“Labyrinth” by Mondo Grosso

August 14, 2017 2017年8月14日

 

无法观看?前往优酷

Under the moniker Mondo Grosso, renowned Japanese producer Shinichi Osawa recently released his newest album, Nandodemo Atarashiku Umareru (Reborn Again and Always Starting New). The lead single from the album, “Labyrinth,” is a collaboration with vocalist and actress Hikaru Mitsushima who also stars in the accompanying music video. Directed by Takeshi Maruyama and filmed in Hong Kong – a location chosen due to how perfectly the complex and maze-like cityscape mirrored the “midnight paradise” mentioned in the lyrics – the video was edited to look like one continuous take, and in it, viewers follow Mitsushima (who comes from a dance background) as she effortlessly glides and twirls through Quarry Bay, Temple Street, and Sham Shui Po. The dreamy quality of the entire video was only made better by Hong Kong’s rainy season, with the rain-slicked streets reflecting the multitude of colors from Hong Kong’s neon-lit signs. Check out the video in full above.


《ラビリンス》(迷宮)是日本音乐人大沢伸一领衔的组合Mondo Grosso最新唱片《何度でも新しく生まれる》(无数次新生)中的主打单曲,由日本人气女星满岛光演唱。早前,摄制团队来到香港为MV取景,这座城市神秘复杂的夜色正符合了这首歌游荡于午夜迷宫的主题。曾是舞蹈组合成员的满岛光,在MV中大展舞技。导演丸山健志利用一镜到底的拍摄手法,让观众跟随着满岛光的舞步,穿梭于夜色下的鲗鱼涌、佐敦庙街和深水埗。MV于香港的雨季拍摄,雨后潮湿的地面反射出街道两旁霓虹灯的色彩,为画面增添几分迷幻的色调。点击观看上方视频,进入Mondo Grosso营造的梦幻迷城。

Website: mondogrosso.com
Instagram: @mondo_grosso
iTunes: ~/mondo-grosso

 

Contributor: Ye Zi


网站mondogrosso.com
Instagram@mondo_grosso
iTunes~/mondo-grosso

 

供稿人: Ye Zi

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A New Era of Boxing in China

August 11, 2017 2017年8月11日

 

无法观看?前往优酷

In 2011, when seven-time undefeated boxing champion Michele Aboro visited Shanghai for the very first time, it was intended to be a short visit. However, seeing the Chinese fitness and wellness industry still in its infant stages led to a change of heart. At the time, more and more people in China were becoming interested in boxing, an interest fueled by Chinese boxer Zou Shiming’s spectacular performance in the Olympic Games where he claimed the bronze medal in 2004 and then gold in 2008 (and he would go on to take the gold again in 2012). However, despite this, the boxing scene was still lagging behind. Michele saw a chance to help develop the burgeoning industry and make boxing even more accessible to the masses, an endeavor that she felt was much more meaningful than running a gym in the West where the fitness and boxing scene is already well established. In 2014, she opened Aboro Academy in Shanghai alongside her partner Yilan Yuen.


2011年,七届未败世界拳击冠军米歇尔·阿魄罗(Michele Aboro)来到上海。本来,她只打算在这里作一次短暂的访问,但最后,却变成定居上海。当时,越来越多的人对拳击比赛感兴趣,而掀起这股拳击热潮的主要原因,正是中国拳手邹市明在奥运会上的精彩表现。他先是在2004年获得铜牌,然后又在2008年取得金牌(2012年,他还会再次去争取金牌)。然而,尽管人们对拳击兴趣渐增,但在中国,健身和健康产业仍处于刚起步的阶段。而对于米凯莱来说,她看到了一个机会,既能帮助发展中国的新兴健身产业,同时也可以向大众普及拳击运动,对她来说,这比在健身和拳击行业已经发展成熟的欧美国家开一间健身房更有意义。2014年,她和同伴Yilan Yuen在上海成立 Aboro Academy

Michele and Yilan were highly ambitious, aspiring to do much more than simply run a generic boxing gym. They envisioned Aboro Academy as three different components: The first component is Aboro Recreational Training, which is a specialized regimen designed by Michele that allows boxing to be accessible to individuals of all skill levels and ages; the second part is Aboro Pro Boxing, which is geared towards preparing high-level athletes for boxing in a competitive setting; and finally, at the core of the organization, is the Aboro Foundation.


