The Lives of Young Buddhist Monks

March 6, 2017 2017年3月6日

Ottmar Wu is a photographer from Shanghai, China. His most recent photo series documents the lives of young Buddhist monks at the Geerdi Temple in the town of Langmusi. Below, he shares with us the story of his journey.


吴煜是一名来自上海的摄影师。最近他拍了一辑照片,记录了郎木寺镇小喇嘛们的生活。下面的文章中,吴煜和我们分享了他这次旅程的点滴。

“In the town of Langmusi in Sichuan Province, there are two temples that sit on the two sides of the Bailong River: the Geerdi Temple and the Langmu Temple. Most people are more familiar with the latter, but the Geerdi Temple’s lack of fame can be viewed as a blessing in disguise, as it maintains the purity of the temple.”


“格尔底寺和郎木寺同在郎木寺镇,一个在白龙江南,一个在白龙江北。虽然大家似乎都只对后者更为熟悉。不过有时候不出名反而是件好事,正是这样,格尔底寺保留了它原有的那份纯净。”

“I stood on the north side of river, looking over at the Geerdi Temple and seeing mountain patterns that resemble the Danxia rainbow-colored landforms in their majestic stillness. At the break of dawn, the sunrise paints the mountains red as the Bailong River flows below. The mystical landscape has given birth to many legends.”


“我站在河的北岸,看着对岸的格尔底寺和山脉。 山的纹理是像彩虹线条般的丹霞地貌,既庄严又平静。日出的时候,山体发红,白龙江从下流过。这样神秘的地方流传了很多传说。”

“At first glance, the surroundings of the Geerdi Temple aren’t as stunning as the Danxia landforms, but the blooming flowers of the summer was a beautiful sight. It was in this atmosphere where I encountered the young monks of the temple. Their childhood innocence was something that echoed my own youth, although lacking the experience of living in these unperturbed natural surroundings. The purity of these young monks had nothing to do with religion, self-interest, or rural naiveté, but expressed the very essence of childhood.”


“初看之下,格尔底寺周围的环境没有丹霞地貌的瑰丽,但当夏日来临,鲜花盛开,也是一道很美的风景。就是在这样的环境中,我看到了格尔底寺里年轻的喇嘛们最可爱的一面。他们纯真的生活让我想起了我的童年,虽然我没有在这样原始自然的环境中生活过。他们浑然不自觉的天真,与信仰无关,与利益无挂,与落后无关,只关乎童年。”

“Their lives are full of texture. It’s more than just hiking in the mountains or wrestling with each other. When they see strangers, they might laugh or shy behind a doorway. They’ll feel uncomfortable or anxious about the unfamiliar. The smile in the photo above captured the surprise of encountering a stranger with a camera. In the next photo, I didn’t dare walk any closer, fearing that I would further disturb this young monk. They would play games in the water; on the shores of the creek, they would gather around to chat; they left their footprints in the grass and their kites flapped around in the sky.”


“他们的生活其实很丰富,远不只是在大山里奔跑和打闹。看到陌生人的时候,会害羞地躲在门后笑。面对陌生人会有点不自在或紧张。上面这张照片里笑容就是捕捉到了他看到陌生人拿着相机时惊讶的表情。而拍摄下面这张照片的时候,我不敢走得太近,生怕打扰到这位忧郁的少年。溪里,他们淌水游戏;溪畔,他们席地开言;草坪上有脚印,天上有风筝。”

“Having to study is a nightmare for many youth, but these young monks are content within the confines of the temple, with the monastery walls etched into the landscape. Classes and religious studies are an indispensable part of their lives. Outside of the temple, devotees are sewing fabrics. Inside of the temple, there are no spectacles or fireworks, and believers are solemn in their unwavering faith.”


“学习是大多数人童年绕不开的”噩梦”,而这些小喇嘛们对于待在寺里的日子倒也是乐在其中。宗教与普通教育都是他们生活的一部分,缺一不可。格尔底寺外,信徒们正在缝制布帘。寺内尽管没有烟火,但虔诚的信徒们打造出的肃穆景象也毫不逊色。”

“As parts of the old Geerdi Temple decay, new temple buildings are erected at the foot of the mountains. The temple builds itself out of its natural surroundings; its pine roofs providing shelter and warmth to aspirants. The extravagance of the temple architecture feels much more luxurious than the destitute living quarters of these young monks.”


