Tag Archives: shanghai

Vanishing Act

Ever since he moved to Shanghai in 2013, London-born photographer Alexis Goodwin has been fascinated by the city. He immediately found it “atmospheric, epic, and visually stimulating,” with high rises stretching into the clouds and bustling little alleyways coexisting in a strange harmony. Wherever he turned, there always seemed to be something to record, and he set out capture his experiences on film. The result is his new photography series, Shanghai Dreams. 


自从五年前踏足上海并在此生活的那一刻起,来自伦敦的摄影师 Alexis Goodwin 就深深地为之吸引。和很多人一样,Alexis 对这座城市的第一感觉,就是“大气、史诗般的壮阔和强烈的视觉冲击”,擎天入云的高楼和充满生活气息的羊肠小道,奇妙又毫不冲突地结合在一起。因此在每一个你转身的地方,好像都有一些特别的东西可以入镜,于是,他的新摄影系列《上海梦》(Shanghai Dreams)诞生了。

Living in the city, Goodwin slowly began to discover the lives of the people who live behind its prosperous façade, hawking goods in street stalls, playing chess or cards, or dancing in the plazas at dusk. And of course, he saw plenty of demolition crews.

Shanghai Dreams benefited from the fact that Alexis lived near Laoximen when large-scale demolitions were just getting underway. “I realized the region was changing fast, with entire blocks being demolished and street food vendors disappearing.”


在这座城市里生活,Alexis 慢慢发现了淹没在繁华背后的小人物的生活,有街头叫卖、柴米油盐,也有下棋打牌、跳广场舞,当然,还有拆迁的工地。

这个项目《上海梦》的开始,就得益于当时的 Alexis 住在老西门附近,而大规模的拆迁运动也正在同期进行。我发现这片地区的面貌在迅速改变,房屋推倒、整个街区被拆空,街头叫卖小商贩也逐渐销声匿迹。

Goodwin works in advertising and knows his way around post-production software. In this series, he used the same methods. “I chose to keep only the characters I was interested in and strip away everything else, creating an ethereal gradient background with just enough of the original ground to give an echo of reality,” he says. “But I used street photography of real people, which I hope is a little unexpected.”


从事广告摄影的 Alexis,很熟悉后期处理照片的程序。在他这个系列,他也用了一样的方法:(后期处理)我选择只保留我感兴趣的角色,并删除所有的其他东西,创造一个飘渺的梯度背景,仅有足够的背景基础,以提供一个生态的现实。但我使用的是街头摄影的真实的人,我想创造一些意外感。

Goodwin’s fragmentary moments of anonymous people—office workers navigating intersections as they cycle to work, street vendors scrolling through their phones in their downtime—are what “reflect the soul of the city,” in his view. “Theses scenes are a distillation of a real Shanghai moment.”

Perhaps the other Shanghai, the “Bewitching City” of concrete and glass towers, is just a mirage. What really leaves a mark are the people, or life itself. “I hope to show the soul of a city,” he says. “I hope these images serve as a record and an homage to the magic of Shanghai life.”


Alexis 的镜头中,无论是在建筑工地吸烟的女孩,还是骑着自行车正准备在路口拐弯的上班族,或者是市场里的小摊贩闲来无事翻着手机……这些不知名的小人物所呈现的零星片刻,却恰恰是 Alexis 心目中反映了城市的灵魂的所在。这些场景是真实的上海的升华。他说。

而钢筋水泥与反光玻璃搭建出来的魔都,那不过是海市蜃楼般的光景,真正能留下印记的,是人,和生活本身。我希望通过这些照片来展示一个城市的灵魂,也希望借此表示对上海生活的一种记录和致敬。

Behance: ~/alexis goodwin
Instagram@alexisogoodwin

 
Contributor:  Chen Yuan


Behance: ~/alexis goodwin
Instagram@alexisogoodwin


供稿人:  Chen Yuan

Face Value

You're in my pictures.

These days it seems interactions with others are always mediated by the screen of some device. In our hectic lives, talking in person has become a luxury. Gone are the days of friendly banter and shooting the breeze, replaced by the tip-tap of our on-screen keyboards. But what if we could set our phones aside for a moment, look each other in the eyes, and spend more time speaking face to face?

To hold onto the important people in our lives, perhaps we need to do more than keep them in mind. Why not keep them in art? Shanghai-based designer Hema’s independent accessory brand Face to Face creates wearable pins with an individual likeness, letting you hold the memory of others close to your heart (in a literal sense). The cute, pastel-colored pins are created with a mix of unconventional materials, such as steel wires, pieces of metal, and even cereal grains, and finished with a transparent layer of resin. All of her pins are unique—one-of-a-kind, just like real people. “When I think of the people in my life, each one has their own distinctive traits,” she says. “So I wanted to record their faces in the form of pins.”


曾几何时,人与人的交流之间总是隔着一层荧幕,近在咫尺的陪伴渐渐变成我们紧凑生活中的一种奢侈,寒暄和话语也总是被键盘上的反覆敲字取代。如果,我们可以暂时放下手机,看一看彼此的脸,多一点面对面的时光——

为了把身边重要的人的脸庞好好记下,不只记在脑海,也要记录在创作里。现居上海的设计师河马(Hema)自创品牌 Face to Face ,主要的作品脸谱胸针收录了形形色色的人们的脸。扑上温柔的色彩,造以浑圆的形状,并结合多种异想天开的材质拼接,钢丝、金属、甚至是谷物,压印在通透的树脂里。每一个胸针就像我们所遇见的每一个人一样,都是仅此唯一的存在。“我想起身边的人们,每个人都很有自己的特点,于是想把他们的脸通过胸针的形式记录下来。”

I'm a Photographer
I'm a Storyteller

“At first I just wanted to make fun faces, so I made the pins. But ultimately, they’re static,” Hema says. “I also like things that are goofy and dynamic. I firmly believe movement brings vitality, so I began wondering if there was a way to make the pins more lively, have them tell a story.”

This desire led to her first animated works. The series Exhibition, based on her Face to Face pins, is inspired by childhood memories of her mother and others.


“我一开始只是研究怎么做有趣的脸,所以有了脸谱胸针,但它们毕竟是静态的。我也喜欢搞怪和动态的东西,坚信运动会带来生命力,所以想说是不是可以让胸针更生动一点,传递一些故事?”

于是就衍生出更多具有故事感的动态图像作品。以下是河马以胸针为主要创作素材,发想的动图系列《看展》,灵感来自小时候有关母亲的回忆。

 

 

First time seeing an outdoor film 第一次看户外电影
First visit to a museum 第一次去美术馆
You told me about the Loch Ness Monster 你给我讲尼斯湖水怪的故事
First time taking me to see grown-ups at work 第一次带我去观察大人上班
First time following a pop star 第一次追星
Seeing a magic show together 一起看魔术表演
First time exploring the outdoors 第一次野外探险
First time at the firefly park 第一次去萤火虫公园

In her Forest series, the familiar faces of her pins have become fully developed characters with their own backstories. As they wander through a forest of the artist’s imagination, they pass by each other and encounter each other again. The series is inspired by Japanese novelist Haruki Murakami’s Norwegian Wood, with each image directly based on quotes from the book itself.

Through all these works, Hema wants to help us hold onto the beautiful, one-of-a-kind faces around us.


