Tag Archives: space

Twinkle Twinkle Little Circle

From A Planet of Seas & Mountains / 《山海星球》系列

“I wish everything in this world were round,” writes Yayi in a project statement.

Yayi is a Shanghai-based artist who spends her days designing, doodling, and searching for inspiration in the trivial details of life. Her unique style is characterized by minimal colors, collage elements, and perhaps most distinct of all, an assortment of circles. But why circles?

“I just like it,” Yayi shrugs. “I’ve always thought circles were such a mysterious shape. They’re soft yet plump. They can be energetic or they can be lethargic.”

“希望这个世界上的一切都是圆圆的”,是 Yayi 给某个系列写介绍时说的。目前生活工作于上海的她,日常画画、做设计,采集生活里能够感动自己的细枝末节,画着圆圆圈圈,配上简单的颜色和一些拼贴元素,就形成了她独特的风格。

但真要为“圆”找出个所以然来的话,Yayi 却说,其实只是因为喜欢这个形态罢了。“一直觉得圆是个微妙的形态,是柔软的、饱满的,有时活泼有时慵懒的感觉。”

From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From A Planet of Mountains & Seas / 《山海星球》系列

Yayi describes her process of drawing circles within the confines of a rectangular frame as “daydreaming within a sequestered universe of my own.”

In Passing By, a series of short animated clips, she presents everyday scenes (with circles, of course) from three different perspectives: as a lover of idle walks, as a lover of parks, as a lover of stories. The series is intimate yet playful, inspired by her observations of strolling around the city. From a lone trashcan in an empty shopping plaza to a flashing traffic sign lighting up the darkness of night, Yayi reimagines mundane settings as delightful works of art.

在一方方的小世界里画圆,Yayi 形容是“时不时在自己臆想的‘断层世界里做着‘清醒梦’”。

以“遛弯儿爱好者”、“公园爱好者”和“小故事爱好者”的身份来分类的《路过》系列,Yayi 放上了一些脑回路的场景画面,非常随意,也相当个人化。在生活里看到的某一个场景和画面的延展,比如凌晨商场里的垃圾桶,夏日深夜空旷马路边被交通警示灯反射过的禁止通行路牌,等等。这些过去的画面,被 Yayi 捕捉在记忆里,又重新翻出来构图创作。

From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列

For times when Yayi wants to create but isn’t feeling particularly creative, collage is her go-to medium. “It’s just me piecing together scattered visuals to try and jolt my brain into coming up with new ideas. That’s why I titled one of my collage series Losing My Mind.”

而在想创作又没有想法的时候,Yayi 会玩拼贴。她的回答很温柔得可爱:“算是通过把零碎的画面重组来刺激自己有些新的想法。所以我把我拼贴的系列叫做‘失心疯’。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

In her collage works, the elements Yayi selects reveal a fascination with films about space. “I suppose there really are quite a lot of movies about space that I’ve loved over the years,” she says, “from  A Trip to the Moon (1902), to the Soviet-era Solaris (1972), to the more recent Coherence (2013).”

She also cites a love for the work of installation artists Olafur Eliasson and Cai Guoqiang. “I recently watched a documentary about Cai Guoqiang’s Sky Ladder. His ongoing Project for Extraterrestrials series is also quite interesting; in it, he plays with the idea of space exploration but through the innocence of a young boy. All of his works are extremely impressive.”

殊不知,拼贴的素材或灵感来源,背后都会或多或少地融入她沉迷的星球和宇宙的元素。“从 1902 年的《月球旅行纪》,到后来苏联的《飞向太空》……再到近几年的《彗星来的那一夜》。关于宇宙和星球题材的电影,仔细想想我喜欢的还真的挺多的。”

她毫不掩饰她对当代装置艺术家 Olafur Eliasson 的钟爱,还有蔡国强。最近看的纪录片有蔡国强的《天梯》。他用男孩天真的一面去表达对外星世界的探索,做的一系列‘为外星人做的计划’行为和装置艺术都是让人印象非常深刻的作品。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列

Her delicate recollections and observations of life, along with her love and longing for outer space, gives Yayi’s circles an ingenious romance.

Depending on the viewer, Yayi’s circles can take on different meanings. Some could see them as symbolic of deeper ideas. Others may just enjoy them simply as circles. Less than a bridge between artist and viewer, for Yayi, art is “an outlet for my own emotions, and hopefully something that resonates with the viewer’s emotions.”

