Monthly Archives: November 2015

Early Morning at Tsukiji Market

November 30, 2015 2015年11月30日

 

无法观看？前往优酷

For gourmands and seafood enthusiasts, staying awake until dawn to catch the opening of Tsukiji Market in Tokyo is a necessary hardship to see and taste the world’s freshest sashimi. Opening its doors at 3am almost every night, people come from all over the world to queue in the market and wait patiently to watch the tuna auctions, which then begin at 5am.

美食家と筋金入りのシーフード好きにとって、世界一新鮮な刺身を見て食すために明け方まで寝ずに東京の築地市場を見物することは、きついけれど不可欠なことです。ほぼ毎日午前3時に営業を開始する市場では、世界各国からの人達が並び、午前5時から始まるマグロの競りを見るために辛抱強く待ちます。

In the sleepy pre-dawn hours of eastern Tokyo, the frenetic pace of loading and unloading, carting, and prepping never stops at Tsukiji Market. First and foremost a business, Tsukiji is one of the world’s largest wholesale seafood markets, and it handles around 2000 tons of seafood transactions per day. The tuna auctions start at 5am and end at 7am every morning, while the seafood market itself is open to the general public afterwards at around 9am. In 2013, the world’s most expensive tuna was sold here, for $1.8 million dollars.

東京の東にある築地では、眠い夜明け前の時間帯に慌しい積み込み、積み下ろし、運搬、準備作業が絶え間なく続きます。何よりもビジネスである築地は、世界最大の水産物の卸売市場であり、1日に2000トンもの水産物の取引が行われます。マグロの競りは、午前5時から始まり午前7時に終わりますが、競りの後も午前９時頃まで市場は一般客に開いています。 2013年には、世界で最も高価なマグロが築地で売却され、その価格は$1800万ドルでした。

Lining the perimeter of the fish market outside are some of the best seafood restaurants in Tokyo. The most famous ones also have their queues start at 3am, opening at 5am to the first customers who are eager to try the freshest seafood for breakfast.

築地市場の周辺には、東京で最高レベルの魚介類専門レストランが軒を連ねています。最も有名なレストランでは、最も新鮮な魚介類を朝ごはんに味わうためにその日一番に来店する熱心な客に午前5時から営業を始め、ここでも午前3時から行列ができます。

The Tsukiji Market’s inner market is set to be relocated in 2016 to a newer, bigger space in Toyosu. Although the outer ring of shops and restaurants will still remain, many worry that the heart and soul of the market will be gone, so the spectacle of the tuna auction is one to savor while it still lasts.

築地の場内市場は、2016年に豊洲の新しく、広い敷地に移転することが決まっています。場外市場にある店舗やレストランは築地に留まりますが、市場の核心がなくなってしまうのではという懸念の声が多く、マグロの競りは、存続するうちに堪能しておくべきアトラクションです。

Address:
5-2 Tsukiji, Chuo-ku, Tokyo,
Japan

Phone：+81 3-3542-1111
Website: tsukiji-market.or.jp

住所：
日本国东京都中央区筑地5-2-1

電話番号：+81 3-3542-1111
ウェブサイト：tsukiji-market.or.jp

Contributor, Videographer & Photographer: Jia Li

寄稿者、カメラマン&ビデオ撮影：Jia Li

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Tale of Two Cities #1

November 27, 2015 2015年11月27日

Tale of Two Cities is a new collaborative screen print exhibition series initialized by IdleBeats. Every episode in this exciting series will feature the latest prints of two studios: IdleBeats (Shanghai) and an international one from the worldwide print art family. Persistence, consistency, innovation, and the free expression of ones’ own local culture are the common qualities shared by all of the artists participating in the series.

“双城记” 是一个由爱豆笔此 (IdleBeats上海) 发起的系列丝网版画主题展览系列。每期展览将展出两个独立工作室的最新版画作品——IdleBeats以及来自世界各地的另一个版画工作室。不懈探索、连贯性、革新性，以及各自对本土文化的自由表达，这是所有参展艺术家的共性。

 

In the first episode of Tale of Two Cities, IdleBeats will be partnering up with the well-known and beloved serigraph pioneers FrenchFourch from Paris, who will be presenting a line of their classic street art posters. The visual style of this series ranges from psychedelic illustrations to mysterious cult imagery.

在“双城记”的第一期，IdleBeats将和来自巴黎的知名丝网版画先锋团队FrenchFourch联手创作。他们将带来一组视觉风格囊括迷幻插画到神秘宗教意象的经典法兰西街头海报。

 

Established in 2007, Frenchfourch is a renowned community of artists in Paris. They are also a printing laboratory specializing in the production of books, art zines, textiles, and posters. Their group additionally function as an editorial team, dedicated to showing the work of new emerging artists. Frenchfourch will from time to time organize group exhibitions too, partnering with artists and galleries around the world.

FrenchFourch成立于2007，是巴黎艺术界的重要艺术家群体。他们同时也是专注于书籍、电子艺术杂志、纺织品和海报制作的印制实验室。这个团队亦是一个编辑团队，专注展现新生代的艺术家。FrenchFourch也不时联合世界各地艺术家和画廊机构组织艺术群展。

IdleBeats in Shanghai are an artist duo who function primarily as a print art studio. They create original screenprinted art, installation art, music posters, and brand crossover projects. The pair have become well-known within the Shanghai creative circles and beyond, for their psychedelic and distinctive visual style. In addition to their print work, they have also been doing innovative live screen printing show and workshops since 2009.

