Tag Archives: taipei

Future Fashion

Sci-fi is about more than dreaming up fictional worlds—it’s about creating a visual universe, a futuristic aesthetic for everything from sunglasses to satchels. And in an era of video-game marathons and binge-watching sessions, elements of these sci-fi-inspired styles are bound to bleed into the real world. Fashion inspired by the genre might even, like the best speculative fiction, offer subtle commentary on our technology-saturated society.

These are the roots of Guerrilla Group, a Taiwanese brand that draws inspiration from classic sci-fi games and films like Metal Gear Solid, Alien, and Akira, and then translates it into apparel for everyday use. Although some of the pieces might look more suitable for future-themed fashion editorials, most are functional for the street.   


所谓科幻世界,不仅仅是在杜撰一些虚无的幻想。它是在创造一个视觉化的世界观,一个涵盖所有——从你脸上的太阳眼镜到肩上的背包——的未来主义美学。在这一个充斥电玩游戏和追剧马拉松的时代,荧幕上的科幻元素必然会渗入现实世界。而受到此种风格启发的时尚,甚至可以说是科幻美学在现实中最理想的诠释,为科技无所不在的现代社会,提供了它细致又敏锐的见解。

这些都是吉丰重工(Guerrilla Group)的根源。这个来自台湾的时尚品牌从经典的科幻电影和电玩游戏如《合金装备》(Metal Gear Solid)、《异形》(Alien)、《阿基拉》(Akira)中汲取灵感,再转化成日常服饰。虽然部分作品看起来比较像是未来风格的装扮,但大多都是适用于现代的机能性街头穿着。

The brainchild of Andrew Chen and Anthony Bui, Guerrilla Group creates everything from detailed jackets and layered pants to form-fitting tees and cross-body satchels. The brand emphasizes distinctive but practical materials, such as high-modulus polyethylene, lyocell, and transparent leather. The last of these is so new, in fact, that the producers won’t even tell them how it’s made. It’s stuff you rarely see but want to see more of.


吉丰重工的创办人 Andrew Chen 和 Anthony Bui 将创意发挥在几乎所有穿得到的用品上,从富含细节的夹克、分层裤、到合身 T 恤和斜背包。该品牌强调使用有特点但实用的材料,如高模量聚乙烯、Lyocell 纤维,或是透明皮革——一种太过新兴的材料,以至于制造商甚至不愿意告诉他们制作方法。这是一个你几乎看不到、但渴望看到更多的东西。

Beyond their affinity for unusual materials, Guerrilla Group sets itself apart from other brands through its “storytelling” approach to fashion. Every new collection starts with a concept that’s then fleshed out with a story and visualized in a lookbook.


除了常用不寻常的材料,吉丰重工的特别之处还有通过“讲故事”的方式,将自己与其他时尚品牌区分开来。每一个系列都会从一个概念出发,然后用故事去充实其内容,最终视觉化呈现在品牌书中。

The stories crafted by Chen and Bui are rooted in fiction but take cues from the real world, and more often than not, they contain implicit social critique that confronts issues such as military fetishization and invasive authority. “A lot of our collections are actually trying to send a message of warning,” Chen says. “Like our End Of Secrecy line, which is based on PRISM, the American internet surveillance program. We’re addressing how governments control your information.”


Andrew 和 Anthony 创造的故事通常是虚构的,但之中隐含着他们从现实中获取的线索,并悄悄植入批判社会的暗喻,比如说军事狂热化、或威权体制的入侵等问题。 “事实上我们有很多作品是在试图发出警告。” Andrew 说。“像是《End of Secrecy》系列是发想自美国互联网监控计划‘棱镜门’(PRISM)。我们想诉求的对象是正在控制你的信息的政府。”

As of late, the brand is starting to move away from the sci-fi aesthetics that defined its early years. One of its recently released satchels was based on Buddhist monk sling bags—though since it’s made of an experimental transparent material made by Ecco Leather, it still resembles something extraterrestrial.


最近,吉丰重工的设计风格开始驶离早期的科幻美学。品牌最近发布的一个背包的原型是僧侣的吊带包——并由 Ecco Leather 生产的实验性透明皮革材料所制成,外观容易让人联想到异星世界的产物。

A more significant departure from the brand’s sci-fi and techwear roots is a new line based on street racing. Inspired by old auto magazines, Japanese car mods, and manga comics, this collection revolves around a fictional auto body shop called Silent Works. Their campaign even includes three real-life customized cars, including a Nissan 240SX.


一个基于街头赛车的新系列,更让该品牌远离了其科幻与机能的设计根源。灵感来自于旧的汽车杂志、日本汽车改装和漫画,此系列围绕着一个名为 Silent Works 的虚构汽车车身店。他们甚至还设计了三款真实定制车型,包括一辆 Nissan 240SX。

Guerrilla Group’s elaborate concepts and graphics-heavy designs hint at Chen and Bui’s ambitions beyond fashion. “Neither of us studied fashion design,” Chen notes. “Anthony was a graphic designer and I studied Art Design. This brand was actually my graduate thesis topic.” The duo ultimately hopes to operate a full-fledged creative agency under the banner Guerrilla Foundation for International Recon Media Group, or GFIRMG. They plan on expanding into film, product design, and visual design, and no matter the medium, they want to tell stories that meaningfully engage with a changing world.