在另一系列《森林》里,脸谱都化身为人,在一个不存在于现实的森林里来来去去,彼此错过、再相遇。这是河马以她最喜欢的日本作家村上春树的作品《挪威的森林》作为启发,依据书中名言所创作的动图。

通过这些创作,希望让大家都能好好记得我们身边那些美丽、而独一无二的脸庞。

 

What makes us most normal is knowing that we're not normal. 我们的正常之处,就在于自己懂得自己的不正常
It is wonderful for two people to love each other, don't you think? 人与人可以爱得那么深,实在美妙
How great? Great enough to knock down all the trees in all the forests of the world. 如何好法?好得像全世界森林里的树通通倒到地上
I want you always to remember me. Will you remember that I existed, and that I stood next to you here like this? 希望你可以记住我,记住我这样活过,这样在你身边呆过
We were like kids who grew up naked on a desert island. If we got hungry, we'd just pick a banana; if we got lonely, we'd go to sleep in each other's arms. 我俩就像在无人岛长大的光屁股孩子,肚子饿了就吃香蕉,寂寞了就相拥而眠
Nobody likes being alone that much. I don't go out of my way to make friends, that's all. It just leads to disappointment. 哪里有人喜欢孤独,只不过不乱交朋友罢了,那样只能落得失望

Weibo~/FacetoFace
WeChat: faceworkshop

 

Contributor: Yang Yixuan


微博: ~/FacetoFace
微信公众号: faceworkshop

 

供稿人: Yang Yixuan

Generation Q

As the fight for equality and mainstream acceptance continues for LGBTQ groups, cinema has become an important medium in sharing authentic vignettes of the queer experience. Filmmakers from all over the world are using cinema to invite discourse on the injustices being faced by these sexual minorities. With the second annual Shanghai Queer Film Festival kicking off on September 21st, we take a look at a few of our favorite short films that’ll be shown this year.


随着 LGBTQ 群体(同性恋、双性恋、跨性别者和酷儿)争取平等和主流认同等运动的持续推进,电影,也成为了分享同性恋经历真实片段的重要媒介。来自世界各地的导演及电影人,正试图以电影来引起人们对这些性少数群体所面临的、不平等也不公正的境遇进行讨论。在第二届上海酷儿影展开幕之际,我们选取了几部将会于现场展映的短片电影,以一窥在亚洲地区 LGBTQ 群体的生活。


 

Slingshot Prince / 《拿弹弓的王子》

 

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The story takes place in 1995 in a small southern China village.

At the center of the film is a 12-year-old tomboy who’s been ostracized by her community for being unfeminine. Loathed by neighbors and family’s alike, the misunderstood protagonist feels cornered by the village’s archaic views on gender. Boys her age pick on her and shame her for being different. Her family, embarrassed by her “eccentric behavior,” is equally unsupportive, shunning her while they coddle her younger brother.


那是在 1995 年中国南方的一座小村。

12 岁的女主人翁是个中性打扮的假小子,言行举止与传统温良贤淑的小姑娘差别迥异。但在传统思想的禁锢中,这个特立独行的姑娘并没有得到来自家人和邻里的理解和尊重,大家眼里的她并非个性,而是怪异——家人感觉脸上无光,对她的弟弟更宠爱有加;而同龄的男孩子,却因她的不同而百般不爽,借机羞辱了她一番。

Slingshot Prince by Lin Sixin
Slingshot Prince by Lin Sixin

Slingshot Prince isn’t completely fictional. Director Lin Sixing based the film on real-life experiences—a blend of childhood memories and fictional plot elements. Arriving at the filming location, a village seemingly stuck in the 90s, Lin says all of his memories from his youth came flooding back to him: “The location, colors, lighting, and even sounds really brought me back to my childhood and reminded me of how I viewed the world back then.”

At the turn of the century, China’s economy and society underwent massive changes, and the village where Lin was born wasn’t exempt from the effects of modernization. “In a radically shifting society, self-doubt not only comes from within. It stems from a misbalance of societal validation with self-affirmation,” Lin states. “And those indoctrinated by the Confucian Ideal of Great Harmony repress their desires to express their individualism.”

By the end of the film, the tides turn for the protagonist—she stands up for herself, getting her revenge by picking off each of the boys who humiliated her with her slingshot.


这《拿弹弓的王子》(Slingshot Prince)的故事绝非“纯属虚构”。对导演林思新来说,这部电影来源于他的少年经历,真实的过往和虚构的电影情节交杂。而影片背景设置在 90 年代的村镇,则“真正还原”了导演对那个年代的记忆——“不论是拍摄场地,色彩,光线,或者是声音,全部都如实地还原了我少年时对这个世界最初的认知。

在这个世纪之交时,中国的经济和社会面貌发生了遽变,而导演所生所长的村庄也面临着城镇与外来文化的冲击。“在这样的一个社会巨变的环境下,人心的矛盾不仅仅来自于自我认同上,也来自自身被社会的认同和自我认同的不平衡上,而大多数这种被儒家大同思想深深影响的普遍社会价值观,造成了对个人自我表达欲望的压抑。”

所幸的是在影片最后,她站起身来,用自己弹弓狠狠反击那些欺凌她的男孩子,让他们付出了应有的代价。

Slingshot Prince by Lin Sixin

 

Sorry for the Inconvenience /《抱歉打扰了》

 

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In rural towns and villages where queer culture hasn’t quite been accepted, it’s not uncommon to see discrimination or even acts of violence against LGBTQ individuals. This is especially common in Asia-Pacific and Africa, where, statistically, sexual minorities have been the most marginalized groups in society.

These experiences are brought to light in Filipino director Carl Chavez’s Sorry for the InconvenienceThe short film is centered around Joshua, a timid teenager who’s bullied by classmates for not being masculine enough. In a fit of rage, he exacts revenge on them but things don’t go as planned. Desperate, he turns to his father, a local policeman, for help.


身处同志文化未能波及的小村镇,而因此囿于性别认同且饱受压抑的性少数人群,偏见、歧视、凌辱,对他们而言都太过寻常——据统计,在亚太(包含中国)和非洲地区,性少数人群往往是社会中最为边缘、最为弱势的群体之一。而在多样性接纳度较小的村镇地区,则显然更为严重。

无独有偶,来自菲律宾的导演 Carl Chavez 也在影片《抱歉打扰了》(Sorry For The Inconvenience)中叙述了类似的经历。在他的影片里,害羞胆怯的少年 Joshua 被同学霸凌,尽管复仇的火焰一经萌生就再难浇灭,但实际操作起来却有重重阻碍。无奈之下,他只能寻求自己当警察的父亲的帮助……

Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez

 

Pink Pill /《粉色药丸》

 

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No matter if its gender identity or sexual orientation, anyone who deviates from the norm can easily find themselves shamed and vilified.

The film Pink Pill takes place in a small riverside town in Sichuan. Zhang Ke, the main character of the film, is a high school sophomore whose secret relationship with Chen Xue, a female classmate, is outed after her diary is read out loud in front of the class. As a result, Zhang is maliciously bullied day after day.


在固化的性别观念里,非但多元的性别身份成为了受攻击的靶子,那同性二人之间萌发的暧昧情愫,也会成为众人诽谤和侮辱的对象。

《粉色药丸》(Pink Pill)发生在四川一个江边小城,高二女孩张鹤的日记被人发现,旋即被堂而皇之地念了出来。她与另一个陈雪之间的暧昧关系,从此昭告天下。随之而来的,是无尽的恶意。

Pink Pill by Xie Xiaoshan
Pink Pill by Xie Xiaoshan

Li Bo is one of Zhang Ke’s classmates with a long-time crush on her. He’s heartbroken seeing her bullied daily. Even though he’s normally timid and passive, he steps up, getting into fights to protect her. As the two grow closer, Li starts imagining that maybe his love can change her. What if sexual orientation was like a typo, something that can be easily corrected?

As the film progresses, Li’s frustration reaches a boiling point. His originally good-willed intentions transform into a selfish desire to change her. He yells at Zhang, denouncing her sexual orientation and calling it an illness. The story leaves viewers pondering just how much intolerance and bigotry exists in this world, hiding in plain sight.