位于上海的IdleBeats前身主要是个双人艺术家的印刷艺术工作室。他们制作原创的丝网印刷艺术、装置艺术、音乐海报，以及品牌合作项目。这两人已因为他们迷幻、独特的视觉风格在上海创意圈内外为众人所知。自2009年，他们除了版画创作外，也一直在做创意丝网印刷的现场展示和研讨班。

At the special two-day opening of the Tale of Two Cities exhibition this upcoming weekend (Nov. 28-29) at UNDEF/NE, IdleBeats will be creating an experimental installation with live screen printing. The whole process will span two whole days, so visitors should be able to witness a unique phase of the project at any given moment over the weekend. IdleBeats will also be showing 20 fresh new art prints, one series each by Gregor and Nini. There will be a special 30% discount for those attending the two-day opening event at Shanghai’s UNDEF/NE!

 

在“双城记”本周末 (11月28-29日) 于UNDEF/NE举行的双日特别开幕活动上，IdleBeats将现场制作结合丝网印的实验光影装置。整个作品会在两天内于开幕现场完成，所以无论何时到来，你总能看到“装置进行时”的某个阶段和它独一无二的样貌。IdleBeats也将展出分别来自Gregor和Nini的两组20幅全新的丝网版画。本周末至上海UNDEF/NE参加“双城记”，即可享受开幕7折特售价。

 

Stay tuned over the next few weeks to find out more about these new prints. If you are unable to attend the Tale of Two Cities show at UNDEF/NE in Shanghai, there will be exclusive offers to buy the prints directly from the Neocha Shop!

敬请期待在接下来几周的版画新作。如果你无法亲临上海UNDEF/NE参加“双城记”，也将仍有机会从Neocha的在线商店直接购买独家销售的版画作品。

Address:
UNDEF/NE, Room 105, Bldg 6
50 Moganshan Road (near West Suzhou Road)
Putuo District, Shanghai
People’s Republic of China

地址：
中国 上海市普陀区
莫干山路50号6号楼105室（近西苏州路）
UNDEF/NE

Website: idlebeats.com

 

Contributor: Leon Yan

网站: idlebeats.com

 

供稿人: Leon Yan

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The Illustrations of Jonathan Jay Lee

November 27, 2015 2015年11月27日

Jonathan Jay Lee is a Taiwanese-American illustrator and artist, now based in Hong Kong. A graduate of Parsons School of Design in New York, Jonathan has developed a vibrant style that draws from both Japanese manga and Western comic book traditions. Through his unique depictions of Hong Kong, he tells us stories about the city that are iconic, and at the same time, feel authentic.

Jonathan Jay Lee是一名定居香港的台裔美籍插畫家。畢業于紐約帕森斯設計學院的他，吸取了日式和西式漫畫的精髓，作品畫風異常明媚。通過對香港獨到的解讀，他筆下所描繪的正是這座城市最典型和真實的面貌。

Neocha: Tell us about your journey of becoming an artist.

Jonathan: I actually got started as an artist the “safe” way, in that I got into and went to one of the best design schools in the world. After that, I played it all or nothing. I interned, hustled, and asked for work wherever I could. I put myself out there as much as I was able to with exhibitions and networking, often with the help of friends and family.

Definitely the biggest challenge was having to prove to others that I could do this, that there’s nothing wrong with being an artist. I grew up in an environment where achievement was measured by my grades, and wanting to pursue a creative career questioned all of those notions. I suppose that you could say my biggest struggles were internal. Is the work good enough? Am I a fraud? Will people one day realize this and send me away forever? But as a professional you can’t have the luxury of having uncertainty in yourself.

Neocha: 可否告訴我們妳是如何走上藝術家之路的？

Jonathan: 爭取並進入了世界一流的設計學院學習，我當初是以這樣一種“穩妥”的方式成爲藝術家的。那之後，我就開始孤注一擲。我去實習、去找工作，四處奔走。得益于親朋好友的幫忙，我總是盡可能多地去參與各種展覽和社交活動。

最大的挑戰必定是不得不嚮別人證明，證明我可以的，證明做藝術家並沒有什麽不好。我成長于一個可以說是用尺去丈量成就的環境中，追求一份創意職業就是在挑戰所有那些固有觀念。可以說我最大的掙紮是來自內心。我作品夠好嗎？我自欺欺人嗎？會不會某天別人意識到這點，然後將我永遠驅逐？然而，作爲一職業人，妳是負擔不起這種自我質疑的。

Neocha: Can you tell us about how you developed your style?

Jonathan: Style is not something I think about too much. You just make what you make, and somehow you’re drawn to certain things, just because. I love and grew up with comics, so I was deeply inspired by that. If someone were to create the greatest and most amazing thing in the history of the world, I would say it would exist in the form of a comic book. I still get goosebumps from Inoue Takehiko’s drawings for his work on Vagabond. Moebius’ sci-fi landscapes make me want to cry, and the smell of print still inspires me.

