Idiot Comics 两分钟的简单快乐时光

April 17, 2018 2018年4月17日

Prior to meeting her, all I knew about the creator of Idiot Comics was that she was Chinese and went by the nickname Tou Yeye. Her illustrations have a goofy, off-the-wall humor, but in our conversation, she admits to depressive tendencies. “I’m often depressed and sometimes very goofy,” she says. “I like the writing of Yukio Mishima and Tatsuhiko Shibusawa, along with films of Roman Polanski.” These tastes are mirrored in her comics: cheerful but shot through with black and white lines, melancholy but saturated with color, never entirely choosing one side.


一个画漫画的女生叫头爷爷,这个名字大概是在采访之前我对《笨蛋漫画》作家唯一的了解。请她说说自己是个什么样的人,她回答“经常比较抑郁,有时候又很幽默。喜欢三岛由纪夫、涩泽龙彦的文字,也喜欢波兰斯基的电影。”描述跟她的漫画不谋而合,快乐里保留黑白的线条,抑郁里永远有明亮的色彩,从不坚决地选任何一边。

"The philosophy of death."
PICNIC
"I want to kill someone."

When I was a freshman in college, I was extremely introverted and didn’t have many friends,” she recalls. “I read a lot of books by Osamu Dazai, who romanticized the idea of running away from home. Thinking it was a cool idea, I used all of my New Year’s red envelope money to travel to Tibet.”

Tou Yeye’s foray into creating comics began with the conclusion of this trip. She wanted a way to document her travels, as seen through her wild imagination. Her inaugural comic, Yi Chang, chronicles the entirety of her journey through Sichuan.


她的漫画创作始于自己的一段心路经历,“大一的时候曾经离家出走过一段时间,当时我很自闭,身边没什么朋友。天天看太宰治的书,觉得离家出走很酷,就拿着压岁钱独自去了四川藏区。” 之后她想把这次出走画成一个漫画,旅程中所有的细节加上天马行空的想象,就变成了头爷爷的第一个作品《一场》。

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    Swipe to read select works from Idiot Comics Vol. 1

Several characters make frequent appearances throughout Tou Yeye’s comics. The short-haired girl by the name of Weiwei represents the artist herself, the snarky bird is one of her real-life friends, and the rabbit and the dinosaur are friends she dreamed up. Throughout Idiot Comics, these characters can be seen cursing each other out, throwing poop at each other, or falling prey to spilled milk teas.

In a separate series, Nightmare Shop, Weiwei travels to a monochrome world. As she wanders through this colorless realm musing on the meaning of existence, the bird and rabbit can be randomly spotted embedded within the surreal landscapes.


她漫画里的人物常常是固定不变的。常出现的短发女生薇薇,是她自己,鸟是她的好朋友,兔子跟恐龙则是她幻想出来的朋友。他们在她的《笨蛋漫画》里会不小心在地铁里被奶茶泼到,骂一些好笑的脏话,甚至互相丢大便。

但在另一个系列作品《噩梦商店》里,一切艳丽明朗的色彩都褪去了。薇薇、鸟跟兔子去到一个宁静的黑白世界,淡淡地讨论着关于宇宙的终极问题。

After graduating from the Guangzhou Academy of Fine Arts with a degree in printmaking, Tou Yeye left China to study for two years in France. During her time abroad, she became friends with a lot of comics artists, whose bohemian lives seemed ideal. Back in China, she found a very different creative environment. She wants to keep doing what she loves but has to spend most of her time every day on French translations to make ends meet. “I know so many other comics artists who are really impressive, but they all have other jobs, or they’re still in school,” she sighs. “Still I’ve seen that the overall creative atmosphere in China is getting better and better.”

Tou Yeye says she may soon quit freelancing and find a steady job drawing things she might not really love. But Idiot Comics will go on no matter what. It’s a project that gives her and others a few minutes to escape from reality, a moment to enjoy a simple happiness.


头爷爷毕业于广州美术学院版画系,大学毕业以后去了法国游学两年,在法国学习期间,她认识了很多漫画家朋友,他们过着比较理想化的艺术家生活。回国后却发现国内的创作环境不太一样,她想继续画自己喜欢的东西,日常做最多的事反而是法语翻译工作。“我身边一直有很多画漫画特别厉害的人,但他们都有其他工作,或者还是学生。但我感觉到国内的总体创作氛围有越来越好的倾向。”

头爷爷表示接下来也许会结束自由职业状态找一份工作,画一些自己不那么热衷的东西,但笨蛋漫画一定会持续进行下去,给自己跟别人带来两分钟的简单快乐时光。

"Love is shit."