而一直暗恋张鹤的男同桌李波,既觉得心疼,又想要改变——为了张鹤,懦弱的李波甚至跟人打架。随着二人的关系慢慢亲近,李波亦开始想象,或许自己的爱可以改变她呢?或许性向是就像错别字一样,可以被修正呢?

影片中,李波还是没忍住对心仪的姑娘叫喊“有病的是你”。但凭一己私心,妄图改正他人的性向或身份认同,这又是正确的吗?而像上述那些反对、歧视、欺凌性少数人群的“大多数”,又有多少呢?

Pink Pill by Xie Xiaoshan

For this year’s Shanghai Queer Film Festival short film competition, the featured films explore different LGBTQ perspectives from all over the world. Together, these vignettes paint a larger narrative around the state of modern society and how LGBTQ culture has been molded by the countless hurdles and obstacles faced by individuals along the way.


在本次“上海酷儿影展 SHQFF”中的亚洲短片竞赛单元里,我们会看到更多发生在亚洲的性少数人群的故事,以及他们所代表的 LGBTQ 文化,究竟是如何在一次次反抗和碰撞中显形的。

Photographer / 摄影师: Cao Feng

As gender identity and sexual orientation becomes increasingly blurry in modern times, the meaning of queerness equally demands greater diversity. Through cinema, SHQFF hopes to not only portray the reality of the LGBTQ experience, but it aspires to bring about much-needed change in the world.

This year, the second annual SHQFF will take place between September 21st and September 26th. Themed around the concept of “Generation Q,” the featured films looks to offer a well-rounded perspective of queer culture in modern times. Apart from the screenings, panels and various discussions will also be held during the event.


在这个时代,当性别身份与性取向已愈加模糊,有关“酷儿”(Queer)身份的定义也愈加丰富多元。我们希望这些电影不但能够呈现现实,也能具有改变现实的力量。

今年,第二届上海酷儿影展将于今年 月 21 日至26日隆重回归。本届影展决定将眼光放至更多元的维度,以“Generation·Q·世代为主题,和观众一起通过来自不同文化的精彩酷儿影片,见证光影中的酷儿迭代。而在影片放映之外,第二届上海酷儿影展还将为大家带来精彩纷呈的映后讨论及论坛。

Website: www.shqff.org
WeChat: SHQueerFilmFestival

 

Contributor: Chen Yuan
Images & Videos Courtesy of SHQFF 


网站: www.shqff.org
微信: SHQueerFilmFestival

 

供稿人: Chen Yuan
图片与视频由 上海酷儿影展 提供

A Moment’s Encounter

Some photographers find their calling at an early age, playing around with a parent’s camera and taking snapshots of their friends. Not Su Yang, who also works under the name Jan Sol. As a child, he never felt drawn to photography, and he didn’t really start taking pictures until college. “I was studying advertising, and a professor told us to carry around a camera, so we could capture inspiration on the fly,” he says. “I liked taking shots of scenery everywhere, and when I put them online, to my surprise a lot of people liked them, which motivated me to keep going.” Eventually, magazines and fashion brands took note and started seeking him out for collaborations—and before long, almost by accident, he’d become a professional photographer.


有些摄影师很早就对摄影产生兴趣,喜欢摆弄父母的相机,拍摄他们朋友。但对苏洋来说却并非如此。小时候的他从未对摄影格外感兴趣,直到上大学他才真正开始拍照。他说:“我当时在学广告,那时候老师会建议我们随身带一个小相机,可以随时抓到一些灵感。然后我就喜欢到处拍一些风景,没想到传到网上还挺多人喜欢的,这就给了我一些动力继续拍下去。” 杂志和时尚品牌最终注意到他的作品,并开始与他合作。就这么偶然间,他很快成为了一名专业摄影师。

Unsurprisingly for a fashion photographer, most of Su’s work features human subjects. Yet that wasn’t always the case. “When I first started out, I didn’t like to take pictures of people at all,” he says. “I was far more interested in the world around me than in other people—and not just in terms of photography.” Shots of scenes and landscapes seemed let him more easily express his moods.

Later, as he started taking fashion assignments more regularly, he began to study the works of classic photographers and became fascinated with how they captured their subjects at a particular moment. “Only then did I start to practice, and the more I shot human subjects, the more interesting I found them.”


作为一名时尚摄影师来说,他的作品自然大多是人像作品,但他说,“其实最开始拍照的时候,我是一点都不爱拍人的。” 他说,“我当时对周遭环境事物的兴趣远远大过对人的兴趣,不仅仅是在摄影上。” 对他来说,场景和风景照片更适合传达情绪。

后来,因为时装项目越来越多,他开始研究著名摄影师的作品,对他们在瞬间内捕捉人物的技术入迷万分。“那时候起我自己也才开始进行练习,之后就是越拍越觉得人物非常有意思。”

Even Su’s noncommercial photography carries the imprint of his background in fashion. He often shoots his models alone in a room, sitting half-naked on a bed or on the floor, sunlight filtering onto rumpled bedsheets. The models have an air of self-conscious vulnerability as if they’re aware of how exposed they are—and aware too of how unnatural their position is, how strange it is to be sitting for a photograph. Su seems almost to be reminding us how carefully staged the moment is.   

In one photo, for example, two models, chests bared, look directly at the camera, their eyes meeting the viewer’s gaze. Yet their candor is at odds with their tension in their arms and the affectation of the props in front of them—a dinosaur figurine, a dragonfruit, and an open pomegranate. This combination of intimacy and artifice resembles nothing so much as a fashion shoot.


甚至连苏洋的非商业摄影也带有时尚摄影作品的痕迹。他的作品常常是他与一名模特呆在一间房间里就完成拍摄的。模特半裸地坐在床上或地板上,阳光投射在皱巴巴的床单上。镜头下的模特展现出一种害羞不安的脆弱,仿佛他们清楚知道自己暴露于镜头前,也意识到自己的姿势有多不自然,意识到这样坐着被人拍照的自己有多奇怪。几乎可以说,苏洋是要提醒我们,照片所捕捉的这一刻正是经过精心安排的。

例如,在以下的照片,两名模特裸露上身,直视相机,他们的眼睛直接迎向了观众的目光。然而,与模特坦率的眼神相对应的,是他们双臂的姿势及面前道具(恐龙公仔、火龙果与剥开了的石榴)所呈现的,这种半亲密半虚构的感觉难免让人联想到时尚摄影。

For Su, taking photos of human subjects offers than just an glimpse of a life at a moment in time. It forges a link between photographer and subject. “It’s about you participating in an interactive relationship—in the relationship between you and someone else. Your every move affects it,” he notes philosophically. “Whenever I shoot people, I’m actually constantly learning new ways to interact or connect. This is something really wonderful, even a bit zen.”


对于苏洋来说,拍摄人像照片不仅仅是对生命中某个时刻的一瞥,更是在摄影师和模特之间建立联系。“这个过程不仅仅是你单方面地去捕捉一些画面和角度,而是你本身就参与在这一个互动关系——你与他人的关系之中,你自己的一举一动都牵动着它。” 他指出,“我后来会认为我自己在拍摄人物的过程中其实是在不断学习与人交流或者交往的一个途径,这个事情非常奇妙,甚至有些禅意。”

His most recent project, Shanghai Passengers, is a study in the fleeting connections forged by the outsiders who pass through China’s largest city. “In recent years, Shanghai has had more interaction with the broader world. Every day a lot of people come and go, either stopping by for a few days or staying on for a year or two.” These visitors come with diverse backgrounds, and they mold their identity in response to their surroundings. “I find this fascinating. It’s like peering out from a box into a room, and this room is a part of the city.”


