Monthly Archives: December 2017

Overcoming the Odds with Suboi

December 29, 2017 2017年12月29日

Women are like vessels. They carry children, culture, tradition, and memory. The hajib reminds us of modesty and respect. A white wedding dress signifies purity and chastity. A woman’s tiny bound feet once displayed familial wealth and status that never belonged to her anyway.

You might think, the progressive world of hip-hop – a culture rooted in the spirit of defiance and overcoming oppression – would be more encouraging for girls, but it often isn’t. While the story of gender inequality has been explored for decades in the West, it is much less explored in the East.

女人，就好像一艘艘舟船，她们身上承载着孩子、文化、传统和记忆。而更多的，是传统的束缚——伊斯兰头巾（Hijab）提醒着人们要谦虚和尊重；洁白的婚纱象征着纯洁和贞洁；而女人裹小脚则曾被视为是家族财富和地位的彰显。可当然，财富与地位从来都不属于她们。

你或许会觉得，在嘻哈这样的领域，充满前卫开明、充满挑战和反抗压迫精神，女孩会更易受到鼓舞。然而，事实却往往相反。在西方国家，性别不平等已经是一个被人们探讨了数十年的话题，但在东方国家却不然。

Enter Suboi, a Saigon born and raised rapper who just so happens to be a woman. She is known by many as “Vietnam’s queen of hip-hop,” and is arguably the only female emcee to achieve considerable fame both at home and overseas. “In old Vietnamese culture, there are a lot of expectations for women: caretaker, being beautiful, or presentable to your family or society,” Suboi tells me. “I think Vietnamese people can sometimes be a bit judgmental, especially toward independent, free-spirited women.” Suboi comes from a relatively traditional upbringing in Vietnam and “didn’t grow up with feminist ideas” around her.

Her latest project, EP 2.7, chronicles the hurdles she’s had to jump along her journey, namely pressure from her family and discrimination against her in the industry. She is hyper-aware of the gender inequality she faces. She understands that few women before her have “made it,” and that she is challenging the expectations of everyone around her. The best part about it is she won’t let it stop her.

Suboi，这位生于长于胡志明市的说唱歌手，恰好就是女性。她被许多人称为“越南的嘻哈女王”，可以说是唯一一位在国内和海外均获得相当知名度的越南女说唱歌手。Suboi告诉我：“在传统的越南文化中，社会对女性有很多的期望——会照顾人、长得漂亮、不能失礼于家庭社会。我觉得越南人有时会有一些偏见，尤其是对于独立、自由的女性。”Suboi来自于越南一个相对传统的家庭，她的“成长环境中并不存在女权主义这样的思想”。

她的最新EP《2.7》讲述了她所经历过的困难，她所承受的来自家里的压力，在行业中遭遇过的歧视。她很清楚自己要面临的性别不平等这一个事实。她知道，在她之前几乎罕有女性“成功”，她也知道自己是在挑战周围人们的期望。但令人敬佩的是，她从未因此放弃。

Take a listen to select tracks from the EP below:

Suboi – Người Ta Hiểu (They Understand)
Suboi – Come Back Down
Suboi – Lời Thỉnh Cầu (I Pray)

下面是Suboi的几首精选歌曲：

Suboi – Người Ta Hiểu (They Understand)
Suboi – Come Back Down
Suboi – Lời Thỉnh Cầu (I Pray)

Suboi’s climb to the top starts with the struggle she’s faced with her family, referenced in her song “Người Ta Hiểu (They Understand)”; she explains, “As a daughter, I was expected to live at home and be dependent on my family until I got married.” Her relatives found it difficult to support a path that, for a girl, had no precedent for success. They worried for her safety and feared at first what they could not understand.

But determined as always, Suboi was adamant in pursuing music. In the hook of “Người Ta Hiểu (They Understand)”,” she raps, “Người ta hiểu, hay không hiểu. Đời tui cũng vậy người ta hiểu hay không hiểu,” meaning “Whether they understand it or not, this is my life.” Only when Suboi began being invited abroad and making money from her music did her family begin to accept the path she’d chosen. Even then, it was a challenge to balance her love and loyalty to her family as she pursued her dreams.

Suboi迈向成功的历程始于她与家人的斗争，这段经历被描述在她的歌曲《他们明白（Người Ta Hiểu）》中。她解释说，“作为女儿，大家都觉得，在我成家前我都应该住在家里，依赖于我的家人生活。”她的家人并不愿意支持她成为一名说唱歌手，毕竟在她之前，并未有女性在这一行业获得过成功。他们担心她的安全，也会因为一些他们不了解的事情而忧虑万分。

但Suboi一如既往，坚定地追求自己的音乐事业，在《他们明白（Người Ta Hiểu）》中，她唱道：“无论他们懂不懂，这是我的生活。（Người ta hiểu, hay không hiểu. Đời tui cũng vậy người ta hiểu hay không hiểu.）”直到Suboi到国外旅行，靠自己的音乐有了收入后，她的家人才渐渐接受了她选择的道路。但即使如此，在她追求音乐梦想的路上，能否兼顾对家人的爱与忠诚，也是一个不小的挑战。

Suboi faced even greater challenges navigating the music industry alone as a young woman. The entertainment business, especially rap, has been a boys’ club since its inception. In Vietnam’s hip-hop world with so few women in positions of power, Suboi often experienced the worst it had to offer. “There is so much ego and testosterone in hip-hop. [It feels like] men have the need to claim power over everything,” she explained to me. “With people who mentored or managed me in the past, there have been instances of sexual misconduct. It has given me trust issues, which is something I am learning to overcome still.”

In another instance early in her career, Suboi found herself in a record deal gone dangerously wrong. Built on a handshake and misplaced trust, by the time she realized no one had had her best interests in mind, she’d already lost possession of some of her most cherished and favorite recordings. Any attempts to retrieve them would have put her in danger.

而作为一名年轻的女说唱歌手，Suboi在音乐行业也需要独自面对更大的挑战。在娱乐圈，尤其是说唱音乐界，从一开始就是几乎是“男孩的俱乐部”。在越南的嘻哈世界，有影响力的女性为数不多，Suboi经常会遇到一些很糟糕的经历。“在嘻哈音乐界，大部分人都比较自我，这是充满雄性激素的世界。感觉就像男人想要主宰一切。”她向我解释道，“以前在我和一些导师或经纪人的相处过程中，我都有过被性骚扰的经历。所以我现在很难信任人，这个问题我现在还在克服。”

在职业生涯早期，Suboi还有另一次不幸的遭遇，那是一份出了错的录音协易。一次握手订下的口头协议，让Suboi错信他人。等她反应过来后，她才发现，根本没有人考虑过她的利益，她最终因此失去了一些她最珍爱的音乐所属权。但是，如果试图争取回这些录音，她又会将自己处于危险之中。

 

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Releasing 2.7 was a cathartic experience for Suboi that signified putting these experiences behind her. The record features re-recordings of three long-lost songs: “Lời Thỉnh Cầu (I Pray),” “Come Back Down,” and “Người Ta Hiểu (They Understand),” reimagined with instrumentals from Norway-based jazz outfit Mino & The Band.

The video for “Người Ta Hiểu (They Understand)” starts slow, with Suboi alone in a decrepit apartment singing the melody a capella. In an empty bathtub, looking out the window and stepping across rubble, she seems somber and vulnerable, giving the impression that recalling this tune is bittersweet, even painful. Soon enough, warm reverberating keys and acoustic instruments usher in a feeling of comfort and fondness, and the scene changes to Suboi and friends singing and dancing in the rain. She walks the same streets she’s always walked, but with newfound confidence and hope.