“因为老格尔底寺有些地方已经年久失修,人们正在山脚下搭建新的寺院。这种居所就地取材,以松木板为顶,可以做到很好的保暖降温作用。比起孩子们的简陋的居所,寺庙的修建看起来明显豪华很多。”

“The charms of the Tibetan culture and landscape are enticing to all photographers and seem like an inexhaustible well of source material. But most of these photographs highlight the ritual or ceremonial aspects of the culture. We explore a foreign culture with curiosity, but does that mean we have nothing in common? The lives of these young monks are the same as those of any other child – full of color and vibrance. They have fun, and also experience sadness. What cannot be ignored is the contrast between the beauty of the natural landscape, and the destitute conditions of the people living there.”


“藏区的文化和风景对每个摄影师来说,都是取之不尽用之不竭的拍摄题材。但大多数摄影师在拍照的时候,都会把重心放在呈现当地的宗教仪式感上。我们对这种不熟悉的文化感到好奇,但,是否我们就没有共通之处?这些小喇嘛的生活其实就和其他孩子的生活一样,多姿多彩,有开心的时候,也有难过的时候。不可忽视的是,这里优美的自然环境和当地人落后的生活,仍呈现着鲜明的对比。”

VSCOottmarwu
Instagram: @ottmarwu

 

Contributor: George Zhi Zhao


VSCOottmarwu
Instagram: @ottmarwu

 

供稿人: George Zhi Zhao

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The Natural & the Digital

March 3, 2017 2017年3月3日
Magician (2011)

Hsu Tung Han is a Taiwanese artist who creates spectacular pixelated wooden sculptures of the human form. Using walnut wood, teak, and African padauk as raw materials, Han’s work seamlessly blends together the natural and the digital, redefining the timeless art of sculpture in the technological age.


台湾艺术家韩旭东创作了一系列令人赞叹的像素化人形木雕塑。他以胡桃木、柚木和非洲蜡木为原材创作的雕塑作品将自然元素和数字元素完美结合,重新定义了科技时代中的雕塑艺术。

Magician (2011)
Magician (2011)
Magician (2011)

Each sculpture begins with conceptualization, sketching its multiple layers and components, and is then modeled in Photoshop before the actual woodworking process begins. Han says, “Sometimes I’ll work on a piece for a long time. Maybe I’ll be stuck at a critical point for weeks. I’ll feel exhausted and my perception isn’t as sharp as usual. I’ll know there’s a problem, but I can’t pin it down. To stop for the moment is the best choice. If I can’t stop, then I have to think of another way to move forward.”


在开始一个雕塑创作之前,先要做概念设计,绘制出各个层次和零部件的草图,接着在Photoshop中建模,之后才进入正式的雕塑步骤。韩旭东解释道,“我经常会在同一件作品上停留很久,有时候卡在一个点上纠结几个星期。当体力耗尽的时候,创作的灵敏度也会下降。我知道这里面有问题,却抓不出来。这时候,让自己停下来休息一阵子,才是最好的解决办法。如果无法停下来的话,就得换个思路去思考。“

Alchemy (2013)
Qing Dynasty (2014)
Youth (2011)

After the sculpture begins to take form, Han will engage in meticulous revisions, with the entire process often taking months to complete. He says, “It helps to photograph the sculptures. In the photograph, I can see the problems clearly. Another method is to look at the reflection of the work in the mirror. If the image in the mirror works, then the actual piece itself won’t be far off from completion.”


当雕塑大致的轮廓完成之后,韩旭东会开始修改细节,整个创作过程往往需要花费几个月的时间。他说:“我的方法是将作品拍下来,在照片里挑毛病,再做修改。另一个方法就是从镜子里看作品,那是被翻转的影像,如果镜子里的影像合理了,那么作品就不会差太多。”

Portrait No. 1 (2011)
Portrait No. 2 (2013)
Dissolve (2012)
Autumn Wave (2013)
Autumn Wave (2013)

Websiteblog.xuite.net/hsutunghan6
Facebook: ~/wood7man

 

Contributor: George Zhi Zhao
Images Courtesy of Hsu Tung Han


网站blog.xuite.net/hsutunghan6
Facebook: ~/wood7man

 

供稿人: George Zhi Zhao
图片由韩旭东提供

Energy Transmutation

March 2, 2017 2017年3月2日

Keith Lam is a Hong Kong-based new media artist, co-founder of new media creative team Dimension+, and one of the minds behind common room & co, a multifunctional space consisting of an exhibition room, a café, an independent bookstore and a co-working area. The reason for establishing common room & co was that he hoped to help preserve Hong Kong’s Sham Shui Po area while also providing a communal space for local creatives to exchange ideas and exhibit their work. Recently, we dropped by the space to chat with Keith about the ins and outs of being a new media artist.


