Reclaim: Jakarta

June 30, 2017 2017年6月30日

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Reclaim: Jakarta is the latest initiative from global arts collective Micro Galleries in response to the May 24th terrorist attacks in East Jakarta. Partnering with local Indonesian artists Media Legal, Nur, Robowobo, Dan Wacky, and Aryo Dewa Bharata, Micro Galleries created eight large-scale artworks near the bomb site to spread the message that Jakarta stands united against acts of terrorism and reclaim Jakarta as a city of peace, hope, and resilience.

《Reclaim: Jakarta》是全球艺术组织Micro Galleries为悼念雅加达东部5月24日的恐怖袭击事件所发起的最新项目。Micro Galleries与印度尼西亚本地艺术家Media Legal、Nur、Robowobo、Dan Wacky和Aryo Dewa Bharata合作，在爆炸发生的地点附近创建了八件大型艺术品，以重新宣示雅加达作为一座充满和平、希望和活力的城市，并传达出一条信息：雅加达人们团结一致，坚决反对恐怖主义行为。

According to Micro Galleries’ global art director Kat Roma Greer, “We have been working closely with the Indonesian art community in Jakarta for a while now, and we could see how devastated they were that another terrorist attack had happened in their city, so we asked them how we could help.” Calling on the support of the international art community, a global crowdfunding campaign raised enough funds within twelve hours to commission the artists and pay for their materials. Greer says, “We were overwhelmed by the financial support we received so quickly, but we knew our international community would pull together to help our Indonesian artist friends show the world that Jakarta and its people will not be ruled by fear or extremism.”

Micro Galleries的全球艺术总监吉姆·罗伯·格里尔（Kat Roma Greer）表示：“我们和雅加达当地艺术界密切合作了一段时间，可以看得出，再一次发生恐怖袭击事件对他们影响很大，所以我们问他们有什么能帮忙的。“他们举办了一场全球性的众筹活动，呼吁国际艺术界的支持，并在十二小时内筹集了足够的资金，用以支付艺术家和购买他们的创作原料。格里尔说：“这么短的时间就能获得如此多的经济支持，这一点让我们很受触动。但我们一直相信，全球的艺术界一定会齐心协力，帮助印度尼西亚的艺术家向世人展示，雅加达和这座城市的人们是不会屈服于恐惧或极端主义的。”

无法观看？前往优酷

Micro Galleries is a global arts initiative that reclaims disused and forgotten public spaces and reactivates them as open-air galleries that are free and accessible to the local community. The initiative began in 2013 with two events in Hong Kong, and has since held numerous events in Australia, South Africa, Austria, Bali, and Indonesia. Later in 2017, they will continue their work in Indonesia with Micro Galleries Jakarta, a two-week festival that will will bring together local and international artists to the streets and alleyways of the city from October 6th to October 21st.

作为一个全球性的艺术组织，Micro Galleries 致力于回收利用被废弃和被遗忘的公共空间，将其重新改造为露天画廊，让当地社区的人们免费参观。该组织于2013年开始，先是在香港举办了两次活动，之后，陆续在澳大利亚、南非、奥地利、巴厘岛和印度尼西亚分别举办了多次的艺术活动。在印度尼西亚，他们将继续与Micro Galleries Jakarta合作，举办一个为期两周的艺术节，在2017年10月6日至21日期间，召集来自本地和其它国家的艺术，在雅加达的街头和巷道中展现他们的艺术作品。

Website: microgalleries.org
Facebook: ~/microgalleries

Contributor: George Zhi Zhao
Images & Video Courtesy of Micro Galleries

网站: microgalleries.org
脸书: ~/microgalleries

供稿人: George Zhi Zhao
图片由Micro Galleries提供

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20 Questions with Leungmo

June 29, 2017 2017年6月29日

Leungmo is a Hong Kong-based photographer and art director whose works can be characterized by the use of bold, contrasting colors and playful props – this stems from her ongoing fascination with vintage toys. Many of the dolls and props that appear in her photos are actually even listed for sale on littlebuttkid, her online store. Leungmo’s interest with cute toys can be traced back to her childhood when she received her first camera – a Hello Kitty film camera that her parents gifted her. But, at the time, Leungmo only wore it around her neck as an accessory. Her true initiation into the world of photography began in middle school. Inspired by the phrase “Don’t think, just shoot,” she began taking photos of anything and everything. Shower heads, windows, roads, and rocks – nothing was off limits for Leungmo as she developed into the talented photographer that she is today. We recently caught up with Leungmo and tried to catch her off guard with a rapid-fire round of twenty questions. Check out the interview below.