他最近的项目《Shanghai Passengers》(《上海过路人》)探讨着外来人在这座大都市参与的那些短暂互动关系。“我觉得上海近几年来与外界发生的联系越来越多,每天都会有很多人来来去去,短暂停留几天或是来呆个一两年。他们来自不同的文化社会背景,来到上海之后自然而然有一个自我身份与环境融合的过程,我觉得这个东西很有趣,像是从一个盒子里窥视一个房间,而这个房间又是城市的一部分。”

Recently Su has begun re-evaluating his relationship to his art. “For the last year or two what I’ve focused on is pausing and returning to my own life, immersing myself in my relationship to my surroundings, and trying to get out of the ruts of my previous photography.” 

Oddly enough, his philosophical view of photography as source of human connection has led him to turn his lens back to scenes without people. “I’ve become interested in real things again. I’ve returned to landscapes and documentary photography,” he says. “It’s like a circle, and you’ve reached a certain point again. But then you discover it’s really different from last time.”


最近,苏洋开始重新审视自己与艺术的关系, “近一两年更多是停下来重新回归到自己的生活里,融入到自己与周遭的关系里,尽力抛除以前拍摄时候的 ‘惯性’。”

奇怪的是,他这种将摄影视为人际关系源泉的想法却使他将镜头再次转向没有人物的场景。他说:“我又开始感兴趣那些最真实的事物,所以也会再度去拍一些风景或是纪实类摄影,这就像一个圆,又回到了某一个位置,但你会发现。这次和上一次又很不一样。”

This newfound interest in things is less a move away from human subjects than an attempt to hone a style. Whether he’s shooting for a fashion brand or working on his own projects, Su seeks to make his photography distinctively his own. “Now I understand my work as conveying a sense that it’s mine,” he says. “It’s a pretty individualized thing.”


重拾对事物的兴趣并不意味着他要减少人像作品,而更多的是磨练风格的尝试。无论是时尚品牌委托的拍摄还是个人项目,苏洋都试图让自己的摄影作品与众不同,正如他说:“现在我对作品的理解,就是传递一些自己的气息,它带有强烈的个人化特质。”

Website: jan-sol.com
Instagram: @jan_sol

 

Contributor: Allen Young


网站: jan-sol.com
Instagram: @jan_sol

 

供稿人: Allen Young

Girl’s Girl’s World

 

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In October 2017, Shanghai-based musician Shu Ying released her first full-length album Girl’s Girl’s World to critical acclaim—the ten-track record quickly making noise across China’s independent music scene. Formerly a keyboardist with the post-punk outfit Undress for Success and founding member of the electronic dance band Quadruple Cherry, Shu now inhabits her own radiantly untamed melodies amidst the loud, discordant, confused noise of twenty-first century Shanghai. A multitalented singer-songwriter who sings and writes both in Chinese and English, she also works as a digital content marketer and runs the Chinese-Dutch indie music label Waving Cat Records.


2017年10月,上海音乐人树樱发行首张个人全长专辑《Girl’s Girl’s World》,获得一致好评。这张共含十首曲目的专辑迅速在中国独立音乐界掀起波澜。树樱曾担任后朋克乐队 Undress For Success 的键盘手,也是电子舞蹈乐队四重樱(Quadruple Cherry)的创始成员之一。现在,树樱来到上海,在二十一世纪充满喧闹、混乱的上海音乐界中,创作着自己那无所拘束的独特旋律。她是一位多才多艺的创作歌手,用中文和英文演唱和写作,同时还是一名数字内容营销家,负责管理中荷独立音乐品牌 Waving Cat Records

Listen to some of our favorite tracks from Shu Ying below / 点击即可试听树樱的几首歌曲

There’s a chameleon-like quality to her music, undoubtedly due to her diverse personal background. Of mixed Han and Kazakh descent, she spent her early years moving between Shaoxing, Urumqi, and Stockholm, and such youthful experiences proved formative for her music. “I remember taking a 60-hour train with my family to Urumqi as a kid. I encountered stories and different types of people when I was small and didn’t feel uncomfortable with it. Music is diverse—mixing cultures enables me to see things from a different angle.” Girl’s Girl’s World exemplifies Shu’s globally minded approach to music making: the Chinese singer’s album was recorded in the Netherlands and produced by Israeli Idan Altman.


多元的文化背景,使得她的音乐像变色龙一般变化多端。她是一名汉族和哈萨克族混血,从小在绍兴、乌鲁木齐和斯德哥尔摩三地生活,年轻时的经历塑造着她的音乐风格。“我记得小时候我和家人一起坐了 60 小时的火车去乌鲁木齐。那时候我遇见各式各样的人,听到各种故事,但从来不会觉得奇怪。音乐是多元化的,融合不同的文化能让我从不同的角度看待事物。”《Girl’s Girl’s World》体现了树樱音乐创作的全球性:这是一张中国歌手的专辑,在荷兰录制,并由以色列裔制作人 Idan Altman 操刀完成。

Despite its international imprint, Shu’s music bears faint echoes of the nightclubs and streets of Shanghai, or at least the beautiful chaos of the city’s recent past. Like most dynamic cities, Shanghai is a city in flux, its kaleidoscopic cultural landscape muted by ever-increasing levels of conspicuous consumption. “I used to go from club to club and street to street because I didn’t want to miss out on anything, but now Shanghai is a bit overwhelming, because of the pace of construction and consumerism,” she says. In a sense, her music has come to be defined less by place than by emotions and experiences: “I guess the emotion I get from my experiences is the most important part of my musical equation.”


尽管树樱的音乐充满全球性,但隐约之间仍然透露出道地上海街道和夜生活的气息。或者说,她的音乐映射出了这座城市近来共存的美丽与混乱。和大多数充满活力的城市一样,上海是一座变幻无穷的城市,万花筒般的文化景观却因为不断增加的炫耀性消费,变得无声无息。“我以前常常到各家夜店,逛遍所有街道,只为了不想错过任何东西。但是快速的城市建设和消费主义的快节奏,让人觉得上海似乎有点失控了。” 她说。从某种意义上说,与其以地理位置来理解她的音乐,不如从情感和体验来定义她的音乐,“在我看来,我从体验中获得的情感,是我音乐创作中最重要的部分。”

From its title to the female characters behind the lyrics, Girl’s Girl’s World is also a female-driven record. Many of the songs are sung from a woman’s perspective and drawn from the experiences of Shu’s female friends. Many of her influences are also female vocalists. Tracks such as “Brought by a Haze” and “Never Want That Talk Ever Again” (from her 2015 EP Are You Still A Teenager?) evoke the visceral grittiness of PJ Harvey, while “Leaving the City” contains the electro-pop DNA of late 1990s Madonna.

In a male-dominated society, it can be especially difficult to find your voice and have it heard. “We don’t have a mature, healthy music industry in China, despite the fact that numbers of streaming music users and concert goers are growing rapidly.” Undeterred by these challenges, she persists in search of that elusive and unique sound: “You have to be totally independent, mentally and physically strong to be a misfit.”


