles, the stigma around weed has been dissolved by the micro interactions that normalize it into the everyday lifestyle of the average citizen,” Maeland shares. “Meaning, it is no longer relegated to the stereotypes that have plagued it in media and entertainment for a while. […] I thought it would be interesting to do a small photo show to re-position the dialogue around weed through still-life, botanical-photo-style art in a city like Hong Kong.”


Maeland 说:在洛杉矶这样的地方长时间生活后, 对于大麻的不好的印象也已经被冲淡,现在会觉得它只是普通人的一种生活方式。这意味着,在媒体和娱乐界的影响下,大麻一度被人们所误解,但现在人们对它的看法已经改变……所以,我想,在香港这样的城市里举办一个小型的摄影展,通过静物植物摄影艺术,让人们围绕大麻进行新的对话,应该会挺有趣的。

Harvested buds being hung out to dry. An unreleased image shot by Maeland at a Stateside grow-op / Maeland 未发布的摄影作品之一
Marijuana buds being air dried. An unreleased image shot by Maeland at a Stateside grow-op. / Maeland 未发布的摄影作品之一
A close-up image of trimmed marijuana buds shot by Maeland. / Maeland 大麻的特写摄影

Maeland views the opportunity to do a show on the topic of cannabis in Hong Kong to be much more impactful than doing something similar in the States, and rightfully so. In a region that still hasn’t accepted marijuana, in either a recreational or medical capacity, his aim is to encourage a candid discussion on the matter. “It is more relevant by doing it in a region that still doesn’t have any kind of relationship to weed in a legal sense,” he explains. “[…] The goal being to bring people together around a topic and push the conversation forward.”


Maeland 认为,在香港举办有关大麻的摄影展览比在美国做类似的事情影响力更大。事实也确实如此。他的初衷是,在一个无论是娱乐还是医疗方面都尚未接受大麻的地区,鼓励人们对这个话题进行坦诚的讨论。在一个仍未在法律层面上对大麻进行讨论的地区,做这件事件会更有意义。他解释道,“……我的目标是让更多人参与进来,一起推动有关这个话题的对话。

An unreleased image of a Stateside grow-op by Maeland. / Maeland 未发布的摄影作品之一
An unreleased image of a Stateside grow-op from Maeland, shot through a ventilation fan. / Maeland 未发布的摄影作品之一
An unreleased image of cannabis plants inside a Stateside grow-up shot by Alex Maeland. / Maeland 未发布的摄影作品之一

Cannabis aside, Maeland has found an interest in photographing flora of all types in recent years. From creating diptychs that pair flower bouquets with portraits to capturing the life cycle of store-bought roses, Maeland uses flowers to invoke specific moods and feelings in his photography. However, beyond their superficial qualities and narrative uses, perhaps more significant is what flowers represent to him. For Maeland, flowers symbolize growth and change, qualities that not only mirror his own aspirations as a creative but also share parallels with his ambitious goals for the upcoming exhibition.

Alex Maeland’s “Flower” will be debuting at Hong Kong’s McNamara Art Projects on March 3rd, 2018 and run until March 16th, 2018.


除了大麻之外,近年来 Maeland 特别热衷于拍摄各种植物。虽然花卉的确让他的照片更具视觉吸引力,但 Maeland 对花卉的迷恋不仅来自于它们的外表。他以双联画的形式,将肖像摄影与花卉的照片并列在一起,以捕捉一束玫瑰的短暂生命周期,他的作品常常会通过花卉来唤起观众特定的情绪和感情。但是,对 Maeland 来说,花卉不仅是一种叙事手段,更是成长和变幻的象征,而这也是他渴望在即将到来的展览中所探讨的主题。

Alex Maeland 的“花”(”Flower”)摄影展将于 2018 年 3 月 3 日至 3 月 16 日期间在香港的 McNamara Art Projects 亮相。

Event“Flower”
Opening: Saturday, March 3, 2018, 6 ~ 9 pm
Exhibition Dates: March 3, 2018 ~ March 16, 2018

 

Address:
McNamara Art Projects
202, The Factory
1 Yip Fat Street
Wong Chuk Hang, Hong Kong

 

Website: www.alexmaeland.com
Instagram: @alexmaeland

 

Contributor: David Yen


活动名称: “Flower”
开幕时间: 星期六,2018年3月3日,下午6点至9点
展览日期: 2018年3月3日——2018年3月16日

 

地址:
McNamara Art Projects
香港黄竹坑
业发街 1 号
The Factory, 202室

 

网站: www.alexmaeland.com
Instagram: @alexmaeland

 

供稿人: David Yen

Poetics of Light & Shadow

Jusung Hyung is a freelance director and photographer based in Seoul, South Korea. He first became introduced to film and photography as a young boy when his father brought home a DSLR and a film camera. Awestruck by these devices, the ability to manipulate time by recording and playing back images would become a lifelong subject of fascination for Hyung.