Leungmo是来自香港的女性摄影师及艺术指导。在她的作品中你常能见到大胆的色彩碰撞及童趣的场景。摄影之外，颇具童心的Leungmo还情迷于收藏旧玩具。这些玩偶不仅出现在她的相片中，现在也在她的玩具商店littebuttkid中出售。说起和摄影的关系，Leungmo的第一部相机是一部Hello Kitty的胶片机，那是小时候父母送她的礼物，只不过那时候的她只懂得把玩具相机挂在脖子上作装饰。真正开始拍照源于中学时代，那时候很流行一句话叫做“Don’t think just shoot”， Leungmo便开始到处乱拍，拍家里的淋浴头、窗、马路和石头等等。下面，一起看看Neocha和Leungmo的20问答，进一步了解这位有趣的摄影师。

Neocha: Do you prefer shooting strangers or people you’re more acquainted with?

Leungmo: Probably strangers. I’m always so curious about other people’s stories. To me, my camera is a tool that helps me bridge the gap between unfamiliar people and myself.

Neocha: Describe your work in three words.

Leungmo: Waaaa… I’m terrified of describing my own work.

Neocha: Describe yourself in three words.

Leungmo: Waaa waaa waaa.

Neocha: 你更喜欢拍摄熟悉的人还是拍摄陌生人？

Leungmo: 陌生人吧，总是很好奇别人的故事，而相机成为我和陌生人接触的桥梁。

Neocha: 用三个词语形容你的照片。

Leungmo: 呜，最怕形容自己和作品。

Neocha: 用三个词语形容你自己。

Leungmo: 呜呜呜。

Neocha: What has been the most satisfying thing about photography for you?

Leungmo: Being able to make a livelihood with something I enjoy.

Neocha: What’s your favorite quote about photography?

Leungmo: “Ruin is a gift, ruin is the road to transformation.”

Neocha: What’s a message you’d want to share with other photography enthusiasts?

Leungmo: If you love it, keep doing it until you hate it or until you die.

Neocha: 有关摄影，你至今最满意的事是？

Leungmo: 兴趣能养活自己。

Neocha: 有关摄影，你最喜欢的东西或一句话是？

Leungmo: “Ruin is a gift, ruin is the road to transformation.”

Neocha: 给其他喜欢拍照的人，你想说的一句话是？

Leungmo: 喜欢的话就一直拍至不喜欢或死。

Neocha: How do you feel about the internet? Is it a good thing or a bad thing?

Leungmo: The internet allows us to easily receive new information, but whenever I eat out with my parents, they’re just staring at their phones. Haha. It’s both good and bad I suppose.

Neocha: Who’s your idol?

Leungmo: Diane Arbus.

Neocha: If you could collaborate with anyone in the future, who would you want it to be?

Leungmo: My boyfriend. He’s a fantastic partner in life and in work. I want to create more with him.

Neocha: 你对互联网的看法，觉得它是好东西还是坏东西？

Leungmo: 互联网的确令我们更方便接受到新资讯，但令到我爸妈每次外出吃饭都只看着电话，哈哈，有好有坏吧。

Neocha: 你的偶像是？

Leungmo: Diane Arbus。

Neocha: 将来可以和一个人合作，你希望是谁？

Leungmo: 男友，他是我生活和工作上的好拍档，将来会和他合作做更多创作。

Neocha: How does living Hong Kong influence your photography?

Leungmo: I have to constantly remind myself to not be drowned by work.

Neocha: What’s your favorite thing about Hong Kong? How about your least favorite?

Leungmo: I like Sham Shui Po. I don’t like Admiralty Station during peak hours.

Neocha: Ten years from now, where do you hope to live?

Leungmo: Hong Kong. Every time I go on vacation, I come back and feel like Hong Kong is still the best. It feels like home.

Neocha: Where do you want to shoot next?

Leungmo: There are actually so many places in Hong Kong that I haven’t been to. I want to wander the streets and find even more interesting locations and stories.

Neocha: 生活在香港对你拍摄的影响是？

Leungmo: 要时常提醒自己不要被工作淹没。

Neocha: 最喜欢和最不喜欢香港的地方是？

Leungmo: 喜欢深水埗，不喜欢下班时间的金钟站。

Neocha: 未来10年，希望自己生活在哪里？

Leungmo: 香港，每次外出回来还是觉得香港最好，有家的感觉。

Neocha: 接下来最想去哪里拍摄？

Leungmo: 其实香港有很多地方没去过，想多在街上游荡，发掘有趣的地方和故事。

Neocha: If you could only choose between digital and film, what do you choose?

Leungmo: Film. There’s just an irreplaceable quality to it.

Neocha: Who do you want to photograph the most?

Leungmo: I want to photograph an exact clone of myself. It’s impossible to see yourself through your own eyes – it’s always in a reflection or a photograph.

Neocha: If you weren’t a photographer, what do you think you’d be doing?

Leungmo: I’d be the manager of a toy store. I love the toy store in the movie Mr. Magorium’s Wonder Emporium.