Keith Lam(林欣傑)是居住在香港的新媒体艺术家,也是新媒体创作团队Dimension+及文创空间common room & co. 的创始人之一。 common room & co.是一个结合了展览场地、咖啡店、独立书店及自造者工作坊的复合空间,Keith希望通过打造这个场地,在保留深水埗社区多样性的同时,也给本地的创造者们提供一个交流区域和展示平台。最近我们来到common room & co,和Keith见面聊了聊关于新媒体艺术的二三事。

Thinking back on how he first started working with new media art, Keith recalls that he’s been interested in art since middle school. However, after receiving stellar examination results in accounting, he found himself majoring in information systems. Serendipitously, a friend introduced him to new media art during his second year of university when he was on an exchange program in the United States. It was then that Keith discovered his chosen field of study could be assimilated with his love of art. After graduating, Keith was invited by the same friend to the City University of Hong Kong and worked as a research assistant to a professor of new media art. The decision to pursue this opportunity brought him closer to his dreams. Now, Keith has fully devoted himself to the world of art.


关于如何踏足新媒体艺术这个领域,Keith告诉我们一个小故事。从中学开始他就喜欢艺术科目,然而高考却因为会计科成绩太好而误打误撞进入信息系统专业。 而真正敲开新媒体艺术大门要归功于他的一位好朋友,他们在大二一起去美国交换的时候认识,在那期间朋友带他接触到许多有关新媒体艺术的东西,这让Keith开心地发现他在读的信息系统竟然可以和他中学热爱的艺术产生交集。毕业后,Keith受这位朋友推荐去了香港城市大学做新媒体艺术教授的研究助理,这也让他离这个领域更近一步,之后便一心投入了进去。

Explaining what a new media artist does exactly isn’t easy, Keith admits. When people ask him about his work, he instead describes the theme of “energy transmutation” that he often explores. To put it simply, it’s when one medium is transformed into an another, such as reinterpreting sound into a visual format. Then, in the conversion process, he imbues new meanings into the original work. Below, we take a look at three of his past interactive installations to better understand Keith’s process of “energy transmutation.”


说起新媒体艺术,Keith坦言要向人解释自己是做什么的,的确不是容易的事。如果真要解释的话,更愿意告诉别人他的作品中经常出现的概念就是 “能量转换” 。简单来说,就是将一种媒介转化为另一种媒介,例如声音变成画面等等。在转化的过程中为原来的媒介赋予新的理念。如果你还是觉得抽象,不如和我们一起走近Keith过往的三件交互作品,来看看到底什么是新媒体艺术中的“能量转换”。

Straw in the Wind

Straw in the Wind is an installation that debuted at Hong Kong’s Taiwan Redesign event. The installation is inspired by wind, specifically wind that flows from the Taiwanese city of Taitung to Hong Kong. Keith and his team collected meteorology data from select locations in Taitung, which they then used to manipulate the movement of the straws on display in Hong Kong. By using the faraway and unseen winds of Taitung to create visible movement in Hong Kong, they echoed the mission of Taiwan Redesign, which was to introduce the beauties of Taiwan to Hong Kong.


《稻浪随风》

《稻浪随风》装置是香港台湾月活动的作品之一,以台东的风吹向香港的概念呈现。也就是说,Keith和他的团队在台东选了几个地方,收录当地风向与风速的数据,再透过网络传输到香港,利用这些数据来移动香港展场的稻草,仿佛把台东的风带来香港。在这个作品中,来自台东无形的风被转换成了香港展场可视的稻草移动,这也呼应了台湾月的活动主题,将台湾的美好传递到香港。

Landscape of Cloud

Landscape of Cloud is inspired by our modern-day online cloud storage services. The installation allows visitors to place any object they desire onto the projectors, which then analyzes the object’s colors through built-in sensors. By turning the handle next to the machine, the analyzed objects project colors up into the floating cloud. Keith describes this process as “uploading,” explaining that when we upload photos onto Facebook or Instagram, we’re projecting our personal condition online – it may appear beautiful but is completely imaginary.