发布《2.7》EP对Suboi来说是一次心灵净化的经历，标志着她要把这些经历都通通忘记掉。这张EP重新收录了一些久违的歌曲，包括《我祈祷（Lời Thỉnh Cầu）》，《Come Back Down》和《他们明白（Người Ta Hiểu）》，并在挪威的爵士乐队Mino & The Band的演奏中得到了重新演绎。

《他们明白（Người Ta Hiểu）》的音乐MV以缓慢的节奏开启，Suboi独自在破旧的公寓里清唱着一段旋律。在一个空浴缸里，她凝望着窗外，踩着瓦砾行走，她看上去忧郁又脆弱，令人感到这段旋律苦乐参半，甚至更多的是痛苦。但很快，温暖的基调就开始回荡，原声乐器带来了舒适和喜悦的氛围，MV场面转到了Suboi和朋友在雨中唱歌、跳舞的场景。是的，Suboi还走在同一条街上，但这一次，她重拾了信心和希望。

With this release, Suboi gives new life to music from a darker time and continues to move forward. EP 2.7 is a reflection of her past under the spotlight of the present, where she sheds off resentment with a sense of wisdom only time and experience can teach. In the coming year, Suboi looks forward to new music, new beginnings and continuing to use her voice to encourage and inspire others like her to do the same.

随着这张EP的推出，这些在黑暗时候创作的音乐，被Suboi赋予了新生——她要继续前进。《2.7》是她在当下对过去的反省，她用经历时间和经验洗礼所获得的智慧，摆脱过去的怨恨情绪。在未来的一年，Suboi期待着创作新的音乐、展望新的开始，并且要继续通过自己的音乐，鼓舞和激励其他像她一样的人们。

Website: www.suboi.net
Facebook: ~/suboimusic
Instagram: @justsuboi
SoundCloud: ~/suboi

 

Contributor: Allyson Toy
Photographer: Thuy Truc
Images & Video Courtesy of Suboi

网站: www.suboi.net
脸书: ~/suboimusic
Instagram: @justsuboi
SoundCloud: ~/suboi

 

供稿人: Allyson Toy
摄影师: Thuy Truc
图片与视频由Suboi提供

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What Makes a “Woman”?

December 28, 2017 2017年12月28日
[妛 chī] Meaning: Ancient word for ugly woman.

"I lift the mountain, as the moon in the sky watches me, and the stars blink."

Inspired by the Chinese character nǚ 女, which translates to “female” in English, 90s-born Chinese illustrator Zhang Yalan created a series of illustrations dissecting the word’s usage. The nǚ character is a common radical (a root character in the Chinese language that convey semantic or linguistic information) that’s used as a component in a wide range of other words, including hao 好 (good), tā 她 (her), zhuāng 妆 (makeup), xìng 姓 (forename), nú 奴 (slave), fù 妇 (wife), and jì 妓 (prostitute), among many others. The series, which began as a university graduation project, now consists of over 100 illustrations.

这是一系列都以“女”偏旁的汉字作为创作灵感的作品：好、她、妆、姡、姓、奴、妇、妓……已有100多个这样的“女”字，被90后插画家张雅岚加之以自己的插画解读，并做成了她的毕设作品。

[娽 lù] Meaning: Obedient

"Don’t depend on him too much, otherwise you may never be able to leave."

[妌 jǐng] Meaning: Gentle and meek.

"Your heart is like a well. No matter how hard I look, I can't see the bottom."

From describing beautiful and elegant women to lewd prostitutes, characters using nǚ as a radical are able to communicate both positive and negative meanings

However, Zhang has observed the majority seem to lean towards the latter and is indicative of a larger societal issue. “Did this phenomenon come about due to how Chinese history and society developed with a predominantly misogynistic attitude?” she asks. “That question, along with my observations of gender inequality issues in modern times, is what motivated me to create this series.”

这些在汉语书面语中随处可见的“女”旁汉字，存在着褒义字，中性字和贬义字：温良优美如姝婷，风骚不检如娼妓。

张雅岚觉得，这些不同词性的词寓含了太多深刻的意义，“这其中是不是因为中国历史文化发展中社会对女性地位及对待女性态度中存在着歧视？再结合上现如今男女不平等的社会问题，就激发了我以‘女’旁汉字来解读性别歧视的灵感。”

[娒 wǔ] Meaning: In ancient times, meaning irreverent or to bully

“Show yourself off”

[嬉 xī] Meaning: Amusement

“A woman is like a game”

[姅 bàn] Meaning: Menstruation, menstrual period

"I cut my face into two parts, inside I find it’s empty… I cry, I don’t know what to do."

Zhang admits that her decision to create this series is naturally relevant to her own identity as a female. “It doesn’t matter if it’s male discrimination towards women or women’s self-deprecating attitudes towards themselves. Traditional Chinese society hasn’t addressed these topics and most people will choose to ignore or avoid them.”

So this begs the question, how do you create a discourse around gender inequality and encourage more people to participate in the discussion? These are the questions that Zhang attempts to answer through her series: “I didn’t create this series out of enjoyment. I hope that my illustrations will allow more people to become aware that these kinds of issues exist.”

张雅岚承认之所以创作这系列的作品，和她自己身为女性也存在着一定关系。“无论是男性对于女性的歧视也好，或者源于女性自身的自卑也罢，中国人的传统观念对于性别的话题是很隐晦的，大部分人都会选择性地无视或回避。”

那么，如何让读者能够被作品所吸引，并且在观看中产生自己的思考？这就是张雅岚在创作中一直在探索的问题。“我创作这个主题的作品并不是想要自娱自乐，我希望通过我的插画让更多人能够直视性别歧视这个问题。”

[姯 guāng] Meaning: 1. Female name in ancient China 2. Feminine beauty

"People are just like trees, the higher you grow towards the sun, the deeper your roots penetrate into the darkness."

[姯 guāng] Meaning: 1. Female name in ancient China 2. Feminine beauty

"Even if we live in a dark age, I still have the right to hope for light. This hope doesn’t come from theories or ideas, and whether it comes from the dark or the light is uncertain. Regardless, the light is often dim."

[媣 rǎn] Meaning: Arrange "This water has been dyed, it’s blinded my vision, I keep on swimming, but I can never reach the shore of freedom."

“Throughout thousands of years of a patriarchal society in China, women have depended on their own efforts to improve their positions and gain respect,” Zhang comments. “[…] I believe that to make progress on the issue of gender inequality, we can only begin with ourselves. Only after we realize that the problem exists can we begin to analyze the situation, work at these problems, and begin to implement change.”

“我相信，性别歧视这类问题必须以自身出发，在中国几千年的男权思想影响下，女性只能靠自己的努力来争取社会地位和认可……只有开始做到直视歧视问题，才能分析环境，解决问题，从而改变现状。”

[婘 quán] Meaning: Ancient word representing concern, wife and children, and relatives

"I have a head full of curly hair."

Although nǚ is one of the most common character components in the Chinese language, a pronoun specifically for referencing females did not become widely adopted until the early 20th century. But does this etymological evolution truly help us advance towards gender equality? Or on some level, is it only widening the divide between men and women?

From the connotative qualities of words formed with nǚ to the late adoption of gender-specific pronouns, a close examination of the Chinese written language is a revealing look at how gender inequality still remains a prevailing issue around the world.

其实正如张雅岚所关心的问题一样，“女”字作为汉字中最大的偏旁部首之一，其中代指女性第三人称的“她”字，却直到20世纪上半叶随着现代汉语的普及才真正诞生。但特指女性的代词是否能够体现女性地位的平等？还是在某种程度上再次割裂了男女性别呢？

也许“她”字所引发的女性社会地位之争，正如所有“女”旁汉字的所面临的相同，唯有从汉字的构造和词义解读中才得以窥见一斑。

[妓 jì] Meaning: 1. Whore 2. In ancient times, courtesan

"My body is always sticky and dirty. I wash myself with water but it does nothing."

[姓 xìng] Meaning: 1. Family name 2. The common people

"The stars and the moon are with me, I gave birth to you, I nurtured you, but your family name is not my name.”

[婢 bì] Meaning: Slave girl, maid servant

"I lie on the floor, waiting for fluid to enter my body. I’m full of life again."

[妚 fǒu] Meaning: Female elegance

"I raise my head to look at you, with tears dripping from my eyes."

[婳 huà] Meaning: Female name in ancient China that represents tranquility

"The meaning exists before and after the pen draws the picture."