吉丰重工精心设计的概念和图像暗示着 Andrew 和 Anthony 超越时尚的野心。 “我们都没有学过时装设计。”Andrew 说。 “Anthony 是一名平面设计师,而我学的是艺术设计。这个品牌实际上是我的毕业论文题目。”二人最终希望在吉丰重工(Guerrilla Foundation for International Recon Media Group, 简称 GFIRMG)的旗帜下运营一个成熟的创意机构。他们还计划扩展到电影、产品和视觉设计。无论媒介为何,他们都想继续讲述有意义的、与这个不断变化的世界互动的故事。

Website: www.guerrilla-group.co
Facebook: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

Contributor: Mike Steyels
Chinese Translation: Yang Yixuan


网站: www.guerrilla-group.co
脸书: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

供稿人: Mike Steyels
英译中: Yang Yixuan

Taipei after Dark with U.TA

 

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Perhaps better known for its diverse food and its New Wave cinema, Taiwan has been quietly establishing its indie music cred in recent years. As the island’s cultural center, pluralistic, polymorphous Taipei has been awash in a range of aural delights, from post-rock, psychedelia and punk, to hip hop, folk, and jazz. Reverb-laden shoegaze and breathy dream pop bands in particular seem to sprout, blossom, and thrive in the capital’s languid, subtropical heat, with native species Manic Sheep, I Mean Us, DoZzz, and TuT offering a kaleidoscope of shapes and colors.

One Taiwanese dream-pop band in particular, U.TA, revels in cross-pollinating styles and genres to produce striking musical hybrids. Formed in 2013, the band includes vocalist Urayn and bassist Garry Lu, along with Garry’s brother John on guitars and their friend Tao on drums. Urayn and Garry started an embryonic version of the band back in 2006 but felt the need to expand their sonic horizons. “Although we started in Taichung when we released our EP as a duo,” Urayn recalls, “we thought that we’d be more complete if we had a full band.”


近年来,在一向以美食和新浪潮电影著称的台湾,一股独立音乐力量正悄然崛起。作为台湾的文化中心,多元化的台北奉上了一场精彩的听觉盛宴,从后摇、迷幻乐和朋克到嘻哈、民谣和爵士乐,包罗万象。其中,Shoegaze(自赏)派音乐和梦幻流行乐队大放异彩,在台湾慵懒温热的亚热带气候中萌芽、开花。Manic Sheep、I Mean Us、DoZzz 和 TuT 等本土乐队带来万花筒般的音乐。

其中令人瞩目的梦幻流行乐队 U.TA 擅长将各式风格与流派的完美融合,打造出令人惊喜的混血音乐。乐队成立于 2013 年,包括主唱 Urayn、贝斯手 Garry Lu,吉他手则是他的兄弟 John,鼓手则为其好友 Tao。2006 年,Urayn 和 Garry 组成最初的双人组合,后来又觉得有必要扩大乐队的音乐视野。“当初在台中一开始推出 EP 时我们只是双人组合。” Urayn 回忆道,“但我们觉得,如果可以有一支完整的乐队,我们的音乐也会更完整。”

While all four share arrangement duties, Urayn writes all the songs herself. She also sees each one visually: “Each time I sing a song, I have a video script in mind. When I have more time and energy in the future, I’d like to transform each song into a video to reveal the conceptual basis behind it.” With such a cinematic outlook, it’s no surprise that the band is drawn to the emotional richness of Hong Kong cinema, and in particular the films of Wong Kar-wai.


Urayn 负责写歌,四位成员各司其职。Urayn 喜欢将每一首歌都视觉化,她说:“每次我唱歌,脑海里都会在构想一些画面。将来如果我有更多的时间和精力,我想把每首歌都做成视频,表达出其背后的概念。”既然有这种对影片创作的向往,也就不难理解,为什么乐队都喜欢情感细腻的香港电影,特别是王家卫的作品。

Their musical DNA includes dream pop pioneers Cocteau Twins, Chinese musical icon Faye Wong (who starred in Wong Kar-wai’s Chungking Express and 2046), and the dark hues of American band Mazzy Star. “Our music is like a constellation. Just as there are twelve types of people [in the Chinese zodiac], shoegaze, for example, is one type of music, but we can mix it with other types like punk or hip-hop to create something unique.” Anyone who’s listened to the band’s 2015 release “Highway Cruising” will recognize its unique combination of styles and influences.


他们的音乐灵感包括梦幻流行音乐的先锋 Cocteau Twins、王菲以及风格阴柔凄美的美国乐队 Mazzy Star。“我们的音乐就像一个星座,或是中国的十二生肖,例如 Shoegaze 就是一种类型,但我们可以将它和其它类型的音乐混合,譬如朋克或嘻哈,创造出独特的音乐。”如果你听过他们在 2015 推出的《缓飙公路》,你一定能从他们独特的音乐中听出各种不同流派与风格的融合。

Unlike many bands, U.TA is equally at home on stage and in the studio, which they see as two sides of the same coin. “If you don’t create complex lyrical arrangements in the studio, then the live performance won’t be solid either,” they say. Studio work allows them to refine their sound until it matches their emotional register, while live performances offer a more immediate connection with their audiences. Fans in Taiwan, Japan, mainland China, or Hong Kong might respond in slightly different ways, and concerts offer instant feedback that can’t be replicated in the studio.


与许多乐队不同的是,对 U.TA 来说,他们喜欢舞台上的现场演奏,也喜欢在录音室的工作。这两种不同的形式犹如一枚硬币的两面——“如果你不能够在工作室里创作出复杂的歌曲编排,那么你的现场表演也不会很好。”录音室可以让他们不断地调整音乐,直到它符合他们想要的感觉;而现场表演又为他们提供了一个与观众更直接联系的平台。虽然由于文化倾向的不同,台湾、日本、中国大陆或香港的粉丝可能会有不同的反应,但现场表演能让他们获得即时的反馈,那种自发性是无法在录音室中获得的。

What do they think about Taipei itself? “We live in a city brimming with inspiration,” says Urayn. “From the beauty of traditional Chinese characters, to the ways people connect with each other, to the flavors of the city, it all deeply influences our work.” The energy of Taiwan’s capital has spawned various musical events along with a growing roster of clubs and record labels to support them. “Taipei is absolutely heading towards becoming a city of music, and I’m so excited about it.”