米凯莱和Yilan雄心勃勃,她们想要做的不仅仅是经营一间健身房或训练馆。她们将Aboro Academy分成三个独立部门:第一个是Aboro训练,这个部门由米凯莱负责,让不同水平和年龄层的人都能学习拳击运动;第二个是Aboro赛事,为那些准备参加比赛的高水平运动员提供训练;最后是训练馆的核心部门——基金会( Aboro Foundation)。

Aboro Foundation is a non-profit established to help provide career-orientated fitness and wellness training to underprivileged youth in China. For Michele, it was a way of paying it forward. When Michele first began boxing back in London, the coaches who took Michele under their wings were understanding of her financial plight – as she was one of seven children in a single-parent family – and didn’t hesitate to train her. Without them, Michele wouldn’t have become the world-class champion that she is today. As a result, with the same knowledge and kindness that they shaped her life with, she yearns to channel that positivity back into the community in her new home of Shanghai. “If you have knowledge, it’s almost a sin if you don’t pass it on to someone else,” Michele says, radiating a kindred warmth as she spoke. “It’s only justified that I do the same.”


Aboro基金会是一个非营利性的组织,致力为中国贫困青年提供以就业为导向的健身和健康培训。对于米凯莱和Yilan来说,这是一种传递爱心的良性循环。米凯莱来自一个有七个孩子的单亲家庭,当初在伦敦开始练习拳击时,她遇到的教练了解到她在经济上的困境后,毫不犹豫就决定要培养她。可以肯定地说,没有他们,米凯莱也不会成为如今的世界级冠军。从教练那里,她不但学到专业的知识,也感受到了温暖的善意,她渴望将这种正能量回报给社会,回报给她现在的新家——上海。米凯莱说:“如果你有了知识又不将它传递给别人,这几乎可以说是一种罪过。所以我也必须这样做。”她的话语中也透露出了同样的善良。

Zhang Yifeng, one of the current coaches at Aboro Academy, met Michele back in 2012, two years before Aboro Academy even opened. At the time, Yifeng was only focused on fighting competitively. “He approached me to train him and I didn’t train anybody at the time, so I said ‘Sorry, but I’m not training anyone at the moment,’” Michele recalls of their initial encounter. “But he was very persistent, and eventually, I started training him, and he would still go fight under his shifu.”


Aboro Academy成立2年前,即2012年,馆内的现任教练张一峰认识了米凯莱。当时,张一峰一心只想参加拳击比赛。米凯莱回忆他们的第一次相遇:“当时他找我,要我训练他,但我那时候没有在训练任何人,所以我说‘对不起,但我现在不想训练人’。 但他很执着,最终,我答应开始训练他,但他仍然会在他师父的名义下去打比赛。”

In traditional Chinese martial arts, the dynamic between shifu and disciple is quite interesting; it’s similar to the relationship between coach and athlete, yet quite different at the same time. For disciples, training under a shifu is often considered as a lifetime commitment where they uphold the teachings of their teacher. Unfortunately, as time went on, the concept has been bastardized, with some shifu in China now regarding their athletes as property to be owned. “It was shocking and eye-opening,” Michele describes. “It’s a different mentality from the West, where trainers and coaches looked to sharpen their athlete’s skills rather than using them as a device to feed their egos.”


在传统中国武术界,师傅和徒弟之间的关系很有意思,有点类似于教练和运动员之间的关系,但又截然不同。对于徒弟来说,跟一位师傅学习是一辈子的承诺,他们会一直遵循师傅的教导。不幸的是,随着时间的推移,这一种观念已经过时,在中国,有一些师傅现在只将他们训练的运动员视为自己的财产。米凯莱说:“这种现象真的是令人震惊。这一点跟西方国家很不一样。在西方国家,教练的目的是提高运动员的技能,而不是利用他们来满足自我。”

With different motivations behind wanting to develop Yifeng’s skills, he and Michele’s relationship went beyond just coach and athlete or shifu and disciple. They became family. Michele wanted nothing more than to see him succeed. She not only wanted to improve his athletic skills but sought to better his life skills. Eventually, rather than only focusing on training him as a competitive fighter, Michele saw that he had massive potential beyond duking it out in the ring. Harnessing his determination and passion for boxing into a different direction, she began transitioning him into the role of a coach. This was Michele’s way of ensuring that he can remain in the boxing environment and maintain his love of the sport outside of competitive matches in the future. Hesitant at first, Yifeng has become an important part of the Aboro team and continues to coach there to this day.