Weibo: ~/张softrain
Instagram: @softrainz

 

供稿人: Chen Yuan
Image Courtesy of Zhang Yalan

微博: ~/张softrain
Instagram: @softrainz

 

供稿人: Chen Yuan
图片由张雅岚提供

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Dear Shanghai, I Love You

December 27, 2017 2017年12月27日
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Using the powerful presets and tools that come with VSCO X, we’ve put together a photo essay that showcases Shanghai through our eyes. This is Neocha’s tribute to a city that we keep falling in love with over and over again.

 

When most people think of Shanghai, certain sights might immediately come to mind: the lively crowds on the riverside promenade; the hyper-futuristic skyscrapers rising above the Lujiazui skyline; and a legion of mopeds, bicycles, and cars whizzing every which way through downtown. While these sights are representative of Shanghai in their own way, for many, the allure of the city lies in its internationalism, open-mindedness, and reputation as a place of endless opportunities. But beyond these obvious qualities, the city’s rich history and traditional roots form the Shanghai that we know and love.

我们通过VSCO X的滤镜及编辑工具，汇编了一系列照片，以呈现出Neocha心中最爱的上海。

 
 

从灯火通明的浦江两岸，到四通八达的公共交通，再到超未来主义的现代摩天大楼……这是无数人梦想中的上海：大气、国际化、充满机遇。但它决不仅仅如此。

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In our eyes, Shanghai is a petite and elegant city. Being the most populated city in China, some might find “petite” as an absurd adjective to describe the megalopolis. Even prior to Shanghai’s frenzied development, land was considered to be a treasured commodity. This is reflected in the Shanghai’s older streets, which look quite dainty when compared to the streets of other Chinese cities. Many of Shanghai’s older buildings are designed with a similar mindset of maximizing the most of a given space and are equally charming in their “petiteness,” such as the wedge-shaped Wukang Mansion in the French Concession. However, despite limitations, many of Shanghai’s older buildings were constructed with attention to details: Buildings from the Republic of China period best represent this, with Art Deco designs, ornate wood and stone carvings, and beautiful terrazzo flooring being some of the city’s most overlooked gems.

上海是“小”且“精”的。因为它从开埠以来就是寸土寸金之地，街道不宽、空间不大，一些老建筑甚至就见缝插针地矗立在两条逐渐相交的马路上，形成了独特的三角船型立面。坐落在法租界的“武康大楼”就是代表性建筑之一。虽然大部分老建筑的空间本身十分逼仄，但细节之处却是非常之精致。甚至在许多建于民国时期、Art Deco风格的建筑上，如今依旧可见细腻的砖雕木雕及整洁的水磨石地。

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However, the true essence of Shanghai can be best observed in the city’s shikumen lanes or longtangs, which are narrow alleyways that often can only fit two people shoulder to shoulder. Residental areas like these are abuzz with activity: Recyclers are busy at work, collecting and sorting out salvaged goods along the street; vendors lay out a selection of fresh produce and barter with passersby; and repurposed homes serve as convenience stores, hawking everyday essentials to nearby residents.

In these close-packed living quarters, the distinction between public and private is often blurred as neighbors are constantly exposed to each other’s lives. It might seem bothersome to know what your neighbors are arguing about or having for dinner, but for many locals, these living conditions have ultimately contributed to a strong sense of community.

传统的石库门里弄更是浓缩了上海风情，各排房子间仅留有一两人宽的过道，相当“闹忙”：维修和回收旧家电的师傅永远在忙活着；而小商贩沿街铺陈开时令蔬果叫卖；那些塞满杂物的烟纸店，就直接从民居一楼破墙开设。

而住在里弄间的邻里，关系几乎紧密到毫无隐私可言——一家人的饮食起居，几乎都可被对门的邻居一览无遗。但正因如此，弄堂中才洋溢着浓浓市井气。

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To this day, many of the older generation Shanghainese are content with a traditional lifestyle filled with simple pleasures. When the weather is fair, they can be seen hanging laundry out to dry on streets and from balconies; tending to their beloved potted plants; or simply being out and about, soaking up the sun, casually knitting, and chatting the afternoon away.

上海人对市井生活的讲究，也能从细节上看出来。在天气好的时候，家家户户的衣裤被褥一定要晾晒出来；老人家一定要把花草盆栽搬出来侍弄；而退休的阿姨妈妈们则会围坐一圈，织绒线、孵太阳、闲话家常……

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Edited with A6 / A6 滤镜处理

With much of the cityscape and local lifestyle still interwoven with traditions, it’s to be expected that the regional cuisine similarly follows suit. The four breakfast staples, dubbed as si da jin gang (or “Four Heavenly Kings” in English), is comprised of soy milk, Chinese fried churros, baked pancakes with sesame, and stuffed sticky rice rolls. Everything, with the exception of the fried churros, can be made sweet or savory. Another popular snack choice is Shanghai-style tea eggs, which are made with aniseed, sugar, cinnamon, soy sauce, and of course, tea leaves. For dessert, steamed rice cake, garnished with strips of sugar-soaked papaya and orange peels, is a popular with locals. While many of these culinary delights have been glorified under the pen of legendary author Eileen Chang, some have become increasingly harder to find. As the city marches towards the future, a collective nostalgia battles on against the unforgiving nature of time to keep these Shanghainese flavors and memories alive.

哪怕是在上海马路街角卖小吃的摊贩，做得也精细。早点“四大金刚”：豆浆、油条、大饼、粢饭，搭配的口味一定有甜有咸，缺一不可；蒸糕上要撒些青红丝；茶叶蛋里则一定要放桂皮茴香……这些吃食亦在民国作家张爱玲笔下写过，现在仍有得找。一晃几十载春秋过去，只有这味道像是从旧时弥漫而来，尚还驻留在车水马龙之间，未曾消散。

Edited with C3 / C3 滤镜处理
Edited with AV4 / AV4 滤镜处理

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Contributor: Chen Yuan
Photographers: Crown Wang, Chan Qu, Li Zi, Adam J. Schokora, David Yen

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供稿人: Chen Yuan
摄影师: Crown Wang, Chan Qu, Li Zi, Adam J. Schokora, David Yen

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RadianceScape Live!

December 25, 2017 2017年12月25日

Hong Kong new media collective XCEED recently brought their RadianceScape Live! project to Poland’s PatchLab Festival. RadianceScape Live! is an audiovisual performance that builds on XCEED’s original RadianceScape installation piece. Conceptualized by XCEED founder Zhang Hanqian (a.k.a. h0nh1m), the project is a live audiovisual display of radiation levels from major cities across the world, which uses data sourced from Safecast.org, a website that aggregates global radioactivity data. By comparing the radiation levels of major cities, such as New York, Tokyo, Hong Kong, Berlin, and Paris, to the nuclear disaster zones of Chernobyl and Fukushima, the project hopes to bring greater awareness to the issue of global radiation pollution.

不久前，香港新媒体团队XCEED带着新作《辐射界–现场！》去到PatchLab Festival 波兰站。《辐射界–现场！》是他们之前的装置艺术作品《辐射界》全新衍生出的现场表演版本。XCEED创作主脑张瀚谦（又名h0nh1m）将无形的辐射线可视化，他从Safecast.org（一个收集与共享全球核辐射数据的传感器网络）搜集全球各大城市的核辐射数据，再把他们变成光线和声音，进行实时的视觉影像创作。通过激光勒出纽约、东京、香港、柏林等大城市的辐射样貌，并和核辐射重灾区切尔诺贝利及福岛做对比，希望提高大众对于核灾的认知与关注度，审视遍布全球的辐射问题。

RadianceScape started as a digital visualization of radiation levels and city contours. According to Zhang, the project was initially inspired by the 2011 Fukushima earthquake and tsunami. In 2014, Zhang spent half a year doing an artist residency in Japan, and during that time, he spoke with local residents to understand their reactions to the disaster and subsequent radiation pollution. After the 2011 earthquake, dire amounts of nuclear runoff from Fukushima flooded into the Pacific Ocean, contaminating ocean life and creating an environmental crisis. To this day, Japan has been unable to come up with an effective cleanup resolution. During the bid for the upcoming Olympic Games, the Japanese government’s official stance was that they had resolved the crisis. In an effort to appease local residents, the government implemented tests and measurement centers across Fukushima to collect data on radiation levels. However, data from the official measurements would differ from data collected by international media and environmental agencies, causing widespread allegations of a government coverup.

