Tag Archives: tokyo

Flesh Love

Ichika & Arisa

Flesh Love is a photography project by Tokyo-based artist Photographer Hal. Over the years, Photographer Hal has explored the themes of love and attachment by taking photographs of couples in enclosed spaces across multiple projects. For the Flesh Love series, Photographer Hal began to vacuum seal couples together in plastic wrap as a way to examine modern relationships. Photographer Hal tells us more about the story behind his work below.


《Flesh Love》是由东京艺术家Photographer Hal创作的一个摄影项目。多年来,Photographer Hal曾在多个摄影项目中,用镜头捕捉情侣在封闭空间的照片,探讨爱情和迷恋的主题。在《Flesh Love》系列中,Photographer Hal将情侣装在一个巨型真空密封袋中,寓意对现代男女关系的一种审视。Photographer Hal向我们分享了更多关于这些作品背后的故事。

Yuya & Ritsuko
Kazan & Tomoe
Yohei & Yuri
Miho & Ritsu

“When you embrace your lover, sometimes you wish to melt right into them. To realize this wish, I’ve been photographing couples in small and cramped spaces like motels and bathtubs. As my work has become more and more intense, I’ve noticed that communication is indispensable.”


“拥抱着自己的爱人时,有时候你会突然希望自己可以融入他们的身体当中。为了实现这个愿望,我常常选择在狭窄拥挤的空间里拍摄情侣,譬如汽车旅馆和浴缸。随着自己作品的风格越来越强烈,我发现,沟通也是不可或缺的。”

Sakamaki & Makino
Take & Mari
Michico & Yuhei
Yajyu & Kaorin

“I go to Kabukicho in Shinjuku, underground bars in Shibuya and many other places which are full of activity like luscious night time bee hives. When I see a couple of interest I will begin to negotiate. I’m sure that many people initially think of my proposal as unusual or even look through me like I am completely invisible, but I always push forward with my challenge to them. The models appear from all walks of life, and individually, have included musicians, dancers, strippers, laborers, restaurant and bar managers, photographers, businessmen and businesswomen, the unsettled and the unemployed, and so on.”


“我去新宿的歌舞伎町,涩谷的地下酒吧,还有很多地方,都是一些夜生活比较热闹的地方。看到感兴趣的情侣时,我就会跟他们搭讪。我敢肯定,很多人一开始都会觉得我的建议很奇怪,甚至直接无视我,当我不存在,但我会继续说服他们,用激将法问他们敢不敢做我的模特。我镜头下的模特来自社会上的各行各业,他们中有音乐家、舞蹈家、脱衣舞者、劳工、餐厅和酒吧经理,也有摄影师、商人、流浪汉和无业人员等等。”

Rem & Marina
Zinzin & Norico
Ami & Kojiro
Mana & Koji

“This time, I reached the point of photographing couples in vacuum-sealed packs in a set that I’ve constructed in my own kitchen. The lights are in the ceiling, so I just flip one switch and have everything ready. I have a few different colored paper backgrounds, which I leave rolled up in the corner. After the couple gets in the vacuum pack, I suck the air out with a vacuum cleaner until there’s none left. This gives me ten seconds to take the shot. In this extremely limited time I can’t release the shutter more than twice. I’ve been in there myself, and the fear I felt was overwhelming.”


“这一次,我的想法是让情侣装在真空密封袋里拍摄,拍摄地点就在我自己的厨房里。天花板上有吊灯,所以我只需按一下开关,一切就准备就绪了。我有几种不同颜色的纸张作为背景,不用的时候可以卷起放在角落里。情侣进入真空密封袋后,我再用吸尘器吸光里面的空气。然后我只有十秒钟的时间来拍照片。在这极其有限的时间内,我最多只能按2次快门。拍摄的时候,我感觉自己也像是装在真空密封袋里一般,内心也会感到铺天盖地的恐惧。”

Makoto & Shinji
Sachiko & Atsushi
Lim & Kyohei
PinQ & Pomco

“As the shooting continues over multiple takes, the pressure of the vacuum seal grows stronger. At the same time, the two bodies start to communicate, and whether through unevenness of limbs or the curve of joints they begin to draw a shape of what they want to express. The two lovers draw closer until they finally transform into a single being. Looking at these vacuum-sealed packs of love, we can imagine a more peaceful world. For me, the vacuum pack is only a means: the important thing is connecting to someone.”