对于提升张一峰技能这一点,两人有着不同的想法,所以,他和米凯莱之间的关系从一开始就非常不同。米凯莱不仅想提高他的运动技能,同时也想改善他的生活技能。除了将他当作一名拳击比赛选手来训练,米凯莱还看到了他在拳击场之外的巨大潜力。她将他对拳击的决心和热情引向别的方向,开始训练他成为一名教练。米凯莱希望通过这种方式,让他将来能够在保持比赛能力的同时,还能继续留在拳击界,在赛场之外,些这种对拳击运动的热爱。张一峰起初犹豫不决,但现在,他已经成为 Aboro Academy 的重要一员,并且一直执教到今天。

For Yifeng, his foray into boxing and his serendipitous meeting of Michele altered his entire mindset towards the art of boxing and changed his life for the better. Boxing began for him as a way of venting his frustrations through aggression. But now, he’s no longer fueled by this frustration, and boxing isn’t a way of venting aggression. The sport has taught him how to stay clear headed and find peace. When he’s in the ring, rather than mindless aggression, it’s more like a choreographed dance, disciplined and strategic, and each move is executed with precision. Rather than solely relying on pure strength and landing hits, he understands that staying calm, remaining focused, and maintaining mental resiliency is even more important. And now, as he coaches new fighters, he imparts this same zen-like philosophy.


对于张一峰来说,他进军拳击界和他与米凯莱的偶然相遇,改变了他对拳击运动的看法,也让他的生活变得更好。一开始,拳击只是他发泄不满的一种方式。但现在,他不会以挫折为拳击的动力,相反,拳击能帮助他保持清醒和平静。当他在擂台上时,他不会再盲目进攻,而是更像是施展精心编排的舞蹈,有规则,也有策略,精确地执行每个动作,再不是单纯依靠力量和打出拳。他明白到,保持冷静,保持专注,保持灵活的心理调整能力更为重要。而现在,他作为教练训练新的拳击手时,也会将这个充满禅意的理念灌输给他们。

As Yifeng continues to grow and learn alongside the Aboro team, Michele and Yilan are moving full steam ahead, continuing to pave the way for the next generation of boxing enthusiasts in China. Their ultimate goal is much more important than profit, fame, or winning – it’s to foster a community of passionate, like-minded individuals who can all take part in a sport that has done so much for their lives.


张一峰会继续与Aboro团队一起成长和学习,而米凯莱和Yilan也会继续全速前进,为下一代中国拳击爱好者铺路。拳击运动让他们体验了精彩的生活,而他们的最终目标不仅仅是利润、名誉或胜利,更重要的是努力培养出一批同样热爱拳击运动的人。

Website: aboroacademy.com
Facebook: ~/aboroacademy

 

Contributor & Photographer: David Yen
Videographer: Damien Louise


网站: aboroacademy.com
脸书: ~/aboroacademy

 

供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise

Motherland

August 10, 2017 2017年8月10日
Shanghai VII, 2016

For Chinese American photographer Daniel Lee Postaer, his interest in photography originates from his endless fascination with the relationship between cities and their inhabitants. Through his lens, he strives to capture the overlooked beauty of ordinary moments in urban settings around the world. “There’s an un-staged theatricality to our everyday world that I search for through picture-making,” he says. “So, whether it’s San Francisco, Tokyo, or Chongqing – I’m trying to make sense of time and place through my photography… A photo has the ability to say something about the larger moment in time that we collectively live in. It’s an inherent value of the medium that I deeply respect.”


华裔美国摄影师李强(Daniel Lee Postaer)对摄影的兴趣源于他对城市和居民之间关系的迷恋。透过自己的镜头,他在平凡生活中,努力捕捉住那些被人们所忽视的美。他解释道:“在我们的日常生活中, 有一种不经排练、自然发生的戏剧性, 我正是要通过照片来寻找这种戏剧性。所以,无论是在旧金山、东京, 还是重庆, 我都试图通过摄影来了解自己所在的时间和空间……每张照片可以讲述出比那一个时刻更广阔的时间,那是我们共同生活着的时代。对于摄影这种媒介,我一向满怀敬畏,而这也正是摄影的内在价值。”

Beijing VIII, 2015
Shanghai XV, 2016
Shanghai XII, 2016

In his ongoing photo series, Motherland, Postaer explores the ever-changing urban fabric of modern-day China, a country that, to him – as someone who’s half-Chinese – feels both familiar yet foreign. “I’m both an insider and outsider. I’ve lived, worked, and sweated here in China,” Postaer says. “But I’m American and was born with that perspective. So I inherently come with that outsider perspective and sensibility. That being said, even on the streets of Los Angeles I can feel like an outsider.”