对生活细腻的感知与记忆,对宇宙星球的喜爱与憧憬,让 Yayi 的圆形作品显得玲珑且浪漫。

这些圆,可以被赋予形形色色的含义,也可以干干净净地理解为圆本身。要说 Yayi 所想要搭建的那座桥梁,不过是“我自己的情绪出口,同样也希望大家解读出自己的情绪。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

Website: yayifsoso.com
Douban: ~/yayi_ifsoso


Contributor: Chen Yuan

网站: yayifsoso.com
豆瓣: ~/yayi_ifsoso


供稿人: Chen Yuan

The 1961



In the sleepy and laid-back town of Siem Reap, there is a thriving artist community where travelers and local Cambodians alike often cross paths. At the heart of this is a multi-functional artist space called The 1961, which has served as a venue for all kinds of artist events and happenings in Siem Reap. The 1961 founder, Loven Ramos, previously owned a couple of smaller galleries in the middle of town, but after a number of years, he found the costs really prohibitive and wanted a new space that was bigger and could expand with his ideas as well as the needs of the community.

暹粒是一个平静而悠闲小镇,在这里,有一个蓬勃发展的艺术家社区,吸引着众多游客和柬埔寨人。而位于这一社区中心的是一个被称为The 1961的多功能艺术家空间,这里是暹粒各类艺术活动的举办地。The 1961创始人 Loven Ramos以前曾经营过几家位于市中心的小画廊,但几年后,发现运营成本实在太高,于是想找一个更大的空间,让他可能进一步实现自己的想法,满足艺术社区的发展需求。

The 1961 is a hybrid coworking space, art gallery, and events venue. The main hub can seat forty people at communal work tables or dedicated work stations; it’s a creative environment where freelancers, local artists, and traveling professionals are free to collaborate. The facilities include high-speed internet, a shared printer, a lounge, meeting rooms, a small marketplace for artists’ products, a mini-kitchen, and free coffee. In its previous incarnations, it was even a hotel and a café but has since metamorphosed into its current function as a multi-use space for artists.

The 1961 既是共享办公空间,也是艺术画廊和活动场地。这里的共享工作区和专用的工作站可以容纳40人。在这个充满创意精神的环境下,自由职业者、当地艺术家和旅游专业人士可以自由地协作。空间内的设施包括高速互联网,共享打印机,一间休息室,会议室,一个供艺术家出售作品的小市集,一个小厨房和免费咖啡。空间前身是酒店和咖啡厅,但后来演变成了现在这个为艺术家而设计的多用途空间。

The building itself is a 1960s heritage structure, and the design of everything is very much inspired by the ’60s, hence the name The 1961. Over the years, the design of the space has undergone some changes based on how it was used. “There is always something happening here,” Ramos says, “I think what makes it exciting is it’s never really planned out too much. We have DJs who just basically come in through the door and tell us, ‘I really love this space. We need to create something together.’ So then we put up an event on Facebook, and within 24 hours, we invite whoever we can, or whoever we wanted to come.”

建筑本身是建造于20世纪60年代历史文物,空间内部在很大程度上都是以上世纪60年代为灵感设计的,故而被命名为The 1961。多年来,这个空间的设计根据不同的用途发生了许多的变化。Ramos告诉我们:“这里总是很热闹。我想,这个空间之所以这么有魅力,正是在于它的无计划性。譬如,有些DJ第一次来就说,‘我真的很喜欢这个空间,我们一起来创作些什么吧。’然后,我们就在Facebook上发起了一次活动,在24小时之内,我们任意地邀请一些我们能邀请到的或想要邀请到的人来。”

Event spaces include a multimedia pod and a gallery with curated work by both local Cambodian and international artists. The spaces are multi-purpose and can host community meet-ups, lectures, business conferences, or even brainstorming sessions. Outside, there is a small garden area, while at the back of their artists’ shop, behind an otherwise nondescript golden door, is The 1961’s new restaurant, which also hosts local DJs and artist performances.

活动空间包括一个多媒体室和画廊,用来展出当地柬埔寨和国际艺术家的作品。这个多功能的空间既可举办艺术界聚会,也可以举办讲座、商务会议,甚至是头脑风暴会议。外面还有一个小花园,而在艺术家商店后面,在一扇独特的金色大门之后,就进入到了The 1961的新餐厅,这里还会举办本地DJ和艺术家表演。

For Ramos, he primarily wanted to open the gallery for local Cambodian artists at the beginning but admits that the presence of foreign artists provided “a window for local artists to see what is happening outside of Cambodia.” These days, the gallery exhibits the work of Cambodian artists 60% of the time, while the other 40% features the work of artists who are either expats or are completely foreign to Cambodia. “Our role is really to provide that platform to bridge the East and West,” says Ramos, “to bridge Cambodia into the rest of the world, and also the rest of the world into Cambodia.”