“随着拍摄继续,真空密封袋里的压力会越来越大。同时,里面两个人开始沟通,通过起伏不平的肢体,或关节的曲线,呈现出一定的廓形,以此表达出他们的想法。两个相爱的人拉近彼此的距离,直到他们最终结为一体。看着这些充满爱意的真空密封袋,会令人联想到一个更和平的世界。对我来说,真空密封袋只是一种手段,更重要的是人与人之间的联系。”

Chihiro & Takeshi
Mihaya & Takao
Yoshi & Naomi
Alice & Kazuya

Website: photographerhal.com

 

Contributor: George Zhi Zhao


网站photographerhal.com

 

供稿人: George Zhi Zhao

Tiffany’s Tokyo TV: Yoshi

 

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Based in Tokyo, Tiffany Godoy is a seasoned fashion editor and host of SSENSE’s “vlogumentary” series Tiffany’s Tokyo TV. The series explores Tokyo’s fashion scene, interviewing different fashion icons in the city. In one of our favorite episode, released earlier this year, Godoy chats with Yoshi, a 14-year-old fashion figure who attends various fashion events, posts selfies on Instagram with his mom’s phone, and aspires to start his own clothing brand. In the video, Godoy joins Yoshi for a fun day of eating hamburgers, dancing, and visiting his favorite boutique shops in Harajuku.


作为一个资深时装编辑的Tiffany Godoy以东京为背景与SSENSE制作了一档属于自己的真人节目《Tiffany’s Tokyo TV》,旨在深度挖掘这个城市里的时尚ICON们的故事。在这期节目里,Godoy采访了14岁的Yoshi,Yoshi在穿着上非常有自己独到的见解,他以他的方式参加各种时尚活动,用妈妈的手机上Instagram,并且梦想着成立一个自己的品牌。Yoshi跟Godoy一起吃汉堡、跳舞、带领她去他最爱的两个原宿时装店并且分享了自己的一些超龄计划。

Instagram:
@tiffanygodoypresents
@_____226_____

 

Contributor: Shou Xing


The Bed & Art Project

 

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The Bed and Art Project (BnA) is a hotel and art initiative founded in 2015 by entrepreneurs Yu “Taz” Tazawa and Yuto Maeda, architect Keigo Fukugaki, and later joined by community liaison and art director Kenji Daikoku. Collaborating with up-and-coming Japanese artists, BnA creates one-of-a-kind livable art spaces that are available for booking by the public.


The Bed and Art Project (BnA)是由企业家Yu “Taz” Tazawa、Yuto Maeda和建筑师Keigo Fukugaki于2015年共同创立的一个酒店和艺术项目,后来社区联络官和艺术策划人Kenji Daikoku也加入了这个项目。BnA携手日本当地崭露头角的艺术家,共同打造一个宜居的艺术空间,并面向公众开放预订。

Samurai by MIZPAM
Deer God by SIMO
Samurai by MIZPAM
Raijin and Fujin by DOPPEL

The project was first implemented via Airbnb, with art apartments in Tokyo’s Ikebukuro neighborhood and Kyoto. The initiative was wildly successful and allowed the team to establish their flagship art hotel, BnA Hotel Koenji, in 2016. The hotel currently features two art rooms designed by local artists, a rooftop, the FRONTDESK cafe bar, and the BACKROOM basement gallery.


项目最初是以Airbnb为平台开始运行的,分别在东京池袋和京都推出艺术公寓。一经推出,便大获成功,团队也因此得以在2016年推出属于他们自己的旗舰艺术酒店——位于高圆寺的BnA酒店。该酒店目前有两间由当地艺术家绘画设计的房间,一个天台,一间FRONTDESK咖啡吧,以及一间BACKROOM 地下画廊。

BnA was founded to address common problems faced by artists and creatives – the lack of resources and financial stability, limited space to showcase and sell artwork, lack of networking opportunities, and a disconnect between creative-minded travelers and local art communities. In response to these issues, BnA developed its business model to empower artists financially, creatively, and professionally.


BnA的成立是为了解决艺术家和创意人才所面临的共同问题——缺乏资源、收入不稳定,没有足够空间来展示和出售自己创作的艺术品,缺乏社交机会以及与创意型游客和当地艺术团体之间的脱节。对此,BnA开发了现在的创新商业模式,从收入、创意和专业方面为艺术家提供帮助。

 

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By implementing a revenue sharing business model, BnA allows artists to receive a percentage of the fee every time their room is booked. In addition, artists are given full creative control to design the rooms according to their visions, with support from architects, textile designers, carpenters, and lighting professionals. BnA Hotel Koenji also provides artists with space to exhibit their personal works, which are made available to the public for purchase.


BnA酒店制订了一个收入分成的商业模式,当有客人入住房间时,艺术家可以享受到房费的分成。此外,艺术家获得了房间设计的全部控制权,让他们可以在建筑师、纺织品设计师、木匠和照明专家的支持下,根据自己的想法设计房间。高圆寺BnA酒店还为艺术家提供展示个人作品的空间,吸引公众前来购买。

Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi
Into the Foreign by Yohei Takahashi

The BnA team plans to expand the hotel with two new projects opening in Tokyo and Kyoto in the next year, and thirty to forty more rooms built around the Koenji neighborhood in the next three years. They also plan to take their business model to other cities and countries as a way to connect creative communities and empower artists.