从标题到歌词背后的女性角色,《Girl’s Girl’s World》是一张饱受女性影响的专辑。当中许多曲目都是从女性的视角出发,创作灵感大多来自树樱身边女性朋友的经历。她的音乐创作也受到了许多女歌手的影响,譬如,在她2015年的EP《你还是青少年吗?》(Are You Still A Teenager? )中有两首歌《Brought by a Haze》和《Never Want That Talk Ever Again》就回响着英国女子另类摇滚 PJ Harvey 那种坚韧的精神;而《Leaving the City》(离开这座城市)则指向了90年代末麦当娜代表的电子流行乐。

在男性主导的社会中,作为一名女性,要找到你自己的声音,并让人们听到你的声音,不是一件容易的事情。“在中国,虽然音乐串流媒体用户和会去现场看表演的观众,两者数量都在快速增长,但这还不是一个成熟、健康的音乐产业。” 树樱无惧于这些挑战,坚持寻找自己那难以捉摸的独特声音,“想要成为非主流,你必须完全独立,在精神和身体方面都要很强大。” 她说。

Incidentally, it was painting, and not music, that provided the first studio experiences. She studied traditional Chinese painting and oil painting in primary school, and later developed an interest in the shapes and costumes of Japanese animation. Her training in visual art is reflected in her lush sonic landscapes: “Music has as many aspects as there are colors in the world—intense, destructive, endearing, passionate.” In fact, the two—painting and music—are linked for Shu in a synesthetic way: “Music is flavorless without the imaginative stretch of colors.”


值得一提的是,她成立的第一间工作室并不是因为音乐,而是绘画。小学的时候,她学习中国传统绘画和油画,后来开始对日本动画中的设计与和服装产生兴趣。她在视觉艺术方面的训练反映在她丰富的音乐中。“音乐有着与颜色一样多彩的方面,可以激烈、可以震撼、可以惹人怜爱,也可以充满激情。” 事实上,绘画和音乐对树樱来说是相互连结的,“没有了充满色彩的想象,音乐也会索然无味。”

If her eclectic list of musical influences is any indication, Shu Ying’s new album, slated to be released later this year, carries high expectations. Her current playlist includes stalwarts such as Syd Barrett, Neu!, The Kills, and The Jesus and Mary Chain, as well as her recent obsession: garage and punk bands from San Francisco and Los Angeles such as Ty Segall, Thee Oh Sees, Fidlar, and Mystic Braves.

With songs full of attitude and vulnerability, disclosure and distance, Shu Ying’s music is an exciting presence on the Chinese indie music scene. Longevity almost seems beside the point. As she sings in “To Know Less,” the final track of the EP Are You A Teenager?, “Without short moments of clinking glasses / There won’t be everlasting memories.” Cheers to that.


各种多样的风格都影响、进而形塑了她的音乐,大家对她在今年即将发行的新专辑也寄予厚望。最近她常听的音乐有 Syd Barrett、Neu!、The Kills、The Jesus and Mary Chain,除此之外,她还迷上了旧金山和洛杉矶的车库和朋克乐队,如 Ty Segall、Thee Oh Sees、Fidlar 和 Mystic Braves。

树樱的音乐充满态度和脆弱性,既袒露赤裸却又保持距离,是中国独立音乐界中令人期待的力量。至于自己的音乐生涯能走多久,对她而言,这一点无关紧要。正如她在《你还是青少年吗?》EP 的最后一首歌《To Know Less》中所唱:“Without short moments of clinking glasses / There won’t be everlasting memories.”(没有玻璃叮当作响的瞬间,就不会有值得永驻的记忆。)真是说得太棒了!

Bandcamp: shuying.bandcamp.com
Xiami~/shuying

 

Contributor: Brian Haman
Videographer: Anaïs Siab, Damien Louise
Photographer: David Yen


Bandcamp: shuying.bandcamp.com
Xiami~/shuying

 

供稿人: Brian Haman
视频摄影师: Anaïs Siab, Damien Louise
图片摄影师: David Yen

Modernizing the Accordion

 

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Once revered for its compactness and versatility, the accordion’s popularity has dwindled over past decades. Nowadays, when most people think of the instrument, old folk musicians or Parisian buskers are likely what comes to mind. Despite its fall from popularity, forward-thinking bands and musicians like Arcade Fire and Madvillain have proven the instrument can still be viable in contemporary music. And in Shanghai, equally eager to prove that the accordion shouldn’t be so quickly dismissed is independent musician Chen Kai.


手风琴,曾因其便携和灵活性而备受推崇,但过去几十年间,它已经渐渐尘封于人们的回忆里。现在,当大多数人想到这件乐器,大抵会想到年迈的民间音乐家或者巴黎的街头艺人。尽管不如从前流行,但像 Arcade Fire Madvillain 这样有远见的乐队和音乐家,却向大家证明了这种乐器在当代音乐中的地位依然不减。

而在上海,对此有着同样信念的,是独立音乐家陈楷。

All music evolves, and CK, as an accordionist with over two decades of experience, recognizes the importance of adapting. In fact, it’s especially important for an instrument that many consider archaic to keep up with the times. His awareness of this fact directly influences his playing style. Rather than relying on well-known tunes, his live shows are hour-long improvisational sets that blend unlikely genres—like psychedelic rock and baroque music—to form unclassifiable soundscapes.


其实,所有的音乐都在演变的过程中。作为一个有 20 多年经验的手风琴演奏家,陈楷认识到适应潮流的重要性。事实上,对于一个被许多人认为已经过时的乐器来说,手风琴演奏要跟上时代的步伐,显得尤其重要。这也直接影响了陈楷的演奏风格。陈楷现场演奏的并非那些人们耳熟能详的曲子,而是通过一小时的即兴表演,混合一些不太常见的流派──比如迷幻摇滚乐和巴洛克音乐──来形成独特而无法被归类的音乐背景。

Not only is CK able to wield the inherent versatility of the instrument, he makes full use of the effects pedals, transforming each note into something foreign yet familiar. Alternating between warm, soothing melodies to upheaving, violent crescendos, CK’s performances are a whirlwind of sound and emotion that both caress and assault the listener’s ears. Watching him perform is an enlightening experience that can sway even the most stubborn of skeptics to rethink the accordion’s place in modern music.


陈楷的演奏,不仅发挥出手风琴固有的即兴灵活的特性,还充分利用了效果器踏板,把每个音符都奏出了既熟悉又陌生的曲调。一曲曲演奏,温柔与暴烈并行,舒缓与激扬辉映,让听众得以斡旋于声音与情感之中,对耳膜既是爱抚,亦是冲击。观看陈楷的表演是一次极具启发性的体验,甚至连那些质疑手风琴地位的人,也会去反思手风琴在现代音乐中的位置。

While CK aspires to help his beloved instrument reclaim its rightful place in the world, it’s not the only thing that fuels his motivation. What truly stokes his creative flames is his appreciation of music’s cathartic qualities. To him, music is an outlet, and his accordion is a conduit, one that helps him bring his emotions into the world through sonic means.


陈楷渴望能让他心爱的手风琴重夺其在世应有的地位,但激励他的动力并不止于此。真正点燃他创作热情的,是他对音乐宣泄性的情感。对他来说,音乐是一个出口,他的手风琴是一种媒介,帮助他将自己的情感通过声音的方式带来这个世界。

Forming an emotional connection with others is perhaps the most rewarding part of being a musician. He speaks to others through his art and lets them interpret it as they will. “In Chinese visual art, negative space is an important concept,” he says. “It’s the room left aside for the viewer’s imagination and own interpretation to take shape. In my music, I try to follow this same concept.”


与他人在情感上建立联系,也许是陈楷作为音乐家来说获益匪浅的部分。通过音乐,陈楷得以与他人沟通,让人们从中解读出自己的东西。在中国的视觉艺术中,负空间是一个重要的概念。他说,这是为观众的想象力和自己的解释留下空间。在我的音乐中,我也试图遵循着与之相同的概念。

Of course, taste is subjective. Not only can different individuals find different meaning in the same song, but what qualifies as “good” music inevitably varies from person to person. As a seasoned musician and self-described lover of all genres, how does CK define “good” music?

Hesitating, he takes a long drag from his cigarette and exhales a lungful of smoke before breaking the silence: “Good music should come from the heart. It should move people. Simple as that.”