A limited number of Idiot Comics Vol. 1 is now available in the Neocha Shop.


《笨蛋漫画》Vol. 1 现于Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店

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头爷爷的《笨蛋漫画》Vol. 1

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"Thank you for checking out Idiot Comics. I hope you all turn into idiots! Volume two of Idiot Comics will be out soon. Follow my official WeChat account to learn more. I hate you all!"

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Contributor: Shou Xing


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供稿人: Shou Xing

Persimmons & Gangsters 午夜的油麻地市场

April 16, 2018 2018年4月16日

A rumor making its way around the internet claims that the historic Yau Ma Tei fruit market, Hong Kong’s largest, is run by the local crime syndicates known as triads. Intrigued, I decided to visit the market at its busiest time, between midnight and 7:00 am, to investigate.

Late at night, it’s easy to imagine drug deals and fistfights in the dimly lit corners of the buildings lining the street, most of which date back over a century. On the night I visit, a scent of citrus, rotten melon, and sweat hangs in the air. Shirtless men maneuver carts piled high with pallets of Washington apples and Japanese strawberries, while the luckier ones ride tiny, seatless forklifts from the loading zone to the storefronts.

Nearly half of all fruit sold in Hong Kong passes through Yau Ma Tei. Most workers arrive near midnight and work until 8:00 am. It’s not an easy job, and the schedule is grueling, but some of the old-timers have been here for over forty years.


一则在网络流传的谣言,称香港最大、历史悠久的油麻地水果市场,已被当地极具规模的黑社会组织“三合会”所入侵。为这则有趣的都市传说所吸引,我决定在市场最忙碌的时候,也就是午夜到早上七点之间,展开调查。

不难想象,在深夜时来到这里,一些危险的毒品交易或争夺打斗,都会在街道的昏暗角落暗地进行。这样的情形据说可以追溯回一个多世纪以前。在我到访的那天晚上,空气中混杂着汗味、柑橘味和腐败的瓜的气味。没穿上衣的男子操作着装满华盛顿苹果和日本草莓的推车,另一个人则幸运地做着比较轻松的活,他开小型的无座叉车负责卸货。

在香港经销的水果,有将近一半会通过油麻地。大多数工作人员在午夜抵达,直到早上八点左右才离开。这样的工作不容易,颠倒的作息非常艰苦,但有些老前辈,已经在这里工作了四十多年。

Making my way around the market, chatting with the vendors and other workers, I meet an octogenarian by the name of Mr. Lam, who vehemently denies the rumors.

“No, no, no! The gangs never ran the market!” he insists. “In its heyday, there were nearly 400 stands, each with 10 to 20 employees. Most of them did physical labor at night. Some of the guys this job drew in were also in gangs. But the owners were usually well-to-do people who just wanted a business they could be proud of.”

Not far away, in a stall selling persimmons, snake fruit, Asian pears, and other delicacies, shirtless man named Mr. Yung recalls how in the past gangs would sometimes converge on the market, making any business impossible. “It used to be pretty dark around here. Gangs would come around, so regular people were afraid to walk through the area.”


我绕过市场去与摊商和其他工作人员聊天。我遇到一位八十多岁的林先生,他坚决否认那些帮派势力占领油麻地的谣言。

“不不不!这些帮派势力从来没有进到市场!”他坚持道, “在全盛时期,这里有将近四百个摊位,每个摊位有十到二十名员工。他们大多数人都在晚上做体力活。这里也吸引了一些帮派分子来从事这份工作。但摊主通常不在乎,因为他们都是富有的人,只想要一份可以引以为傲的事业。”

不远处,在一个卖柿子、蛇皮果、梨和其他蔬果的摊位上,有一位名叫翁先生的打赤膊男子。他回忆起过去,帮派有时候会在市场上聚集,让生意几乎做不下去。“这里一到晚上会变得很暗,帮派会出现在这,所以普通人通常不敢走过这个地区。”

Still, Yung agrees with Lam that stall owners are mostly honest businesspeople, even if some of their employees had ties to the triads. “The transport guys were usually gang members, and I think some of them still are,” he adds. “They used to fight over the stalls. Now and then, they’d get into a brawl in the market over territory. Today the police come through all the time, so it’s safe for tourists. Some people even take wedding photos here.”