BnA团队计划明年在东京和京都推出两间新酒店,并在未来三年左右,将高圆寺附近的房间数量增加30至40间。他们还计划把业务模式推广到其它城市和国家,以充满创意的方式来连接社区,帮助艺术家。

Artwork by OT29
Artwork by Hideyuki Katsumata
Artwork by Jonjon Green

Address:
2-4-7 Koenjikita
Suginami, Tokyo
Japan

Website: bna-hotel.com
Instagram: @bnahotel

 

Contributor: George Zhi Zhao
Images Courtesy of BnA Hotel
Videos Courtesy of poweredby.tokyo


地址:
日本东京
都杉并区
高圆寺 2-4-7

网站bna-hotel.com
Instagram@bnahotel

 

供稿人: George Zhi Zhao
图片由BnA Hotel提供
视频由poweredby.tokyo提供

Puzzleman Leung

Despite frequent appearances on notable photography and art websites, little is actually known about Puzzleman Leung. In that regard, the Puzzleman moniker seems like a perfect fit, appropriately encapsulating the photographer’s mysterious nature. While the photographer’s Facebook and Instagram feature a girl’s portrait, it’s actually rather difficult to even ascertain Puzzleman’s gender. On websites that feature Puzzleman’s work, the pronouns of “he” and “she” are often interchangeable. Even on Puzzleman’s “About Me” page, little information is offered beyond age and geography, with one line stating “Born in Macao and living in Taipei.” But Puzzleman’s latest photo series doesn’t take place in either of those cities. Titled Tokyo Tokymeky, the new project sees Puzzleman roam through Tokyo with frequent collaborator and model Bee Ke, snapping juxtaposing images of her and the surrounding environment. With the recent release of this photo series, we were fortunate enough to catch up with this enigmatic photographer for a quick chat. In our conversation, it was easy to see that Puzzleman’s quirky images are simply an extension of the photographer’s own personality. Scroll down to check out more photos from the new photo series and read the highlights from our interview.


摄影师Puzzleman Lueng,正如Ta的名字一般,像一幅散落四处的拼图碎片般带有些神秘色彩。Ta的作品经常出现在各大摄影艺术网站,然而对于摄影师本人,你能从互联网上获得的资料甚少,只知道Ta是一位来自澳门,但居住在台北的摄影师。你甚至很难推测出Ta的性别,TaInstagram脸书账号被清一色的魔幻少女照片占领;而翻看各网站的报道,也会看到竟然有用“He”也有用“She”的称谓来形容这位神秘人士。最近,我们很开心联系到这位拼图男人本人,Ta刚带着自己的御用模特Bee Ke漫游东京,完成了这辑最新摄影作品《Tokyo Tokymeky》。和Puzzleman交流的过程中,发现Ta的文字和影像一样有趣,下面我们一起跟着Puzzleman的镜头去东京逛一圈,和拼凑一下这次聊天中Ta留给我们的拼图线索吧。

Not Interested

“Since I was little, I haven’t been interested in photography. I find that people who dabble with photography needs to spend a lot of money on equipment – I think it’s stupid. I feel nothing when I see these commercial shots or landscape shots of sunsets.”

Action

“All photography for me is just the action of pressing a button when I find something interesting.”


没兴趣

从小我对摄影并没什么兴趣,因为知道玩摄影的人要花大钱去买器材就觉得是一件很蠢的事,而且看到那些商业的照片或夕阳的风景照完全无感。

动作

目前摄影对我来说只是对自己有兴趣的画面去按下快门的一个动作而已。”

Sculpting

“When I’m creating an image, I feel like a sculptor. I’m turning my subject or my thoughts into my envisioned image.”

Girlfriend

“The subject I photograph the most is my girlfriend. When we work together, we find ways to push each other, to prepare for a shoot. I like this process of mutual agitation.”


雕塑

在创作那些画面的过程中,我觉得自己更像在做一个雕塑,把被摄物体或自己的思想弄成自己理想的样子。

女友

目前最常拍的人是我的女友,在和她合作的过程中,我俩会不断作出有趣的想法来刺激对方,去准备拍摄,很喜欢这样互相激荡的过程。

Accidents

I like spontaneous shoots, but I also like planning. I feel that the most interesting images happen somewhere in between the two, so I suppose those would be the ‘accidents.’ Sometimes when I nail a shot and it turns out just exactly as I envisioned it, I find it unbelievably boring. I’m always looking forward to making these ‘accidents’ whenever I’m shooting. I’m pretty infatuated with this idea of accidental shots, and I’m pretty stubborn, so I’ll do anything to try and make them happen.”