Neocha: 数码相机和菲林相机，只保留一个你选？

Leungmo: 菲林吧，有种无法取代的质感。

Neocha: 最想拍摄的人是？

Leungmo: 想有另一个自己替自己拍照，因为永远无法用肉眼看见自己，只能透过反射或照片。

Neocha: 如果不做摄影师，你会做的职业是？

Leungmo: 玩具店店长，喜欢电影《Mr. Magorium’s Wonder Emporium》那样的玩具店。

Neocha: What talent do you want to have the most?

Leungmo: I want the translation konjac in Doraemon. When you eat it, you’re instantly able to talk to someone in a foreign language. Doraemon often uses it to talk to dogs, cats, ancient civilizations, and aliens. Besides translating, I can eat it like regular food.

Neocha: What are you most afraid of?

Leungmo: The passing of a relative.

Neocha: What do you consider to be the superficial type of pain?

Leungmo: A cut.

Neocha: What do you feel like the epitome of happiness is?

Leungmo: Loving someone and being loved back.

Neocha: 最希望自己拥有哪种才华？

Leungmo: 想要叮当的翻译蒟蒻，只要吃下之后就能与不同语言者对话无碍，亦可翻译文字。叮当经常用此来和猫、狗、古代人或外星人对话。除了翻译之外也能当作普通的食物来冲充饥。（转自维基）

Neocha: 你最恐惧的是什么？

Leungmo: 亲人离去。

Neocha: 你认为程度最浅的痛苦是什么?

Leungmo: 皮外伤。

Neocha: 你认为最完美的快乐是怎样的？

Leungmo: 同时爱与被爱。

Website: cargocollective.com/leungmo
Facebook: ~/leungmo
Instagram: @leungmo

Contributor: Ye Zi

网站: cargocollective.com/leungmo
脸书: ~/leungmo
Instagram: @leungmo

供稿人: Ye Zi

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FOTAN LAIKI

June 28, 2017 2017年6月28日

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The recently released track “Fotan Laiki” by Hong Kong-based otaku rapper YoungQueenz enlists the help of FOTAN LAIKI, the subject of the song herself. Widely shared upon its release, the highly unorthodox music video makes use of a raw, DIY approach that defies aesthetic expectations for typical music videos. When asked about how this collaboration came about, YoungQueenz tells us, “We performed at Clockfenflap Festival last year, and Laiki asked me if I could hook it up with free tickets because Clockfenflap is pretty damn expensive – she ended up performing on stage.”

近日，YoungQueenz携手FOTAN LAIKI推出全新MV《火炭丽琪》。这支一反常规制作的MV一上线就被疯狂转发，如果你已经对细腻唯美的MV感到厌倦，那你应该会被这支魔性的视频吸引到。关于这次和FOTAN LAIKI的合作，YoungQueenz这样告诉我们：“我在去年的Clockenflap音乐节有演出，没钱的丽琪问我有没有免费门票，Clockenflap的门票真的很贵，最后结果她在台上演出了。”

The music video was directed and edited by YoungQueenz but done under the alias of Ozma. From start to finish, the creation process actually took a few months to complete. “We originally wanted to finish everything in a month, but we wanted more people in the video,” he says. “The people we wanted all had work or school so it was hard to set up a time when everyone was free. That’s why it took so long.” Besides Wildstyle Records’ official photographer and videographer Swing, other members of the Wildstyle crew took turns recording footage with a handheld DV camcorder; The unique look of the video can be partially credited to the deliberate use of dated equipment. From Mong Kok to Central, the music video shows YoungQueenz and his otaku squad mob through a trippy, surreal version of Hong Kong, which YoungQueenz created in post production by replacing skies and the urban backdrop of the city with galaxies, psychedelic color, and even scenes from Japanese anime.

这支MV的导演及后期剪辑是OZMA （其实也就是YoungQueenz本人）。拍摄及制作时间前后历经几个月。“MV原定在一个星期内完成，但由于需要大量人肉布景，在香港这个大家要上班上课，时间难约的社会，前后用了几个月才完成拍摄。”除了与Wildstyle Records的御用摄影师Swing的合作之外，这支MV的大量素材是大家轮流用DV机拍摄的，旧式DV机的画面质感也成就了这支MV的独特风格。影片中，YoungQueenz带着朋友们游走在旺角中环等地，并以他丰富的想象力将香港密集楼宇间的天空背景转换成幻彩天空、银河以及他迷恋的日本动漫，营造出迷幻游荡的氛围，这可花费了他大量的时间在影片的后期制作上。

YoungQueenz shared with us these additional fun facts on the making of the “Fotan Laiki” music video:

1. Some people might think that the security at Art Basel was one of the biggest challenges in making the video. Not the case. Even though they kept trying to stop us, we still kept doing our thing. The hard part was that only two of our friends had Art Basel VIP tickets, so the eight of us had to reuse the tickets to get everyone inside. It felt like one of those river crossing puzzles and we wasted a lot of time.

2. In the music video, there was only one frame that I knew I had to keep because it’s worth 500 HKD. It was when Noly was trying to act hip-hop and count money, but one of the bills flew away when we finished shooting. There are consequences when you try to pretend to be hip-hop.