Jusung Hyung 是来自韩国首尔的一位独立导演兼摄影师。小时候,他的父亲带了一台数码单反相机和电影摄影机回家,从那时起,他就开始接触到电影制作和摄影。Hyung 为这些器材的魅力震慑不已,通过录制和回放图像来操作时间的能力也成为了他一生的热情所在。大学的时候,他就修读了电影和广告专业。

While interested in both, Hyung clearly defines his personal relationships to the parallel mediums of film and photography – filmmaking is his profession, while photography is his hobby. His approach and philosophy towards these two mediums are interconnected, but also fundamentally distinct from one another. Hyung tells us, “When speaking of the difference in method of approach between filmmaking and photography, it’s first important to understand that because film is photographs in motion, the camera’s movements, the storytelling, and the chemistry with the actor are important. Photography is about trying to deliver the message shown in the photograph. If I was to use literature or the act of writing as an example, filmmaking would be like writing a novel or an essay, while photography could be viewed or expressed as a poem.”


虽然同时涉猎摄影与电影,但对Hyung来说,这两种媒介有着截然不同的意义:电影是他的职业,而摄影则是他的爱好。在他的创作方式和理念中,这两种媒介相互关联,但也有着根本性的区别。Hyung告诉我们:“当谈到电影制作和摄影方法的差异时,首先要了解的是,电影其实是动态的照片,相机的移动、故事的讲述以及与演员之间的化学反应都非常重要。而摄影则是要试图传达出照片中显示的信息。如果以文学或写作来比喻,可以说电影制作就像写一篇小说或散文,而摄影则是一首诗。”

Deeply reflective on the philosophical implications of capturing images, Hyung muses on the differences between English and Korean when it comes to how language shapes our everyday perceptions of photography: “It’s something I think about everyday. When I think of the origin of the word photography, in English, the word ‘photography’ can be broken down into two parts to mean light and illustration. However, in Korean calligraphy, the word means to express and show a real scene in its original form. I find the difference in interpretation and understanding of the word very interesting. Personally, the Korean interpretation of expressing and showing an image in its original form is a little bit closer to what I believe.”


Hyung 深刻反思着摄影背后的哲学含义,同时也试图探讨英语和韩语之间的差异,了解语言是如何影响我们平时对摄影的感知:“这是我每天都会思考的事情。譬如摄影的英文 ‘photography’,这个词可以分解成两个部分,分别表示光线和图像的意思。然而,在韩文中,摄影的字面意思是指以其本来的形式展现一个真实的场景。我觉得不同语言对摄影这个词的解释和理解上的差异很有意思。就我个人而言,韩语的字面解释更接近我对摄影的理解。”

Instead of being limited by preconceived notions of personal style, Hyung views his photography as a developing process: “Rather than seeking my own person style or aesthetic, I would say that I wait and observe to see the results of the capture. I would say that until now, I’ve still been in the process of discovering my own photographic philosophy and themes while taking pictures. For me, the important thing is mostly in becoming a photographer with a deep and nuanced eye for pictures.”


Hyung 没有受限于个人风格这种先入为主的观念,在他看来,自己的摄影本来就是一个不断发展的过程:“与其说是追求自己的个人风格或美学,我觉得我更像是在等待和观察,看自己作品会呈现怎样的结果。直到现在,我仍然在探索自己的摄影哲学和主题。对我而言,重要的是成为一名对影像有深入细致的眼光的摄影师。”

Despite the positive exposure that he has recently received for his photography via social media, Hyung remains humble and stays devoted to refining his craft. He says, “Many people call me an artist of photography. However, I don’t feel I’m good enough to deserve that title just yet. When I establish my personal photographic philosophy in detail, I’ll be happy to be called and to call myself an artist.”