The 1961 Coworking and Art Space
211 Osaphear Street, Upper West River Side
Siem Reap, Cambodia


Hours: 7am〜10pm


Website: the1961.com
Facebook: ~The1961
Instagram: @the1961


Contributor, Videographer & Photographer: Leon Yan

211 Osaphear Street, Upper West River Side
The 1961 Coworking and Art Space


营业时间: 7am〜10pm




供稿人、视频与图片摄影师: Leon Yan

Waterscape / Memory of Spring

In the mountainous town of Hakone, a scenic waypoint between Tokyo and Kyoto, lies Lake Ashi. Boasting a stunning view of Mt. Fuji, numerous hot springs, and an abundance of natural hiking trails, the lake draws many visitors seeking a slice of tranquility. It’s here where the award-winning Tokyo-based design firm Moriuyiki Ochiai Architects unveiled their latest project.

美丽的芦之湖位于箱根,是一个地处东京和京都之间的山间小镇。这里除了富士山的壮丽景色,还有众多的温泉和自然远足径,吸引着许多寻求宁静的游客。Moriyuki Ochiai Architects,这家屡获大奖的东京建筑设计公司,在这里揭幕了他们的最新设计项目。

The Miruyiki Ochiai design team was tasked with renovating the domed foyer of an ex-botanical garden and turning it into a multifunctional space that’s able to accommodate a kitchen, dining space, and an area for live performances and art exhibitions. Using concrete, they laid out a new foundation for the space and constructed an octagonal amphitheater that serves as the centerpiece of this renovation project.

Moriyuki Ochiai Architects的设计团队需要改造一个旧植物园的圆顶大厅,将它变成一个由厨房,餐厅和一个展览演出区域组成的多功能空间。 团队用混凝土为整个空间构筑了新的基层,并建造了一个八角形的露天剧场,作为整个项目的标志性建筑。

With the goal of paying homage to water, which has lent its undeniable influence to the surrounding environment, they intended for the amphitheater stage to appear as if it were a well of water. To achieve this, they spread a transparent resin at the bottom of the amphitheater, which sits over an assortment of glass shards, mirror fragments, and metal plates. Tiered seating surrounds the spring, forming an intimate performance space. To further invoke imagery of water, specifically that of Lake Ashi, they injected a vibrant gradation of colors beneath the resin; this is to represent the different colors of the surrounding trees that reflect off the lake’s surface as the seasons change. The end result of Moriuyiki Ochiai Architect’s thoughtful redesign is a space that doesn’t detract from the beauties of the surrounding landscape. The project stands proudly as a symbol of the symbiotic bond that exists between man and nature.

由于水元素对当地环境有着十分重要的影响,因此,设计师以水井为灵感来设计了露天剧场的舞台。为了实现这一设想,他们在露天剧场的底部布满透明树脂,又在下面放满了玻璃碎片、镜子碎片和金属板。分层式的座位设计围绕着“水井”分布,形成一个小型表演空间。为了进一步突显水元素(尤其是芦之湖的水元素)这一意象,他们在透明树脂之下布满渐变的色彩层,以表达芦之湖四周的树木随季节变化映现在湖面时呈现的不同色彩。Moriyuki Ochiai Architects的这一设计并不会将人们的目光从周围的美丽自然景观中移开,恰恰相反,它代表了人与自然之间存在着的共生联系。

Website: moriyukiochiai.com
Facebook: ~/moriyuki-ochiai-architects


Contributor: David Yen
Photographer: Takumi Ota
Images Courtesy of Moriyuki Ochiai Architects

网站: moriyukiochiai.com
脸书: ~/moriyuki-ochiai-architects


供稿人: David Yen
摄影师: Takumi Ota
图片由Moriyuki Ochiai Architects提供


Juxtaposed against the backdrop of a Shanghai landmark, the Ori.Union pop-up exists at a critical juncture in the history of Zhangyuan 77. Previously occupied by the government and left to languish, plans have been set forth to revitalise Zhangyuan 77 as an entertainment and cultural hub, just as it was at the turn of the century. This concept store from Ori Bazaar serves as a sneak peak of what’s to come in this traditional shikumen-style building.


As the largest freestanding building remaining in the Zhangyuan heritage area, Zhangyuan 77’s structure is impressive. At three-stories high, it’s a symmetrical copper-domed building flanked by thin, long open hallways on either sides. Its most distinctive feature though, is perhaps the expansive white front facade, which no other building in Zhangyuan has.