3. There’s a story about someone putting down a pineapple in a museum. The pineapple drew huge crowds that mistook it for a work of art, commenting and taking pictures with it. When we started shooting the video in Art Basel, a lot of people got rowdy with us, thinking that it was an art performance. But when security showed up, their view quickly went from “I’m interacting with an art performance” to “This is a stupid prank.”

关于《火炭丽琪》，YoungQueenz还向我们透露了以下这些Fun Facts：

1. 大家一定以为在Art Basel的保安是我们最大的阻滞，其实没有，虽然他们一边挡下我们，我们还是一边继续走着唱。反而由于我们只有两张从朋友借的Art Basel VIP 门票，我们一行八个人要流轮人带人走入会场，过程很像智力过河游戏，而且很浪费时间。

2. Mv在剪接时有唯一一个镜头我是一定要有的，因为那一镜价值500港元。那是一个noly 在装嘻哈数钱的镜头，拍完后有一张500元不翼而飞。装嘻哈是有报应的。

3. 听过有人在艺术馆放下菠萝，引来大批群众误认展品而驻足评论及拍照的新闻吗？我们开始拍摄时，Art Basel里面的人会跟着我们一起嗨起来，他们以为这是一场艺术表演。直到保安的出现，他们的眼神由欣赏这场“艺术”，变成厌恶这个“捣乱”。

4. Shout out to YZ, BG8LOCC, and Jay Izaak. They’re actually in the music video. People can try and find them.

5. The Millenium Falcon is also in the video.

6. Fo Tan isn’t just Laiki’s home. It’s also where Wildstyle Records kicked off.

To find out more about Wildstyle Records and YoungQueenz, check out our previous interview here.

4. Shout out to YZ，蛋头和Jay izaak，其实他们在MV?面的，眼睛尖的朋友可以找一下。

5. 千年鹰号也在MV里。

6. 火炭不止是丽琪的家，还是撒野作风Wildstyle Records的发迹地。

想要了解更多，点击这里阅读我们对Wildstyle Records和YoungQueenz的专访。

Soundcloud: ~/youngqueenz
YouTube: ~/WildstyleRec
Facebook: ~/youngqueenz
Instagram: @youngqueenz

Contributor: Ye Zi

Soundcloud: ~/youngqueenz
YouTube: ~/WildstyleRec
脸书: ~/youngqueenz
Instagram: @youngqueenz

供稿人: Ye Zi

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The Snacks of Singapore

June 27, 2017 2017年6月27日

Singaporean cuisine is a culinary melting pot that consists of influences from a variety of Asian ethnicities, including Chinese, Malay, Indonesian, Indian, Peranakan, Thai and Sri Lankan. Multiculturalism has permeated to the very core of Singaporean cuisine and a wide spectrum of dishes can be found throughout the country, from traditional hawker centers to trendy coffee shops. Singaporean illustrator Lee Xi Li cites Singaporean culture as his biggest inspiration, and the young illustrator has created a series of colorful cartoons that showcase many of the country’s favorite snacks.

新加坡是一个融汇了多个亚洲国家饮食文化的美食大熔炉，包括中国、马来、印度尼西亚、印度、峇峇娘惹（Peranakan）、泰国和斯里兰卡等。多元文化主义渗透到这个国家的美食文化中，从传统的美食摊档到咖啡馆，都能找到不同国家的菜肴。新加坡插画师李欣立以新加坡美食文化为灵感，创作了一系列色彩明快的插画作品，展现新加坡最常见的特色小吃。

Lee was inspired to draw after discovering the likes of Herge’s Adventures of Tin Tin, Fujiko Fujio’s Doraemon by, and Guy Delisle’s travel chronicles. His background in architecture also plays a part in his creative process; each illustration is created with a balance of playfulness and artistic precision.

比利时漫画家Herge 的《丁丁历险记》，藤子不二雄的《哆啦A梦》和 Guy Delisle的旅行故事都是当初启发他开始画插画的作品。他曾修读建筑学，这一点对于他的创作也有所影响。他的插图作品充分平衡了娱乐性和艺术性。

Kueh

Kueh can be likened to a type of bite-sized cake that features ingredients such as coconut, pandan leaf, and gula melaka, which are all native to Southeast Asia. “I was fascinated by the plethora of kueh from the various cuisines around Southeast Asia. (Drawing) each piece led to the discovery of kueh I never knew.”

《粿》

“粿”是一种精致的小糕点，一般用椰子、香兰叶和椰糖制成，这些都是东南亚的特色食材。 “东南亚地区有各种不同的’粿’，其品种之多令我着迷。（绘画）每一种‘粿’的过程中，我发现了很多原来不认识的品种。“

Lunar New Year

Traditional snacks play an important role in the Lunar New Year, they’re not only treats made available for visitors but also carefully chosen because of the good luck they represent.