尽管他的作品最近在社交媒体上大受欢迎,但 Hyung 仍然保持着谦虚的心态,努力提高自己的摄影技术。他说:“许多人称我为摄影艺术家。不过,我觉得我的能力还不配得上这个头衔。当我能够真正地建立属于自己的摄影哲学时,我很乐意被称为或自称为一名艺术家。”

Websitejusunghyung.com
Instagram: @jusunghyung

 

Contributor: George Zhi Zhao


网站jusunghyung.com
Instagram: @jusunghyung

 

供稿人: George Zhi Zhao

The Long Journey

Johan Chomet is a French photographer born in Paris. In 2013, he set out on The Long Journey, a series of travels that led him overland through Europe, Russia, Mongolia, China, Japan, Vietnam, Thailand, Myanmar, and Nepal. Most recently, Johan’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Johan tells Neocha more about his work and his travels below.


Johan Chomet是来自法国巴黎的摄影师。2013年,他上了《The Long Journey》,进行了一场跨越欧洲、俄罗斯、蒙古、中国、日本、越南、泰国、缅甸和尼泊尔的漫长旅程。最近,Johan又去了韩国的首尔,在那里,他拍摄了许多照片,记录下他眼中的这座城市。Johan跟Neocha分享了许多关于他的作品与旅行的故事。

Neocha: What’s your process for planning your travels?

Johan: I never have a plan or route. I don’t try to organize anything in advance. I usually get transportation and visa sorted to my first destination and then take it from there. It gives me a lot more freedom as I don’t have to be somewhere at any specific time and can change my plans at the last minute if I feel like it. I also try not to have any time constraints.

Traveling overland is a totally different experience. You have to endure every kilometer of your trip, you have to find your way, and you have to deal with uneasy, sometimes unpleasant, situations. But you also get to live and share so much more. You see the landscapes changing and get to meet people along the way. To me, travel means freedom. It means adventures, meeting people, seeing things from a different perspective, and obviously photography! Travel and photography can hardly be separated for me.


Neocha: 你是怎样计划你的旅行的?

Johan: 我从来不会做计划或设计路线,我不喜欢提前计划好任何事情。我一般只会先把第一个目的地的交通和签证办好,然后就出发。这样我可以有更多的自由,因为我不需要在特定的时间到达某个特定的地方,也可以随时改变计划。我也尽量不给自己时间上的限制。

横越大陆的旅游是完全不同的体验。你不得不忍受旅行时每一公里的路途,你必须找到方向,你要处理一些不安,甚至令人不愉快的情况。但你也能够有丰富的生活体验,可以分享更多。你可以看到沿途风景的变化,一路认识新的朋友。对我来说,旅行意味着自由、冒险和结交朋友,从不同的角度来看待事物,当然还有摄影!对我来说,旅行和摄影是密不可分的。

Neocha: How did your trip to Seoul come about?

Johan: I really had no idea about what to expect when I decided to go to Seoul. I had been in Japan for a few months and my visa was expiring, meaning that I had to leave the country for a while. South Korea had always been on my list, and I was really looking forward to seeing it for myself, as for some reason I never got to see many images of the country. When I got to Seoul, it took me about 24 hours and a lot of walking around the city to take my first photo. Things were a lot less accessible and obvious than in Japan, and it felt like I had to soak it all in before I could start taking any photographs.


Neocha: 为什么会想要去首尔?

Johan: 我一开始决定去首尔的时候,我真的没有带着什么特别的期望。当时我已经在日本呆了几个月,签证快要过期,所以我要离开日本一会儿。韩国一直是我想要去的国家之一,我也很期待去这个国家,但不知道为什么,我一直很少机会看到关于这个国家的图片。刚到首尔的时候,我在这座城市里逛了很久,过了快24小时才拍下第一张照片。比起日本,这里的一切更难以接触,更隐晦,感觉就像我必须要深入其中,才能拍到想要的照片。

Neocha: What were some of your first impressions of the city?

Johan: Seoul had been very confusing for me at first, as I could see very little related to its past and history, and what I could see did not always feel coherent. Architecture in many parts of the city made me feel like I was in some sort of communist country with all these identical concrete buildings shaping the landscape, and just a few kilometers away you’d find yourself walking on huge avenues filled with hundreds of high-end shops, and you’d be reminded that you were in a country that’s embraced capitalism like no other.