《云图景象》

这件作品的意念源自现在盛行的云端科技。观众可以把任意物件放置在投影机的面板上,随后感应器会分析该物件的颜色,观众通过搅动机器旁的手把,就会把颜色投射到投影机上方漂浮的云形装置,改变云的颜色。Keith形容这个过程为”上载”,他解释道,这原理就如我们平时上载相片到脸书或者Instagram一样,是在投射我们的个人状态上云端,这个看似美丽梦幻的世界,也是一个虚拟世界。

One Day Social Sculpture

In order to create this installation, Keith collected data from various online forums and comment sections, which he then fed into an electronic cutting machine that used the information to create a tangible object out of formless digitized data. Originally, Keith had just intended to create a series of sculptures, but he realized that these sculptures accurately presented the state of today’s society as a whole. A look at a sculpture made with data from Hong Kong’s House News website revealed when discussions intensified according to societal affairs at the time


《One Day Social Sculpture》

制作这个作品时,Keith收集了几个社交网页上的访问及留言互动数据,再将数据传输到电子切割机,将其转化为一件实体雕塑,这个过程把无形的数据变化成可视的物体,甚至是一件艺术品。Keith和我们分享说起初只是想做一系列雕塑出来,而没想到在这些雕塑身上却意外地看到了整个社会的状态,这十分有趣。比如说其中一个雕塑的数据来自“主场新闻”的网页,你从雕塑的形态上就可以一眼看出什么时段网民有密集地讨论,再结合当下的时事,这变成了一件能反映出社会讨论氛围的雕塑作品。

Website:
keithlyk.net
dimensionplus.co

Instagram@keithlyk

 

Contributor: Ye Zi
Images Courtesy of Keith Lam


网站:
keithlyk.net
dimensionplus.co

Instagram@keithlyk

 

供稿人: Ye Zi
图片由林欣傑提供

Forest of Numbers

March 1, 2017 2017年3月1日

 

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Forest of Numbers is the brainchild of Tokyo-based architect and artist, Emannuelle Moureaux. Her largest installation to date was created to celebrate the 10th anniversary of Tokyo’s National Art Center (NACT), spanning 2000 square meters and utilising “100 colours”. This is the first time that the National Art Center has used the White Cube exhibition room without any partition walls.


《数字森林》是东京建筑师和艺术家Emannuelle Moureaux迄今为止最大型的艺术装置作品,是她为庆祝东京国家艺术中心(NACT)成立十周年而专门创作的。这个大型艺术装置占地2000平方米,一共使用了100种颜色。这是东京国家艺术中心的White Cube展厅首次在举办展览时没有设立任何隔墙。

The installation itself symbolises the next 10 years for NACT – the decade spanning between 2017 to 2026. More than 60,000 number figures ranging from zero to nine were aligned within a 3-D grid and suspended from above. A pathway was been purposefully created, cutting through the installation and allowing visitors to take a walk through the cascade of numerals.


装置本身象征着NACT的未来10年,即2017年到2026年之间的10年。超过60000件从0到9的数字构件悬浮在三维网格中。装置中间特意设置了一条供穿越的路径,以供参观者在这巨大的《数字森林》之中漫步。

As part of Moureaux’s 100 colors installation series, Forest of Numbers utilises 100 shades of colours across 10 layers of numbers. The walls that encapsulate the installation space feature a compilation of exhibition posters to commemorate the last 10 years, which are contrasted with white number cut outs on the opposite wall to symbolise the next 10 years to come.


作为Moureaux的“100色”系列艺术装置的一部分,《数字森林》在构建10层数字的时候共使用了100层颜色。装置所在的展览室的一面墙上展示着过去十年NACT的展览的海报,对面的墙上则展示着预示未来十年的白色数字。

Forest of Numbers was a true labour of love, created as a colourful celebration of the National Art Center’s anniversary and brought to life with the help of 300 volunteers. Moureaux’s playful installation creates joy from paper and thread, attracting over 20,000 visitors within the first ten days of its NATC debut.


色彩缤纷的《数字森林》是一个充满爱的作品——它是为庆祝东京国家艺术中心成立10 周年而诞生的,凝聚了300名参与制作的志愿者的努力。Moureaux用纸和线所创作的这个充满玩趣和快乐的艺术装置,在NATC首次亮相的前10天里就吸引了超过2万名观众。

Website: emmanuellemoureaux.com

 

Contributor: Whitney Ng
Video and Images Courtesy of Emmaneulle Moureaux


网站emmanuellemoureaux.com

 

供稿人: Whitney Ng
视频与图片由Emmanuelle Moureaux提供