他目前正在创作的摄影系列《故土》(Motherland)探讨了现代中国不断变化的城市景象。对于有着一半中国血统的他来说,这个国家既熟悉又陌生。李强说:“我既是局内人,也是局外人。我在中国生活过、工作过,在这里努力过。但我也是美国人, 这是我从出生起就有的观念。所以我天生就有一种局外人的观点和感悟。也就是说,即使是在洛杉矶的街头,我也会觉得自己是局外人。”

Shanghai XVI, 2015
Shanghai VII, 2014
Chongqing II, 2015
Shanghai II, 2014

Postaer regards photos that only exist digitally as unfinished products, believing that a photograph isn’t truly a photograph until it’s seen in print, He wants to encourage people to experience photography in a tangible form, as something that can be physically held and shared with others. “In our Instagram-image-saturated, iPhone-picture-billboarded world, I still revere the experience of a finely printed photograph in a book or framed on a wall,” he says. “I believe the photographic print can deliver and emote a tactile visual experience like no other medium.”


在Postaer看来,只有冲印出来后的照片才算得上是真正的照片,到于那些数字媒体里的照片都是未完成的作品。他希望人们能够亲身感受摄影,将它拿到手上,以可触可感的形式与他人分享。他说:“现在这个年代,Instagram 上图片泛滥,iPhone 图片拿来当广告, 但我还是更喜欢那种书中或墙上装裱的印刷精致的照片,那是一种令人敬畏的体验。我相信,打印出来的照片可以提供和表现出带有触觉感受的视觉体验,这一点是其它媒体所缺乏的。

Beijing III, 2015
Shanghai XXII, 2016

To experience Postaer’s large-format photos in person for yourself, drop by his solo exhibition, Daniel Lee Postaer: Motherland, which will be showcasing 32 prints from his Motherland series that contains over 200 works. The exhibition will be kicking off later this week at Shanghai’s Longmen Art Projects and will run from August 12th to September 16th.


他的的个人作品展览《李强:故土》将于本周在上海龙门雅集(Shanghai’s Longmen Art Projects)开幕,开放时间为8月12日至9月16日。整个《故土》系列包含超过200张摄影作品,而本次展览将会展系列中的32幅作品。快来亲临现场,体验大画幅摄影作品的震撼力量吧。

Event: Daniel Lee Postaer: Motherland
Exhibition Dates: August 12, 2017 ~September 16, 2017

 

Address:
Tian An Centre Building
Suite 102
No. 338 Nanjing West Road
Huangpu District, Shanghai
People’s Republic of China


活动名称: 李强: 故土
展览日期: 2017年8月12日——2017年9月16日

 

地址:
中国
上海市黄埔区
南京西路338号
102室
天安中心

Website: danielpostaer.com

 

Contributor: David Yen


Websitedanielpostaer.com

 

Contributor: David Yen

Phallic Thoughts

August 9, 2017 2017年8月9日

Multimedia artist Chronos Huang is a Hangzhou-based illustrator, poet, and the co-founder of Sensecue, a brand that’s known for their quirky pin designs. His work has been featured in Apportfolio Vol. 3, a publication that’s dedicated to promoting emerging young artists of Asia. As a poet, Huang often explores themes of intergalactic travel, animal life, and masculinity. In his standalone illustrative works, it’s a deep dive into his fantasies, often strange, erotic, and populated with phalluses. See more of his work below.


居住于杭州的跨界艺术家Chronos Huang是一位插画师和诗人,不僅如此他同时也是三时七有工作室的联合创始人。三时七有是一个以各种古怪胸针而闻名的品牌。作為三時七有的創始人,Chronos的作品曾入选《亚洲青年创作集录Vol.3》(一个致力于促进亚洲新兴青年艺术的出版物)。在他的诗里有宇宙、动物与男孩儿们的样子,而他的画里也常常伴随着那些奇幻、色情与性器官组成的幻想。

Weibo: ~/CHRONOS-HUANG
WeChat: 三时七有sensecue
Taobao: 三时七有

 

Contributor: Shou Xing


微博: ~/CHRONOS-HUANG
微信: 三时七有sensecue
淘宝: 三时七有

 

供稿人: Shou Xing

The Private Label / Pre-Fall 2017

August 8, 2017 2017年8月8日

Recently, independent clothing brand The Private Label released Last Days, the newest lookbook for its 2017 Pre-Fall collection. Shot by French photographer Laurent Segretier, the series takes place in Hong Kong’s Chai Wan District, in an old shopping arcade that’s been scheduled for demolition. The project is a commentary on the rapid development of Hong Kong, especially the invasion of corporations that have rendered these traditional shopping malls obsolete. With the belief that this mass production and developmental frenzy is eroding the very essence of Hong Kong and wiping away the city’s many unique characteristics, the designer behind The Private Label set off to try and capture a vanishing side of Hong Kong. Last Days is a documentation of the final days of one these communities and encapsulates a sense of wistful regret and nostalgia.