After seeing too many markets that they considered as thoughtless, not commercial enough, or simply “not as we imagined,” Gabriel and Shan of Ori.Union took the initiative this year to redefine what a bazaar should be. This eventually led them to experiment with the longer duration, more conceptually demanding pop-up store.


Following the idea of experimentation, Ori.Union was constructed around the theme of “lab.” The entire store is decked out in futuristic silver foil and neon signs, which when combined with the old existing woodwork and peeling paint, form a high-contrast, eye-catching space that is ambiguous in time.


After the pop-up ends, Zhangyuan 77 will be closed for renovations. Apart from the front salons housing temporary stores, the rest of the building is already unoccupied. A forbidden visit inside yields eerie, dusty spaces and deteriorating office furniture that whispers of the space’s previous tenants. Quiet and sleepy, Zhangyuan 77 awaits patiently for its reincarnation back to glory.


No. 77 Weihai Road, Lane 590
Jing’an District, Shanghai
People’s Republic of China

December 1 ~ December 22, 2016

11am ~ 5pm


WeChat: OriStudio


Contributor & Photographer: Kiwi Qin
Additional Images Courtesy of OriStudio





微信: OriStudio


供稿人与摄影师: Kiwi Qin

The Nike Studio

All designers strive to provide users a sense of joy and fulfillment through their designs. No matter if it’s a space, a game, or software, they hope for their design to be immersive and to become an escape from reality. In 2015, COORDINATION ASIA designed The Nike Studio for Nike Beijing around the concepts of infinity and empowerment. The sleek and futuristic design won them the prestigious ‘best-of-best’ award for the interior retail category from the German Design Council’s Iconic Awards.

在设计界里,不管是娱乐场所空间、游戏还是功能性软件的设计中,设计师们都力求在所营造的情境中,参与者们可以感到愉悦和满足,从而忘记真实世界。是为沉浸式体验。近期,协调亚洲在2015年为北京耐克工作室The Nike Studio所进行的设计,便以基于有趣和未来主题的沉浸式设计,斩获德国设计委员会标志性设计奖室内零售设计类别的最佳设计奖。

Looking to celebrate the World Athletics Championship in Beijing and to help promote China’s “National Fitness Program,” Nike temporarily converted a 1200 square meter art gallery into an impressive multipurpose space. There, they unveiled the Nike Holiday 2015 collection and their brand new running community N+RC (Nike+ Run Club). The renovated space consisted of brightly lit display rooms, dark workout labs, and multi-functional lounge areas.

2015年,Nike品牌为了迎接当年的北京世界田径锦标赛,推广全民健身,对一个1200平方米的艺术画廊进行了临时改造,并在此展出当季的Nike Holiday 2015系列和最新的奔跑社区系列N+RCNike+ Run Club)。整个空间涵盖了包括亮色系的产品陈列区、暗色系的高能运动工作室,甚至多功能休息区等一系列体验空间。

In the spacious product showroom, COORDINATION ASIA’s design team used frosted-over installations and brightly lit, high ceilings to create a sleek all-white interior. “Flash Pack” and “H015” from the Nike 2015 winter collection were on display atop elevated platforms within reflective booths, carefully arranged on linear panels. The design is meant to urge visitors to go outside, brave the cold of winter, and go for a run. Shoes from the Nike ZOOM collection were also on display, placed in rows on semi-transparent LED screens, giving them the illusion of being suspended in midair.

在产品陈列区,协调亚洲的设计团队在宽敞的敞开式空间内,用磨砂的装置设计和明亮、高挑的天花营造出冰冻和严寒的感觉。他们将2015年冬季的“Flash Pack”和“H015”系列置于镜面展台的包围中,精心陈列在悬挂的线条鲜明的层板上,从而更好地表达出产品鼓励人们走出户外,不惧严寒尽情奔跑的设计理念。“ZOOM”系列的所有鞋子则被固定在几排半透明的LED屏幕上,在光影的衬托下如同悬浮在空中,着重体现出动感的韵律。

The workout lab drastically differs from the product showroom. Instead of bright alabaster walls, it’s a nearly all-black space. LED lights pierce the space in the form of intersecting luminous lines. In the dark space, the LEDs aren’t only sources of light, but are used to turn the space into a futuristic scene that feels to have come straight out of a sci-fi film. Furthermore, the contrasting light and darkness brings forth a sense of intensity that aims to convey the allure of sports and athletics.