《农历新年》

在农历新年中，传统小吃很重要，它们不仅能用来招待客人，而且寓意着各种好运。

Lo Hei Yusheng

Lee has also illustrated the traditional dish of yusheng, or otherwise known as the “prosperity toss,” which is a prevalent tradition within Southeast Asia. Each component of the salad is coupled with a fortuitous idiom and is usually enjoyed before each meal during the Lunar New Year period.

《捞起魚生》

李欣立还画了东南亚地区的传统“捞鱼生”。这道沙拉美食的每种原材都代表一句祝福语，通常在农历新年就餐前享用。

Mooncakes

While mooncakes may appear similar on the outside, each cake can differ based on regionality. There are a wide variety of textures, ingredients and cooking methods that are used to create these Mid-Autumn Festival treats.

Khanom

Proving that sweet treats in Thailand are more than mango sticky rice and red ruby, Lee drew a wide variety of other khanom, which is a Thai term for snacks and desserts. These delicacies include khanom baa bin, a Thai coconut cake; khanom tuay fu, a steamed muffin; khanom tien, a triangular stuffed dough with filling; and many more.

《月饼》

虽然大部分月饼看上去都差不多，但其实每个地区都有其各具特色的月饼。这种中秋节的特色美食可以有很多不同的口感，配料和制作方法。

《Khanom》

为了证明泰国的甜点不只有芒果糯米饭和“红宝石”，Lee 还创作了一幅 “Khanom” （Khanom即是泰语中甜品小吃的意思）这些美食包括以椰子为原料制成的糕点khanom baa bin、色彩斑斓的泰国蒸米糕khanom tuay fu、类似中国粽子的三角形甜品khanom tien以及更多让你食指大动的泰国小吃。

Dim Sum

Hong Kong-style dim sum is also widely available around Singapore. Lee decided to illustrate some dim sum trolley classics such as the har gao, or shrimp dumplings; char siew bao, otherwise known as barbecue pork buns; and siu maai, which are tiny steamed dumpling. There are also lesser known classics on the illustration, such as beef stomach, duck feet, and taro dumplings.

《点心》

在新加坡也有很多港式点心。李欣立除了画了一些酒楼的经典点心（比如虾饺、叉烧包、烧麦）之外，还画了一些不太热门的点心（比如牛肚、鸭掌、芋饺）。

Beyond illustrating local snacks, Lee also contributes to a variety of local projects that celebrate Singaporean culture.”Growing up in Singapore, I’m most aware of the ever-changing landscape. It was my love for illustration that led me to rediscover my country,” he says. His latest illustration is a movie poster for 667, an anthology of short films by five Singaporean directors who each undergo a journey into their cultural heritage and explain how Singapore became their home.

除了展示当地小吃外，Lee也为各种新加坡文化项目贡献了力量。他说：“在新加坡长大，我感受着这里日新月异的风景。也正是我对插画的热爱让我再一次重新认识这座城市。 ”他的最新插画作品是一部名为《回程667》的电影海报，这部短片是由五位新加坡导演拍摄，并且他们都经历了一次文化遗产之旅以及体会到新加坡如何发展成为他们现在的家。

Website: leexinli.com
Behance: ~/PokPokandAway
Facebook: ~/PokPokAway
Instagram: @xinli29288

Contributor: Whitney Ng

网站: leexinli.com
Behance: ~/PokPokandAway
脸书: ~/PokPokAway
Instagram: @xinli29288

供稿人: Whitney Ng

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Conversation

June 26, 2017 2017年6月26日

Sunkyung Kim and Wonjun Jeong are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.

Sunkyung Kim和 Wonjun Jeong 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation)，将精美的人像投射于飘逸的布料上，映衬暮色的风景背景。在早期的摄影系列《浮动生活》（Floating Life）中，他们第一次尝试创作这种充满液态动感的人像作品，用布料“作为屏幕，展现一系列影像，讲述有关生命和死亡的故事”。

From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.

尽管他们以前的摄影作品探讨了生与死的主题，而这一次在《对话》中，他们只关注前者，深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯（Emmanuel Levinas）的责任观的启发，其中指出，作为人类，对他人的责任是与对自己的责任所不同的，这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征，所完成的肖像告诉我们，“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。

Behance: sailors-studio
Instagram: @zza_sam

Contributor: Whitney Ng

Behance: sailors-studio
Instagram: @zza_sam

供稿人: Whitney Ng

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The Mud Men

June 23, 2017 2017年6月23日

无法观看？前往优酷

Nestled in the heart of Mumbai is Dharavi, the third largest slum in the world. With a staggering population of around a million people living in 550 acres of land, Dharavi is home to hundreds of businesses and small-scale industries. Tucked in the center of it all is Kumbharwada, a massive locality that’s home to over 150 families that, even to this day, make their livelihood through pottery making. Established between 1935 and 1940, this potter community is comprised of residents who migrated from places like Saurashtra and Kutch in western India; some of the families that work here today are the fifth or sixth generation of these migrants.