Neocha: 可否和我們說說妳的創作風格是如何形成的？

Jonathan: 風格並不是我會過多考慮的東西。妳只要堅持做，不知不覺地就會沈浸其中，就好比，我喜歡漫畫，漫畫伴隨著我的成長，所以它會對我有很深的啓發。如果說有人在世界曆史中創造了最偉大和最驚豔的東西，那我會脫口而出說是漫畫書。井上雄彥的《浪客行》至今能讓我熱血沸騰，而Moebius的sci-fi中的場景繪制簡直美到讓我哭，且那股印刷的油墨味也給了我不少靈感。

Neocha: Hong Kong plays a big role in your work. How does the city inspire you?

Jonathan: I was born in the states and my family is from Taiwan, but Hong Kong is my home. I took it for granted when I was growing up, but it wasn’t until after I left that I missed all of its charms. Capturing those charms was a challenge when I was given a steady editorial gig for a few years, in which I had to illustrate the many different streets of Hong Kong. Each street had its own appeal and special kind of seduction. It was because of that and my hatred of Hollywood representations of the city that inspired me to represent Hong Kong in a way that it deserves. I love meeting people who come through Hong Kong, and then one day decide, “OK, I’m done, I don’t need to go anywhere else. Let’s settle here.”

Neocha: 香港一直是妳作品中的一大重頭，可否說說這座城市是如何啓發妳的？

Jonathan: 我在美國出生，父母來自台灣，但我的家卻在香港。我過去視它爲理所當然，直到我離開後，我開始深深思念這裏的無盡美好。曾經有幾年，我有一份穩定的編輯工作，這份需要我創作香港不同街道的插畫。當時我發現捕捉這座城市的美妙是個挑戰，因爲每一條街道都有它自己獨特的魅力。就是基于此，以及我對好萊塢式浮誇呈現的反感，讓我想用一個更適合這座城市的方式來展現香港。我喜歡和那些來香港的人們見面，然後在某一天我決定: “好吧，不再糾結了，我不需要去別的地方了，不如就在這裏定居下來吧。”

Neocha: A lot of your artwork seems reminiscent of street photography, in that it captures everyday moments in public spaces. How did you start creating this kind of work?

Jonathan: It first started with a project called Ho Lee Fook, which Black Sheep Restaurants commissioned me to create a number of pieces that revolved around Graham Street Market. The market has been around for over a century, but would soon be demolished to give way to developing properties. For that, I went out and collected as many references as I could about it, and decided to create moments of nostalgia. The most beautiful thing about illustration is that it is representative. Photography can be faked sure, but its real beauty lies in the truths it tells. In that sense, these illustrations represent my truths of living in Hong Kong. Once I had the setting in place, each piece told its own story in a strangely inevitable way.

Neocha: 妳的許多作品如同一幅幅街道老照片，其中呈現的是在公共空間的日常瞬間。妳是如何開始創作這類風格作品的？

Jonathan: 是從一個叫做“Ho Lee Fook”的項目開始，這個項目是我受Black Sheep Restaurants集團的委托，創作一系列表現嘉鹹街市場周邊環境的作品。這個市場已存在一個多世紀了，但馬上就要面臨被拆除，新建設也將開始。爲此我想盡辦法收集盡可能多的參考資料，決定創作一些可以讓人緬懷這個地方的定格小瞬間。插畫的美妙之處在于它的表現力。攝影也可以不真實，虛實之間，這些插畫真實展示了我所生活的香港。每當作品設定一確立，每幅作品所承載的故事就躍然紙上。

Neocha: What are some of your future projects?

Jonathan: I have some very cool projects that will come to life in Singapore, in the U.S., and of course in Hong Kong very soon! I’m also a Professor of Illustration at SCAD Hong Kong, an institution that I’m very honored to be a part of. Education is important, and I feel like I am finally at a place where I have something to offer to students who are venturing on a similar path.

Neocha: 能否告訴我們妳未來的計劃？

Jonathan: 我很快會有一些很棒的項目在新加坡、美國，當然還有香港展開。我同時也在薩凡納藝術設計學院香港分校做插畫教授，我真的很榮幸能夠加入這所學院。教育很重要，我也覺得我到了傳授自己所知給別人的時候，給那些正在這道相似旅程上的學生。

Website: jonathanjaylee.com

 

Contributor: George Zhi Zhao
Select Images Courtesy of: Ho Lee Fook

网站: jonathanjaylee.com

 

供稿人: George Zhi Zhao
精选作品友情提供: Ho Lee Fook

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ALTER Shanghai

November 26, 2015 2015年11月26日

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.

在2010年建立ALTER概念店之前，集团式传统奢侈品牌的工作已为她打下了坚实的基本功，但其品牌基因过强，很多东西不便打破，而龙霄天生喜欢革新，喜欢突破，她渴望拥有更多挑战，不愿意墨守成规。彼时，在时尚产业尚处萌芽阶段的中国，人们开始慢慢有意识地寻找品质与个性的穿衣方式。龙霄意识到整个市场在昂贵的奢侈品大牌与无创意的低端大众服饰之间存在一个巨大的空白，于是，后来就有了今天的ALTER。

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。

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

Website: alterstyle.com
Facebook: ~/Alter-Shanghai

 

Contributor: Banny Wang

地址:
中国上海黄浦区
马当路245号新天地L116

网站: alterstyle.com
脸书: ~/Alter-Shanghai

 

供稿人: Banny Wang

 

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On Girls and Beauty

November 24, 2015 2015年11月24日

Luo Yang is a photographer from Liaoning, China whose beautiful, disarming portraits of Chinese youth and femininity are all shot on film. In 2007, she picked up a camera and started photographing girls around her. Eventually that led to her ongoing series Girls, which focused on a subject which resonated especially with her as a female photographer.