《辐射界》是一个以伽玛射线勾勒出城市轮廓的虚拟空间，张瀚谦告诉我们，作品的创作契机来自于2011年于日本福岛所发生的311地震。2014年的时候，他花了半年住在日本做艺术家交换项目。在那期间，他感受到当地居民对地震的看法，尤其是对辐射的恐惧。地震后，高放射性的核废水大量流入太平洋，不断污染整个海洋生态，更破坏了整个食物链。在日本申奥期间，政府不断发布新闻，强调已解决辐射问题，并在福岛公共区域设立一些检测并显示辐射数据的装置，试图借此来安抚市民。然而，这些数据和一些外国传媒或环保机构发布的数据却有着相当大的差异，核污染是否真正被处理妥当，政府是否掩盖了真实的污染情况，许多人仍对此充满疑问。

After returning to Hong Kong, Zhang began work on RadianceScape project. The Safecast system, which was created by a group of volunteers after the Fukushima crisis, would provide the data that would be used for the project. Retranslating the data to laser and sounds, Zhang and his team created a new and stimulating way to present information that would bring attention to the current state of radiation pollution across the world. The RadianceScape installation featured red and green laser lights scanning across visualizations of Chernobyl and Fukushima, two of the world’s most infamous nuclear disaster zones. The visuals would be accompanied by sound design that included tonal drone ambiance and noises that correspond to the different levels of radioactivity.

回到香港后，张瀚谦和他的团队开始着手创作《辐射界》，他们通过SAFECAST仪器侦测各地的辐射指数，（SAFECAST是全球网络侦测与分享辐射数据的平台，由一群义工自「311」大地震后成立，旨在能快速收集并公开各地的辐射数据。）再将数据转化为激光装置和声音装置，打破沉闷的数据表现形式。作品中，红绿色的扫描激光快速地在切尔诺贝利与福岛——两个曾发生过重大核灾难的地区景观图上来回切割，并发出“滋滋滋”的焦虑噪音。

张瀚谦带着safecast仪器收集当地的辐射数据
Radiation data uploaded to Safecast.org by volunteers 志愿者们将收集到的辐射数据上传到Safecast.org
Radiation data uploaded to Safecast.org by volunteers 志愿者们将收集到的辐射数据上传到Safecast.org

“The ‘-scape’ in RadianceScape refers to landscapes. To visualize radiation in these cities, we first used electronic landscapes to display the structures of the cities. The higher the radiation levels became, the harder it would be to see the underlying structures of the cities,” Zhang explains. Ultimately, he hopes this project can raise awareness and allow people to better understand the issue of radiation pollution. “The issues with nuclear energy have always existed. We should begin a discussion on whether or not this source of energy is even necessary. We have a lot of options aside from nuclear energy.”

See below for a snippet of their live performance.

“《辐射界》的英文名字是 Radiance Scape，scape即是代表landscape。 我们希望以辐射勾勒城市景貌，所以背景以电子地图中的立体街景方式呈现。作品内辐射率愈高，就愈难看见城市原来的面貌 。” 视觉呈现的背后，张瀚谦希望启发观众更深入关注核污染问题，“核能问题一直衍生。我们需讨论核能是否必要之需？人类仍有很多选择，不一定需要核能源。”

进一步了解《辐射界–现场！》，点击下方视频观看吧。

 

无法观看？前往腾讯视频

Website:
xceed.hk
h0nh1m.com
Facebook:
~/xceed.hk
~/h0nh1m
Instagram: @h0nh1m

 

Contributor: Ye Zi
Images Courtesy of XCEED

网站:
xceed.hk
h0nh1m.com
脸书:
~/xceed.hk
~/h0nh1m
Instagram: @h0nh1m

 

供稿人: Ye Zi
图片由提供 XCEED 提供

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Carved in Stone

December 22, 2017 2017年12月22日

Created by multimedia artist Song Hyoung Kang, Carved in Stone is a sculptural project that superimposes familiar architectural elements onto objects modeled after rocks. With an attentiveness to detail and a focus on textures, Song has crafted a series of surreal, miniature worlds out of unlikely materials.

《Carved in Stone》系列的创作者系生于韩国长于美国的艺术家Song Hyoung Kang。在她这系列的作品中，Song结合了自己对结构和纹理的兴趣，将细腻且迷你的建筑叠加在圆形的“岩石”表面上，以类似浮雕的形式塑造了一个看似在石头中的超现实微观世界。

Born in Korea and raised in the U.S., Song cites her exposure to the two cultures as an influential factor in her artistic sensibilities. From the age of four onwards, she frequently traveled between the two places. “When I’m not going to Korea, I try to travel as often as I can afford,” she explains of her habits. “I think my love for scenic, organic, and architectural subjects matters is reflective of my love for travel and new experiences.”

Song现在的创作和灵感，某种程度上得益于她从4岁起长年往返于韩美和美国各州之间的经历，接触到交融的文化。“即使有时我不打算回韩国，我也会尽可能多多旅行。我觉得我对风景、有机和建筑主题的热爱，正是反映出我对旅行和增加阅历的喜爱。”

Despite her impressive sculptures, Song’s interest with the medium didn’t begin until college. With limited resources at the time, she relied on materials she could easily get her hands on. “The majority of my sculptures are made from recyclable or found scrap materials: cardboard, smaller plastics, straws, foam, and even dried pasta,” she explains. “[…] The priority then was to be budget friendly. For the Carved in Stone series, the bases of the sculptures are all made out of foam. I shaped them and used paper maché to create the stone-like appearance. Using found scrap materials like wooden reeds, beads, and clay, I built the architectural structures along the curved surface of the ‘stone.’”

这样的雕塑主题其实是Song在进入大学之后才接触到的创作形式。“我的大部分雕塑都是用可回收的材料或找到的废料做的……当时首先要考虑的是是否能符合预算。在这个《Carved in Stone》系列中，雕塑的基座都是用泡沫制成的。我把它们先做成型，然后用纸塑来创造像石头一样的外观。我用的材料都是找到的废弃物，比如芦苇杆、珠子和粘土，之后我就沿着‘石头’的弯曲表面建造了这样的建筑结构。”

Even though 3D sculptures and 2D illustrations are quite different from one another, Song has observed that the two mediums are able to influence each other. “My sculptures are a way for me to reimagine forms and create new textures that I can apply to my drawings. My drawings are ways for me conceptualize space that I can later condense into physical objects. I feel like by making both sculptural and flat works, I have a greater understanding of what I hope to convey in my art as a whole.”

现在的Song，在三维雕塑和二维插画间进行着交互创作，她觉得：“对我来说，我的3D和2D是一回事。我的雕塑是我重新构思的形式和创造新的纹理，可以应用到我的绘画中去。而我的绘画是我概念化空间的方法，我可以将其压缩成物理对象。我觉得通过雕塑和平面两种方式，我会对我作品中所表达的内容有更全面的了解。”

Website: www.song-kang.com
Behance: ~/song_kang


Contributor: Chen Yuan
Image Courtesy of Song 형 Kang

网站: www.song-kang.com
Behance: ~/song_kang


供稿人: Chen Yuan
图片由Song 형 Kang提供

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Young Wild & Free

December 21, 2017 2017年12月21日

Wang Wei is a Beijing-based photographer who works entirely on 35mm analog film. Though he’s best known for his fashion photography, Wang’s personal work offers a unique perspective of life in China. His ongoing series, Young Wild & Free, consists of fun, quirky vignettes of his daily life and the lives of those around him. These images capture a sense of playfulness and freedom that encapsulate the coming-of-age experience for the youth of China.