最近, The Private Label 发布了2017秋季服装目录“LastDays”,此系列照片由法国摄影师Laurent Segretier掌镜,于香港柴湾区一个即将被政府拆除的商场拍摄。在香港,城市的快速更替让一些旧式商场和社区小店接连被淘汰,取而代之的是大型连锁商铺。The Private Label的幕后团队认为这些高复制性的产出在发展的同时却让城市变得单调乏味,失去了原本的独特性和人情味,为了尽可能地保留住这些即将逝去的回忆,他们创作了”Last Days“,用相片记录下这个旧式商场被清除前最后的日子,同时表达出对旧香港文化流失的惋惜和留恋。

The designer behind The Private Label consider the 80s and 90s as the golden era of Hong Kong and is influenced by the kung-fu movies and romance movies of the period, envisioning a photo series that could convey the texture and ambiance of the Chinatowns depicted in the films from this time period. To establish this particular aesthetic and mood, Sergretier chose to use 120 film. The end result is a palette of soft colors that appear to seamlessly combine the clothing, subject, and environment into one unified frame.


受到八九十年代香港功夫片及爱情片的影响,The Private Label的设计师希望照片能传递出一种旧电影中唐人街的质感和气氛,那个黄金年代也正是香港文化对外输出最为旺盛的日子。此次拍摄摄影师Laurent Segretier选用了120胶片相机,照片柔和的色彩使服装和周围的环境协调地融在一起。

In addition to the lookbook’s retro vibes, the designs of the collection itself are also derived from the designer’s nostalgia. Growing up at the turn of the millennium, the designer behind The Private Label have observed hip-hop and NBA culture’s influence on the trends of this generation. This realization translates into this collection’s designs, appearing in the form of oversized fits inspired by the streetwear of the 2000s. Coupling this with the choice of a finer fabric and modified silhouette commonly seen in Eastern garments, the collection blends the best of both worlds, accomplishing the designer’s goal of combining the spirit of Western street culture with the aesthetic sensibilities of Eastern culture. The new collection is now available on The Private Label’s official website.


除了打造复古质感的服装目录以外,这系列服装本身的设计灵感也同样来源于设计师的怀旧情怀。成长于千禧年代,The Private Label的设计师认为嘻哈文化及NBA文化深刻影响着他们这代人的潮流见解。他试图将那些宽大舒适的服装剪裁与中国元素的服装细节及面料融合在一起,也希望能将西方的街头文化精神和精致的东方美学串联在一起。此系列服装正于The Private Label官网发售,点此查看。

Websitetheprivatelabelclothing.com
Instagram: @theprivatelabelclothing

 

 Contributor: Ye Zi


网站theprivatelabelclothing.com
Instagram@theprivatelabelclothing

 

供稿人: Ye Zi

Hotel Okinawa

August 7, 2017 2017年8月7日

Greg Girard is a Canadian photographer who has spent the larger part of his career in Asia. His latest book, Hotel Okinawa, is a snapshot of Okinawan history and the legacy of U.S. military power, with photographs taken on U.S. military bases and their surroundings from 2008 to 2016. Supplemented by archival photographs, periodicals, and other historical materials, the book examines the changing social, historical, and physical landscape of a multilayered and complex region. In an excerpt from Hotel Okinawa below, Girard tells us more about the project.


加拿大摄影师Greg Girard在亚洲度过了他职业生涯的大部分时间。他最新出版的作品《Hotel Okinawa》(冲绳酒店),记录了日本冲绳的历史,以及美国在当地遗留下来的军事影响。书中主要包括了他在2008年至2016年期间在美军基地及其周围拍摄的照片,并辅以一些文献档案照片、期刊和其它史料。本书探讨了这个多层化的复杂地区中,不断变化的社会,历史和地理景观。在《Hotel Okinawa》中,Girard向我们介绍了这个项目。

Hazard to Aviation Checkerboard, Naha, 2008
Audrey Poster, 2008
A&W Drive-In, Route 58, 2016
Ginowan Overview, Dusk, 2009

“My first sighting of Okinawa came from the deck of a ferry, approaching the port of Naha after a 52-hour sailing from Tokyo. It was December 1982, and the tropical-ness I had looked forward to was nowhere to be found. I remember grey skies, rain, and cool temperatures. But I had long wanted to visit, hoping to see for myself what this Japanese honeymoon destination and U.S. military garrison island looked like.”