意外

“我喜欢随手拍,也喜欢先构思,但我觉得最有趣的画面通常出现在这两者之间,那就是‘意外’了。有时候当我把先构思好的画面可以完整呈现出来的时候我反而会觉得很无趣,所以我特别期待每次在拍摄过程中出现的意外画面了,我对它总是特别的着迷,甚至会执着到想尽办法去让它出现。”

Contradiction

“To me, Tokyo is a wonderful place, an amazing city filled beautiful sights and colors. I’ve always been quite infatuated with this place. But on the other hand, I feel that I try to distance myself between Tokyo’s inhabitants. I’m afraid of offending them, so I’ve always been terrified of any interactions with them. It’s pretty contradictory, loving a city but being afraid of its inhabitants. I’m always left scratching my head when I think about this. I suppose it’s because I don’t know them so I don’t fully understand them. The best thing for me to do is to probably go and learn Japanese.”


矛盾

“东京对我来说是一个很好的地方,很好的城市,充满了各种各样我喜爱的画面和颜色,我一直对这个地方充满好奇心。而相反东京人常让我觉得有点退避三舍,因为很怕会冒犯到他们所以一直很害怕和他们接触,其实在这样的关系下是挺矛盾的,喜欢一个地方却对当地人退避三舍,每次想到这都让我觉得很奇怪,可能是因为我不认识他们还不了解他们吧,所以只好去学日文了解。”

Time Machine

“A great photo should be an image that inspires others or one so powerful that it refuses to leave the minds of viewers. The most important part is the inspiration. The definition of a great photo now and what can be considered as a great photo in the past have drastically changed. Fifty or sixty years from know, I wonder if photos from now would be as intriguing as the older, classic photos that we look at in awe today. Sometimes I wish I had a time machine so I could go into the future and find out.”


时光机

“好照片应该是可以让人产生灵感或不断在观者里不断浮现的吧,最重要的还是那一道灵光。现在好照片的定义和以前已经不太一样了,我不知道这个时代的经典照片在五六十年后再看会不会和我们现在在看过去经典的照片一样有吸引力,这是我一直很想坐时光机去看看的事情之一。”

As we concluded our conversation, we asked if Puzzleman had any specific message that he wanted to communicate to viewers. Instead of answering, Puzzleman asked us: “What I want to know is, with the way that people mass consume photography nowadays, don’t they get tired of it? Have you thought of what happens if one day people get tired of photography?” If you have any thoughts to share on the matter, drop by any one of Puzzleman Leung’s social media pages and share your thoughts!


最后,当我们问起关于摄影有什么想和读者分享的时候,Puzzleman反而回赠我们一个疑问:“其实我反而想问大家,每天看那么多照片,你们会腻吗?有想过如果有一天大家对影像已经没感觉的时候怎么办?”。如果你对于这个问题有任何想法,或者想更了解这位有趣的摄影师,不妨去他的社交网络页面给他留言解答吧。

Websitepuzzlemanleung.com
Facebook: ~/Plzmanleung
Instagram:  @puzzleung
Flickr: ~/puzzlemanleung

 

Contributor: Ye Zi


网站puzzlemanleung.com
脸书: ~/Plzmanleung
Instagram@puzzleung
Flickr~/puzzlemanleung

 

供稿人:  Ye Zi

Cinematic Tokyo

Cinematic Tokyo is a series from Dutch photographer and cinematographer Stijn Hoekstra. After initially developing his photography style in his native home of Amsterdam, Hoekstra planned to bring his visual approach to photographing other cities. The Cinematic Tokyo series was made possible when Hoekstra was commissioned to shoot a documentary on a flower artist in Tokyo, giving him the opportunity to capture the streets during his free time. Hoekstra says, “Whenever I work in another country, I try to book some extra nights to do the thing I like most – photographing the city in my own way.”


《Cinematic Tokyo》(电影东京)是由荷兰摄影师和电影摄影指导Stijn Hoekstra创作的摄影作品系列。在家乡阿姆斯特丹期间,Hoekstra初步形成了自己的摄影风格,之后,他便计划利用自己的视觉创意在其它城市进行拍摄。《Cinematic Tokyo》系列是Hoekstra受委托前往东京为一名花艺师拍摄纪录片期间所创作的。一有空,他就会走上街道进行拍摄。Hoekstra说:“每次我去到另一个国家工作时,我都会多住几晚,去做自己想做的事情——用自己的方式拍摄这座城市。”

Hoekstra draws from his background as both a photographer and a cinematographer to bring his audience a unique perspective on visual storytelling. He says, “I always try to take a cinematic approach in my photography. Every picture is shot with a wide angle lens, and I’m always looking for different perspectives.” Through particular attention to subject, lighting, and composition, each of Hoekstra’s images manages to tell a story in a single frame.