Venturing from the workout space to the multi-functional rest area, the color scheme gradually becomes brighter. The locker room is flanked by black cabinets on both sides of the room, which are connected to white LED strips running along the walls and ceiling. Boldly emblazoned on the wall is a motivational phrase that reads: “Don’t dream of it. Train for it.”

运动实验室转向多功能休息区处,色彩逐渐转向明亮。“运动员休息室”空间内布有相应设计的座椅以供运动员休息;更衣室内,两侧黑色的衣物柜上方通过附在墙壁和天花板的白色LED发光条连接,承袭了整个空间的线条感,墙上更写有“Don’t dream of it. Train for it.”(将梦想付诸行动)装点空间,激励斗志。

Throughout the entire project, COORDINATION ASIA worked closely off of the concepts of Nike’s co-founder Bill Bowerman’s two quotes: “To bring inspiration and innovation to every athlete in the world” and “If you have a body, you’re an athlete.” The core of the design still revolved around the concepts of infinity and empowerment, and COORDINATION ASIA’s meticulous use of lines successfully turned the space into an impactful visual experience that conveyed a sense of infinity and athletic passion.

协调亚洲的设计团队在整个项目中,从耐克联合创始人Bill Bowerman所言的让全世界的运动员都能感受到创新与动力以及每个人都可以成为运动员作为源点出发,以“无限和力量”为主线,利用线条在透视中产生的延伸感,创造出一种对感官的冲击,成功让人感受到运动的激情。



Contributor: Banny Wang
Images Courtesy of COORDINATION ASIA




供稿人: Banny Wang


A Matter of TASTE

TASTE is hidden deep in Shanghai’s Tianzifang area, a dense compound of small alleyways and shops on the edge of the French Concession. At once a shop space, gallery, café and restaurant, TASTE is the treasure trove and creative playground of owners Viko and Yutaka, a husband and wife duo whose combined backgrounds in photography and fashion design make their mark on every inch of the space. On the ground level of the shop, the deceptively small space holds a carefully curated collection of goods sourced from the owners’ travels around the world. Upstairs, a minimal display room leads visitors into a spacious café, a dramatic alcove, and an expansive lounge area set to become a restaurant in the near future.


The concept of TASTE is playfully modeled on the idea of brainwaves, says Viko. Entering TASTE is meant to be like walking into a person’s brain. The space can be defined infinitely – it’s unlimited in its possibilities. The space itself is constantly growing and learning as humans do.


Coming from a family who loves antiques, Viko started collecting as a young child. Small objects and perfumes were especially attractive to her. After becoming a documentary photographer in 2009, she traveled around the world, bringing small objects from far-flung places. As her collection grew, she decided to open a shop so that these carefully selected treasures could be shared with more friends and outsiders. TASTE is the result: an ever-changing space filled with many curiosities, stories, and experiences.


Walking through the TASTE space, there are markedly distinct personality shifts in each room. Viko says, “For the new TASTE Space, we had this idea that it would be like a musical score. The first floor is weird and decorative, while the second floor is warm and light-filled. There’s a friendly and sunny coffee area. Finally there’s a quiet and solemn exhibition zone. The space gives surprises, which I love, and it’s a surprise for everyone.”

在TASTE,每个房间都有着各自独特的个性。Viko说: “关于这个新的TASTE Space,我们当时有这样一个想法,就是让它看起来像个乐章。现在,一楼古古怪怪,富有装饰性的;二楼是温暖的,灯光盈盈;还有一个阳光直射得到的、轻松友好的咖啡区。最后,我们还有一个安静、单独的展览区。这个空间常给人带来惊喜,这点我很喜欢,这种惊喜是为每一个人准备的。”

In the megacity of Shanghai there are few things which can’t be found; however, the collection at TASTE includes perfumes, cutlery, leather goods, and beautiful objects that have no functional use. One-of-a-kind things or product sourced from small international labels are clustered together, ranging from jewelry, coffee devices, stationary, money clips and wallets, to tailor-made scissors, rare scents and aromas, and unique ceramic pieces.


“I’m looking for creations which grab my eye, no matter where it’s from, who made it, if it is new or antique. I want to share these wonderful things with more people. That is the essence of TASTE,” says Viko Wu.