“我第一次看到冲绳是在一艘渡轮的甲板上,那是一艘从东京开往那霸港的渡轮,航程总共52小时。当时是1982年12月,我并没有看到预期中的热带景象。我只记得当时天空是灰暗的,下着雨,气温很凉爽。但我早就想来冲绳,希望能亲眼看看这个日本人蜜月胜地和美军驻军的岛屿到底是怎样的。”

USMC Camp Foster Base Housing, 2008
F-15 and AWAC Plane, 2008
Grady, Chatan, 2016

“Living in Tokyo in the 1970s, I unexpectedly encountered this vast network of U.S. overseas bases, of which Okinawa was, and remains, a part, via late night broadcasts of American Forces radio. Around this time, I also discovered Ryu Murakami’s first novel, Almost Transparent Blue, set in a town near a big U.S. air base west of Tokyo. He described a world where aimless young Japanese and young American servicemen partied, slept together, hung out, fought, and drifted apart, though not necessarily in that order.”


“上世纪70年代,我在东京生活时,意外在美军广播电台一档深夜节目中知道了美国的庞大海外军事基地网络,而冲绳正是其中的一个部分。大约也是在那个时候,我还发现了村上龙(Ryu Murakami)的第一部小说《接近无限透明的蓝色》正是以东京以西的美国空军基地附近的小镇为背景创作的。他在小说中,描述了漫无目的的日本年轻人和年轻的美国军人一起举办派对,一起玩,又互相战斗,然后慢慢疏远,大概是这样的故事。”

Man in Corvette reading "Star and Stripes", Okinawa, 2008
Family Housing, USMC Camp Foster, 2008
Watching Softball Game at Futenma Marine Corps Air Station, 2008

“But on that first short Okinawa visit, dodging the rain in the streets of the capital, Naha, I didn’t see much evidence of a local version of the scene Murakami had described. It was there, however. It was further up the highway in base towns north of the capital and being photographed, as I would later discover, by Japanese – including Okinawan – photographers. For myself, as far as these base towns went, I had been luckier in earlier years, making pictures closer to Tokyo, in Yokosuka, where the U.S. Navy’s 7th Fleet was (and still is) based. After a few sunless days, I left Okinawa on the twice-weekly JAL flight to Hong Kong; on board were a number of American military families, off to the British territory for Christmas vacation. My own Hong Kong visit ended up stretching into New Year, then the Lunar New Year and beyond, eventually making the city my home for the next fifteen years.”


“但是,第一次到冲绳短期旅游时,我在首府那霸的街头忙着避雨,也没有看到村上龙在书中曾描述的那种场景。然而,我后来发现,在那里沿公路往上走就是了,在那霸以北的小镇里,也是美军的驻扎地。曾有许多日本摄影师,包括冲绳本地的摄影师,到那里去拍摄。至于我自己,我在早些年挺幸运的,正巧在近东京的横须贺进行过拍摄,那里是美国海军第7舰队的基地(现在仍然是)。在度过了几天阴天之后,我乘坐每周两班的日航离开冲绳岛,飞往香港;在飞机上,有一些美国军人的家属,他们正要前往当时英国占领的香港过圣诞假期。我原本计划在香港的短期行程,后来一直延期到了新年,然后又过了中国的春节,最终,我在这座城市一直生活了十五年。”

Osprey and Marines, Camp Hansen, 2015
Protest House, Naha, 2012
Road Above Camp Lester, 2008

“I knew I wanted to return to Okinawa, but other decisions, other distractions, kept me occupied, and it would take more than 20 years before I was able to make pictures there again. During this period, a drawdown of US engagement in the region was taking place. Alliances were shifting or completely unraveling. The U.S. closed its bases in Vietnam and the last troops were withdrawn in 1973. Soon after, in 1975, the U.S.-backed South Vietnamese government collapsed. By 1976, the U.S. was forced to vacate bases in Thailand from where they had operated for more than a decade in support of the war in Vietnam. In 1979, following diplomatic recognition of Beijing, the U.S. closed its bases in Taiwan. Elsewhere in Asia, the U.S. had long operated a number of key facilities in the Philippines: Clark Air Base and Subic Bay Naval Base, in their day, were among the largest U.S. bases overseas. By 1992, those too were closed.”


“我一直都想重回冲绳,但是总会因为其它决定和事情而未能成行。20多年之后,我才有机会再次去那里拍照。在此期间,美国开始回撤在当地的军事力量。联军的关系在变化,或者说已经完全崩溃。美军关闭了在越南的基地,并在1973年撤回了最后的部队。不久之后,在1975年,美国支持的南越政府垮台。到1976年,美国被迫撤出在泰国的军事基地,在之前十多年间,他们在这里驻扎,以支持越南战争。1979年,美国与中国建交,美国又关闭了在台湾的基地。至于亚洲其它地区,美国曾长期在菲律宾经营多个重要基地:克拉克空军基地和苏比克湾海军基地,在当时,它们是美国其中两个最大的海外基地。到1992年,这两个军事基地也被关闭。”

Bar Interior, Okinawa City, 2008
Customers in Bar, 2016
Bar Interior, Sakura-zaka, Naha, 2016

“And so, in 2008, when I was finally able to undertake a project on ‘the bases’, their number was much reduced. The U.S. military presence in the region was now concentrated on bases in Japan and Korea, and on the U.S. territory of Guam in the western Pacific. The first step was to make formal requests (to the Pentagon and to individual bases). At last, in March 2008, with permissions in place, I was able to begin photographing. Within two years, I had photographed more than 20 separate bases, some numerous times.”