Another thing that struck me was the overabundance of churches everywhere. Every direction you look, you’d see them – red neon crosses that have invaded Seoul’s skyline. Talking about neon, it’s something I’ve been shooting a lot of lately. I love the light and the atmosphere that it creates. Neon definitely feels a little bit retro, but at the same time, it keeps us fantasizing about these futuristic vertical metropolises.


Neocha: 你对这座城市的第一印象是什么?

Johan: 一开始,首尔让我感到很困惑,我很难看到这座城市与其过去和历史的关联,我所看到的事物也总是感觉不是很一致。很多地方的建筑让我感觉这是一个共产主义国家,一模一样的凝土建筑物,组成了这座城市的景观,然后仅几公里之外,就是宽阔的商业大道,充满数以百计间高端商店,这时你才会意识到,这也是个不折不扣的资本主义国家。

另一件我最难忘的事是,这里的教堂无处不在。不论在哪里,你都能看到那些红色的霓虹灯十字架,占据着首尔的城市天际线。说到霓虹灯,这是我最近很喜欢拍摄的东西。我很喜欢这种灯光,以及它所创造的氛围。霓虹灯确实有点复古的味道,但同时又会令人幻想到未来的垂直化大都市。

Neocha: As a film photographer, what are your thoughts on the film versus digital debate?

Johan: There shouldn’t be any final conclusion about film or digital – they both have their pros and cons. Digital is easy to use, convenient, accessible to everyone, and gives flawless results. Unlike film, the processing is instantaneous, costless, and allows for endless post-processing modification. As always, industries deliver what consumers are asking for.

Film is expensive and frustrating. There’s no insane post-processing to make dull images look great in the end. You can’t take hundreds of photos in a day, hoping to have a good one in the end or take the same photo over and over again until it looks good on-screen. You have to get it right the first time, and this is without a doubt the best way to learn. Shooting mechanical cameras and film gives me the feeling that I’m part of the process, that I’m in control, and that I’m actually making the photo. Working with film, I realized that I was spending a lot more time on framing and working on composition, and more importantly, I would not rely solely on the camera for the result. If your photos are not good enough, you can’t blame the autofocus or justify it by the fact that you didn’t have the money for that ISO 204800 camera. If your photos aren’t good, it’s simply because you’re not a good photographer. Technology in photography doesn’t make things better. It just makes things more convenient.


Neocha: 作为一名用胶片拍摄的摄影师,你对于胶片摄影与数码摄影之间的争论有什么看法?

Johan: 对于胶片摄影与数码摄影之间的争论,应该永远也不会有最后结论,这两者都有各自的优点和弊处。数码摄影更容易、更方便,所有人都可以使用,拍出来的照片也很不错。与胶片摄影不同,数码摄影即时显像,不需要成本,也可以有无休止的后期修改。每个行业都会努力提供消费者所需要的产品,这一点向来如此。

而胶片摄影的成本更高,也往往容易令人沮丧,你不可以疯狂地进行后期处理,将一张原本平庸的照片变成一幅棒极了的照片;你也不能一天拍好几百张照片,然后指望其中会有一张好照片;或是一遍又一遍地拍同一张照片,直到在你屏幕上的照片看起来不错。你必须在第一次按快门就拍好,所以这无疑是学习摄影的最佳途径。用机械胶片相机和胶片拍摄,让我感觉自己成为了这个创作过程的一部分,我有控制权,我感觉这才是真正地在创作一张照片。用胶片拍摄时,我发现自己会花更多时间思考构图,更重要的是,我不会全然依赖相机。如果你的照片不够好,你不能说是自动对焦的问题,也没有藉口说是因为你没有足够的钱,买一台ISO 204800的相机。如果你的照片不够好,只是因为你不是一个好的摄影师。在摄影方面,科技不会让照片拍得更好。它只会让拍照变得更方便。

Neocha: How would you summarize your approach to photography, and what are some recurring themes in your work?

Johan: I used to take a lot of photos of people in busy places, mostly cities, of people in motion, people that would catch my attention. I’ve never tried to make any specific statement with my photos. I just want my photographs to be a reflection of a time and place. They’re just snapshots. I usually go out walking with a camera in my hand and take photos of the things that I react to. I don’t believe photography should be too cerebral, and I try not to overthink my shots. I like spontaneous things.