“我正在寻找的是能够抓住我眼球的东西,不管它来自哪里,由谁创作,也不管它是新的,还是旧的。我想把这些美好的东西和更多的人分享。这也是TASTE的本质。”Viko Wu说道。

Room: 105, Bld: 3rd, Lane: 210 Taikang Rd
200025 Shanghai, China

Website: taste-shop.com
Facebook: ~/thetasteshop


Contributor & Photographer: Jia Li


网站: taste-shop.com
: ~/thetasteshop


供稿人与摄影师: Jia Li

The Cambodian Space Project



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


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


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

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

Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

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

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

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



Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

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

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


The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:


The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

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

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

Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

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

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

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

Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

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

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

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

Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

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

Facebook: ~/The-Cambodian-Space-Project
: @thecambodianspaceproject


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

Facebook: ~/The-Cambodian-Space-Project
: @thecambodianspaceproject


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

Hackerfarm in Kamogawa


Craving a bit of fresh air and a natural green landscape, three friends all coming from a background in technical engineering ventured out to Kamogawa, a small city just outside of Tokyo, to find a place where they could produce cheese. Yes, that’s right. Cheese! The endeavor turned sour however, when local dairy farmers refused to sell the hackers raw milk, as it meant they could have faced losing their licenses. We visited Chris Akiba Wang, one of the founders of Hackerfarm, to find out what this group of hackers has stirred up in this seemingly sleepy farm town.


Hackerspaces are technology-focused collaborative sites. There are many active labs spread all over six continents, with the most concentration of them found in Europe. In Kamogawa, a city situated southeast of Tokyo across the Tokyo Bay in the Chiba Prefecture, Hackerfarm have settled down to create their very own hackerspace to focus on agricultural technology to facilitate the needs of their small community.



Automating agriculture is preserving the traditions of an ancient practice. “Many of the farmers I know are in their 60s and 70s, and are actually considered to be young,” Chris tells us. Traditional rural farming’s physical dependency on natural resources is alleviated by unique technology, such as their patented techrice, an innovative cloud-based service that provides technical support to rice farmers. Simultaneously, this collaboration is a platform for cultural bonding between the young and old, the physical and mechanical, the traditional and creative.



Not limited to their technical expertise, Hackerfarm has made it a point to increase the engagement between very dissimilar communities, such as between farmers, artists, engineers, and volunteer workers. Some visitors have even relocated their families and now live within the Hackerfarm community, which is quite feasible at the cost of $150 per month for a kominka (a traditional Japanese house).



Chris continues: “We also have a lot of non-Japanese members, so it provides a bit of an international worldview. In Japan, things sometimes have a tendency to get a bit isolated, where each community hangs out only with its own group without too much intermingling. The others and I have made it a point to try and bridge the gap between the different communities here and attend gatherings, as well as inviting them to our events or barbecues where we all just get together to eat, drink, and talk.”



Hackerfarm’s concept in Kamogawa rediscovers all of the resourceful values and benefits of rural living. “It’s really interesting because you’d never expect to have so much tech talent and foreigners congregated in the countryside,” Chris admits. “As much as we contribute to various events out here, the communities are great and give right back to us.”


1627-1 Kozuka
Kamogawa-shi, Chiba-ken 296-0233

Website: hackerfarm.jp
Flickr: akiba/hackerfarm

日本国〒296-0233 千葉県鴨川市金束1627-1

Flickr: akiba/hackerfarm

Contributor: Alessandra Marconi

寄稿者: Alessandra Marconi

ALTER Shanghai

ALTER is a concept boutique store located in Shanghai. The superstore includes ALTER Showroom, ALTER Cube café, and the Rolling Acid design label. Arguably the most prominent and influential fashion boutique in China today, ALTER was also nominated for FARFETCH’s 2014 Superstore Awards as one of the top six boutiques in the world. In the same year, the Louis Vuitton Shanghai City Guide featured ALTER as being a landmark of Shanghai high fashion.

位于上海的ALTER买手概念店,与ALTER Showroom、ALTER Cube Café和自主品牌Rolling Acid同属ALTER时尚机构。它大概是中国最具有竞争力的买手店,事实上它甚至是本土其他买手店的重要参考目标。2014年,FARFETCH提名它为全球6家最顶尖的超级买手集合店之一。同年,它被《路易·威登之上海GUIDE》收录并获得极高评价,成为必去的上海地标性时尚目的地。

Products in the ALTER concept store are often displayed using touch screens and ambient lighting. In addition, the store features bamboo cube installations, varying in size from three centimeters to three meters wide, as an ode to ALTER founder Long Xiao’s childhood love of wooden blocks. Long Xiao, aka Sonja, is a fashion buyer who studied luxury brand management in Italy and had previously worked at Prada and Versace.