来自北京的王未是一位坚持只用35mm胶片拍摄的摄影师。虽然如今的王未以时尚摄影而闻名，但他的个人作品却为人们提供了一个独特的视角，得以观察在中国的生活。目前他正在进行的系列《Young Wild & Free》中，拍下了他和他身边人有趣且离奇的日常生活。这些照片概括了中国年轻人的成长经历，捕捉到了玩乐和自由的感觉。

Wang was first introduced to photography in middle school when he received a mobile phone with a built-in camera as a birthday present. Although the camera’s resolution was only around 0.3 megapixels, the ability to take photos was life-changing for him. He tells us, “At school, I would always be taking pictures of my classmates, of life on campus, of things that happened in my daily life. Soon after, my parents purchased a digital camera, and I would play around with it when they weren’t using it. Sometimes I would even bring it with me to school. Since then, I just haven’t stopped shooting.”

初中的时候，有一年过生日，王未收到了一台能拍照的手机作为生日礼物，虽然这台手机只能拍30万像素的照片，但拍照这个功能对他来说特别新鲜。他说：“上学的时候我就爱各种拍，拍同学，拍校园生活和身边的事情。之后家里也换了一部数码相机，父母不用的时候我就自己随便鼓弄，有时上学我也会带着。就这样一直没有停过，拍到了现在。”

The Young Wild & Free series came about during Wang’s university years, when he would continue to photograph scenes from his life and the people around him. The name of the series came about when he heard Snoop Dogg’s song “Young, Wild and Free.” He would readopt the name for his own project: “Young” was the reference to his subject matters, “wild” as a reference to the aesthetic, and “free” as the general feeling that he wanted to share with his audience. As his photography evolved over the series’ development, Wang also experienced a change in his own attitude towards art, life, and the world at large. “At the time, I was pretty rebellious, and it felt like my photos were becoming gloomier. But then I went through a period where I was traveling a lot, and it helped me realize the world was a beautiful place. After I came back home, I felt like my mind had been opened – my aesthetic and outlook were drastically changed, and my photography changed with it. I kept the carefree and joyous aspects of my previous photographic style but got rid of the sad and depressed side.” The project is a continual work in progress that holds significant personal meaning to Wang: “It’s become a long-term project that I hold close to my heart, and I plan to keep adding to it. It’s a reflection of my life and all of my emotions.”

王未开始创作《Young Wild & Free》是在大学的时候，当时的他还一直在拍摄朋友和身边的年轻人。有一天，王未听到Snoop Dogg的《Young Wild & Free》后，就决定用歌名作为这个摄影系列的名字。如同《Young Wild & Free》的字面意思，年轻，狂野，自由。“年轻”是指他选择的拍摄对象，“狂野”是他的视觉形式，而“自由”则是他想表达给观众的感觉。在创作这一系列期间，王未对艺术、生活和世界的态度发生了变化，摄影风格也随之改变。“那段时间我非常叛逆，拍摄的作品也有些颓废。但是之后突然有段时间我开始疯狂旅行，觉得世界特别美好，回来后整个人也打开了，审美和价值观都发生了变化，作品风格随之也改变了。于是我把先前照片中快乐自由、释放的一面保留了下来，舍去了悲伤和颓废的一面。”王未会一直不断地去创作这一个摄影系列，因为它对王未自己来说有着特殊的意义，“现在这个系列是我的一个长期项目，鲜活可喜，对我的意义非凡，我会一直拍下去。”

A photograph from the series that sticks out in Wang’s memory is an image of a girl standing in front of rainbow-colored plane trails. He shares, “It was a fleeting moment. It’s meaningful to me because of how difficult it was to capture, a lot harder than you could imagine.” Taken in Beijing in 2015 at the military parade to commemorate the 70th anniversary of the defeat of Japan in World War II, the photograph was planned meticulously beforehand by Wang and a friend. However, even after setting up the shot on a rooftop and anticipating the path and schedule of the airplane formation, Wang found himself rushed and unprepared to shoot when the actual moment arrived. “When the planes actually went overhead, they flew by so fast, the noise was deafening, and my camera can’t shoot in burst. Despite the planning, it felt like I was winging it when the moment happened. In my excitement, I took two photographs. When I developed them, I was surprised that both of the photos came out great. I felt really happy, and definitely knew that I got lucky.”

这个系列中，有一张照片让王未尤其印象深刻。那是一个站在喷射彩烟飞机前面的女孩。他说：“这张照片有很强的瞬时性，所以非常难得也很有意义，当然实际拍摄情况也远比想象的要‘艰难’。”那张照片是他在2015年北京反法西斯战争胜利70周年阅兵当天拍摄的。王未提前和朋友构思并准备好怎样拍摄。但是，尽管他们在楼顶摆好相机，预估了飞机方阵的大致时间和方位，但真正到了要拍摄的时候，还是有点手忙脚乱。“实际飞机过来时，速度非常快，噪音也很大，而且我的相机没有连拍功能，真的可以用‘瞎拍’来形容，激动之余就拍了两张。片子洗出来，竟然两张都抓拍到了很棒的瞬间，非常惊喜，也算非常的幸运了，这种拍摄经历挺有意思的。”他说道。

Growing up in Beijing, Wang brings a unique perspective and outlook to the city. According to him, “Beijing is a special place – it’s a cultural and political center. I feel like people have stronger principles here, and as a result, artistic expression is more direct.” As a Beijing native, the familiarity of the city gives him a greater sense of security and creative freedom. “It allows the freedom to follow your instincts, without having to consider too many things. Being in this kind of environment allows me to simplify my creative process, and results come more naturally.”

王未从小在北京长大，对这座城市他有自己独特的见解和看法。他说：“北京这座城市很特殊，文化和政治的中心。它给我的感觉就是是非观会比较强，可能在艺术的表达上就会更加直接。”作为土生土长的北京人，他对这座城市的熟悉赋予了他更多创作时的安全感和自由。“（我在创作时）能随心所欲，不用考虑太多，所以在这种环境下，会使我的创作过程更加简单，创作结果更加原始。”王未解释道。

As a photographer who focuses on youth, Wang is inspired by the nostalgia of 20th-century Western coming-of-age films. He shares with us, “I remember watching one film where the mood and the shots were really great; even though it didn’t have any subtitles, and I couldn’t understand what the actors were saying, I still watched it twice.” A film that left a deep impression on him was the 1990 independent comedy-drama Slacker, directed by Richard Linklater. “I found it to be both boring and compelling. It was boring because of the relative cultural differences and it taking place in a time and place that I couldn’t relate to. But it was compelling because of the way it was shot and the general atmosphere of the film – the ending had me excited for the whole afternoon.” Wang is inspired by the parallels between photography and film, and channels this inspiration into his own photo shoots: “I care more about the feeling of the entire film,” he tells us. “Sometimes when I’m on a photo shoot, I’ll think of it like I’m making a film. I’ll focus on creating a certain mood, and before I shoot, I’ll reference films or movie stills that are similar to what I want to create. When I shoot, I’ll channel this information in my own way to make my images.”

作为一名喜欢专注青春主题来拍摄的摄影师，王未的创作灵感在很大程度上都是来自 20世纪的欧美青春电影。他解释道：“我曾经看了一部西语电影，画面和氛围都很好，没有字幕，我也听不懂，但是还是看了两遍。”一部让他印象深刻的电影是Richard Linklater导演的《都市浪人》（Slacker）。他回忆道：“我觉得这部电影既无聊又有趣，无聊是因为文化差异和时代背景不同，提不起兴趣，有趣是因为拍摄形式和整体感觉很吸引人，尤其是电影结尾的处理，让我兴奋一下午。”电影与摄影之间的共通之处让王未深受启发，并将之融入自己的摄影中。“我更在乎一部电影的整体感觉，我拍照有时就像在拍电影，比较在意最终营造的氛围，拍摄前会看些类似的电影或者剧照，拍摄时再把吸收信息的通过自己的方式释放出来，完成作品。”

For Wang, authenticity is the most essential element of good photography. He says, “When an image is authentic, it will leave a deeper impression on me. ‘Authentic’ doesn’t just mean it’s documenting something. I’m talking about an artistic kind of authenticity, for example, something that is irreplicable or feels within reach.” This philosophy of authenticity is evident in Wang’s own work and life, and in that sense, his approach towards photography has stayed consistent throughout the years. He says, “I don’t really like to follow what others are doing. I like to put a certain distance between myself from the world. I don’t like to passively absorb information, so I’ll usually just keep my head down and work on my own stuff. I’m clear on what I’m doing and where I want to go, so I focus on my own ideas.”