As I mentioned, film photography changed my approach a little. It forced me to take my time. It helped me to be more patient, and so I started to photograph things differently – more still images, pictures with no people, empty spaces. I also started paying more attention to colors and geometry. When I’m traveling, things are also a bit different. I try to build a series rather than taking a bunch of candid shots without any specific theme.


Neocha: 你如何描述自己的摄影方式,你的作品中的常见主题有哪些?

Johan: 我曾经拍过很多人们在繁忙地方的照片,大多是在城市,拍摄一些行动中的人们,拍摄那些会引起我注意的人。我从来没有试图在我的照片中表达某种特定的态度。我只想通过自己的照片记录某个时刻和地方……它们只是一张张快照。我通常拿着相机就出门散步,看到想拍的事物就拍下来。我认为摄影的时候不需要思考太多的事情,我在拍摄时尽量不去考虑太多。我喜欢自然而然的东西。

正如我前面所说,胶片摄影也影响了我的摄影方法。它让我在拍摄时放慢速度、更有耐心,也因为这样,我开始拍摄不同的对象,更多的是静止的图像,没有人,空荡的场所。我也开始更多地关注颜色和几何形状。当我去旅行时,拍摄的方法也会有点不同。我会试着创作一个系列,而不是没有任何特定的主题,直接拍一堆照片。

Neocha: Are there any particular themes or lasting impressions from your series in Seoul?

Johan: Culturally, It feels like there’s this huge gap with massive differences of interests and lifestyle between generations. South Korea, and Seoul probably even more, has been changing so much and in such a short period of time. Because so many younger generations of South Koreans are able to travel and study abroad, I guess many came back with a different idea of what they wanted for their country and for their lives. South Korea has been heavily impacted by Western culture, but it feels like its people managed to adapt and blend it to their own culture, making it theirs. I definitely want to go back to South Korea and focus more on the youth next time.


Neocha:这一次在首尔摄影的作品中,有没有什么特别的主题或比较深的印象?

Johan:从文化上来说,我觉得韩国不同世代的人们之间在兴趣和生活方式方面有很大的差异。在韩国,尤其是首尔,在很短的时间内,这里发生了翻天覆地的变化。很多年轻一代的韩国人出国旅游和留学,我想,他们中很多人回来后对于自己的国家和生活都会有了不同的想法。韩国受到很多西方文化的影响,但似乎韩国人们将这种影响成功融入到他们自己的文化中,将其变成韩国的特色文化。我还想再去一次韩国,下一次会把目光更多地放在年轻人身上。

Neocha: What is your personal philosophy towards photography? What does photography mean to you?

Johan: To me, photography is about accurately remembering and capturing real life for future generations. Photographers are witnesses of time, documenting life. Some photographers are talented enough to add emotions and beauty to their images, to get reactions out of their viewers. I hope that people can see my photographs in 30, 40, 50 years in a different context. Who knows what will have become of photography and the world in general by then.

My relation to photography is very personal – it’s almost a kind of therapy for me. Walking with a camera in my hands is one of the rare moments when I manage to completely focus my mind on what I’m doing. It forces me to be in the moment, and it stimulates me. It keeps me curious and gives me the motivation to make new projects, or even just to simply go outside and do something.


Neocha: 关于摄影,你的个人理念是什么?摄影对你来说意味着什么?

Johan: 对我来说,摄影是要准确地记录和捕捉当下的现实生活,留给未来的人们看。摄影师是时间的证人,生活的记录者。一些才华横溢的摄影师能把情感和美融入到他们的照片中,引起观众的情感共鸣。我希望在30、40或50年后,不同时代的人们可以看到我的照片。谁知道到时候,摄影和世界会变成怎么样呢?

对我来说,摄影是挺个人的事情,几乎可以说是一种治疗。拿着相机散步是很弥足珍贵的时刻,因为我可以完全专注其中。它迫使我融入那一时刻,刺激着我。让我保持好奇,给我动力去进行新的项目,甚至只是简单地到外面去,做点什么。

Websitejohanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

Contributor: George Zhi Zhao


网站johanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

供稿人: George Zhi Zhao

Myeongdong Cat Café

 

无法观看?前往优酷

Hidden deep within a meandering maze of boutique shops and restaurants in Seoul’s busiest shopping district, the Myeongdong Cat Café is a place where people can go to enjoy a coffee or tea, while playing with a wide variety of adorable kitties.