在ALTER买手概念店中,层叠出现大至3米,小至3厘米的CUBE立方体,从灯光布置到高科技触屏板的展示,无不突出每件设计师单品。这个CUBE创意是源自龙霄童年时期对积木的热爱。 龙霄,即Sonja,是一名时尚买手,她就是ALTER时尚机构的创始人。她在意大利学习了奢侈品管理,曾在Prada、Versace做品牌管理与推广方面的工作。

Before opening ALTER in 2010, Long Xiao had already established her position in the luxury fashion world. However, she wanted to create something that would challenge the status quo in the world of fashion. Witnessing the emergence of China’s luxury market, Long Xiao saw an opportunity to serve China’s increasingly fashion-conscious consumer. The idea for ALTER surfaced upon recognition of the market gap between the more established high fashion luxury brands and mass consumer brands.


Long Xiao and her buyer team are passionate about showcasing creative design brands that are unfamiliar to the mass market. In choosing brands with potential, she believes that personal intuition is just as important as market research or brand analysis. “We’re leaders, not followers. We always want to surprise. That’s what makes us different from other boutiques.” From introducing brands such as J.W. Anderson, MSGM, and Simon Rocha, to seeing them recognized by global luxury giant LVMH or other fashion leaders, ALTER has witnessed the emergence of many previously unknown brands. Long Xiao says, “Each season we’ll change our brand inventory. This season, popular labels include Seoul’s YOHANIX and PushBUTTON, Ukraine’s ANNA K, London’s S=YZ, Norway’s Norwegian Rain, Holland’s ILJA VISSER, and France’s RISTO, among others. They are all worth paying attention to.”

龙霄带领她的买手团队,探寻尚不被大众所熟知,却又充满巨大潜力和创意的设计师品牌。除了前期对品牌进行专业的调研和数据分析外,龙霄认为依靠与生具来的直觉也非常重要。“我们在引领,而不是在追随。我们总是给人惊喜,我想这就是我们与其他买手店的最大区别。”从引进J.W Anderson、MSGM、Simone Rocha,到这些品牌渐获全球最大奢侈品集团LVMH的肯定,或各位时尚偶像的追捧,ALTER见证一波又一波的设计师成长,也成为了新锐设计师的摇篮。龙霄说: “我们每季品牌都有改变,本季比较受欢迎的有首尔设计师品牌YOHANIX、PushBUTTON, 乌克兰设计师品牌ANNA K, 伦敦品牌S=YZ, 挪威品牌Norwegian Rain, 荷兰品牌ILJA VISSER,法国品牌RISTO 等等,都非常值得关注。”

Long Xiao shares her ideas about the current state of Chinese fashion, design, and consumption: “Chinese fashion designers still have a long road ahead with lots of potential problems. But those designers who come with an international mindset will often surprise us with something quite beautiful. I feel that many new Chinese designers will rise to prominence if they persevere. The Chinese consumer has really come a long way from just blindly following the big brands. Now, they will consider other important factors such as self-expression, wearability, and value for money. People are becoming less and less loyal to brands, which is a good thing, because they’ll actually be able to recognize and cherish good design.”

谈及创办ALTER这些年来她眼中本土的时尚设计现状、人们审美和消费理念,龙霄分享了她的观察: “中国的时尚设计面对很多问题,还有一段路要走。但是一些拥有国际化背景和眼界的新锐设计师却开始时不时地给人惊艳的设计,我觉得只要努力,一定会有更多的中国设计师开始崛起。中国人已经从盲目追随大牌LOGO到寻求个性、实穿、性价比等综合考虑的理性状态了。人们对品牌的忠诚度很低,这样很好,因为任何一个新兴的具有创意的设计,都有可能成为他们下一个心头之爱。”

Work and travel have given Long Xiao a propensity for curiosity, sensitivity, and inspired thought. For her, the best part of the day is getting together with friends to pass time at the cafe. Her definition of true luxury is being able to have free time and fellowship, a notion that then led to the establishment of the ALTER Cube Café. Long Xiao says, “I wanted to share some of these sentiments with our customers, especially with those who recognize quality. I hope that people who visit ALTER will be able to slow down, enjoy time with friends, and relax with art, food, music and fashion.”

在世界各地的旅行和工作,给了龙霄带来对新事物的好奇心和敏锐度,以及源源不断的灵感。繁忙的日常最让她放松的事情,是和朋友们一起在咖啡厅消磨时光。她眼中真正的奢侈,就是时间的陪伴和好友的感情。这就是ALTER Cube Cafe的由来。她说:“我想把这些情怀带给我的客户们,尤其是注重生活品质和情调的客户。我希望来ALTER的人可以慢下节奏,享受一次与好友的聚会,一次慢节奏的艺术、美食、音乐、时尚的心灵放松。”

ALTER won Best New Store at WSGN’s 2012 Global Fashion Awards and has been a favorite of the fashion media ever since. Long Xiao tells us that she plans to continue the development of ALTER Showroom, hoping that it will be a permanent platform to bring even more global brands into China. In addition, she hopes to share ALTER’s design label with the rest of the world.