Hoekstra利用自己作为摄影师和电影摄影指导的经验,为观众带来独特的视觉叙述视角。他说:“我总是试图以电影方式来进行摄影。每张照片都是用广角镜头拍摄,我也一直会去寻找不同的视角。“Hoekstra的摄影作品尤其关注拍摄对象、光线和构图,每张单独的照片都像是在讲述一个故事。

Color grading plays a major role in Hoekstra’s creative process and is essential in bringing out the cinematic quality of his images. According to him, “Color gives the photo the mood it deserves. It took a lot of time to develop this particular style, and it’s still developing.” Hoekstra continues his Cinematic city series in New York and Cuba.


调色(Color grading)是Hoekstra的创作过程中的重要部分,对于提升其照片的影像品质十分关键。他解释道:“色彩赋予照片相应的情绪。我花了很多时间来掌握这种特殊的风格,并且还在不断地学习。“接下来,Hoekstra将继续在纽约和古巴创作自己的《Cinematic》电影城市摄影系列。

Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

Contributor: George Zhi Zhao


Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

供稿人: George Zhi Zhao

Tokyo Roller-zoku Gangs

Tokyo Roller-zoku Gangs is a portrait series from American photographer Denny Renshaw. Created in Tokyo across five weeks in 2013 and 2015, the series was shot in parks, parties, bars, and music venues around the city. Renshaw tells us more about the series and the history behind the Roller-zoku subculture below.


2013年和2015年期间,美国摄影师Denny Renshaw前往东京,用五个星期的时间在公园、派对、酒吧和音乐场所拍摄下人像作品系列《Tokyo Roller-zoku Gangs》(Roller-zoku 指上世纪五六十年代东京的摇滚文化)。下面Renshaw 给我们介绍了这一人像作品系列,并讲述这种日本摇滚亚文化现象背后的一些故事。

“Among Japan’s many fashion tribes, one of the less explored is the Roller-zoku. For over 30 years the Roller-zoku have been borrowing greaser styles, gathering together for loud rock-and-roll music, and sporting leather, denim, and big greased up pompadours. Foreigners often associate them with the group of Roller-zoku seen in Yoyogi Park every Sunday, but this tribe can be found all over Tokyo. The Roller-zoku have grown from the roots of both 50’s and 60’s rock and roll and rockabilly because Japanese record labels did not differentiate between these musical categories at the time of their introduction.”


“在日本的各种时尚圈子中,Roller-zoku是其中比较鲜为人知的群体。30多年来,这些日本摇滚人一直在借鉴街头混混的造型风格, 他们聚集在一起听吵闹的摇滚音乐, 穿上皮夹克、牛仔服,向上梳起复古的‘庞毕度头’(pompadours)。外国人一般会首先想到的是每周日出现在代代木公园的Roller-zoku, 但其实他们遍布了东京的各个角落。Roller-zoku源自于50年代和60年代的摇滚乐和洛卡比里(Rockabilly)音乐, 因为在当时,日本的唱片公司把这些音乐混为一谈。”

“Japan experienced the popularity of these early rock-and-roll styles as did much of the world at that time, but it was the revival in the late 70’s that brought the fashions still associated with the Roller-zoku. Japanese bands like the Cools and Carol were at the forefront of this musical revival and began associating themselves with leather jackets, greased back hair, and motorcycles.”


”和当时世界其他地方一样,早期摇滚风格在日本经历了备受追捧的热潮,但直到70年代的复兴时期,才出现这种摇滚音乐的标志性时装风格。正是Cools and Carol 和其他引领着这种音乐复兴浪潮的日本乐队, 让皮夹克、‘庞毕度头’和摩托车与这种音乐文化关联起来。

“Unlike many other fashion tribes, these greasers are often all ages from the young to the old. An interesting aspect of this tribe is some members’ predilection for dancing, which can be seen being practiced in Tokyo parks on weekends. Much like early hip-hop was associated with breakdancing, Roller-zoku have their own brand of dancing, incorporating classic rock-and-roll dancing as well as intricate footwork, acrobatics, and theatricality.”


”不同于许多其它时尚圈子, 这些梳着‘庞毕度头’的摇滚人中既有年轻人也有年长者。关于这个群体,一个有趣的地方是一些成员特别喜欢跳舞。周末的时候,你会在东京的公园看到他们练习跳舞。就像霹雳舞是早期嘻哈音乐的标志性舞蹈一样,Roller-zoku 也有自己的特色舞蹈,他们在传统的摇滚舞蹈基础上,加入了复杂的步法, 动作和戏剧元素。“

Website: dennyrenshaw.com
Instagram: @dennyrenshaw

 

Contributor: George Zhi Zhao
Images Courtesy of Denny Renshaw


网站dennyrenshaw.com
Instagram@dennyrenshaw

 

供稿人: George Zhi Zhao
图片由Denny Renshaw提供

DERIVE

Cody Ellingham is a designer and art director based in Tokyo, Japan. After moving to Tokyo in 2012, he became mesmerized by “the urban landscape and neon fantasies of the world’s first cyberpunk city.” His multimedia project DERIVE uses reflection and unique perspectives to explore his experience of the metropolis.