明洞猫咪咖啡厅位于首尔最繁华的购物区中,坐落于蜿蜒林立的精品店和餐厅之中,在这里,人们可以一边喝咖啡或喝茶,一边逗逗各种可爱的猫咪。

The café houses about 40 cats, from more than 10 different breeds, that all roam freely alongside café-goers. If you are a cat lover but are unable to have a cat as a pet or don’t want the responsibility of caring for one at home, then this is the place for you.


这家猫咖啡馆里大约有40只猫,共有10多种不同的品种,它们自由地漫步于咖啡馆的客人身边。如果你也爱猫,但又不能或者不想在家养猫,那么这里绝对是你的理想之地。

Upon entering the café on the fourth floor, visitors are asked to kindly remove their shoes, put on slippers, pay a door fee, and to refrain from overfeeding the kitties. Inside, the café looks like a cat’s playground filled with toys, cushions, and cardboard houses.


踏入这家位于第四层楼的咖啡馆时,顾客会被要求脱掉鞋子,穿上拖鞋,交入场费,同时被提醒不要给猫喂太多吃的。咖啡馆里面看起来就像一个猫的游乐场,摆满了各式玩具、垫子和纸板屋。

There are all sorts of cats roaming around the café: Burmese cats, orange Tabby cats, black cats, playful cats, little kittens, shy anti-social cats, sleeping cats, cats wearing costumes, and fat cats. Which kind is your favorite?


各种各样的猫在咖啡馆里悠闲地走来走去: 缅甸猫、橙斑猫、黑猫、调皮活泼的猫、小猫咪、比较害羞的猫、爱睡觉的猫、穿着衣服的猫、还有胖胖的猫。你最喜欢哪一种呢?

The most popular cat at the café is a rarely seen, hairless breed, called the Sphynx cat. For many visitors, this is usually the first time they will have ever encountered this kind of unique cat. Bald, wrinkled, and a bit fat, this highly social cat draws a lot of attention wherever she goes.


咖啡厅最受欢迎的猫是一种很少见的,无毛的品种,叫做斯芬克斯猫。对于大多数客人来说,这通常是他们第一次遇到这种独特的猫。秃头,起皱,有点肥胖,这种极富有社交天赋的猫在任何地方都会引起很多的关注。

After a busy day of shopping or a Korean BBQ dinner in Myeongdong, be sure to head straight over to the cat café for a relaxing time playing with some cute kitties. But if the cats aren’t enough to satisfy your needs, Seoul is also home to a number of dog cafés, sheep cafés, and raccoon cafés. Amazing!


逛了一天街,或者是在明洞吃完韩国烤肉晚餐后,记得去这家猫咖啡馆好好放松,跟这些可爱的小猫咪玩一下。但是,如果单是和小猫玩还不能满足你,首尔其实还有许多宠物咖啡馆,包括狗狗咖啡馆、绵羊咖啡馆和浣熊咖啡馆。是不是很赞!

Address:
37-14, Chungmuro 2-ga, Jung-gu
Seoul, South Korea

 

Facebook~/catplayground

 

Contributor, Photographer & Videographer: Leon Yan


地址:
韩国首尔
中区
37-14 忠武路2街

脸书~/catplayground

 

视频摄影师与图片摄影师: Leon Yan

The City is a Creature

South Korean street artist Junkhouse believes that everything in existence is alive – and she literally means everything. From old buildings to street signs, she sees life in inanimate objects that people normally wouldn’t look twice at. Living in Seoul, she’s observed and experienced the city’s redevelopment over the last decade. In the city’s evolution, she’s come to see Seoul as one enormous organism, an ever-changing and evolving entity, one that has lent an undeniable influence on the direction of her own artistic style.