坐落于孟买中心的达拉维（Dharavi）是世界第三大贫民窟。在这片550英亩的土地上，却密集地居住着约100万人。这里有数百间小企业和各种小型工业。而位于这个贫民窟的中心的Kumbharwada地区，则居住着150多个家庭，直到今日，这些家庭仍然靠制陶来维持生计。这个制陶社区形成于1935年至1940年期间，生活在这里的居民最初都是从印度西部的索拉什（Saurashtra）和卡奇（Kutch）这些地方迁移过来的。今天，在这里工作的家庭已经是这些移民的第5代或第6代。

I made my way through the winding lanes of Kumbharwad one morning, and with each turn I took, the road seemed to get narrower. Amidst the morning sunlight peeking in through thatched roofs, the banter of women conversing outside of their homes, the soapy water flowing around my ankles, the energy of excited kids rushing off to school, and the honking of bicycles coming every which way, I could see potters outside of their houses, diligently working with mud and clay as they worked towards their daily quotas.

穿梭于Kumbharwad曲折的小巷间，每一次转弯，我都感觉前面的小巷又变窄了一些。早晨的阳光穿过茅草屋顶，妇女们在家门外嘻笑聊天，肥皂水泡不时划过我的脚踝处，充满活力的小孩正快步跑向学校，自行车的喇叭声从四面八方传来，而陶工们则在家门外用泥和粘土勤勉地工作着，努力完成每日的工作额。

“I started a little early today, at around seven in the morning, because I want to attend a wedding happening here in the evening,” says Ismail, a potter who lives with his wife and 6-year-old son here. Ismail has been involved in this line of work ever since he was a kid. His father was also a potter but passed away while Ismail was young, leaving the responsibility of maintaining the craft and providing for the family up to him. He tells me that he usually prefers making oil lamps because he thinks he can make more oil lamps in an hour than he would other items.

“我今天开始得早一些，大概早上七点左右就开始工作了，因为我晚上想要参加这里举办的一场婚礼。”陶工Ismail说道。他和妻子以及6岁的儿子就住在这里。Ismail从小就开始干这一行。他的父亲也是陶工，但在Ismail还很年轻的时候就已经去世，留给他的是延续这项工艺和照顾这个家庭的责任。他告诉我，他一般更喜欢做油灯，因为他认为自己在一小时内可以做出的油灯数量比做其它的产品要多。

The process of pottery making in Kumbharwada begins with soil being brought in from the outskirts of Mumbai, which is then mixed and turned into clay. Pots are then molded by hand and left to dry in the sun. Once dried, they’re transferred into a furnace to be baked. Once that’s done, the pots are ready for the markets. It’s a creation cycle that never stops here; every family is focused and equally doing their part to keep the cycle going. “I’ve made all kinds of items in my time here in Kumbharwaada, like oil lamps, flower pots, water pots, dessert cups, and more,” says Jeetu Chitroda, one of the seasoned potters of the community. “This is our daily life. We earn our living here. We’ve been here all our lives. We were kids here at one time, and now, we’re lucky enough to see our own kids playing in the very same alleys that we grew up in.”

在Kumbharwada，制陶行业的第一个环节是从孟买郊区购买泥土，然后通过混合变成制陶用的粘土。通过手工成型后的陶器会被放置在阳光下晾干。一旦干透后，就可以将陶器转入火炉里烧制。这一步完成后，就可以准备将这些陶器拿到市场上去卖。在这里，制陶是一个永无止境的循环过程，每个家庭都致力于这一个过程，尽其所能使这个循环不断运转下去。当地经验丰富的陶艺家之一Jeetu Chitroda说：“在 Kumbharwaada，我制作过各种各样的陶器，像油灯、花盆、水盆、甜点杯等等，这就是我们的日常生活。我们通过这种方式来维持生计。我们一辈子生活在这里。我们也曾经是这里长大的孩子，而现在，很幸运地，我们可以看到自己的小孩在我们长大的小巷里玩耍。”

However, the families here are adapting to the changing times, with some transitioning into a more contemporary lifestyle. Nowadays, it’s normal to see a family here with the father and mother staying in the community to keep the pottery business going while their son leaves in pursuit of a different career. Beyond the preservation of traditions and culture, one of the most interesting aspects of the community is seeing how the population is divided into Hindus and Muslims, all of whom live together in harmony. After observing their lifestyle and adaptive nature, I’ve come to see that Kumbharwaada isn’t simply a potter’s hub wedged in the largest metropolitan in the country. Instead, I now see it as a symbol of a successful rural ideology that’s breathing and injecting life in a rapidly changing urban landscape.