在王未看来，真实性是一张好照片的重要元素。他说：“如果一张照片是真实的，更容易打动我。‘真实’不是纪实，是艺术上的真实感。比如，难以复制或者令人触手可及。”在王未的生活和工作中，保持真实一直是他的一个重要理念。同样，他的摄影方式在多年来也依旧保持“初心”。他说：“我很少关注其他人在做什么，我喜欢屏蔽外界，不喜欢被动接收信息，所以我一直埋头做自己的事情，比较清楚自己在做什么，将来要做什么，在乎自己内心的想法，无论是对摄影还是其他。”

Instagram: @wangwei_instagram
Flickr: ~/wang_wei
Weibo: ~/wangwei5945

 

Contributor: George Zhi Zhao

Instagram: @wangwei_instagram
Flickr: ~/wang_wei
微博: ~/wangwei5945

 

供稿人: George Zhi Zhao

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Fiction 有关“虚构”

December 19, 2017 2017年12月19日

Since its inception, NANG has defied the expectations of what a film publication can be. Foregoing run-of-the-mill movie reviews for creative storytelling, NANG offers original perspectives on the world of Asian cinema in each issue. The latest release, dedicated to the topic of fiction, pulls attention away from filmmakers and the process of filmmaking, instead casting a spotlight on the watchers of films. Enlisting the help of guest editor Amir Muhammad – an accomplished Malaysian writer, publisher, and filmmaker – Editor-in-Chief Davide Cazarro invites readers to ponder on how movies can take on a life of their own after they’ve been watched. Overall, the issue poses the question, “When we think about a movie we have seen, aren’t we also ‘making (or ‘remaking)’ that movie in the confines of our imagination?”

自成立以来，《NANG》杂志一直在颠覆电影杂志的传统定义。这本杂志的影评更具创意和前瞻性，在每一期中都提供了关于亚洲电影世界的原创观点。这期最新的杂志以“编造”为主题，并未将人们的注意力放在电影制片人和制作过程，而反将关注的焦点投向了观众。在担任客座编辑Amir Muhammad——他也是多才多艺的马来西亚作家、出版商和电影制片人——的帮助下，主编Davide Cazarro邀请读者一起思考有哪些方式可以让电影在上映后继续延续自己的“生命”？第三期提出的问题是：“当我们想到一部自己看过的电影时，我们难道不也是在自己的想象中‘创作’（或‘再创作’）那部电影吗？”

A diverse roster of writers and comic artists were invited to take the reigns of the third issue and share personal interpretations of their favorite Asian films. From inspired fan fiction and imaginary interviews to heartwarming comics and personal anecdotes, there was no shortage of creative bandwidth expended for the creation of Issue 3. “More than half of the writers chose movies that were not from their own country,” Muhammad writes. “[…] On a basic level, it just shows that movies travel easily. Movies from big industries travel even easier; growing up in Malaysia way before social media, I certainly knew of Amitabh Bachchan and Jackie Chan, but it would take more effort to get to know films from directly neighboring countries like Thailand and the Philippines.”

在本期杂志中，各种各样的作家和漫画家受邀在位，将以独特的视角，分享各自所喜爱的亚洲电影。从充满创意的同人小说、纯粹虚构的想象采访，到温暖人心的漫画和轶事趣闻，《NANG》Issue 3展现了无限创意。“半数以上的作家选择的电影不是他们自己国家的电影，”Muhammad写道，“⋯⋯表明了电影很容易传播罢了。而那些来自行业巨头的电影，传播就更轻松了。我成长在马拉西亚还未进入社交媒体的时代，我当然知道Amitabh Bachchan和Jackie Chan，但如果要了解直接来自泰国和菲律宾等邻国的电影，就得费些周折了。”

In addition to the write-ups and comics in the latest issue, NANG invited five illustrators to reimagine the movie posters for the 17 featured films. Thai artist Unchalee Anantawat presented surreal reinterpretations of Beautiful Boxer (2003), Fist of Dragon (2011), and You Are the Apple of My Eye (2011), while for Dust in the Wind (1986) and A City of Sadness (1989), she merged the two movies together into a singular, digital collage; Indonesian artist Ardneks reworked the posters for Welcome Back, Mr. Mcdonald (1997), Baran (2001), and A Chinese Ghost Story (1987) in his signature vectorized style; Germany-based artist Melanie Fassbender tackled Pink (2016), 2 COOL 2 BE 4GOTTEN (2016), and 3-Iron (2004); Filipino artist Likhain worked on Lilet Never Happened (2012), Vengeance! (1970), and Ghost in the Shell (1995); while artist Alessandro Gottardo offered his take on the three Wong Kai-war movies in the issue – 2046 (2004), Days of Being Wild (1990), and In the Mood for Love (2000).

此外，《NANG》杂志还邀请了五位才华横溢的插画家，重新为杂志中介绍的17部影片设计海报。泰国艺术家Unchalee Anantawat以截然不同的美学风格，重新诠释了《美丽拳王》（2003）、《龙拳》（2011）和《那些年，我们一起追的女孩》（2011）， 而《恋恋风尘》（1986）和《悲情城市》（1989） 则被她融合成一幅生动的拼贴画。

印度尼西亚艺术家Ardneks以他的标志性矢量图风格，重新设计了《爆肚风云》（1997）、《天堂挚爱》（2001）和《倩女幽魂》（1987）；德国艺术家 Melanie Fassbender 则选择设计了《红粉惊魂》（2016）、《2 COOL 2 BE 4GOTTEN》（2016）和《空房间》（2004）三部电影的海报。

菲律宾艺术家Likhain制作了《街边少女利勒特》（2012）、《报仇》（1970） 和《攻壳机动队》（1995）的海报；而艺术家Alessandro Gottardo 则对王家卫的三部电影《2046》（2004）、《阿飞正传》（1990） 和《花样年华》（2000）进行自己的演绎，其中，他还特意为《花样年华》打造了两幅不同的海报设计。

Issue 3 of NANG is now available in the Neocha Shop in limited supply along with NANG – Issue 1 “The Beauty of Screenwriting” and NANG – Issue 2 “Scars & Death.”

第一期《NANG》“编剧”、第二期《NANG》 “伤痕与死亡” 和《NANG》Issue 3 限量发行，现已于Neocha商店发售。

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“编造”《NANG》Issue 3

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Details:

  • Year of Publication: 2017
  • Edition Size: 1500
  • Number of Pages: 122 (including front and back cover)
  • Size: 17 x 24 cm
  • Binding: Swiss binding
  • Printing: Offset (Hybrid Print Technology)
  • Paper: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • Price: $25

详情：

  • 出版年份: 2017年
  • 发行量：1500
  • 页数：122 页 （包括封面和封底）
  • 尺寸：17 x 24 厘米
  • 装订：Swiss binding
  • 印刷：平版印刷（混合打印技术）
  • 纸张： Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • 价格: ¥180

Website: nangmagazine.com
Facebook: ~/NangMagazineAsia
Instagram: @nangmagazine

 

Contributor: David Yen

网站: nangmagazine.com
脸书: ~/NangMagazineAsia
Instagram: @nangmagazine

 

供稿人: David Yen

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Photosynthesis 光合作用

December 17, 2017 2017年12月17日

To what extent do a city’s artificial lights affect our lives? That’s the question posed by Macau-based photographer and visual artist TKH. Since 2014, he’s ardently observed and documented the different ways a city transforms after the sun goes down. This insatiable curiosity led to his Photosynthesis project, a photo essay that investigates the role of man-made light sources in our day-to-day lives. “Through my photos of these cold, nocturnal sceneries, I tried to find out how our society uses light to guide an individual at night and how our days don’t have to end after the sun sets,” he describes of the project. “It also shows that, with the help of artificial lights, a city continues to function through the night. By observing and documenting these basic constructs of civilization, I’ve found appreciation in how we, as urban dwellers, are able to use these lights to explore the darkness. The invention of artificial light is one of the biggest things separating humans and animals, and what’s buried beneath these seemingly serene night scenes is a chance for us to re-discover and re-familiarize ourselves with the invisible cogs that keep a city running.”