罗洋是来自中国辽宁的摄影师，她的那些柔美中国少女人像作品全部使用胶卷拍摄。从2007年开始她就拿上相机拍摄身边的女孩。而“女孩”也最终成为了她的持久主题，作为一位女摄影师，她对此有太多共鸣。

“Film is more expensive and precious, the texture is more realistic, and film is something you can keep,” says Luo Yang, “I started photographing as a way to express my emotions. Shooting in film is a way for me to slow down time and think more.”

“胶片更昂贵也更珍贵，质感也更为真实，它是你可以实实在在保存的东西。” 罗洋说，“我开始摄影是将其作为一种情感表达方式。用胶片拍摄能让我慢下来，让我思考更多。”

The girls that Luo Yang photographs are natural, youthful, edgy and at times awkward. There’s a certain serenity throughout her work, and it’s obvious the subjects are at peace with the person behind the camera, often staring directly into the lens, carrying on in the nude, caught in staged and unstaged shots.

罗洋拍摄的女孩自然、年轻、前卫，时而略显尴尬。她的作品总有某种安详感贯穿其中。显然，被摄对象能平静面对相机镜头后的摄影师，她们时常毫无遮掩地直视镜头，在摆拍或者抓拍之间被定格。

She tells us, “The girls I’ve photographed help me express my own feelings and problems. Some of them are my friends, some of them are strangers, and some are just contacts from the internet. The way that they live and their lifestyles are what attracted me to them.”

罗洋告诉我们: “我拍摄的那些女孩们帮我表达了自己的情绪和问题。她们有些是我的朋友，有些是陌生人，还有一些是网络上的人。她们的生活是吸引我的地方。”

Being obsessed with girls and the fairer sex is an ongoing preoccupation for Luo Yang. “Most of my photo shoots are very natural, and set in shooting locations that I chose without too much preparation or orchestration. I want to be able to express my subject’s unique characteristics and let that show through,” she says.

罗洋对女孩和女性的着迷一直持续着。“大部分拍摄都非常自然，场地的选择和布置没有经过太多的深思熟虑。我希望展现其自身独有的特质。”她说道。

“It’s hard to say what kind of influence growing up in Northern China has had on me. It’s something that is definitely a part of my personality and my DNA now. I am quite straightforward and direct, which might be related to being from the North.” Based in Beijing now, Luo Yang says, “Besides the awful transportation and environment, Beijing is really great for photography. Northern girls are more open and carefree.”

“很难说成长于中国北方给我带来了什么影响，但确已经融入我的血液和性格。我性格中的直接、直达本质的这个特征应该和北方有关。”目前定居北京的罗洋说，“除了糟糕的交通和环境，北京是极佳的摄影地。北方女孩也更大气，更放的开。”

In the future, Luo Yang says she will continue to work on her Girls series adding new ideas and trying different directions. She is looking forward to collaborating with other artists that could lead to interesting results.

罗洋说在未来她还是会继续寻找新灵感来延续她的“女孩”系列。同时她也期待更多合作。她认为这样也许可以擦出别样火花。

Facebook: ～/luoyangart
Flickr: ~/yangzi

 

Contributor: Jia Li

Facebook: ～/luoyangart
Flickr: ~/yangzi

 

供稿人: Jia Li

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The Fantastical World of Fantasista

November 23, 2015 2015年11月23日

Fantasista Utamaro is a leading manga and multidisciplinary artist from Japan. Known for his ultra pop and technicolor sensibilities, Uta’s instantly recognizable work spans illustration, graphic design, animation, textile design, fashion design, and even outdoor landscaping. This year, Fantasista Utamaro was also one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.

ファンタジスタ歌麿呂は、漫画をはじめとする様々なジャンルの作品を制作する日本で有数な芸術家です。ウルトラポップと鮮やかな色彩感覚で有名で、見てすぐそれとわかる作品には、イラストレーション、グラフィックデザイン、アニメ、テキスタイルデザイン、ファッションデザイン、そして屋外の造園まであります。 今年、ファンタジスタ歌麿は、グラフィックTシャツの限定コレクションでGapの古典的なロゴを再考するためのREMIX Project で集められた12アーティストにも加わりました。

 

无法观看？前往优酷

Fantasista has been fascinated with Japanese manga and anime since childhood, and much of his work is about communicating and translating Japanese culture to a global audience. He says, “I get the impression that non-Japanese folks have a very limited and often inaccurate understanding of what Japan is really like. For example, when people from abroad think about Japan, they often just associate our country with anime. But I think that that kind of understanding is very shallow, and doesn’t really convey the deeper reasons of why anime is so fascinating. With greater cultural context, you can discover more interesting things.”