“因此,当2008年我终于接到一个有关这些美军‘基地’的项目时,这些基地的数量已经大大减少。现在,美国军事基地主要集中在日本和韩国,以及西太平洋地区,美国境内的关岛。我要做的第一步是(向美国五角大楼和相应的军事基地)提出正式请求。最后,在2008年3月,在获得这些地方的批准后,我终于可以开始拍摄了。在两年之内,我拍摄了超过20个美军基地,其中一些我还探访了好几次。”

Teishoku Marunaka, Okinawa City, 2016
Mt. Blanc Hotel, Okinawa City, 2016
Wooden Building, Naha, 2009

Previous publications by Girard include City of Darkness and City of Darkness Revisited, documenting Hong Kong’s infamous Kowloon Walled City, and monographs Phantom Shanghai and Hanoi CallingHotel Okinawa will be available for purchase from The Velvet Cell on August 15th.


Girard之前出版的作品包括记录香港臭名昭著的九龙寨城的《City of Darkness》和《City of Darkness Revisited》,以及《Phantom Shanghai》和《Hanoi Calling》。 《Hotel Okinawa》8月15将在The Velvet Cell发售。

"Home Base" Oden Restaurant, 2008
Grass/Plants/Neon, Chatan, 2016
Marine with Companion at USMC Birthday Ball, Okinawa, 2008

Websitegreggirard.com
Instagram: @gregforaday

 

Contributor: George Zhi Zhao


网站greggirard.com
Instagram@gregforaday

 

供稿人: George Zhi Zhao

Masayoshi Matsumoto’s Inflatable Art

August 4, 2017 2017年8月4日

Masayoshi Matsumoto is a 27-year-old artist who makes works of art out of a rather unexpected material. From hornets and caterpillars to walruses and buffalos, the Japanese artist uses multicolored balloons and his own two hands to create a variety of detailed insect and animal life that are as playful as they are inventive. By taking something that children love and applying his creative touch, he gives life to rubber masterpieces that adults can easily appreciate. His work shows that balloon twisting isn’t just merely a cheap party trick, proving that creative expression can—quite literally in Matsumoto’s case—come in any shape or form. See more of his work below.


27 岁的日本艺术家Masayoshi Matsumoto 用非传统的材料,创作出人意料的艺术作品。他只用了彩色气球和自己的双手,就塑造出栩栩如生的昆虫和动物“气球雕塑”,如黄蜂、蝴蝶幼虫,海象和水牛等。他发挥自己的创意和想像,将儿童最爱的气球运变成精致复杂的作品, 即使是成年观众也能欣赏得来。他的作品表明,扭气球不只是一种普通的把戏,创意的表达可以是多种形式的,正如他的作品那样,呈现也丰富的形态。下面一起来欣赏他的更多作品吧。

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Twitter: ~/isopresso

 

Contributor: David Yen


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Instagram: @isopresso_balloon
Twitter: ~/isopresso

 

供稿人: David Yen

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An Anthology Vol. 1

August 2, 2017 2017年8月2日

 

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Currently based in the UK, Chinese illustrator and motion designer Yukai Du recently released An Anthology Vol. 1, a series comprised of ten GIF animations. Eschewing the vibrant colors of her past commercial and editorial works, the talented artist relied on the use of many fewer colors – mainly a palette dominated by blues and oranges – for this project. Despite each animation appearing to seemingly take place in the same surreal universe, Du intended for every frame in the series to act as a standalone story. She describes the project as a visual manifestation of her scattered thoughts, scenes extracted from her dreams, and various nonsensical ideas. Each frame of the series is delightfully imaginative and filled with subtle details that all work together to weave narratives around the topics of loneliness, longing, exploration, and camaraderie.