夜晚环境中，灯光对人类的日常行为究竟带来多少影响？这是来自澳门的艺术家／摄影师TKH向观众抛出的问题。2014年开始，TKH通过观察和记录城市夜晚场景，创作了《光合作用》系列作品，这是他一个持续进行中的实验性摄影项目，也是他社会观察项目的其中一项。当太阳落去，城市失去自然光线之后，人类借助多样的人造光线继续开展活动。“借由画面中冷滟的夜间景观发掘出当今的社会是如何以灯光引导着个体在夜间继续拓展其生活经验，以及晚上的灯光在公共场域中赋予城市看得见的运作模式。透过观看及纪录这些文明建设，我们看见城市人正以自己创造的光源继续对黑暗的探索，黑夜中的灯光将人类从动物社会体系中分割出来，然而埋藏在静态景致中的是重新认知和阐述凡常表像都市运转的感觉。”

Website: tkhmacau.com
Instagram: @tkh0917

 

Contributor: Ye Zi

网站: tkhmacau.com
Instagram: @tkh0917

 

供稿人: Ye Zi

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Drama & Absurdity 画面里戏剧的张力

December 15, 2017 2017年12月15日

Born in 1982, Tang Dixin is a Hangzhou-born multimedia artist whose creativity seems to know no bounds as he effortlessly crisscrosses between painting, performance art, installation art, and more. Despite his artistic diversity, Tang’s works are united through a similar sense of dramatic apprehension and his love for absurd metaphors. In paintings, he invokes tension through the use of bright, vibrant lines, which slice through slabs of solid colors. Seemingly abstract at first glance, a closer look at his paintings reveals recognizable human forms and hidden layers of emotion. Tang’s painted works feel quite organic with his background as a performance artist, as each painting carries a visual dynamism that makes them feel closer to staged performances rather than static pieces of work.

1982 年出生于杭州的艺术家唐狄鑫，他的创作领域横跨绘画、装置和行为艺术等多种媒介，充满戏剧性的张力，亦充满荒诞的隐喻。野性的张力通过大面积颜色和高亮度的线条轮廓呈现出来，看似具有模糊抽象的含义，实则在描绘具体而现实的躯体和情感，似乎正在通过画面上演一台“虚构表演”。

In earlier years, Tang’s projects as a performance artist often involved putting himself in dangerous situations, such as leaping onto an active train track and hopping back onto the platform right before the train pulls in. Explaining with an impish smile, he tells us, “It’s using fear to stimulate my id.” And though he’s moved on from this risky method of creative expression, Tang’s paintings still adhere to the theme of “mutual destruction” that fascinated him as a performance artist; nowadays, it’s just explored via a different approach. “As a performance artist, it’s me physically conducting a certain act. When I paint, I’ll simply depict someone performing what I might’ve originally done. The message is the same, but it’s interesting to present it in a new way.”

早些年，唐狄鑫也创作行为艺术的作品，他常常会将自己置于十分危险的境地——比如俯身跳下铁轨，再在列车来临前果断跳上站台。他俏皮地说，那是因为“想把心中住的小神仙吓一跳”。相比行为艺术，他的油画亦传达出背后那个“互撕互毁”的过程，他说：“一个是我跳到人群中，另一个我描绘有个人跳进人群。要表达的内容其实也没什么不同，但一点也不想同归。”

Tang Dixin’s newest works are now on display at AIKE DELLARCO in Shanghai.

 

Date: November 8, 2017 ~ December 31, 2017
Opening hours: Tuesday ~ Sunday 10:00am ~ 6:00pm

Address:
AIKE DELLARCO
Building 6, No. 2555 Longteng Avenue
Xuhui District, Shanghai
People’s Republic of China

 

Contributor: Chen Yuan
Image Courtesy of AIKE DELLARCO

目前，唐狄鑫的最新作品正在艾可画廊呈现，欢迎大家前往观瞻。

 

展期: 2017年11月08日 —— 2017年12月31日
开放时间: 周二至周日 早上10点至下午6点

地址:
中国
上海市徐汇区
龙腾大道2555号6号楼
艾可画廊

 

供稿人: Chen Yuan
图片由艾可画廊提供

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Bendang Studio 脏一下你的手吧，没关系！

December 14, 2017 2017年12月14日

At the edge of the quiet, unassuming village of Kampung Sungai Petai, a half-hour drive out of the rich historic hub of Malacca, lies Bendang Studio, a contemporary ceramics workshop that is making waves in the industry. Having started from humble beginnings, its founder Rozana Musa has developed her own brand and a style of tableware ceramics that’s now highly sought after in Malaysia. Not complacent in entrepreneurial success alone, Musa aspires to mold and fire the Malaysian ceramics scene into a new era.

双溪大年（Sungai Petani）是距离马来西亚历史文化中心马六甲一个半小时车程的村庄，在这个平静的村郊地区，就坐落着Bendang工作室——这就是在业界掀起了不小波澜的当代陶艺工作室。工作室创始人Rozana Musa从零开始，成立了自己的陶瓷餐具品牌，形成自己的独特风格，塑造且推动了马来西亚的陶瓷产业进入一个全新的时代。

Musa’s initial encounter with ceramics came early in her childhood when she unwittingly stumbled upon the core ingredient of ceramics – clay. As a child, she often played with the carmine, clay-rich mud on the riverbank, behind her grandmother’s Malaccan home, sculpting skyscrapers and drawing shapes in the sand and silt. Little did she know, this childhood pastime of hers would translate to a deep-seated love for ceramics in her adulthood. Now, rather than building transient sculptures in the sand, she creates intricate ceramics with a touch of modern flair.

Rozana第一次接触陶瓷是在她童年的时候，她偶然接触到了粘土——而这正是制作陶瓷的核心原料。小时候，她经常到祖母位于马六甲的家后面的河边，用胭脂红色的粘土泥，捏出泥巴大楼，在沙地和淤泥里画画。当时的她并不知道，这种儿时的消遣会在后来变成自己所热爱的陶瓷艺术。现在，她不再仅仅是捏泥巴玩儿了，她打造着精致复杂的现代陶瓷作品。

At Musa’s studio, each piece starts off as a specially tailored clay mixture, containing a blend of silica, feldspar, kaolinite and a slew of other minerals. Then, depending on the particular piece, the clay will either be cast in a mold, shaped by hand on a pottery wheel, or cast and then finished off by hand. The product from the shaping process is then left to dry for several hours before being baked in a kiln at 840°C for six hours through a process known as biscuit firing. The brittle “biscuits” are then cooled for a day before being colored with a glaze through a subsequent firing process at 1100°C for eight hours. All the recipes for the glaze are developed by Musa and her team, using metal oxides such as cobalt, copper, sodium, and calcium as dyes. Though each piece is somewhat planned, Musa admits she and her team often improvise on the fly, especially when they’re struck by moments of artistic inspiration.

在Rozana的工作室，每一件作品都是用专门定制的粘土混合物制成的，需要通过复杂的配方，将硅土、长石、高岭土和其它矿物混合而成。然后，根据不同的创作理念，将这些粘土或盖上模具定型，或在轮盘上进行手工拉坯，或先用模具定型，再手工处理完成。定型之后，这些陶坯需要先被放置风干，再放到一个840℃的陶瓷窑里焙烧6 个小时，这个工序被称为“素烧”（biscuit firing）。素烧好后的坯体需要冷却一天，然后施釉，再经历一次烧制工序，这一次需要在1100℃下焙烧8小时。所有釉彩的配方都是Rozana和她的团队亲自研究出来的，采用的是钴、铜、钠和钙等金属氧化物作为染料。虽然每件陶瓷作品都是按照预定设计制作的，但当灵感突然闪现的时候，Rozana说她和团队也经常会即兴发挥。

This free, unshackled approach can be seen throughout her studio – a splash of cobalt blue on an ivory plate, a shimmering gold brushstroke on the lip of a teacup, an embossed batik print on a china tray. Even her studio itself exudes this sense of unbridled freedom; The airy, glass-fronted facade, the high ceilings and brick walls painted in hues of white, the plates and bowls haphazardly stacked on low tables, all the while her cats sashay around the displays, jumping from table to table, weaving in between the dishware, while her apprentices, Nisa and Aliah, work with quiet focus and intent at their pottery wheels.