ファンタジスタ歌麿は、子供の頃から漫画とアニメに魅了され、自身の作品の多くは世界に日本文化を発信したり解釈して伝えたりするものです。このことについて、「日本人ではない人たちは、日本の実際の姿が全く完全に理解していなかったり、多くの場合正確に理解していないという印象を受けています。例えば、外国から来た人達が日本のことを考える場合、ただ日本をアニメと結び付けてることがよくあります。しかし、こういう理解はとても皮相的で、アニメが非常に魅力的である深い理由を伝えるものではありません。より大きな文化的な脈略から、さらに興味深いことがわかるのです」と述べてくれました。

A lot of Fantasista’s work involves onomatopoeia and using Japanese characters to express certain sounds. He says, “These are all common sounds that appear in Japanese manga as a way to visualize sounds and actions through text. I use them to bring another dimension into two-dimensional space, which gives the reader something unexpected and fun. It’s a little surprise that can create a small change in perception and engage with the reader’s state of mind.”

ファンタジスタ歌麿の作品の多くには、日本語の文字を用いて特定の音を表す擬声語が含まれていますが、同氏は「全ての擬声語は、テキストで音声や行動を可視化する日本の漫画によく見られる音です。擬声語を読者には思いがけず面白いと感じられるもう1つの次元を2次元の空間に加えるために使っています。擬声語は、感じ方に少し変化をもたらし、読者の気持ちを惹きつける可能性のある小さな驚きなのです」と述べています。

Although Fantasista’s work is often bright and overflowing with many colors, Uta is actually partially colorblind. He says, “I am able to distinguish some really bright colors, like Tokyo’s neon lights, or the colors in Akihabara district, but other than that, I have a really hard time knowing which color is which. Being colorblind has brought me some inconveniences, especially in my daily life. For example, I can’t distinguish between the stop and go signs at the crosswalk. When I’m doing print design, I have no way to do color proofing, so if I didn’t have other people helping me, I would never be able to do it.”

作品の多くの色は明るく、たくさんの色で溢れているファンタジスタ歌麿ですが、実は部分的な色盲で「東京のネオンの光や秋葉原に見られる色のようないつくかの非常に明るい色は識別することができますが、その他の場合、色の識別は私にとっては困難です。色覚異常なので、特に日常生活である程度の不便はあります。例えば、横断歩道で「止まれ」と「進むことができる」の信号の区別ができないんです。捺染デザインをする時に、色校正ができるはずがありません。ですので、他の人が助けてくれなければ捺染デザインはできないのです」と説明してくれました。

Fantasista likes to keep his creative process fluid and open, and he is inspired by simple things such as exercise and walking through nature. He says, “There are a lot of things in nature that give me subtle hints and point me in the right direction creatively. After all, nature is the prototype of good design. I don’t like to have an outcome when I start doing anything. By looking at things with an open mind, and accepting them in their natural forms, ideas naturally surface.”

ファンタジスタ歌麿は、創造のプロセスを常に柔軟で妥協の余地のあるものにしたいと思っており、運動や自然の中を歩くことのようなシンプルなことから着想を得ています。そして、「自然には、何気ないヒントを与えてくれたり、創造の正しいプロセスを示してくれることがたくさんあります。結局、自然は良いデザインの原型なのです。何かを始めようとする時に、結果を得てしまうことはしたくないのです。心を広くして物を見て自然の形を受け入れることで、アイディアは自然に明らかになります」と述べています。

For Fantasista, creativity is a constantly changing process of continual growth. He reflects on his own career and how his work has developed: “Early on when I was drawing manga, my work would change together with popular styles at the time. But through it all, the themes have stayed the same. My work is an expression of pop culture and creativity, while at the same time also exhibiting some traditional elements. It’s about celebrating the power of human imagination.”

ファンタジスタにとって創造性とは、継続的成長において絶え間なく変化するプロセスである。彼は、自らの経歴と制作がどう成長してきたのかを次のように振り返る。「初期、私が漫画を描いていた頃は、作品が当時人気のあったスタイルに応じて変化していました。ただし、その間もずっとテーマは変わっていません。私の作品は、伝統的な要素を示すと同時に、ポップカルチャーと創造性の表現方法です。それは、人間の想像力の強さを称えるものなのです」

Website: fantasistautamaro.com

 

Contributors: George Zhi Zhao, Adam J. Schokora
Photographer: Adam J. Schokora

ウェブサイト: fantasistautamaro.com

 

投稿者: George Zhi Zhao, Adam J. Schokora
カメラマン: Adam J. Schokora

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Shanghai Street Performers

November 20, 2015 2015年11月20日

“I used to have my contact info on a small sign, which I would put out wherever I performed. The city officials would always hassle me though, and one day they took my sign away. Usually I get kicked out of a few spots, but today where I’m at is okay.”

– Yulei, 28, financial worker (from Shandong)

“我之前有一个小板，上面写了我的联系方式。但是城管一直在烦我，有一天把我的板拿走了。平时我会从好几个地方被赶走。但是今天这里好像没问题。“

– 于磊，28岁，理财师 (来自山东)

“I spend most of my days in the social dancing clubs, and most of my nights on the streets. I used to teach classes, but the structure and formality of it wore me down. The most important thing is the beat of the music, but most of the stuff they play now on the streets has no rhythm.”