当然,个人品味是很主观的。不仅不同的人在同一首歌中能找到不同的含义,而且什么是“好”音乐也必然因人而异。作为一个经验丰富的音乐家和自我标榜的所有流派的爱好者,陈楷又是如何定义“好”音乐的呢?

犹豫半晌,他从香烟里抽出一根长长的烟,狠吸了一大口之后,才打破了沉默:“好的音乐应该发自内心。它应该能打动人们。就这么简单。”

Contributor & Photographer: David Yen
Videographers: Damien Louise, Cheok Lai


供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise, Cheok Lai

Hidden Glory

Edited with VSCO X Preset AL1 / VSCO X 滤镜 AL1 处理

In collaboration with VSCO, we recently explored Shanghai’s Jinhuanghuang secondhand market, one of the last of its kind in the city, to find out what makes it so special. All of the images in this story were edited with the powerful presets and tools that come with VSCO X. Click here to start your free, seven-day trial.

I thought I’d prepared myself, but when I finally found the Jinhuanghuang General Wholesale Market, I was still taken aback.

Jinhuanghuang is tucked away between West Gaoke Road and the elevated highway of South Pudong Road. Even with GPS guidance, the cab driver had trouble finding it. In retrospect, the difficulty of even locating the market’s entrance foreshadowed its labyrinthian interior, where a mishmash of shops hawking old appliances, antiques, and secondhand clothing stretched out everywhere you looked. The people, however, you could count on one hand.

I’d been to the market more than once, back when it was still on Dingxi Road. Yet its new incarnation left me a bit shocked: everything had changed.


我们与 VSCO 携手走进上海仅存的二手服装交易市场之一“金煌煌”,试图向大家记录和呈现这个市场所经历过的辉煌。本文中所有照片都通过 VSCO X 强大的预设及编辑工具。现在就开启你的 7 天免费 VSCO X 试用创意之旅吧。

尽管此前已经做好了心理准备,但在我终于找到“金煌煌综合批发零售市场”的时候,内心还是震惊的。

整个市场,坐落在浦东南路高架与高科西路中间极其不起眼的一个位置,甚至哪怕依照着导航指示,司机师傅都仍走过了一条岔路。可以说,这里由外至内都有如迷宫,旧家电、老古董、二手服饰,一溜烟地铺陈开去,但视野范围内的人,却屈指可数。

纵然对以前“安西二手服装市场”有所了解的我,也不禁一愣:它变样了。


The “Hidden” Market

 

Sprawling across two floors, Jinhuanghuang is the successor to two different secondhand markets that no longer exist: one on Yuntai Road in Pudong, on the east side of the river, and one on Dingxi Road in Changning district. It offers all kinds of secondhand wares, but it’s still mainly a destination for the vintage apparel trade, as its alternate English name – “Golden Glory Textile Market” – makes clear.

Oddly, since the market isn’t small, the shops are packed tightly together. The cramped feel, along with a lack of ventilation and daylight, gives the place the damp, musty smell of flea markets everywhere. Still, the shop owners say they’re grateful for the space.


“躲起来”的市场

 

如今的“金煌煌”有两层楼,由以前浦东新区云台路和长宁区安西路两地的二手市场集合而成。虽说试图平衡各种类的二手货物,但仍主要是二手服装交易市场(这个市场的替代英文名称甚至被称为“金色纺织市场”)。

这里空间虽然不小,却和所有二手交易市场一样,到处充斥着一股陈年的、潮湿而晦涩的味道。这或是因为店面之间的空间都过于逼仄,久不通风采光所致。但即便如此,这里的店家对能找到此地也颇为“感激”。

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On the day I visited, I ran into several shop owners who had relocated from the old markets. Still as enthusiastic ever, each one without exception called out to the people passing by: “Come on in and take a look!” When I told them I used to be a regular at the old location, they opened up even more.

“This place is a bit out of the way, but it’s huge,” one shop owner told me in Shanghainese. “It’s actually been over a year since we moved from Dingxi Road.”

“That long?” I gasped. “I only recently heard about this place from a friend of a friend, and I decided to make a special trip out here today.”


我到访的那日,遇上不少从前从旧市场迁址而来的老板和老板娘,但凡有顾客路过的时候,他们无一例外,都会热心又腼腆地和人打招呼:“进来看看!”当得知我是以往的熟客时,谈话便显得更顺畅。

“这块虽然偏,但地方还算蛮大。阿拉从定西路搬到这里一年都有了喔!”听这位店老板的口音,是纯粹的上海人。

“噶长辰光!阿拉才听到消息,今天还是听朋友的朋友介绍的,特特为为跑过来!”

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Reportedly closed for fire safety concerns, the market on Dingxi Road was slated for demolition. The plans kept getting delayed, until one day, without warning, it finally did get demolished, and within a few weeks, no trace of the market remained.

“They tore it down so fast. They cleared everyone out in no time at all, and in the last few days, we were selling at fire-sale prices because we had to leave behind what we couldn’t sell,” the shop owner recalled, voice tinged with regret or sadness.


从前的安西市场,据说是因为消防原因不过关,早说要拆,却迟迟不见动工。到了真的拆迁时,几乎进行得悄无声息,不过几周,市场早已不见了踪影。

“那时候拆得太快,没几天工夫就都清场了。最后那些时候的价格实在是‘放血’甩卖,因为卖不掉的也都不会带走了。”老板说着,言语里竟听不出是遗憾还是感叹。

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“This new spot is pretty hard to find,” I said to the shopkeeper. “If one of my friends hadn’t been here before, I would’ve had no idea where to go.”

He laughed. “Yeah. When I first moved in, the whole market was a ghost town. No one came here.”

Even after I found the entrance, I got lost again amid the sprawl of shops. Only after wandering around in circles for a while did I finally stumble across a stairwell next to a stall. Above the dimly lit stairs, looking like a long-lost friend, a sign read “An’xi Fashion Market.”

But now, after a year, patrons of the old market have begun returning, and business has picked up. “Still, it doesn’t compare to what it was like before,” the shopkeeper sighed.


“这个地方实在难寻,要不是有熟人带路,根本不晓得哪能走。”我感叹道。

因为在找到市场大门之后,我又迷失在偌大的市场里面,几经兜转,才摸索着找到某个摊位边的楼梯口,昏暗的台阶上贴着“安西服饰楼”,才算重会了“故地老友”。

老板一笑,说:“是的咯,刚搬到这里来,整个市场简直是空荡得吓人,完全没人的。”

好在现在由于熟客的回流,生意比开始要稍好一些。“但跟以前是没法比的。”老板又半带感慨地说了一句。

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Less is More

 

Maybe because I saw so little foot traffic, the clothing selection seemed especially broad. Mountains of second-clothing from overseas sat waiting to be ironed and put up for sale.

Wholesale secondhand markets like this used to be quite large and do a brisk business. Bundles and bundles of clothes would arrive and get sent off again within a few days.

“In the old days, when the market was still on Dingxi Road, it was a madhouse! People would show up just after 9:00 in the morning, and on the busiest days we wouldn’t close till after 11:00,” recalled Xiao Chen, another shop owner. “Back then my son was just a little boy, and now he’s 29!”


麻雀虽小,五脏俱全

 

或许是因为人少,显得这里的服装货物尤其多。无数漂洋过海而来的各国二手服装,在这里堆积如山,等待熨烫出售。

曾经有很长一段时间,二手服饰批发的市场很大,“走货”速度也很快,衣服一捆捆地来,不日又一捆捆地被批走。

“最早的时候,市场还在老定西路靠近愚园路的地方。那时候是真忙,每天早上九点多就有人来了,最热闹的时候要到晚上十一点才好关门。”老板娘小陈与我说道,“那时我的儿子才只有几岁,现在已经 29 了!”

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“Sounds like you’re a veteran!” I grinned.