而他们对台北本身,看法又如何呢?Urayn 的评价是:“这是一个充满灵感的城市。无论是美丽的传统汉字,人们之间的互动,或是城市的风味。所有这一切都深深地影响我们的创作。”作为台湾首府,这座城市的蓬勃生命力催生了丰富的音乐活动,同时还有越来越多的俱乐部和唱片公司作为后盾。“台北正朝着音乐之都的方向发展,这一点让我很期待。”

Currently at work on a new album, the band reveals they’re exploring urban elements such as “fog” and “fragrance” but will maintain their trademark shoegaze sound. As Urayn enthuses, “What I’m most looking forward to this time is that we’ve invited many musicians from different countries to create new songs together.” Global in outlook, defined by the sights and sounds of Taipei streets, U.TA represents the best of Taiwan’s musical cosmopolitanism. Their openness to experimentation is helping to put their city on the indie music map.


目前,乐队正在筹备一张新专辑,他们透露,乐队正在探索与城市相关的元素,譬如“雾霾”和 “香水”,但乐队的标志性 Shoegaze 风格不会改变。Urayn 兴奋地说道:“这张专辑最让我期待的是,这一次我们邀请了来自不同国家的音乐家一起创作新歌。”立足全球的视野,又始终坚守源于台北街道的风景与声音,U.TA(屋塔)代表了台湾最具创意的音乐世界主义,他们开放性的实验态度正推动着台北独立音乐力量的发展。

Bandcamputaband.bandcamp.com
Facebook: ~/uta25
Instagram: @utaband_tw

 

Contributor: Brian Haman
Photographer & Videographer: Anaïs Siab
Audio Courtesy of U.TA


Bandcamputaband.bandcamp.com
脸书: ~/uta25
Instagram: @utaband_tw

 

供稿人: Brian Haman
图片与视频摄影师: Anaïs Siab
音频由 U.TA 提供

Mist Encounter

 

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In the outdoor plaza in front of Taipei Fine Arts Museum, a structure of scaffolding and mesh beckons passersby within the folds of its flowing fabric and swirling mist. Mist Encounter is an installation project designed by Serendipity Studio and Kuan-Wei Chen Architects, created with the goal of showing people how invisible air currents constantly interact with our bodies and movements.

Using a water mist system, the installation gives unseen airflow visible shape. As the mist drifts through and around the draped textiles, unrestricted by the boundaries of the square aluminum frame, it’s difficult to discern where the installation ends and begins. The free-flowing mist continuously takes on new forms – transforming based on the sun’s position and the wind’s intensity – to create different experiences for visitors throughout the day.

Mist Encounter is one of the many inspiring participants that blur the line between art and design in the 2018 Golden Pin Design Award. This year’s call for entries will end on June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


在台北市立美术馆门前的广场上,一个由鹰架和白色织网搭建的临时建筑装置吸引着路人踏入其飘逸的织网与薄雾旋流中。《供雾所》(Mist Encounter)是由偶然设计(Serendipity Studio)与陈冠玮建筑师事务所共同打造的一个装置项目,希望令观众意识到平时隐形的空气是如何与我们的身体和动作互动的。

通过使用水雾系统,将人们周围原本看不见的空气流动变得可见。薄雾在悬垂的织网周围浮动,不受方形铝框架边界的限制,令人难于辨别起点与终点。设计师将台北的天气情况纳入考虑,让自由流动的薄雾与太阳的位置和风的强度相互作用,让观众在一天中不同的时间能有不同的体验。

《供雾所》是 2018金点设计奖参赛作品之一,和许多精彩的参赛作品一样,它模糊了艺术与设计的界线。今年大奖报名时间将于 6 月 28 日(GMT+8)下午 5 点截止。浏览金点设计奖官网,了解更多详情。

Websites:
serendipitystudio.design
kwchenatelier.com

Facebook: ~/MistEncounter

 

Contributor: David Yen
Images Courtesy of Serendipity Studio & Ethan Lee


网站:
serendipitystudio.design
kwchenatelier.com

脸书: ~/MistEncounter

 

供稿人: David Yen
图片由偶然设计
 Ethan Lee 提供

Hanzi

 

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Language is the foundation of culture. Fascinated by the relationship between the two, Taiwanese filmmakers Mu-Ming Tsai, Iris Lai, and Emily Hsiang were inspired to create Hanzi, a documentary that gives insight into Chinese visual culture and celebrates the beauty of Chinese typography.


语言是文化的基础。《汉字》(Hanzi)就是一部以中文汉字为主题,试图阐述汉字文化的纪录片。来自台湾的蔡牧民、赖佩芸、项蓝三人组成了一支拍摄团队,长久生活在中文环境的他们,把对这些美丽字体的重新省思,全都藏进影片的字里行间。

“We found that Taiwan, more than anywhere else, has preserved traditional Chinese characters, or hanzi,” they note. (Mainland China uses a set of simplified hanzi.) “Every day we’re surrounded by this beautiful script, but we had never really sought to understand and appreciate it.” Beyond investigating character design, the filmmakers also use the documentary as a way to discuss other questions, such as how an ad’s typography exerts a subtle influence on viewers, how language shapes identity, and how handwriting is declining in the digital age. Seeking to explore even more possibilities in hanzi, they’ve interviewed people in United States, the United Kingdom, Hong Kong, Japan, and Taiwan.