Cody Ellingham是居住在日本东京的设计师和艺术总监。 2012年搬到东京后,他被“世界第一个赛博朋克(cyberpunk)城市的霓虹灯夜景”迷住了。他的多媒体项目——《DERIVE》,使用反射和独特的视角探索着他在这个大都市的生活。

Website: cbje.jp
Facebook: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: cbje.jp
脸书: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao

Tokyo After Dark

With an affinity for neon-lit alleyways and rain-slicked streets, Japanese photographer Masashi Wakui roams the nocturnal cityscape of Tokyo, capturing the Japanese capital in all of its luminous splendor. Wakui’s unique post-processing style instills his photos with a cinematic moodiness that has become his signature aesthetic. His colorful images blur the boundary between reality and fiction, often more closely resembling scenes out of Akira or Ghost in the Shell than real life. Check out more photos from the talented photographer below.


日本摄影师Masashi Wakui专注于捕捉东京迷幻的城市夜景,尤其是布满霓虹灯的小巷和反着光的潮湿街道。在Wakui的镜头下,东京仿佛是一座永远发着光的不夜城,这些场景看起来游离于现实和虚幻之间,给人一种电影般的氛围感。独特的色彩处理和光线的运用为Wakui的照片带来一种强烈的个人风格,有时甚至有点像日本动画片《亚基拉》和《攻壳机动队》中的场景。下面和我们一起看看这位摄影师更多的作品吧。

Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

Contributor: David Yen


Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

供稿人: David Yen

Finding Inspiration in Uncertainty

Yuma Yoshimura is a Japanese artist, painter, and muralist who creates psychedelic, monochromatic works that reflect the uncertainty and chaos of human existence. In 2004, he completed his education at Tama Art University where he studied painting and printmaking. Currently based in Tokyo, his work has been well-received internationally, having been exhibited in South Africa, Spain, Russia, and more.


Yuma Yoshimura是一名日本的艺术家、画家和壁画家,其创作的单色作品充满迷幻的风格,表达出人类生存的混乱与不确定性。他曾在多摩美术大学学习绘画和版画创作,2004年毕业之后,他生活在日本东京。他的作品曾在南非、西班牙、俄罗斯等国家发表。

The primary themes of Yuma Yoshimura’s work lie in the uncertainty and chaos that people experience in daily life, or in concepts of duality and opposition such as “darkness and light.” For him, these are universal conditions that all people face as they grow from childhood to adulthood. To believe in the unchanging in the face of the ever-changing, and to express this dynamic visually is a reflection of the artist’s own resistance to unrelenting change.


Yuma Yoshimura的作品主题主要围绕人们在日常生活中经历的不确定性和混乱,或是二元性和对立概念,如“黑暗与光明”。对他来说,这是所有人从孩童到成年人的成长过程中都必定面临的普遍状况。在千变万化中相信永恒不变,以视觉作品来表现变化的动态,反映出这名艺术家自己对于无情变化的抵抗。

For Yuma Yoshimura’s creations, he primarily works with acrylic paint, spray paint, markers, aluminum and wooden panels. For mural-sized works, he’ll only use monochromatic acrylic paint and spray paint – his decision is largely based on the physical characteristics of the wall, which include its size and the surrounding environment.


Yuma Yoshimura的创作过程主要利用丙烯涂料、喷漆颜料、马克笔、铝和木板。至于壁画尺寸的大作品,他会根据墙体的物理特性、大小和所产生的空间效果,直接在墙壁上使用单色丙烯涂料和喷漆颜料进行创作。

Despite using a simple, monochromatic palette, Yuma Yoshimura is able to conceive a multitude of visual elements through complicated compositions that mirror his inner state. The visual elements seen in traditional tribal tattoos and ornaments also fuel the sparks of his imagination. This influence from these primitive arts reflect Yoshimura’s attempt to express his own unique, but universal, human experience.