The triads may mostly be gone, but their freewheeling ethos remains. When I ask the veterans of the market why they’ve stayed around all these years, “freedom” is a common refrain.

“My family doesn’t like it, but they’re used to it. They understand this is how I make a living,” says Mr. Ng, known around the market as Sau Nga Zai, or Snaggletooth. Nicknames are the designation of choice around here. “This guy’s name is Sai Leung—Boss Leung,” he says, pointing to his partner, “because he’s always giving orders.”


尽管如此,翁先生依然同意前一位林先生的说法。摊主大多是诚实的商人,即使他们的部分雇员和黑社会有关系。 “运输工人通常是帮派成员,我认为他们当中一些人现在仍然是。”他补充道。 “他们曾经在摊位上打架,偶尔会为了地盘问题发生争吵。但现在警察很常巡逻,所以对游客来说是安全的。甚至有人在这里拍婚纱照。”

现在三合会的踪迹可能已经消失,但他们自由放纵的精神仍然存在。当我问到市场的退伍军人为什么选择常年留在这里,“因为自由”是很常见的理由。

“我的家人不喜欢这里,但他们习惯了。他们明白这就是我谋生的方式。”吴先生说,或应该称他为“缺牙仔”或“断牙”。在这里,彼此之间的称呼都用昵称。 “这个人的名字叫梁世,或梁老大。”他指着他的搭档说,“因为他总爱指使别人。”

Ng leaves home at 10:30 pm to come to the market, works all night, and gets off around 8:00 am. “I don’t have much time with my wife,” he says. “When I leave for work, she often hasn’t come home yet. My son once asked me not to work in this industry, but he’s grown up now.”

People who work regular hours may not see the graveyard shift as a kind of freedom, but for Ng, working while Hong Kong sleeps is liberating. “When I’m off, I’m totally free,” he boasts. “That makes the hard parts of the job worth it.”


吴先生晚上十点三十分离开家往市场出发,工作一整夜,早上八点左右下班。 “我没有太多时间陪我的妻子。当我离开家时,她还没回家。我的儿子曾要求我不要在这个行业工作,但他现在长大了。”

对那些按照正常工时作息的人,可能不会把半夜工作的生活模式看作一种自由,但对于吴先生而言,能在整座城市都入睡后去工作,反而是一种解放。“当我下工时,我会觉得我是完全自由的。”他骄傲的说, “这让一切的辛苦工作都值得了。”

In 1913, when the fruit market was built, Yau Ma Tei wasn’t known for much more than the nearby Tin Hau Temple. Today the main attraction is the market, which covers around 14,000 m2 and serves nearly 250 vendors. Since the 1970s, there have been proposals to relocate it, even though it’s been designated a historic building, because of the noise and the traffic disruption it causes. As of now, though, the market still stands in all its shirtless, cart-filled glory.

According to Lam, in the past, some of the noise came from the fighting that took place when the triads were more active nearby. “For some of the guys who worked in the market, physical violence was their only response to any conflict, and it drew attention.”

In addition to freedom, a tight-knit community also keeps people around. Mr. Sum, who’s 31, found his first job at Yau Ma Tei. Now, rather than hauling boxes of mandarins at 2:00 am, he comes in at 5:00 am to handle the books. Sum says that the market’s family-like relationships between merchants and customers, which have withstood natural disasters and economic downturns, are hard to find nowadays.


1913 年,水果市场刚刚建成,当时的油麻地只以天后庙为人所知,而今天大多数人都是因为市场本身慕名而来。它占地约 14,000 平方米,聚集了将近 250 家摊商。70 年代以后,由于噪音扰民和中断交通的原因,有人建议将油麻地市场找地方重新安置,尽管它已经被指定为历史建筑。不过这项提议最终没有实行,市场至今还在繁忙地运作着,一如往昔。

根据林先生所说,那些过去常被抱怨的噪音,是来自黑社会还在附近活跃时发生的斗争。 “对于在市场工作的一些人来说,暴力是对冲突的唯一回应。这很容易引起人们的注意。”

除了自由之外,团结的社区精神也是吸引人们留下的原因。沈先生今年 31 岁,在油麻地市场找到他的第一份工作。现在他不再是水果商,不用凌晨两点来搬运一箱箱柑橘;沈先生如今已是一位书商, 每天凌晨五点过来整理书籍。沈先生表示,市场内顾客和摊商之间像家人一样的紧密关系,能扛住所有自然灾害和经济衰退的打击。这种情谊现在很难在外面找到了。

“Human relationships are important here. We’re very close,” he says. “In other industries, people often care more about money than relationships. We’ve been working with some of our customers for a very long time, so if we ever need help, they’ll help us out, even if they lose money—and we’ll do the same for them. I don’t think there are many industries like that in Hong Kong anymore.”