“我们发现台湾是保存繁体字最完整的地方,而我们每天都环绕着这些美好的汉字,却不曾好好去了解或欣赏。” 除了对字体设计的研究,拍摄团队想借题讨论的议题还有很多,像是广告招牌上的字型视觉对人们潜移默化的影响、语言如何塑造身份认同、手写字在数位时代的式微变化等等。团队在拍摄期间内造访了美国、英国、香港、日本和台湾等地方,他们丢出了问题,在和众多访谈者的对话之中,寻找汉字更多的可能性。

One person they interview is Shao-Lan Hsueh, the creator of Chineasy, a visual approach to learning Chinese. Raised in Taiwan and based in England, Hsueh has designed a more fun, more effective learning method for anyone who studies Chinese as a second or heritage language.

This method takes advantage of the fact that Chinese writing is logographic. Unlike in English or other alphabetic writing systems, in logographic systems, the composition of a character can itself express meaning. Hsueh’s series of rich visual designs breaks hanzi down one by one, so that by looking at an image you can immediately connect it with a character’s meaning.


其中一位访谈对象,是图像式中文学习法 Chineasy 的创办人薛晓岚。她是一位住在英国的台湾人,为了下一代必须在外语环境中学习中文,她设计了一套让学中文更有趣、更有效的方法。

这套方法充分运用了中文是语素文字的原理。有别于像英语这类型“字”是用来协助发音的表音文字,语素文字本身“字”的组成就可以表达意义。这一系列丰富的视觉设计,把中文造字一一拆解,看图就可以直接联想到字义。

Another notable voice in the film is Jieguan Zhang, the owner of Rixing Type Foundry. Located in Taiwan, Rixing Type Foundry is the last surviving foundry for traditional characters, and it holds nearly 300,000 lead slugs inside. Twenty years ago, the advent of digital typesetting put an end to the age of printing as an art. Casting movable type is a technique that’s no longer needed, and one after another the foundries that used to support several households have now closed. Only Rixing, founded in 1969, remains. The reason lies in Zhang’s fondness for the profession of casting type: he doesn’t have the heart to let a tradition of such historical significance disappear forever. That’s why he’s fought to preserve this small storefront and the invaluable foundry inside.


另一位值得一提的访谈者,是日星铸字行的老板张介冠。位在台北的日星铸字行是世上仅存唯一的繁体中文铸字行,店内收藏了近三十万个铸铅字。二十年前,数位排版软体的出现终结了印刷术的年代。专为活版印刷存在的铸字技术,如今已不再被需要,曾经养活好几人家的铸字行,也一间一间关门了。其中日星铸字行是从 1969 年创立以来,坚持下来的最后一间。原因是张老板对铸字这行业的一片心意,不忍心让这项承载着重要历史意义的传统永远消失,于是把这一间小小的店铺,和里面极具价值的铸字,努力保存下来。

Everyone interviewed in the film is deeply engaged in the innovation and preservation of Chinese characters. In addition to Hsueh and Zhang, the film includes enlightening conversations with font designers, billboard makers, and some sixteen other people. “In the process of shooting, even we learned a lot,” admit the filmmakers. “We hope that Hanzi leads people to rediscover the typefaces around them, and learn about how characters are designed, and how important language is to culture. And if after seeing it you start to feel proud or thankful for this part of our culture, even better.”

Hanzi is now available for purchase. For more information, please visit their official website.


影片中每一位访谈者,对汉字领域的保存或创新都具有重要的意义。除了以上两位,片中还收录了像是字体设计师、看板匠人等将近二十位人士充满智慧的对谈。“其实包括我们自己,在拍摄过程中也学到了很多。我们希望《汉字》这部纪录片可以重新引起大家对身边字型的认识,了解到中文字的设计过程,以及语言对文化的重要性。如果能让你开始对这份文化感到感激或骄傲,那就更好了。”

《汉字》现在已发行!想要进一步获得放映及购买的资讯的话,可以到官网查询。

Website: www.hanzithemovie.com
Facebook
~/hanzithemovie

 

Contributor: Yang Yixuan


网站www.hanzithemovie.com
Facebook
: ~/hanzithemovie

 

供稿人: Yang Yixuan

taipeilove*

 

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taipeilove* is a documentary from Berlin-based filmmaker Lucie Liu that follows the LGBT movement in Taipei, Taiwan. The film shares the experiences of three individuals and their struggles with traditional expectations from family, religion, culture, and society set against the backdrop of Taiwan’s initiative to legalize same-sex marriage.


在纪录片《taipeilove*》中,柏林电影制片人 Lucie Liu 用镜头记录了台北的同志运动。影片记录了在台湾同性婚姻合法化倡议的背景下,三个人的经历以及他们与传统家庭、宗教、文化和社会间的斗争。

The idea for taipeilove* first came about when Liu visited the Taiwan Pride Parade in 2016. She shares, “I got in touch with a group of Koreans and some Japanese men. Independently from one another, they told me how they would come to the Pride every year and how these visits were the only few days in the year where they could be completely free and open about their sexuality without fearing repression. That was the time I realized how important Taiwan’s fight for marriage equality truly is on a larger scale.”


Lucie 第一次有了拍摄《taipeilove*》的想法是在 2016 年参加台湾骄傲游行(Taiwan Pride Parade)的时候。她回忆道:“我当时认识了一群韩国和日本男同性恋者。他们每个人都跟我说,每年都会来参加骄傲游行,游行的这几天是他们一年中最自由的几天,因为他们可以坦诚地公开自己的性取向,不用压抑自己。那时我才意识到台湾在争取婚姻平等这个问题上的重要性及影响之广。”

In October of 2017, Liu would arrive in Taipei to begin pre-production on the film. She would reach out to members and activists of the local LGBT community to hear their experiences – often encountering stories of pain, abandonment, exclusion, and even of attempted exorcisms. After speaking to dozens of individuals, Liu would be introduced to Sarah, one of the three main protagonists of the film: “Sarah had just come from a long shift as a nurse, but she was full of energy and very open, and this intrigued me. Kevin is one of her friends, and David is his life partner. So we had some long talks and decided to go on this journey together.“