虽然创作中只使用了一种色彩,但Yuma Yoshimura依然能够通过复杂的构图来表现出丰富多样的视觉元素,传达出他的内心状态。部落纹身和装饰品这些视觉元素激发了他的创作灵感。来自原始部落的艺术影响反映出Yoshimura尝试表达的一种独特又普遍的人性经历。

Website: yumanizumu.jp
Facebook: ~/yumanizumu
Instagram@yuma_yoshimura

 

Contributor: George Zhi Zhao
Images Courtesy of Yuma Yoshimura


网站: yumanizumu.jp
脸书: ~/yumanizumu
Instagram@yuma_yoshimura

 

Contributor: George Zhi Zhao
图片由Yuma Yoshimura提供

1972

In post-war Japan, cities victim to firebombings were left in a state of ruin and despair. But in the wake of devastation, some Japanese architects optimistically saw opportunity; they saw a chance to prove the country’s resilience, rebuild their cultural identity, and transform the nation into an improved version of its previous self. During this period of time, the influential architectural movement known as Metabolism was born, revolving around the concepts of organic growth and megastructures. The idea was that buildings didn’t have to be static; instead, they could be ever-changing, adapting and transforming according to different needs. One of the most iconic buildings of the movement—the Nakagin Capsule Tower—can still be found today in Tokyo’s Ginza District. Built by the famous architect Kisho Kurokawa, the unique structure consists of 140 removable capsules plugged into two concrete cores and is the main subject of Noritaka Minami’s photo book 1972, named after the year that the building was officially completed.


戦後の日本、爆撃の被害を受けた都市が廃墟と化し、絶望的な状況に陥りました。しかし、そのような焼け野原に好機を見出した建築家達がいました。日本の回復力を示し、文化的アイデンティティを再構築し、国を元の姿の改良版に変えるチャンスだと考えたのです。この当時、有機的成長およびメガストラクチャーの概念を中心に展開する影響力の高い建築運動「メタボリズム」が生まれました。それは、建物が静的なものである必要はなく、様々なニーズに合わせて絶えず変化し、順応し、変形できるものという発想でした。この運動の最も象徴的な建築物の一つが、今も東京・銀座に建つ中銀カプセルタワービルです。有名な建築家、黒川紀章設計のこの特異な構造は、2本のコンクリートコアに繋がった取り外し可能な140戸のカプセルで構成され、この建物の竣工年にちなんだミナミ・ノリタカ氏の写真本『1972』の主題なのです。

Noritaka Minami is a Japanese-born and America-raised photographer who only began documenting the building in 2010. At the time, there was a sense of urgency to complete the project. “There was a very real possibility that it would be demolished and replaced with a more ‘conventional’ apartment complex,” says Minami. “As of today, the building does not face imminent destruction, but still faces a very uncertain future in regards to its preservation.” The building was experimental, a prototype that sought to explore the possibilities of alternative methods of urban living in the future. Through his photos, Minami wants to offer viewers an opportunity to see the past’s interpretation of the future.


日本で生まれ、アメリカで育ったミナミ・ノリタカ氏は、2010年にこの建物を記録し始めたばかりの写真家です。当時は、同プロジェクトを早急に完成させるという切迫感に苛まれていました。「この建物が取り壊され、もっとありきたりの共同住宅に建て替えられるという非常に現実的な可能性があったのです。」とミナミ氏は語ります。「今日現在、差し迫った取り壊しには直面していませんが、建物の保存についての将来は今も漠然としています。」この建物は、都市生活の代替的方法の可能性を探ることを目的とする原型でした。自身の写真を通じてミナミ氏は、過去における未来の解釈を伝える機会を見る者に与えたいと考えています。

“Each capsule is a container that has accumulated all of the moves and decisions that were performed by individuals over the course of four decades,” says Minami. “Although I do not directly depict the resident who occupies that space, I want each photograph to suggest that the capsule holds the history and presence of people who occupy or have occupied that space.” With respect to the inhabitants, his photographs are completely documentary in nature; objects, furnishings, and light were photographed as it were without any alterations on his part.


「カプセルはそれぞれ、過去40年に渡って個人が蓄積してきたあらゆる行動や決断が積み重なった容器です。」そうミナミ氏は述べます。「私は、この空間の居住者を直接描写しているわけではありませんが、写真の一枚一枚を通して、カプセルが留める住人の経歴や存在を暗示できればと思います。」居住者に敬意を払い、彼の写真は完全にドキュメンタリーの性質を持ち、物、家具、光は、手を加えられることなく、ありのままに撮影されています。

Shot on both medium and large-format cameras with an ultra-wide lens, Minami’s collection of images captures the nuances of each ten square meter living space, revealing the the ways each resident has adapted to the living conditions. “The limited space of a capsule also influences the amount of belongings each resident can possess, more so than a conventional apartment,” Minami mused. The restricted space of each capsule often leads to the majority of an inhabitant’s worldly belongings to sit out in plain view; To this effect, Minami saw each pod as an extension of each resident’s personality. “From a very early point in its history, the criticism against the Capsule Tower was that the individual units are too small and not flexible enough for everyday use,” he says. “Yet, the fact that these small rooms are still being occupied to this day demonstrate the residents’ ability to find new and unexpected applications within the limited area of ten square meters that go beyond the original vision of the building as urban homes for businessmen.”