“Not at all,” she laughed. “The real veterans have all retired. I’m one of the younger ones.”

As we made small talk, I rummaged through her clothing, looking for potential additions to my wardrobe.

Each shop arranges clothes in its own way, mostly because the shop owners all choose their clothing differently. Some shops lay the items out right in front, with clearly marked prices ranging from a few dozen to a few hundred renminbi. Some are more selective, and some specialize in outerwear, intimate wear, or secondhand items from international brands. Sometimes you even find things by Gucci, Louis Vuitton, or Dolce & Gabbana, sold at a fraction of the original price.


“那你算是这里的老牌啦!”我说。

“哪有,以前老的那批人都不做啦!我们还算是年轻的喽。”她笑着说。

我和老板娘一搭没一搭地聊着天,一边随手翻着这里的衣物,试图找到合眼缘的一些。

这里的衣物分类方式与众不同,主要也是因为各家店主们的选衣定位不同。有很多店铺的衣服直接铺陈在外面,几十块到几百块不等,明码标价;有些店铺则精挑细选,或是专卖外套、内搭,或是主营国际大牌的二手老款,很多诸如 Gucci、LV、Dolce & Gabbana 等国际品牌,也会在此露脸,并且以低于市场价好几倍的价格抛售。

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Xiao Chen says there used to be even more kinds of shops, with some that specialized in leather accessories and clothing. Many of the most famous vintage or buyer shops in town still source items from Jinhuanghuang. “My customers range from older folks out for a deal to merchandisers who come to buy in bulk,” she explained.

When a regular shows up, Xiao Chen brings out the latest items, often still bunched out and wrinkled in large bags. As a favor she lets them comb through the clothing before it even makes it onto the shelves.


老板娘小陈告诉我,以前市场里的衣服种类更多,还有专门卖皮衣皮鞋皮包的。那些知名的复古买手店,也有不少是从这里进货,“我这里常来一些中老年的客户,也有固定的大客户,一次进好多咯。”

这些大客户倘若来,老板娘们会拿出很多刚进的、没来得及整理挂烫的衣服,直接装在袋子里,熟客来的时候优先让他们挑选,权当送个人情。

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A Hundred Different Styles

 

In Shanghai, where it can feel as though things get more expensive by the day, the market’s down-home prices are a rarity.

That’s why fashionistas from nearby universities come here to shop: the deals are good and the styles are quirky, with plenty of clothes to choose from. But perhaps an even bigger draw are the shop owners themselves, especially the women, who all have their own unique style and are happy share a few fashion tips.


一件衣服的一百种搭配方式

 

对于上海日益攀升的物价,这里的衣物价格拥有与之完全不符的亲切。

所以周边大学里的热衷服装搭配与设计的学生也会选择来此地消费,一来便宜量多,二来风格迥异,可供选择的余地也多,再有,就是这里的店主,尤其是老板娘们,对穿衣打扮也有着自己独到的眼光,能说出不少门道。

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That’s especially true of the shop owner Li Zi.

Her shop was one of the main reasons I came, and she certainly lived up to her reputation.

Dressed in a colorful sweater, she excitedly offered fashion advice as I browsed her racks of clothes.

“He’s tall and skinny. I think he’ll look better with loose, baggier clothes,” she told another customer before turning to me. “Those dress pants are a bit flamboyant, but if you pair them with a solid-colored top, I guarantee they’ll look amazing.”


尤其是这家老板娘,俐子。

这家店我是慕名而来,未曾想真的收获颇丰。

“他人高,又瘦,要穿宽大一点的衣裤,显得更好看。”
“你别看这西裤格子颜色花,但配素一点的上衣,上身绝对好看。”
……

老板娘俐子热情地拉着我,分享着她的穿搭心得。

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“You’ve got a real eye for fashion. Do you ever help your kids pick out what to wear?” I asked.

“My son used to look down on these clothes because they were secondhand. But now that he’s got a job and has learned a thing or two, he’s slowly taking an interest. Now he says, ‘Mom, this brand’s too expensive! My boss wears clothes that cost only a few thousand, and what I have on costs ten times as much,” she laughed.

Here, if you’ve got a keen fashion sense, you can create an eye-catching look with seemingly ordinary vintage wear. You don’t need a lot of money to put together an outfit, just patience and personal taste. After a day spent scavenging the market, while some visitors might come away empty-handed, others might walk out with armfuls of loot.


“阿姨眼光这么好,个么(那么)会给儿子女儿打扮伐?”

“以前我儿子他不肯穿,嫌弃是二手的。但现在工作了以后,‘识货’了,慢慢接受起来。但他现在倒要跟我说,‘妈妈这个牌子的衣服太贵了喔!我老板才穿几千块一件的(品牌衣服),我倒要穿上万的!’”

俐子阿姨爽朗地笑着,她身上的衣服也是一件设计独特的针织衫,款式十分雅致。

在这里,独到的眼光往往能让简单的搭配异常出彩,点亮不少看似平凡的旧衣;在这里,选搭衣服的时候,甚至也并不是依靠消费能力,而要考验各人的品味与耐心——四处兜转了半天,有些人很可能一无所获,有些却能满载而归。

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“GOLDEN GLORY TEXTILE MARKET”

 

For all the warmth the shop owners show, they’re noticeably on their guard. Each time I asked, “Ayi, do you have a business card?” the answer was a resounding “no.”

This is because of the legal gray zone these shops operate in. On the one hand, they want more people to know about the market, so they’ll get more customers and do more business. But they’re even more worried that too much exposure might hasten the market’s closure.  “It’s only a matter of time before this place is demolished, too,” they told me.


“GOLDEN GLORY TEXTILE MARKET”


连问几家店铺的老板娘:“阿姨名片有伐?”得到的回答却都是“没有”,热络地招揽之余,那些防备的神色也显得格外突出。

介于这里的灰色属性,店家们往往带着一种极其矛盾的心理,一方面他们当然希望知晓这里的人越来越多,好带来更多客流量跟生意;但另一方面,更让他们不安的是,这种过度曝光不知道会在什么地方加速推动市场的再一次消亡,这里迟早也是要拆的。

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As the last of the daylight receded, and I slowly made my way outside, I turn back to take one final look at the market. The neon red sign seems to be using its last remaining strength to illuminate the words “Golden Glory Textile Market.” But once I crossed the hectic traffic of West Gaoke Road, an overpass blocked the market from view. And just like that, it was gone.


天色渐晚,我慢慢踱出市场,回身一看,那块红色的招牌好像用它仅剩的一点微不足道的力气追赶着印着“ GOLDEN GLORY TEXTILE MARKET ”,但一穿过车流不息的高科西路,一切都被巨大的天桥挡住,什么也看不到了。

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Begin your free VSCO X trial today for access to the complete VSCO preset library, newest editing tools, and inspiring educational content.


今天就开启你的 VSCO X 免费试用,获取整套 VSCO 滤镜库、最新修图工具和教程内容吧。

Contributor: Chen YuanShou Xing
Photographer: Chan Qu


供稿人: Chen YuanShou Xing
摄影师: Chan Qu

Summer Love Aria

 

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“Summer Love Aria” is a long-overdue collaboration between Shanghai-based musicians ChaCha and Akin. The instrumental, produced by the ever-versatile HARIKIRI, works in tandem with ChaCha and Akin’s crooning vocals to form a soundscape that’s equal parts dreamy and funky. Pairing Akin’s buttery smooth delivery with ChaCha’s sultry and seductive voice, the single captures the feel-good vibes of a summer romance from two different perspectives.