2017 年 10 月,Lucie 抵达台北,开始影片的前期制作。她与当地 LGBT 社区的成员和积极分子联系,听他们讲述自己的经历,这些经历中往往掺杂着痛苦、遗弃、排斥甚至企图驱魔的故事。在与数十人聊过后,有人介绍 Lucie 认识了 Sarah,最终 Sarah 还成为了这部影片中的三大主角之一:“那时候 Sarah 刚刚完成长时间的工作,她是一名护士,但她依然精力充沛,态度也非常坦诚,这一点令我特别感兴趣。Kevin 是她的朋友之一,David 是他的爱人。我们聊了很久,最后决定一起拍这部影片。”

The pre-production of taipeilove* was initially financed by a German foundation, but due to the small amount of financial support provided, the project has since been driven mostly by the hard work and dedication of a small but passionate team of creatives and filmmakers. In addition to financial challenges, the documentary has stirred up strong reactions on social media, including harassment and homophobic messages from strangers. These challenges have only further intensified Liu’s mission to further educate the public about LGBT issues. Liu tells us, “I realized that messages from strangers on the internet as well as in conversations with elderly members of Taiwanese society all share the same thing: fear of change. It takes time, education and dialogue to overcome those fears and arrive in the 21st century, and to realize that same-sex love and marriage equality won’t cause anyone any harm.”


《taipeilove*》的前期制作最初由一家德国的基金会提供资金,但由于提供的资金很有限,主要都还是靠一小群满腔热情的创意团队和电影人在努力支持。除了财务方面的挑战之外,这部纪录片还在社交媒体上引起过强烈反响,收到过来自陌生人的骚扰和恐同留言。但这些挑战只会让 Lucie 更加坚定自己推广 LGBT 问题的使命。Lucie 告诉我们:“不论是互联网上那些陌生人的信息,或是与台湾社会老年人的交谈中,我发现他们都有共同之处:一种对变化的恐惧。我们需要时间、教育和对话来帮助他们克服这些恐惧,去真正进入 21 世纪,去明白同性爱情与婚姻平等,不会对任何人造成任何伤害。”

In 2017, the Constitutional Court of Taiwan ruled that same-sex couples should have the right to marry. Liu tells us, “Taiwan is setting a great example here and I wish for the rest of Asia to follow. My documentary shows that there is hope for progression.” The taipeilove* documentary is currently in post-production and is planned to be made available for educational screenings at universities and NGOs, in addition to being screened at film festivals. If you would like to make a donation to help support post-production funding of taipeilove*, please visit their crowdfunding campaign at Indiegogo.


2017 年,台湾宪法法院裁定同性配偶应有权结婚。Lucie 说:“台湾在这里树立了一个很好的榜样,我希望亚洲其它国家也能效仿。我的纪录片也表明,这一切都是希望去取得进步的。”《taipeilove*》纪录片目前正在进行后期制作,除了在电影节上放映外,还计划在大学和非政府组织进行教育放映。如果您想进行捐赠,支持《taipeilove*》的后期制作经费,请访问他们在 Indiegogo 上的众筹活动。

Deciphering the Human Experience

Born in Taipei and raised in Shanghai, Jocelyn Tsaih is an illustrator, animator, and designer currently based in New York City. Her artistic style is defined by a distinct, minimalist approach that’s complemented by her quirky sense of humor.

More often than not, Tsaih’s work features a mysterious, amorphous character that’s meant to embody the various facets of modern life. The character, initially based on a stick figure, evolved as a way for Tsaih to convey abstract concepts derived from her own experiences.


在台北出生,在上海长大的 Jocelyn Tsaih 目前长居在纽约,是一名插画家和设计师。她的作品风格简约,且充满着古怪的幽默感。

Jocelyn 的大部分作品里会出现一个神秘的、不定形的角色,意在表达现代生活的方方面面。而这个角色最初是她以火柴人为原型创作的,后来演变成她从自己的经历中传达抽象概念的一种方式。

“It sounds kind of cheesy, but I started drawing it as a way to express my internal conflicts and to represent anything human,” she shares. “As I explored different ways of conveying what I was feeling, I started to use the figure in ways that are more abstract. I think my thought process is that even though we are human, a lot of things about us are intangible, like emotions and feelings.”


“虽然听起来有点俗气,但我一开始画这个角色是为了抒发内心的冲突,表达关于人类的一切。” Jocelyn 说,“随着我尝试用不同的方式来传达自己的感受,我也开始用更抽象的方式来表现这个火柴人。我的想法是,作为人类,很多关于我们的事情都是无形的,譬如情感和感觉。”

Tsaih currently works at WeWork as a full-time graphic designer and illustrator. Outside of her full-time job, she’s equally busy with a constant juggling act between personal and freelance projects. She’s already accumulated an impressive list of clients including Adobe Photoshop, Condé Nast, Nickelodeon, Tictail, and GIPHY. But despite her professional accomplishments, there was a time when Tsaih felt uncertain about her future as an artist. As a teenager, many of her peers discouraged her desire to pursue a career in the arts. It was only after a period of self-doubt and confusion that she decided to trust her own judgment: “I believed that art was valuable, and I pushed myself because I didn’t want people’s skewed perceptions to be validated.”