韩国街头艺术家Junkhouse认为,存在的一切都是有生命力的。从旧建筑到街道标志,她从人们过眼即忘的无生命物体中看到生命。生活在首尔的她见证并亲历了这座城市在过去十年中的重建。在她眼中,首尔是一个巨大的有机体,这座不断演变的城市,就是一个不断变化和进化的存在,这一点对她的艺术风格产生了不可磨灭的影响。

Junkhouse says the monsters and mutants who lurk in her work are reflective of the city’s never-ending metamorphosis. “They match the city’s continuously changing environment,” she explains, pausing. “I suppose that’s also why my work has become more abstract.” Whether on random street corners or in an art gallery, the signature aesthetic of Junkhouse’s artwork is unmistakable: bright colors and amorphous shapes, all of which swirl together and bring to life the strangely adorable creatures of her imagination.


Junkhouse说,潜藏在她作品中的怪物和异形代表了这座城市永无止境的演变。“他们反映了首尔不断变化的环境,”她解释道,沉默了一会儿,又补充道:“这可能也是我的作品越来越抽象的原因。”无论是在某个街角创作的作品,还是在艺术画廊举办的展览,Junkhouse的作品都具有一种独特的美学风格:明亮的色彩和奇特形状相结合,将她脑海中那些可爱、奇异的生物栩栩如生地呈现出来。

In her ongoing project City Life, Junkhouse transforms the seemingly insentient objects of cities – from drab walls to industrial machinery – into cheerful creatures. “I carry around stickers of eyes, noses, and mouths every time I visit a new city or a new neighborhood so that I can meet new creatures and give them life,” she says. “Everything differs in size and shape, so they take on a completely different entity even if I put the same eyes, nose, and mouth on them. If anyone meets any of my urban creatures on the streets, I hope they’ll recognize that were here this whole time.”


在她目前创作的项目City LifeJunkhouse将城市里看似无生命的物体(从普通的墙壁到工业机械)改造成充满快乐气息的“生物”。她说:“每次我去到一个新的城市或新的社区,我都会随身携带眼睛、鼻子和嘴巴图案的贴纸,这样,我就能够在发现到新的‘生物’时通过创作,给予它们生命。它们的尺寸和形状都不尽相同,所以即使我给它们放上相同的眼睛、鼻子和嘴巴,它们也是完全不一样的。如果有人在街上遇到我在城市里创作的‘生物’,希望他们能够认识到,这些‘生物’其实一直都在那里。”

“There isn’t as much street art or as many street artists as you’d think in Seoul or Korea,” she says, dejectedly. “Seoul is actually a difficult place for street art due to the characteristics of the buildings, and since this art can’t be seen, it’s not easy for people to experience. Even though various subcultures have evolved over time and there are more artists now, the growth is slow and it’s hard for their work to reach more people.” This is part of the reason that Junkhouse prefers the streets over gallery spaces, despite the numerous successful exhibitions she’s held over the years. With each trash can, derelict building, or crumbling wall that she brings to life, she’s making art that much more accessible and approachable for everyday people. “Sure, it may be comfortable inside a gallery, but there’s a lot of stress when creating for an exhibition. On the streets, the weather may be unpredictable and it may be uncomfortable, but I feel a lot more relaxed. More importantly, if your work is in the streets then more people will get to see it.”


然后,她有点沮丧地说:“在首尔,或者说在整个韩国,其实街头艺术家并没有你想像的那么多。由于这里建筑的特点,在首尔创作街头艺术并不容易,而由于这种艺术的不常见,人们很少有机会体验这种艺术。虽然,各种亚文化在逐渐发展,现在也出现了更多的艺术家,但发展的速度很慢,很难让他们的作品接触到更多的人。” 这也是Junkhouse更喜欢在街头创作艺术,而不是在画廊办展的原因之一,尽管她多年来已经举办的许多展览都很成功。她通过自己的创作,让垃圾桶、废弃的建筑物或那些摇摇欲坠的墙壁焕现生命力,让大众有更多机会来接触这种艺术。“虽然在画廊里很舒服,但是要创作一整个展览时压力会很大。而在街上,天气可能变幻莫测,环境也不如画廊舒服,但我觉得很放松。更重要的是,与画廊相比,在街头创作能让更多的人看到你的作品。”

Website: junkhouse.net
Facebook: ~/junkhouse.sue
Instagram: @junkhouse_

 

Contributor: David Yen
Images Courtesy of Junkhouse


网站: junkhouse.net
脸书: ~/junkhouse.sue
Instagram: @junkhouse_

 

供稿人: David Yen
图片由Junkhouse提供