中国插画家、动画设计师杜钰凯目前生活在英国,她最近推出了一个 GIF 动画系列《An Anthology Vol. 1》。这位才华横溢的艺术家没有沿袭她过去在商业和杂志作品中采用的鲜艳色彩,转用更简单的色彩来创作,以蓝色和橙色为主色调,描绘出一个宁静和超现实主义的世界。杜钰凯希望让每一幅单独的作品成为一个独立的故事,并解释道,这一系列的作品其实是对自己脑海中那些奇思妙想、梦中的场景和各种荒谬想法的视觉表达。看似简单的画像,但每一帧实际上都充满了微妙的细节,结合在一起,讲述出有关孤独、渴望、探索和友谊的主题。

Website: yukaidu.com
Weibo: ~/doii
Behance: ~/Doralice
Instagram@yukai_du

 

Contributor: David Yen


网站: yukaidu.com
微博: ~/doii
Behance: ~/Doralice
Instagram@yukai_du

 

供稿人: David Yen

Redefining Street Art with Darbotz

August 2, 2017 2017年8月2日

Darbotz is one of the most well-known street artists in Indonesia. On most of his solo work, he forgoes the to-be-expected typographic approach of street graffiti that often appears in the form of “tags” or “throw-ups.” Instead, Dartbotz prefers to present his identity through his signature character: the cumi (meaning squid in Indonesian). Darbotz’s squid creature usually takes the form of a sphere with menacingly sharp, teeth-like tentacles, and it never looks quite the same throughout his work, but the inconsistency is purposeful – the ever-evolving, dynamic nature of the squid not only represents his progress as an artist but also serves as an ode to Jakarta, embodying the chaos and rapidly changing urban fabric of his beloved city. In recent years, Darbotz’s work has moved beyond the streets corners and bare walls of Jakarta, now appearing in exhibitions across the world, further narrowing the gap between street art and fine art.


Darbotz是印尼最著名的街头艺术家之一。不同于街头涂鸦中常见的文字签名Tag或Throw-up(只钩边的涂鸦),他更喜欢通过一只“cumi”(在印度尼西亚语中意为“乌贼”)来标明自己的身份。Cumi是他作品中的一个标志性角色,一只露出凶狠尖牙般触角的球形乌贼。Darbotz 创作的乌贼从来不会一成不变,但这种不一致性正是他有意为之的——不断变化的乌贼不仅是他表达自己成长与身份的艺术创作,同时也是致献雅加达的一个形象,因为它代表着这座他深爱的城市的混乱和快速变化的城市结构。近年来,Darbotz 超越了雅加达的街道和墙壁的限制,出现在世界各地的展览上,进一步缩小街头艺术和画廊艺术之间的差距。

Website: thedarbotz.com
Facebook: ~/darbotz
Instagram: @darbotz

 

Contributor: David Yen
Images Courtesy of Darbotz


网站thedarbotz.com
脸书~/darbotz
Instagram@darbotz

 

供稿人: David Yen
Images Courtesy of Darbotz

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Endangered Species

August 1, 2017 2017年8月1日

Manila-based creative director Patrick Cabral began his Delicate Papercuts series in 2016. His aim was to experiment and develop new techniques in the age-old art of paper cutting. Working with layers of vellum board and watercolor paper, Cabral creates stunningly intricate artworks that range from stunning portraits to intricate typography.


2016 年,马尼拉创意总监 Patrick Cabral 开始创作名为《Delicate Papercuts系列的精致剪纸。他的愿望是从古老的剪纸艺术中探索和研究出新的创作技艺。Patrick 通过薄纸板和水彩纸的层叠,创造出肖像或艺术字体剪纸等令人惊艳的精致艺术品。

In 2017, Cabral launched a special series in collaboration with the World Wide Fund for Nature and Acts of Kindness, extending his original project to include some of the faces of the world’s most endangered animals. Many of the animals in his Endangered Species series are native to Asia, including tigers, pangolins, elephants, dholes, tamaraws, rhinoceroses, snow leopards, and pandas. Upon completing the series, Cabral happily remarked that the star of his final portrait, the panda, was no longer listed as an endangered species as of 2017. Scroll down and see the complete project below.


2017年,Patrick 携手世界自然基金会

Acts of Kindness 机构,为世界上最濒危的稀有动物创作了一系列头部剪纸作品。这个名为《Endangered Species》(濒危动物)系列中的许多动物都来自亚洲,包括老虎、穿山甲、大象、亚洲豺犬,塔摩洛水牛、犀牛、雪豹和熊猫。完成这个系列的创作之后,Patrick 高兴地表示,他最后创作的大熊猫在 2017 年已经不再是濒危物种。下面一起来欣赏 Patrick 完整的动物剪纸系列吧。

Websitepatrickcabral.com
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供稿人: Whitney Ng


网站patrickcabral.com
脸书~/DarkgravityOfficial
Instagram@darkgravity

 

供稿人: Whitney Ng