Jocelyn 目前作为一名全职平面设计师和插画家任职于共享办公空间 WeWork。不上班的时候,她会去创作自己的个人项目和自由职业项目,她曾经合作过的客户里包括 Adobe Photoshop、康泰纳仕集团(Condé Nast)、美国儿童节目频道 Nickelodeon,以及 Tictail 和 GIPHY 网站。虽然如今在事业上获得成功,但曾经有一段时间,Jocelyn 也不确定自己是否真的能成为一名艺术家。十几岁的时候,她的许多同龄人都不鼓励她去追求艺术事业。在经过一段时间的自我怀疑和困惑之后,她才终于决定相信自己的判断:“我相信艺术是有价值的,我不断推动自己去努力,是因为我不希望证明人们扭曲的看法是对的。”

For Jocelyn, creativity comes from being open-minded; it comes from a willingness to dive head first into new experiences, whether it’s interacting with different people or being in an unfamiliar environment. She tells us, “A lot of my work represents my reaction to things, so the more experiences I have, the more ideas I’ll have to turn into drawings.” These days, she’s begun dabbling with ceramics and paintings – processes that, for her, require a lot more time and deeper reflection on the underlying concepts she intends to explore. Patience is a fundamental part of her creative process. “90% of the time is spent thinking an idea over and 10% of the time is spent making the actual work,” she explains, “The final result often looks simple, but it usually takes a long time for me to get to that point, although I know it doesn’t look like it.”


对于 Jocelyn 来说,创意来自于开放的心态和尝试新事物的经历,或是与不同的人互动,或是置身于异国的环境中。她告诉我们:“我的许多作品都表达了我对事物的反应,所以,我的经历越丰富,我才能有越来越多的想法来创作成画。”近来,她一直在涉猎陶瓷和绘画,对她来说,这些艺术创作过程需要花大量的时间对作品内在概念进行反思。Jocelyn 表示,耐心是她创作过程的关键。她解释说:“ 90% 的时间是花在思考上面的,只有 10% 的时间才是花在实际的创作中。最终的作品看起来很简单,但我其实需要很长的时间才能画出来,虽然我知道它看起来不像。”

After six years in New York City, Tsaih is now planning a move to San Francisco in the coming year. She sees this as an opportunity to explore a new environment and experience a change of pace. She shares with us, “Having come from Shanghai to New York, I feel like I’ve only known how to live in very stimulating, fast-paced environments. It might be a little challenging to shift to a slower pace of life, and I might end up hating it, but I hope some good things will come out of the experience either way!”


在纽约生活了六年后,Jocelyn 计划在新的一年搬到旧金山,体验新的环境,转换一下生活节奏。她说:“从上海来到纽约,我觉得自己好像只在紧张刺激、快节奏的环境里生活过。要转变到一种较慢的生活节奏,可能会有点挑战性,甚至我可能最终会讨厌这种生活。但我希望不管怎样,都能在这次经历中取得一些好的收获。”

Customs pins and a tote bag by Jocelyn Tsaih are now available in limited supply on the Neocha Shop. Click into our Shopify below for product details.


Jocelyn Tsaih 限量特供版胸针和帆布袋,现在上线 Neocha 商店,点进微店即可查看商品详情。

 


Jocelyn Tsaih “Into Yourself” 胸针

¥60

立刻购买

 

Jocelyn Tsaih “Shapes” 帆布袋

¥110

立刻购买

Websitewww.jocelyntsaih.com
Instagram: @jocelyntsaih

 

Contributor: George Zhi Zhao
Photographer: Nick Korompilas


网站www.jocelyntsaih.com
Instagram: @jocelyntsaih

 

供稿人: George Zhi Zhao
摄影师: Nick Korompilas

Reach All City Tour

 

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Reach All City Tour is a short documentary about a country-wide street art tour organized by Taiwan-based street artist, illustrator, creative director, and photographer Reach. Along with three other companions, Reach set out on a 44-day journey across Taiwan, painting street art pieces across 22 locations. From the heat of the scorching summer to the wind and rain of Taiwan’s typhoon season, Reach and his friends encounter and overcome unexpected challenges as they gradually discover the meaning of their once-in-a-lifetime journey.


《Reach All City Tour》是台湾街头艺术家、插画家、创意总监和摄影师Reach所拍摄的一部跨越台湾各地街头艺术的短片纪录片。Reach和其他三名同伴一起,用44天的时间,横跨台湾各地,在22座城区创作街头艺术作品。从炎热的夏季到风雨交加的台风季节,Reach和他的朋友一路上遇到和克服了许多意想不到的挑战,亦逐渐领悟到这段让他们终生难忘的旅程的意义所在。

Websitereach-studio.com
Instagram@reach_studio
Weibo: ~/HelloReach

 

Contributor: George Zhi Zhao


网站reach-studio.com
Instagram@reach_studio
微博~/HelloReach

 

供稿人: George Zhi Zhao

NEKO

 

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NEKO (which means “cat” in Japanese) is an original animation featuring a heroine who journeys into her pet cat’s fur to battle the gigantic, blood-sucking parasites that have inhabited its body. As a social impact design project, it was conceived by the creators to encourage people to take better care of their furry family members. It’s the only animation project to be awarded the coveted 2017 Design Mark from Golden Pin Concept Design Award. The short film is created by a team of six design students from Southern Taiwan University of Science and Technology — Zeng Pin-Ciao, Tsai Meng-Shu, Liu Yu-Chi, Hsu Tzu-Fu, Wang Wei-Fan, and Lin Hao-Ting. The production sees each student’s special skills – as artists, producers, video editors, and more – all working in tandem to bring to life the fun, animated short. Below, we had a chat with Zeng Pin-Ciao, the director of NEKO, on the challenges of working as a team and the differences between American and Japanese animation.


来自台湾的动画《奈可》,剧中女主角是一个住在小猫身上的城市守护者。她会解决任何危害到这只小猫的害虫,借此传达宠物健康防疫观念,并推广饲主定期为家猫做驱虫防疫的工作。此件作品尝试用笔触的线条呈现艺术风格表现,极具特色,甫获2017金点概念设计奖标章肯定。《奈可》制作团队由曾品乔、蔡孟书、柳育琪、许子甫、王玮凡及林颢庭组成。他们皆毕业于南台科技大学,成员专业各有所长,如原画设计、场景、美术、后制、剪辑等。在未来,他们期望各自在不同专业继续精进、一同成长,做出有趣的动画。下面,我们和这部动画的导演曾品乔进行了一次采访,内容有关团队合作的挑战以及美日动画的差异。

Neocha: What was the motivation behind the original story?