然而，这里的家庭也正在慢慢适应时代的变化，开始逐渐过渡到一种更现代的生活方式。如今，有越来越多的家庭，父母留在当地维持陶器生意，而他们的儿子则离开这里，去追寻不一样的事业。除了传统和文化的传承问题，当地社区最有趣的另一方面是，在这里生活的人们主要信奉印度教和穆斯林，而他们都能和睦相处在一起。在观察完他们的生活方式，以及他们适应环境的能力之后，我明白到，Kumbharwaada 并不只是一个夹在印度大都会城市缝隙中的制陶中心。相反，在我看来，它代表着一种成功的农村意识形态，充满活力，为瞬息万变的城市注入蓬勃的生命力。

Videographer, Photographer & Contributor: Omkar Phatak

供稿人，图片摄影师与视频摄影师: Omkar Phatak

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The Collages of Raintree1969

June 22, 2017 2017年6月22日

Some might consider collage art to be an artform with many unavoidable limitations and restrictions due to the medium’s use of pre-existing imagery, but that hasn’t stopped Raintree1969 from bringing to life the seemingly creatively boundless universes and creatures of his imagination. The Taiwanese visual artist’s surreal, Dali-esque worlds are filled with fantastically freakish monstrosities and strange deformities, all of which are presented in his signature retro aesthetic. The type of material he prefers to source from – vintage magazines, especially ones from the ’80s and ’90s – can be partially credited for his distinctive aesthetic. “I love Flaunt magazine,” he says. “They had several beautifully designed issues that are still very memorable to me.”

有些人认为拼贴艺术是一种充满限制性的艺术形式，因为需要使用现已存在的图像作为媒介，但这并没有阻止台湾视觉艺术家Raintree1969生动地创作出一个蕴藏无限创意的宇宙以及天马行空式的幻想之物。在他达利式的超现实世界中，充满了各式幻想怪物和怪奇形体，并以他独特的复古美学呈现出来。他最喜欢从二手杂志（特别是80年代和90年代的杂志）中搜集创作素材，这也可能是他形成自己独特的复古风格的原因之一。他说：“我现在还蛮喜欢《Flaunt》杂志，记得有几期杂志包装得很漂亮。”

“I watched a lot of superhero cartoons as a child, and whenever I saw the monsters get defeated, I would always wonder what happened to them,” Raintree recalls. “Do they have children or a family waiting for them at home?” Elaborating on this unconventional line of thought, he explains that it’s not exactly a sense of sympathy for the underdogs, but rather he considers it a pity that these characters just disappear so unceremoniously. His love of antagonists and baddies is made even more evident in his My top favorite 50 fictional characters series, which is chock-full of popular villains such as the Riddler, Dracula, and Frankenstein. “Over time, I grew quite fond these unconventional and unusual creatures.”

Raintree回忆说：“小时候看超人英雄卡通，每回妖怪被打败后，就匆匆带过，那时我都会想后来妖怪们怎么样了，是否也有家人小孩等着他呢? ”他解释这种奇怪的想法并不是对弱势怜悯，而是总觉得花了很多时间金钱打造的怪物们，就这样结束掉满可惜的。他对坏蛋和反派角色的热爱在《我最喜欢的50个虚构角色》（My top favorite 50 fictional characters）系列中尤为明显，这一系列展现了众多著名的超级反派，比如“谜语人”（Riddler），吸血鬼“德古拉”（Dracula）和科学怪人“弗兰肯斯坦（Frankenstein）。“我于是就渐渐研究和迷恋上这些比较属于非正常的物种上。”

Besides the odd creatures and an unchanging aesthetic being unifying traits of his work, certain motifs make appearances again and again in Raintree’s world, more specifically, a sense of isolation and searching. The main way that Raintree presents these themes are through his characters, who are often depicted with slumped shoulders, hunched over, or in an otherwise equally vulnerable posture. At times, these themes feel like they tie into a larger story around identity; his characters are humanoid, yet Frankenstein-like, an amalgamation of different and unusual parts, often placed in an alien surrounding, seemingly out of place. This is perhaps part of what makes his work so intriguing – these monsters remind us who we are, as creatures who are made up of the sum of our experiences, desperate in our collective desire to fit in and belong in a fast-moving world that may, at times, feel like a strangely unfamiliar place.

怪奇的生物和一致的美学风格是他作品的特色，此外，Raintree在自己的创意世界中，还会经常探索“寻找”和“孤独”这两个主题。Raintree 主要通过图像中的角色来诠释这些主题，这些角色的肩膀往往朝下耷拉着，蜷缩着身体或是有着其它看上去同样脆弱的姿势。有时候，这些主题也会令人联想到有关身份认同的更大的主题; 他所创作的角色都是类人生物，却像弗兰肯斯坦一样，通过想像，将不寻常的不同元素结合在一起。这些角色常常置身于格格不入的奇异环境当中。而这也可能是他的作品如此引人入胜的原因之一。这些怪物提醒着我们到底是谁——我们在本质上是由自己的经验组成的生物，我们都有一个共同愿望：迫切地想要融入和适应一个快速变化的世界，而这个世界有时候又令人感到十分的陌生。

Website: raintree1969.com
Flickr: ~/raintree1969
Instagram: @raintree1969

Contributor: David Yen

Website: raintree1969.com
Flickr: ~/raintree1969
Instagram: @raintree1969

Contributor: David Yen

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Black & White Tokyo

June 21, 2017 2017年6月21日

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.