– Mr. Zhang, 74, professional Latin style dancer (from Shanghai)

“我平时白天在舞厅，晚上在街上。我之前教过拉丁舞课，但是感觉这个责任和严格性不是我想要的。我感觉舞蹈最重要的就是节奏，但是在街上他们大部分放的音乐都没有太多感觉。”

– 张师傅，74岁，专业拉丁舞者 (来自上海)

“Sometimes people will come up to me and request me to play certain songs. I’ll sing them as long as I know the words. I think that sharing music on the street brings a little bit of warmth to this cold city.”

– Xie Jun, 25, hairstylist (from Anhui)

“有时候在街上会有些人让我弹某一首歌。如果我会唱的话，我就会唱。我觉得在街头上分享会给这个冷漠的城市带来一些温暖。“

– 谢军，25岁，理发师 (来自安徽)

Shanghai Street Performers is the first part of a series showcasing street performers in and around Asia. The series features notable individuals who perform in public spaces, in order to shed light on the development of street performance culture across Asia’s major cities.

 

Contributor: George Zhi Zhao
Photographer: George Zhi Zhao

上海街头艺术家是展示亚洲街头表演者系列的第一部分。这个系列包含了在公共空间表演的重要个体，以凸显亚洲各大城市街头表演文化的发展。

 

供稿人: George Zhi Zhao
摄影师: George Zhi Zhao

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In the Studio with Needleman

November 20, 2015 2015年11月20日

 

无法观看？前往优酷

Needleman is a Beijing-based tattoo shop started by two friends, Man and Xing. Man tattoos, and Xing designs calligraphy. As collaborators, they both have a common appreciation not just for the art of tattooing, but for all traditional arts and painting.

满针人是由满涛和星这两位好友共同创立于北京的文身工作室。满是文身师，星负责字体设计。作为合伙人，他们除了喜欢文身艺术之外也都对传统艺术和绘画十分热爱。

A former ice carver from the northern city of Harbin, Man later moved to Beijing to attend the China Central Academy of Fine Arts. It was there that he met Xing, who studied Chinese calligraphy and traditional Chinese painting. Last year, Man and Xing co-founded the Needleman tattoo workshop which combines both aspects of their talents into one concept.

来自北方城市哈尔滨的前冰雕师满涛，在移居北京就读中央美术学院时认识了星， 星主攻书法和传统国画。去年，满涛和星将各自所长融合成为一个概念，共同创建了满针人文身工作室。

“China has a lot of really great folk art and traditional arts – for example, Shaanxi leather-cut designs and papercut art,” Man explains, “a lot of that actually already resembles the Western old-school style of tattooing. We want to use tattoo art to translate some of these traditional concepts into modern ideas that young people can also appreciate.”

“中国有许多优秀的民间艺术和传统艺术——比如陕西的皮影和剪纸艺术” 满涛说，“许多东西其实都和西方old-school的文身风格很像。我们希望通过文身艺术将这些将被遗忘的传统概念转化成能被当代年轻人接受的现代东西。”

“As a calligrapher, it’s important to design characters for tattoos which look good on all the contours of the body,” Xing says,” but they also need to be quite refined and sophisticated based on Chinese calligraphy traditions.”

“作为一名书法家，对我来说设计文身字体最重要的是如何让它能在人体的线条上最好地呈现出来” 星说，“但还是要基于传统书法的水准去完善和细化。”

Their combined approach can spark interesting ideas in China, where there are many tattoo stereotypes and clichés. Needleman’s tattooing style is actually much more adaptable and fluid, often taking inspiration from old-school, Japanese, traditional, and new modern styles.

在中国，有太多关于文身的刻板印象和陈词滥调，而他们这种融合的模式在这样一个环境下是个相当有趣的亮点。满针人的文身从old-school、日式、传统和新摩登风格中摄取灵感，他们的风格也更容易被人接受得多。

Outside of the tattoo workshop, they also illustrate books, paint larger works, and make art prints. “We complement each other as artists,” says Man. Their classical training as fine artists is evident in the illustrative quality of their tattoo work.

除了文身，他们也创作图书插画、大型绘画及艺术版画。满涛说: “从艺术角度上来说，我们正好互补。”二位接受过的正统纯艺术学习，在他们的文身作品绘制中展露无余。

Weibo: @满针人
WeChat: needle-man

 

Contributor, Videographer & Photographer: Jia Li

微博: @满针人
微信: needle-man

 

供稿人、视频与照片摄影师：Jia Li

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The Street Art of Katun

November 19, 2015 2015年11月19日

Katun is a Malaysian illustrator and graffiti artist. The name Katun comes from his love of drawing and reinterpreting cartoon characters, a passion that he has had ever since he was a kid. He often uses brighter tones and colors to bring more life into his street art. He is also part of a graffiti crew, which includes PHBKLK from Kuala Lumpur, ZNC and PB from Singapore, and DPT and BAMC from Los Angeles.

Katun merupakan seorang pelukis dan artis graffiti. Nama Katun berasal daripada minat beliau dalam melukis dan menginterpretasi watak-watak kartun, minat yang beliau pupuk ketika membesar sebagai seorang kanak-kanak. Beliau kerap menggunakan tona dan warna yang lebih terang untuk menjadikan seni jalanan beliau kelihatan lebih nyata. Beliau juga merupakan sebahagian daripada kru graffiti, yang termasuk PHBKLK dari Kuala Lumpur, ZNC dan PB dari Singapura, dan DPT dan BAMC dari Los Angeles.