Zeng Pin-Ciao: In the beginning, I was inspired because I was spending a lot of time with cats. I lived with a cat for around six months, and unfortunately, the cat fell ill. Afterwards, I began learning about the variety of parasites that can affect a cat, as well as how to prevent it. In the end, I decided to use the concepts of health and disease prevention as the starting point to remind people of the unremitting love and devotion that we promise our pets.


Neocha: 当初创造故事的动机是什么?

曾品乔: 最初主要是因为我和猫咪有了长时间接触,才萌生的念头。当时我和家里的猫咪生活了半年,但猫咪不幸生病了。随后我就了解相关的知识,像是寄生虫与除虫等,最后我决定以宠物健康防疫观念作为出发点,提醒大家不时的要想起当初养宠物的决心,爱护与照顾必须是要持之以恒的。

Neocha: How long did it take to finish the animation? What difficulties did you encounter?

Zeng Pin-Ciao: It took eight months to finish the short film. In the beginning, the challenge was to bond as a team and figure out how all of our technical skills could fit together since we were all individual artists. This was my first time doing Japanese-style animation and many aspects were fresh, new, and challenging. It took one-and-a-half months to complete just one-minute of animation. The total length of the final animation is longer than four minutes. The biggest challenge was getting the composition right because adjusting it at a later point would mean that the whole scene would have to be redrawn. As a director, it’s important to be decisive, otherwise it affects the mood of the entire team.


Neocha: 这支影片花了多久时间完成?期间有没有遇到什么困难?

曾品乔: 这支影片共花了8个月才完成。一开始是技术上的磨合,因为大家都是刚开始配合,加上我是第一次执行日式动画的处理方式,很多事情既新鲜也很艰钜挑战,1分钟的动画制作差不多1个半月,我们影片总长约4分多钟。过程中最具挑战的部分就是修改镜头,因为其实对于动画来说,修改就等于是重画,所以是要下定决心才能做修正,不然随便修改也会影响到整体团队的氛围。

 

Neocha: It’s obvious that you’re deeply influenced by Japanese animation. How did this interest come about and who are your favorite animators?

Zeng Pin-Ciao: Actually, when I was in high school, I adored American animation, such as the work being put out by Dreamworks and Walt Disney. The purpose of a Disney film is to make people happy and make them dream. Inspired by this, I started to study American animation. Later, during university I got to know the work of Japanese animator Satoshi Kon, and I realized that animation can also be used to encourage deeper thought and reflection through negative emotions. The same can be said for the work of Hideaki Anno and Katsuhiro Otamo. In their works, they always give the audience space to reflect; they do not simply aim to please the audience. I began to admire this approach and started studying Japanese illustration. NEKO became my first challenge after I got to understand the Japanese style. This work is also a very important experience for me because it helped me realize a lot of my inadequacies. It was a great learning opportunity.


Neocha: 从作品看出你们受日本动漫影响很深,是受到哪些作品或特定动漫家的影响呢?

曾品乔: 我在高中时期很崇拜美国动画,如迪士尼或梦工厂等等,迪士尼做动画的初衷就是用动画带给人们梦想与快乐,因此开始学习美式动画。后来在大学,也开始接触了日本鬼才导演今敏先生的作品,我发现动画不只是能给人快乐,日本导演喜爱用负面的情绪带给观众更深层的省思,如庵野秀明导演与大友克洋导演也是一样,在作品中总是能带给人思考的空间,不再是单单只是满足观众。我开始憧憬这样的呈现方式,就开始去了解日式绘画。《奈可》就是我接触日式的第一个挑战,对我来说,做这个作品是段非常重要的经历,因为在这过程中我觉察到很多不足之处,因此也学到很多。

Neocha: You received the 2017 Design Mark from Golden Pin Design Award. Can you share the benefits of participating in this competition?

Zeng Pin-Ciao: From the first round of the competition to the final stages, it’s been really exciting all the way. I was incredibly nervous presenting my work on stage, but it was still an unforgettable experience. During the competition, I also attended a presentation training workshop held by Golden Pin Design Award. It was a great experience. In the workshop, I focused on learning about body language and how a good communicator performs. It was a rare opportunity to learn from a master presenter. I really appreciate the hard work of the organizers and the staff was very friendly. I am truly thankful for this opportunity.


Neocha: 你们今年以《奈可》获得金点概念设计标章,可否与我们分享下参与这次竞赛的收获呢?

曾品乔: 从初审到决审都令人非常兴奋。即便在提报作品的时候我非常紧张,但终究也是个人生中非常难忘的经验。竞赛过程中,我参与了金点概念设计奖举办的「简报实战训练」活动,我觉得是很棒的经验。在课程中,我很专注地在看老师的肢体动作,一位能言善道者是如何表演的,这也是很难接触到的实例。感谢整个单位用心的筹备整个企画,工作人员也都非常乐于助人,让人感到暖心,真心感谢给予我们这个机会。

Neocha: So what’s on the horizon for you and the team?

Zeng Pin-Ciao: With the conclusion of NEKO, we already have a short script for a new story that we want to try and make. We’re trying really hard to acquire the necessary resources to pull it off. Because of my experience with NEKO, I feel confident that I’ll have much more to offer in our next project. It’s very exhausting putting so much of yourself into a project, but in the end, I’m happy. Ultimately, with all of my animations, I hope to leave a lasting impression and help people.


Neocha: 接下来是否还有其他的计划?