自2012年在伦敦获得由全球最大的时尚趋势预测机构WSGN颁发的最佳新晋店铺奖之后,ALTER就一直备受时尚媒体的热捧。龙霄告诉我们,目前她准备继续发展ALTER Showroom,并希望可以做成永久性的展厅,为国内带入更多国际品牌;除此之外,她也将努力把新近诞生的ALTER自主品牌推向全球市场。

Xintiandi Style, Shop L116, 245 Madang Lu,
Huangpu District, Shanghai, China

Facebook: ~/Alter-Shanghai


Contributor: Banny Wang


脸书: ~/Alter-Shanghai


供稿人: Banny Wang


Te To Ka

In the Kanda district in Chiyoda, Tokyo, there is a laid-back artist café and gallery space called Te To Ka.

東京都千代田区の神田に、Te To Kaという名前のくつろいだ雰囲気のアーティストカフェとギャラリースペースがあります。

The name “Te To Ka” means “Hands and Flowers” in Japanese, which as the owner Chieko Kobayashi and gallery director Atsushi Tezuka explain, indicates the café space’s dedication to handicrafts and handmade art.

Te To Ka」は、「手と花」という意味です。ギャラリーのオーナーの小林千絵子さんとディレクターの手塚敦嗣さんは、お店の名前について、「手工芸と手作りの芸術のためのカフェスペースであること」を表していると説明しています。

Formerly an old store, the space at Te To Ka now regularly hosts art workshops, small exhibitions, and local art events. In its own way, by supporting independent artists, Te To Ka wants to offer a small kind of resistance to the relentless commercialism that we encounter every day.

以前は古い店舗であったTe To Ka では、現在は芸術のワークショップ、小規模な展覧会、そして地域の芸術イベントを定期的に主催しています。独自な方法で独立した芸術家を支援することで、Te To Ka は日々私達が目にする容赦のない商業化に対するささやかな抵抗を意図しているのです。

Te To Ka is filled and decorated with vintage furniture, second-hand books, artwork, and other kinds of interesting old objects. For Chieko, there is currently an overabundance of mass-produced and cheap impersonal products in Japan, and a dearth of honest and real craftsmanship.

Te To Ka には、ビンテージ家具、古本、芸術作品やその他の古く興味深い品々がたくさん飾られています。小林さんは、現在の日本は大量生産され安く個性のない製品で溢れており、正直かつ本物である職人的な技巧(クラフトマンシップ)が不足していると感じています。

She believes that by supporting craftsmanship and rejecting crass commercialism, a community of local independent artists can come together and grow together.


As a gallery, it regularly hosts artist talks, film screenings, art exhibitions, creative workshops, live music performances, and DJ & VJ events. The space can hold up to 30 people, so it is always a small and intimate gathering at Te To Ka.

Te To Kaはギャラリーとして、芸術家のトークイベント、映画上映、美術展、創造的なワークショップ、ライブ音楽演奏、DJ VJのイベントを定期的に主催しています。Te To Kaの収容人数は、最大30人なので、常に小規模でくつろいだ集いを開催しています。

In the past, their exhibitions showed works of more well-known artists, but going forward, Te To Ka is also dedicated to helping lesser known and underrepresented local artists. The atmosphere at the café is always welcoming and friendly, and visitors can easily interact with this talented community of artists.

過去のTe To Kaの展覧会は、知名度が高い芸術家を扱うものでしたが、ゆくゆくは、知名度が低く過小評価されている地域の芸術家にも貢献します。カフェの雰囲気は、心地よく友好的です。そして、訪れる人たちは、才能のある芸術家のコミュニティーとたやすく交流することができます。

If she had to choose only three words to describe the spirit of Te To Ka, Chieko would say that it was: personal, handmade, and rough. Check out Te To Ka’s website and see what’s coming up on their calendar of events!

Te To Ka の精神を3つの言葉で表すとすると、パーソナル、手作り、そして大ざっぱであることと小林さんは言われるでしょう。Te To Ka  ウェブサイトにアクセスし、どのようなイベントが近く予定されているか見てみましょう!

2-16 Kanda-Tsukasamachi
Chiyoda-ku, Tokyo

Hours: 4pm〜11pm

Website: tetoka.jp



ウェブサイト tetoka.jp

Contributor & Photographer: Leon Yan

投稿者&カメラマン:Leon Yan