日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机，他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》（Tokyo）。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡，将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

Contributor: Whitney Ng

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

供稿人: Whitney Ng

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Made by Phantasma

June 20, 2017 2017年6月20日

Made by Phantasma is a subsidiary brand of Phantasma*Studio, a Jakarta-based label that catapulted into the fashion industry by releasing their inaugural collection in a single shade of cobalt blue. Founder Eric Liem shares that the sub-label was an experiment in creating fashion that would clothe the “unconventional teenager” and minimize on wastage. The somewhat unorthodox designs are based upon their love for “streetwear, anti-fashion youth movements, and trash culture.”

Made by Phantasma 是 Phantasma*Studio旗下的一个副线品牌。这个来自雅加达的时装品牌以单一的钴蓝色打造了首个时装系列，并由此在时尚界打响名头。品牌创始人Eric Liem表示，这个副线品牌是一次为非主流青少年设计时装的尝试，并以尽量减少浪费为理念。通过一系列颠覆式时装作品，诠释品牌“对街头文化、反时尚的青年浪潮和trash 文化的热爱”。

“Coming from a third-world country where wastage is the biggest environmental problem, we wanted to waste less by using leftover fabric and dead stock clothes,” says Liem. In addition to being environmentally savvy, he says that Made by Phantasma is also open to interpretation. “We hope to find a new perspective of style that hopefully our audience will help us to define”. Check out some of the apparel from Made by Phantasma below.

Liem说：“在第三世界国家，浪费是最突出的环境问题。我们希望通利用边角面料和滞销布料，减少浪费。”除了具有环保意识外，Made by Phantasma的作品意义也是开放式的， “我们想从新的视角来设计时装，让观众来决定每件作品的定义。“ 下面一起来欣赏一下Made by Phantasma风格独特的时装作品吧。

Website: phantasmastudio.com
Instagram: @madebyphantasma

Contributor: Whitney Ng

网站: phantasmastudio.com
Instagram: @madebyphantasma

供稿人: Whitney Ng

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Buzkashi

June 19, 2017 2017年6月19日

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Based out of Shanghai, Marc Ressang is a Dutch photographer and videographer whose recent travels took him to Tajikistan. There, he shot Buzkashi, a short film offering an intimate look into how one of the oldest and most violent sports in the world is played. Buzkashi, which roughly translates to “goat pulling” in Persian, is a highly dangerous sport. The fiercely competitive sport calls for players to undergo extensive amounts of training prior to ever competing. Imagine polo but with more aggression, more competitors swarming the field, and instead of using a ball, they opt for a decapitated – and often times eviscerated – goat carcass.

荷兰摄影师兼电影人Marc Ressang目前生活在上海，他最近到了塔吉克斯坦旅行。在那里，他拍摄了短片《Buzkashi》，近距离地观察当地的抢羊比赛“buzkashi”——世界上最古老和最暴力的体育项目之一。“Buzkashi”是波斯语，可以大概地翻译成“拉羊”，这项比赛的竞争异常激烈，且有一定的危险性，所以大多数选手在比赛开始之前都要先进行艰苦的训练。可以把这项比赛想像成更激烈的马球比赛，有更多的竞争者，而他们要抢的不是一个球，而一头通常被斩首（或已经取出内脏）了的羊的尸体。

While buzkashi can be traced back to nomadic Turkic tribes, its exact origins are up for debate. In modern times, it’s been established as the official national sport of Afghanistan. However, derivative forms of the sport have made its way out of the country, including a form of buzkashi in western China that’s played on yaks instead of horses. In Ressang’s short film, rather than the more structured, team-oriented playstyles seen in Afghanistan, he presents the most common playstyle of Tajikistan – a sprawling, chaotic free-for-all where individual riders attempt to wrestle control of the carcass and score a goal. Watch the stunning video in full above or scroll down to see more images from Ressang’s trip to Tajikistan.

虽然“buzkashi”可以追溯至游牧的突厥部落，但其确切的起源仍然有争议。在现代，阿富汗将其定为官方的民族体育运动。如今，这项运动已经被传至其它国家，衍生出不同的运动形式，譬如，在中国西部就有一种“buzkashi”是在牦牛而不是马背上进行的。在Ressang的短片中，他展示了塔吉克斯坦式的“buzkashi”，不同于在阿富汗看到的那种更有组织性、更注重团队的风格，在塔吉克斯坦，这项运动更混乱无序、无限制，选手单独参赛，争夺羊尸，以获得胜利。一起来观看这部引人入胜的短片，或欣赏更多Ressang在这趟塔吉克斯坦之行中所拍摄的照片。