Browsing through her wares, one gets the sense no two pieces of Musa’s ceramics are the same. Each of her creations has its own beauty, its own flaws, and its own identity. At first glance, they all seem too beautiful to use, but their beauty belies a utilitarian sturdiness. Perhaps this combination of beauty and utility is the driving factor behind the surge of demand for her line of ceramics, so much so that she’s now often booked up months in advance with order requests from renowned restaurants throughout Malaysia, and even some from Paris and Japan!

这种自由、不受束缚的创作方式在她的整个工作室随处可见，譬如是象牙碟上的一抹钴蓝色彩，茶杯杯口上的一划闪耀金色，以及陶瓷托盘中的浮雕蜡染印花。就连她的工作室本身也散发着肆意的自由氛围：透明的玻璃幕墙，高高的天花板和砖墙涂成白色色调，碗碟随意地堆放在低矮的桌子上，而她的猫则随意地漫步其中，在各张的桌子上来回跳跃，穿梭于餐具之间，而她的两名学徒Nisa和Aliah则安静专注地在轮盘上拉坯。

一眼扫过她的陶瓷作品，你会发现，Rozana的陶瓷作品没有两件是相同的。她的每个作品都有其独特的美丽，独特的瑕疵，独特的个性。乍一看，这些陶瓷似乎都太漂亮了，让人舍不得用，但它们的美丽外观之下却是实用的功能性。或许，这种美观与实用的结合是她的陶瓷作品越来越受欢迎的原因，她收到的订单非常之多，许多马来西亚的著名餐厅常常需要提前许多个月预订，甚至还有来自巴黎和日本的订单！

Despite Musas’ current success, her road to where she is was wrought with challenges. Like most young Malaysians, pursuing such an unconventional career wasn’t really on the cards in her young adulthood. But then, through perhaps a stroke of serendipity, she enrolled in the art and design program at the Universiti Teknologi MARA (UiTM), choosing to major in ceramics. When she graduated, however, Musa found it difficult to advance her skills or come across opportunities for work, largely due to the immaturity of the Malaysian ceramics industry. Finding a mentor was difficult, demand for handcrafted ceramics was slow, and the equipment and barriers to entry were high (a ceramics kiln alone can cost upwards of 3,000 USD). According to Musa, of the dozen or so students who graduated along with her at UiTM, only one or two still remain in the craft. Fortunately for her though, she eventually found a mentor in Umibaizurah Mahir Ismail, an established Malaysian ceramics artist whose works have been featured in exhibitions in Japan, Korea, and Pakistan.

尽管Rozana目前很成功，但一路走来，她也经历了很多的艰难挑战。和大多数年轻的马来西亚人一样，要追求这样非传统的职业，在她年轻的时候都会觉得是很不现实的事情。后来也许是机缘巧合，她入读了马拉工业大学（Universiti Teknologi MARA）的艺术与设计课程，选择主修陶艺。但是毕业后，Rozana发现很难能找到提升的机会，主要是因为马来西亚的陶瓷产业尚不成熟。要找到导师很困难，社会对手工制作的陶瓷需求很少，进入这个行业还需要一定的设备，也有很高的壁垒（一个陶瓷窑炉价格至少3000美元）。Rozana说，从马拉工业大学毕业的十几名陶艺专业学生，只有一两个还留在这个行业。她很幸运，因为她最终找到Umibaizurah Mahir Ismail作为自己的导师。Umibaizurah Mahir Ismail是马来西亚著名的陶瓷艺术家，她的作品曾在日本、韩国和巴基斯坦展览。

After just several months of apprenticeship, Musa was inspired to start her own business, and thus Bendang Studio was conceived. She started off small, selling trinkets and accessories to a very niche market. Not long after, she wanted to expand her business, but being bootstrapped, buying an industrial ceramics kiln was out of the picture. Undeterred and being the self-starter that she is, Roza enlisted the help of her ex-lecturer at UiTM to build a fiberglass kiln from scratch. This move not only saved money, but her design was so innovative it won them an award that came with more than 4,000 USD in prize money from the government. And for the past seven years, Rozana has continually reinvested her profits, along with the winnings, back into her studio, buying a new kiln, and more recently, refurbishing the whole space. Rozana’s dedication and innovativeness have turned Bedang Studio what it is today – an impressive studio that’s leading the way for Malaysian ceramics.

在当了仅仅几个月的学徒之后，Rozana有了创业的冲动，于是成立了Bendang工作室。一开始它只是一个非常小的工作室，针对非常小众的市场售卖各种小饰品和配件。但过了没多久，Rozana想扩大自己的业务，却因为是白手起家，根本没有资金去购买工业用的陶瓷窑。但Rozana不愿服输，她找来自己以前在马拉工业大学的老师，一起从零开始打造出一个玻璃纤维窑。她不仅因此解决了自己的资本问题，更凭借这个创新的设计获奖，获得由政府资助的超过4000美元的奖金。在过去的七年间，Rozana将获得的收入和资金不断再投资到她的工作室中，购买了一个新的陶瓷窑，最近还将整个工作室重新装修。正是Rozana的奉献精神和创新让Bedang工作室成为了如今这个令人印象深刻的陶瓷工作室，带领着马来西亚的陶瓷产业开拓发展。

Musa’s studio sits right by the through road between Malacca City and Kampung Sungai Petai, two vastly different places, one being a bustling, cultural city, and the other, a secluded, relatively unknown village. The location is perhaps fitting, as Musa’s brand of handcrafted ceramics has connected two similar yet separate worlds – the commercial, utilitarian mass-market ceramics industry, and the niche artistic, dreamy space of ceramic artists. Over the past years, Bendang Studio has brought glimpses of that artistic world to the mass market, with restauranteurs clamoring over her wares before they are even made. Perhaps it is a sign of changing times, of a greater artistic appreciation for ceramics, of the fledgling state of the handcrafted ceramics scene in Malaysia maturing into something significant. Musa certainly hopes so, and if her recent growth is anything to go by, there will certainly be more cobalt splashes and golden brushstrokes to come.

Rozana的工作室坐落在连通马六甲和双溪大年的道路之间，这是两个截然不同的地方，一个是繁华的文化名城，另一个是鲜为人知的僻静村庄。这样的位置也许正契合了Rozana的手工陶瓷品牌，因为它也是在连接两个相似又截然不同的世界——商业功利的大众陶瓷产业与小众的艺术陶瓷制作空间。在过去几年间，Bendang工作室将这种陶瓷艺术世界不断展示给大众市场，许多餐厅甚至还没看到成品就已经争相下单购买。也许这是时代变迁的标志，代表着人们对陶瓷有了更大的艺术鉴赏兴趣，代表着马来西亚手工陶瓷行业日渐成熟。Rozana当然希望如此，以她近期的成长来看，未来她也一定会挥洒出一个充满钴蓝和亮金色的陶瓷世界。

Address:
KM 20, Kampung Sungai Petai
78000 Alor Gajah
Malacca, Malaysia

Website: www.bendangstudio.com.my
Facebook: ~/bendangstudio
Instagram: @bendangstudio_official

 

Contributor & Photographer: Yi Jun Loh

地址:
马六甲马来西亚
78000 亞羅牙也
KM 20, 双溪大年市

网站: www.bendangstudio.com.my
脸书: ~/bendangstudio
Instagram: @bendangstudio_official

 

供稿人与摄影师: Yi Jun Loh

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