《恋恋夏日咏叹》由常驻上海的音乐人ChaCha 及 Akin 合作而成。多才多艺的音乐制作人 HARIKIRI 担任编曲与后期制作,为二人的低吟浅唱构建了一个梦幻却时髦的音景。Akin 绵滑的唱腔与 ChaCha 诱人的歌声两相融合,从两个角度演绎出夏日恋曲的浪漫情调。

  

“My life revolves around love,” ChaCha tells us. “But it’s not limited to romantic love. It includes the love between family and friends, the love for our world and for Mother Nature, the love you feel when pursuing your passions, and the love you feel for yourself. These are the things that make life worth living.”


“爱,是我赖以生活的空气。” ChaCha说,“但它不仅仅是恋人之爱,亲情之爱、友情之爱、对世界和自然的爱、对所做之事的爱,以及对自己的爱,都是保持生活运转的最核心的动力。”

Weibo:
~/xhaxha
~/lilakin

 

Contributor: David Yen
Images Courtesy of PaulbtRose


微博:
~/xhaxha
~/lilakin

 

供稿人: David Yen
图片由PaulbtRose提供

Young & Restless

 

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Today’s Chinese youth have veered away from the country’s conservative roots. They’re breaking through societal expectations in bold, fearless ways to pursue their passions and express themselves.

Our new series, US, spotlights this generation of newly minted freethinkers who are unafraid of questioning tradition and dated ideologies as they reshape the social and cultural fabric of modern China.


今天的中国年轻一代与中国传统的保守思想背道而驰。他们大胆、无畏,打破社会期望,追求自己的激情,直率表达自我。

我们的全新系列《在下》,聚焦这些有着自由灵魂的年轻思想家。他们无惧于挑战传统和过时的思想,同时重塑着现代中国的社会和文化结构。

From left to right: Lao Wang, Yee Qi, and she who shall not be named / 从左到右: 老王,戚烨,不能说出名字的人

In the first installment of US, we meet up with Lao Wang, an illustrator and tattoo artist; Yee Qi, a member of the K-Note dance crew and the founder of independent fashion brand Yee Quadrant; and a visual artist who, due to personal reasons, we are unable to reveal on screen post factum (her face and voice have been disguised, but her commentary unchanged).

The three Shanghai-based creatives chat with us about what it means to be young in China, the role that music plays in their lives, and their perspectives on love in modern times.


在第一期的《在下》,我们找来插画家和纹身艺术老王、K-Note舞蹈队的成员和独立时尚品牌 Yee Quadrant 创始人戚烨,以及一位视觉艺术家,由于私人原因,不方便在屏幕前露脸(我们对她的面部和声音进行伪装处理,当然,她的评论会保留不变)。

这三位创意人会跟我们聊聊,谈论在中国年轻意味着什么,音乐在他们的生活中扮演的角色以及他们对现代爱情的一些看法。

Contributor & Photographer: David Yen
Videographers: Damien Louise, Cheok Lai


供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise, Cheok Lai

Jennifer Bin’s Recipes

With the new VSCO Recipes tool, you can now save your favorite combination of edits to recreate looks that feel consistently you. Everyone using VSCO can start by saving one recipe. To save up to ten recipes, you can begin your VSCO X trial and gain access to the complete preset library, newest editing tools, and inspiring educational content.

Jennifer Bin is a Shanghai-based designer and photographer who offers a different perspective of our modern world through her lens. Her unique editing approach transforms familiar cityscapes into surreal scenes that often more closely resemble stills from a cyberpunk blockbuster than real life. Recently, we had her share one of her VSCO Recipes with us.

Recently, Bin has opted for a fairly minimal editing process and prefers to adjust color temperatures even prior to taking the shot. This allows her to do fairly minimal work once the images are imported into VSCO. For this Recipe, she uses the C5 preset (at a strength of 4.0) and applies the finishing touches with minor adjustments to temperature (-2.7), fade (+1.4), and sharpening (+0.8).


通过VSCO新出的配方工具,你现在就可以保存下你喜欢的配色套设,以展现你独特且一贯的风格。每个 VSCO 的用户都可以免费保存 1 款调色配方。若想保存 10 款调色配方,请开启你的 VSCO X 免费试用,以获取整套滤镜库、最新编辑工具和教程内容。

 

来自上海的设计师和摄影师 Jennifer Bin 透过镜头,以独特的视角定格当今的世界。她独特的编辑方式,将人们熟悉的城市景观变幻成超现实的场景,明明是来自日常的场面,看上去却像是赛博朋克风(Cyberpunk)电影中的剧照。近期,她和我们分享了一款她使用 VSCO 时的私人调色配方。

最近,Jennifer 挑选了一个相当轻简的“配方”步骤来编辑图片,在拍摄之前就可以调色完毕,图像导入 VSCO 后只要做很少的改动即可。Bin 在这款配方中使用了 C5 预设(强度为4.0),并以温度(-2.7)、褪色(+1.4)和锐化(+0.8)作出轻微调整。

Bin cites the likes of author William Gibson’s Neuromancer, director Scott Ridley’s Blade Runner, and animator Katsuhiro Otomo’s Akira as inspirations, but she doesn’t see her images as fictional portrayals of our world – she believes the future envisioned by these past works of science-fiction have already snuck up on us and her images are proof. “The world that we’re living in now is a heterotopia,” Bin tells us. “We can see both the utopian and dystopian elements of sci-fi from yesteryears. There are promising technologies and breakthroughs that can be seen as utopian, but at the same time, they can easily have dark applications or result in unwanted, unforeseen consequences.”


Jennifer 的创作灵感包括威廉·吉布森(William Gibson)的科幻小说《神经浪游者》, 雷德利·斯科特(Ridley Scott)导演的电影《银翼杀手》和动画大师大友克洋(Katsuhiro Ôtomo)的《阿基拉》,但她并不认为自己照片是对这个世界虚构式的写照,她相信,这些早期科幻作品所设想的未来已经悄然出现在我们的生活中,而她的照片正是证据。“我们现在生活的世界就是一个‘异托邦’(Heterotopias)。”她解释道,“我们可以看到在早期科幻作品中所呈现的乌托邦和反乌托邦元素。先进的科技和突破可以看作是‘乌托邦’,但与此同时,它们也很可能会被用于不道德的用途上,或是导致不必要、不可预见的后果。”

Bin regards editing as an essential part of her creative process as a photographer. While composition and framing are important factors, editing is another way for her to direct the viewer’s attention towards certain elements in each frame. “When you manipulate the colors of an image, it changes its overall mood as well,” she adds. “The use of color is key to invoking the right emotions.”


作为一名摄影师,Jennifer 认为图片编辑是创作过程中的一个关键部分。虽然构图和取景也很重要,但后期编辑可以让她用另一种方式,将观众的注意力转向照片中某些特定的元素。“当你调整照片的颜色时,同时也会改变照片整体的情绪氛围。色彩的运用是调用情绪的关键。”她补充道。

While a cohesive aesthetic is observable throughout her photography, Bin isn’t afraid to experiment. She often tinkers with her editing tools or cycles through different VSCO Recipes. From minimal edits where much of the work is already done in-camera to a complete reimagining of an image’s original colors, Bin repeatedly demonstrates a daringness to expand her creative boundaries and defy expectations.

 

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Jennifer的摄影作品体现了一种统一的审美风格,但她从不害怕充满实验精神的创作。她喜欢通过不同VSCO配方来摆弄各种编辑工具。有时,她会基本保留住相机原图,只是对照片做微调;有时候,她又会彻底地改变照片原本的色彩,总之,她不断向人们展示了自己大胆的创作风格,不断突破自己的创作界限。

 

 

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VSCO: ~/jenniferbin
Instagram: @jenniferbin

 

Contributor: David Yen


VSCO: ~/jenniferbin
Instagram: @jenniferbin

 

供稿人: David Yen