Among the many characters you may find in the work of Katun, it’s not surprising that his favorite is the monkey. Its flexibility, agile movements and quick reflexes are all attributes that he admires and closely associates with. This is also how Katun creates his own artwork: fast, agile, and with the flexibility to explore new creative ideas. Like most artists, he believes that each of his pieces represents a part of himself.

Antara watak-watak yang anda akan dapati daripada hasil karya Katun, ia tidak mengejutkan bahawa kegemaran beliau ialah si monyet. Kelincahannya, pergerakan yang tangkas dan reflex yang pantas merupakan ciri-ciri yang beliau kagumi dan sentiasa kaitkan. Inilah caranya Katun mencipta karya seni beliau sendiri: pantas, tangkas dan dengan kelincahan untuk mempelopori idea kreatif yang baharu. Seperti kebanyakan artis, beliau percaya bahawa setiap karya beliau mewakili sebahagian daripada diri beliau.

In high school, Katun fell in love with street art and the energy that street artists bring to their work. Fortunately, he had a friend who introduced him to the street art world, which he quickly dove into and tried to learn as much as he could about it. Starting with graffiti and investigating further into other styles of street art, Katun loved the adrenaline rush that street art gave him.

Ketika zaman sekolah menengah, Katun mula berminat terhadap seni jalanan dan tenaga yang dibawa oleh artis jalanan kepada kerja mereka. Beliau bernasib baik kerana mempunyai seorang rakan yang memperkenalkan beliau ke dunia seni jalanan, yang mana beliau dengan cepatnya melibatkan diri dan cuba mempelajari sebanyak mana yang mungkin mengenainya. Bermula dengan graffiti dan menyiasat dengan lebih lanjut ke dalam gaya-gaya seni jalanan yang lain, Katun menggemari perasaan adrenalin yang dibawa oleh seni jalanan.

Every week, Katun took to the streets to practice his artwork. To get the forms and details right, Katun typically sketched out on paper three to four pieces every day. This was a form of discipline that Katun imposed on himself so that he was able to produce work, even if he didn’t have any reference materials. Labeling himself as an “art geek”, Katun believes that only the most dedicated students gain the skills needed to produce high-quality work. He draws inspiration from his friends, who are also talented artists that he admires and often learns new techniques from.

Setiap minggu, Katun turun ke jalanan untuk mempraktikkan karya seni beliau. Untuk memastikan bahawa bentuk dan butir-butirnya tepat, Katun biasanya melakar tiga atau empat helai kertas setiap hari. Ini merupakan bentuk disiplin yang dikenakan oleh Katun kepada dirinya supaya beliau dapat menghasilkan kerja, walaupun beliau tidak mempunyai sebarang bahan rujukan. Melabel dirinya sebagai “nerda seni”, Katun percaya bahawa hanya pelajar yang paling berdedikasi mendapat kemahiran yang diperlukan untuk menghasilkan kerja yang berkualiti tinggi. Beliau mendapat inspirasi daripada rakan-rakan beliau, yang juga merupakan artis berbakat yang beliau kagumi dan pelajari teknik-teknik yang baharu.

Katun is a frequent collaborator with graffiti artists from all over the world. He also loves to travel. He believes “that this is how we get connected, and are able to share our thoughts and the history of our country”. From his collaborations, Katun has made many friends whom he has been able to share the creative process with. He has been able to take on new perspectives on art, which has helped him evolve as an artist.

Katun selalu bekerjasama dengan artis-artis graffiti dari seluruh dunia. Beliau juga gemar mengembara. Beliau percaya “bahawa inilah caranya kami bersambung, dan dapat berkongsi pandangan kami dan sejarah negara kami”. Menerusi kerjasama beliau, Katun telah menjalinkan persahabatan dengan ramai artis yang berkongsi proses kreatif bersama beliau. Beliau telah mempelopori perspektif yang baharu dalam kesenian, yang telah membantu beliau berevolusi sebagai seorang artis.

As a Malaysian graffiti artist, Katun sees the creative environment around him improving a lot. “These days, things are getting better. The government and public have started to accept this kind of art. They look forward to events where they can see and experience it. Interest in street art and graffiti is growing among all the young kids, and in my opinion, we just need more structure and support. There are so many amazing street artists in Malaysia, but what they need is a supportive environment to bring them to the next level.”

Sebagai seorang artis graffiti Malaysia, Katun melihat persekitaran kreatif di sekeliling beliau bertambah baik. “Sekarang ini, semuanya bertambah baik. Kerajaan dan orang ramai telah mula menerima seni seperti ini. Mereka sentiasa menghadiri acara di mana mereka boleh melihat dan mengalaminya. Minat dalam seni jalanan dan graffiti sedang berkembang di kalangan semua kanak-kanak, dan pada pendapat saya, kami cuma memerlukan lebih banyak struktur dan sokongan. Terdapat ramai artis jalanan yang hebat di Malaysia, tetapi apa yang mereka perlukan ialah persekitaran yang menyokong supaya dapat membawa mereka ke peringkat yang seterusnya.”