超広角レンズを用いて、中判と大判両方のカメラで撮影されたミナミ氏の一連の写真は、各10平方メートルの生活空間のニュアンスを捉え、それぞれの居住者がいかにしてこの生活条件に順応していったのかを示すものです。「カプセル1戸の限られたスペースは、標準のアパートと比べて各居住者が保持できる所有物の量にもはるかに大きく影響します」とミナミ氏はつぶやきます。カプセルの限られた空間のため、住人の生活感あふれる所有物のほとんどが目につく場所に置かれることになります。このことから、ミナミ氏は各戸を住人それぞれの個性の延長とみなしました。「カプセルタワーの歴史のごく初期の段階から、この建物への批判といえば、個々の単位があまりにも小さく、日常の用途としては融通が利かないというものでした。」ミナミ氏は続けます。「それでも、この小さな部屋に現在まで住居者がいることを考えれば、10平方メートルという限られた領域内で、ビジネスマンのための都会の住居という当初の構想を超越する斬新で予想外の応用法を見つける住人の才覚がうかがえます。」

As the Nagakin Capsule Tower is a private building, gaining access can be rather difficult for non-residents. “The project was only possible through the generosity of the couple that first allowed me to visit their capsule during the summer of 2010,” Minami explained. Many of the photographs in the book were made possible through the couple’s acquaintances in the building. By luck, Minami eventually met others in the building who granted him permission to document their pods, offering a candid glimpse into their living space.


中銀カプセルタワーは民間の建物であることから、部外者が建物内に入るのは容易ではありません。「このプロジェクトは、2010年の夏、初めてカプセル訪問の許可をくださったご夫妻のご好意なくしては実現不可能でした」とミナミ氏は説明します。この本に掲載された写真の多くは、この建物に住む同夫妻の知人を介して実現したものです。運良く、ミナミ氏は他の住人とも出会い、彼らの住居を記録し、住空間のありのままの姿を垣間見る許可も得たのです。

During the time that Minami worked the project, the people that chose to live in the building came from all walks of life, ranging from a young local art student attending university to a construction worker in his sixties. What attracted each resident was different: some were interested in its historical significance, some were curious about living in an unconventionally built structure, and others lived there for practical reasons like convenience and affordability. Although many residents are in favor of preserving the building, aware of its history and cultural significance, there are some residents who aren’t as keen, seeing the potential of maximizing the prime real estate that the building sits on by replacing it with a newer apartment.


ミナミ氏がこのプロジェクトに取り組む間、この建築物を住居として選んだのは、地域の若い美大生から、60代の建設作業員まであらゆる階層の人々でした。この建物に惹かれた理由は居住者によって様々で、建築物の歴史的意味合いに興味を持つ者もいれば、異例な形で建設された構造に住んでみたいという好奇心から、さらには便利で安価という実用的な理由から住む者もありました。居住者の多くが、カプセルタワーの歴史的・文化的意味合いを認識した上で保存に賛成する一方、この建物が立地する一等地を最大限に活かして新しい集合住宅に建て替える可能性を支持することから、保存に賛成できないという住人もいます。

Minami’s book was finally published last year, made possible with a successful Kickstarter campaign and a grant from the Graham Foundation for Advanced Studies in the Fine Arts. “The idea of presenting this project as a photo book attracted me because the format could show more photographs than what is normally possible within the physical space of a gallery,” he explained. “Designing the book also presented challenges and possibilities that are different from designing an exhibition. I learned a lot by creating the specific selection and sequence of images in order for the series to be experienced as a book.” 1972 is now available online through Amazon and other select retailers.


ミナミ氏の本は、成果の高いKickstarterのキャンペーンおよびグラハム財団高度美術研究基金からの助成金を得て、昨年ようやく出版されました。「このプロジェクトを写真本として発表するアイデアに惹かれたのは、この形ならギャラリーの物理的空間で展示可能な数より多くの写真を公開できるからです」とミナミ氏は説明します。「この本のデザインは、展覧会を構成するのとは違った課題や可能性を示すものでもありました。写真の具体的な選択や順序付けにより、本として一連の情景を手に取るように感じられるよう制作する中で多くを学んだのです。」『1972』は現在、Amazonや他の一流の小売業者によりオンライン販売中です。

Websitenoritakaminami.com

 

Contributor: David Yen
Images Courtesy of Kana Kawanishi Art Gallery


ウェブサイトnoritakaminami.com

 

寄稿人: David Yen
Images Courtesy of Kana Kawanishi Art Gallery