曾品乔: 接下来有一个小短片的剧本想要尝试看看,还在很努力的找资源与筹备。因为完成了这次的作品《奈可》,给予我很多经验上的帮助,能够放更多思考与意义在下部动画之中。创作虽然说很辛苦,但也真的很快乐,我期望能够用动画帮助到更多的人。

Unconventional Fairy Tales

Using fairy tales as the foundation of her work, Taiwanese artist Chang Chia-ying creates colorful oil paintings steeped in a wondrous sense of mystery and innocence. Many of Chang’s paintings are unexpectedly large, with some being more than two meters tall, a surprise for people who assume her delicate brushwork is done on a smaller canvas. The size of her paintings help accentuate one of the most prominent features of her works – her doe-eyed characters. With penetrating gazes that demand a viewer’s full attention, these characters invite viewers to immerse themselves into Chang’s surreal world. Chang beckons viewers to use their own imagination to fill in the blanks, form their own interpretation of her work, and essentially create a fairy tale of their very own. Describing her art, she says, “Like Moebius’ illustrations, my paintings are a fairy-tale paradise without an entrance or exit, a fantasy that goes on infinitely, stories without a beginning or end.”


来自台北的80后艺术家张嘉颖,创作了许多以童话为画本的油画作品,看起来绚丽多彩、天真烂漫的画面背后,仿佛蕴含着隐隐超现实的神秘感。

张嘉颖笔下的这些画看起来玲珑精致,但其实有很多尺寸不小,甚至有些高达2米,接近半面墙。凝神细看,画中的每一个形象似乎都有一双“会说话的大眼睛”:而当你被这种深邃的魅力牢牢攫获时,想象力便会将你儿时的童话故事串联起来,自行补充上画面中断层的联系,从而人人都可以谱出各不相同的故事。那是迷你微观世界里的大故事,用张嘉颖自己的话来说,就是“如同一处既无入口也没出口的童话天堂,无穷尽地运行着,永无终点或结局的莫比斯童话。”

To see Chang Chiaying’s paintings in person, the Project Fulfill Art Space in Taipei, Taiwan is currently showcasing her solo exhibition.

 

EventMini Me
Exhibition Dates: October 20, 2017 ~ November 25, 2017
Opening Hours: Tuesday ~ Saturday 11am~7pm (Sunday by appointment only)

Address:
Project Fulfill Art Space
1F., No.2, Alley 45, Lane 147, Sec. 3, Xinyi Rd.
Da’an District, Taipei
Taiwan


现在,张嘉颖的作品正在台湾“就在艺术空间”展出,欢迎大家前往观瞻。

 
 

活动: 迷你谜
展期: 2017年10月20日——2017年11月25日
时间: 周二至周日 早上11点至晚上7点(周日仅供预约)

地址:
台湾
台北市大安区
信义路三段 147 巷 45 弄 2 号一楼
就在艺术空间

Websitewww.changchiaying.com
Facebook: ~/Changchiaying

 

Contributor: Chen Yuan
Images Courtesy of Project Fulfill Art SpaceChang Chiaying


网站www.changchiaying.com
脸书: ~/Changchiaying

 

供稿人: Chen Yuan
图片由就在艺术空间Chang Chiaying提供

Neko Neko Ai Ni

San Francisco-born and Taipei-based, Sean Marc Lee is a photographer with a keen eye for capturing the playful aspects of day-to-day life. His debut zine, Neko Neko Ai Ni, stays true to his love of quirkiness, offering a candid glimpse into Lee’s life at home with his girlfriend, Carina Hsu, and their two mischievous cats, Guabao and Susuwatari. 


来自旧金山的摄影师李子仁目前生活在台北,他的兴趣是用镜头捕捉日常生活中那些好玩的时刻。他个人首本zine杂志《那个那个爱你》延续了他一贯对奇特风格的喜爱,坦然地展示了他与女友Carina Hsu、以及他们在家中那2只淘气小猫 Guabao和Susuwatari的生活。

“It’s all about something silly someone does, or something semi-provocative in some quirky way,” Lee says. “Many times, it’s that half moment in between gestures someone does while posing or being ready to have their photograph taken. The biggest obsession that I have is mostly of my loved ones, whether it be my father, my girlfriend, or my cats. They are always the constant source of my inspiration.”


他说:其实拍的都是人们做的一些傻里傻气的事,或是一些略显突兀的搞怪东西。许多时候我定格下的画面正好介于他们正在摆造型和完全摆好之间。我最着迷的是那些我爱的人,比如我的父亲、我的女朋友,还有我的猫,他们一直是我永无止尽的灵感来源。

Neko Neko Ai Ni is now available in the Neocha Shop. The zine is available in a limited edition of 500, with each copy personally signed and numbered by Sean Marc Lee.


《那个那个爱你》 现已于Neocha商店限量发售。限量制作40张,每一本都由李子仁亲笔签证和编号。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


《那个那个爱你》by 李子仁

¥100

立刻购买

Details:

  • Year of Publication: 2017
  • Number of Pages: 40 (including front and back cover)
  • Size: 14.8cm x 21cm
  • Print Quantity: 500
  • Printing Method: Offset
  • Binding: Saddle stitch
  • Paper: 150gsm Matte Coated Photo Paper
  • Price: $15 USD

详情:

  • 出版年份: 2017年
  • 页数: 40 页 (包括封面和封底)
  • 尺寸: 14.8 x 21 厘米
  • 发行量: 500
  • 印刷: 平版印刷
  • 装订: 骑马订装
  • 纸张: 150gsm 哑光照片纸
  • 价格: ¥ 100 RMB

Websiteseanmarclee.com
Facebook~/sean-marc-lee
Instagram@seanmarclee

 

Contributor: David Yen
Images Courtesy of Sean Marc Lee


网站seanmarclee.com
脸书~/sean-marc-lee
Instagram@seanmarclee

 

供稿人: David Yen
图片由Sean Marc Lee提供