Katun’s skill and unique style have not gone unnoticed by commercial brands that have recruited him for numerous collaborations. He always looks for partners that trust him to follow his creative instincts, allowing him to experiment and focus on what he is most passionate about. Katun’s collaborations include prints released at galleries, clothing, and more recently, a new project featuring his artwork on watches. Next year, Katun is hoping to continue working on large-scale murals.

Kemahiran dan gaya Katun yang unik dilihat oleh jenama-jenama komersial yang telah merekrut beliau untuk pelbagai kerjasama. Beliau sentiasa mencari rakan yang percaya kepada beliau untuk mengikuti naluri kreatif beliau, membenarkan beliau untuk mengeksperimen dan memfokus kepada apa yang beliau paling minat. Kerjasama Katun termasuklah cetakan yang diterbitkan di galeri, pakaian, dan yang terkini, projek yang memaparkan karya seni beliau pada jam tangan. Tahun depan, Katun berharap dapat terus menghasilkan mural-mural berskala besar.

Behance: ~katun
Instagram: @katun_

 

Contributor: Banny Wang

Behance: ~katun
Instagram: @katun_

 

Penyumbang: Banny Wang

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Noodle Rack

November 18, 2015 2015年11月18日

Noodle soup is a common street food that is all over China. While most noodle joints spend a tremendous amount of effort to win over customers with the taste of their noodle soup, some have also started to incorporate attractive and modern store designs in their marketing strategy. One good example is Longxiaobao, a newcomer who recently set foot in Changsha with the ambition to spread their local Shaoyang-style rice noodles to the rest of China. Commissioned to come up with a contemporary identity and design for Noodle Rack, incidentally also their first restaurant client, Lukstudio integrates the tradition of noodle-making in the spatial design of the store’s interiors by reinterpreting the noodle rack.

面条是中国随处可见的街头小吃。大部分面馆都仅在口味上费尽工夫以赢得客户，然而另一些品牌却已将优质的店铺设计视为不可或缺的成功秘方，隆小宝就是其中之一。这个新团队在长沙小试牛刀，力图把钻研多时的地道邵阳米粉推广到中国各地。芝作室受邀为其打造品牌创始店，为了将传统制面工艺引入到空间设计中，用现代语汇重新诠释了“晾面架”这一元素。

Nestled along an outdoor shopping promenade near the Xiangjiang River, the compact noodle joint exudes a calm yet mysterious presence with a bamboo-cast concrete storefront. Two rustic steel boxes penetrate through the solemn exterior: the taller one is cladded with rusted steel panels, while its shorter neighbour is constructed like a metal scaffold. These three elements together are visually orchestrated to suggest a journey of discovery.

湘江畔的购物大道上，这间小巧的面馆有一个宁静而引人入胜的店面。竹子倒模浇筑的混凝土外立面上，两个相映成趣的钢盒子穿墙而出：左边略高的一个看起来比较冷静封闭，右边的有脚手架一样繁复的面孔。三个元素并置在一起，为食客揭开入店探索的旅程。

Walking through the entrance, a customer is greeted by a well-composed counter design lined with a bamboo mold used for casting the exteriors. As one proceeds towards the halo surrounding the grid structure, the interior layers start revealing themselves. Firstly, the original wall is stripped down to its structural blocks to resonate with the rustic metal grid. Secondly, wooden boxes are carefully placed within the rack to showcase selected porcelains. Finally, a series of metal wires are draped across the dining room to create a dramatic lighting feature with hanging bulbs. Balanced with the rustic interiors, these reflective strands create a poetic notion of dining under a noodle rack.

从左侧盒子进入店内，首先来到一个简约内敛的空间：前台嵌缀着曾用于浇筑混凝土的竹模，与外立面相呼应，水泥素墙衬托着由橡木盒子和点单屏幕组成的背景墙。转身步入用餐区，围绕着铁架子的光晕将空间的丰富层次展开：墙体原本的砖块与水泥结构得以露出，与铁架子共同营造粗矿的背景；层层叠叠的铁架子中，精心布置的木盒子展示着光洁的瓷器；一束束细密的钢丝‘面条’优雅地垂挂着，微微映着灯泡的暖光，成为整个空间的亮点。每一处的细微用心都是为了引起客人在晾面架下进餐的诗意联想。

Playing with the duality between rustic and refined, eastern tradition and western representation, Lukstudio introduces a crossover between a fast food chain and an upscale diner. Noodle Rack differentiates itself from the stigma of a kitsch fast food “hole in the wall” on every street of China. It demonstrates just how Chinese eateries can also have the potential to be reborn into hip gathering spots not unlike the ubiquitous café.

粗糙质朴和细腻精致，东方传统和现代诠释，芝作室通过这样的融合让店铺成为连锁快餐和高档餐厅的混合体。这个项目改变大众对平常面馆环境简陋低劣的偏见，展示传统中式美食店也有潜质成为像咖啡厅一样令人流连忘返的场所。

Website: lukstudiodesign.com

 

Contributor: Leon Yan
Photos Courtesy of LOTAN Architectural Photography

网站: lukstudiodesign.com

 

供稿人: Leon Yan
图片由洛唐建筑摄影提供

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