The common complaint that young people in Hong Kong today are afraid of hard work finds an echo at the market. Many stall owners are frustrated at how difficult it has become to find people willing to do the physical labor their jobs require. “Sure, the gangsters fought over turf and sold drugs from time to time,” says Lam. “But then again, they were willing to work hard.”


“人际关系在这里很重要,我们的情谊很牢固。而在其他行业,人们通常更关心金钱。我们和一些客户已经合作了很长一段时间,所以如果我们需要帮助,即使赔钱他们也会帮助我们——当然,我们也会为他们做同样的事情。我认为在香港,已经不再有像这样的产业了。”

在今天,有关香港年轻人不愿再付出劳力辛苦工作的种种抱怨,在市场摊贩间引起了共鸣。许多摊主对于再也找不到愿意做这样需要体力工作的年轻人,而感到沮丧。 “当然,流氓们虽然时不时会打架,有时候甚至贩毒。但是,他们愿意一次又一次的付出,努力工作。”

Photographer & Contributor: Viola Gaskell


摄影师与供稿人: Viola Gaskell

Hanzi 汉字

April 13, 2018 2018年4月13日

 

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Language is the foundation of culture. Fascinated by the relationship between the two, Taiwanese filmmakers Mu-Ming Tsai, Iris Lai, and Emily Hsiang were inspired to create Hanzi, a documentary that gives insight into Chinese visual culture and celebrates the beauty of Chinese typography.


语言是文化的基础。《汉字》(Hanzi)就是一部以中文汉字为主题,试图阐述汉字文化的纪录片。来自台湾的蔡牧民、赖佩芸、项蓝三人组成了一支拍摄团队,长久生活在中文环境的他们,把对这些美丽字体的重新省思,全都藏进影片的字里行间。

“We found that Taiwan, more than anywhere else, has preserved traditional Chinese characters, or hanzi,” they note. (Mainland China uses a set of simplified hanzi.) “Every day we’re surrounded by this beautiful script, but we had never really sought to understand and appreciate it.” Beyond investigating character design, the filmmakers also use the documentary as a way to discuss other questions, such as how an ad’s typography exerts a subtle influence on viewers, how language shapes identity, and how handwriting is declining in the digital age. Seeking to explore even more possibilities in hanzi, they’ve interviewed people in United States, the United Kingdom, Hong Kong, Japan, and Taiwan.


“我们发现台湾是保存繁体字最完整的地方,而我们每天都环绕着这些美好的汉字,却不曾好好去了解或欣赏。” 除了对字体设计的研究,拍摄团队想借题讨论的议题还有很多,像是广告招牌上的字型视觉对人们潜移默化的影响、语言如何塑造身份认同、手写字在数位时代的式微变化等等。团队在拍摄期间内造访了美国、英国、香港、日本和台湾等地方,他们丢出了问题,在和众多访谈者的对话之中,寻找汉字更多的可能性。

One person they interview is Shao-Lan Hsueh, the creator of Chineasy, a visual approach to learning Chinese. Raised in Taiwan and based in England, Hsueh has designed a more fun, more effective learning method for anyone who studies Chinese as a second or heritage language.

This method takes advantage of the fact that Chinese writing is logographic. Unlike in English or other alphabetic writing systems, in logographic systems, the composition of a character can itself express meaning. Hsueh’s series of rich visual designs breaks hanzi down one by one, so that by looking at an image you can immediately connect it with a character’s meaning.


其中一位访谈对象,是图像式中文学习法 Chineasy 的创办人薛晓岚。她是一位住在英国的台湾人,为了下一代必须在外语环境中学习中文,她设计了一套让学中文更有趣、更有效的方法。

这套方法充分运用了中文是语素文字的原理。有别于像英语这类型“字”是用来协助发音的表音文字,语素文字本身“字”的组成就可以表达意义。这一系列丰富的视觉设计,把中文造字一一拆解,看图就可以直接联想到字义。

Another notable voice in the film is Jieguan Zhang, the owner of Rixing Type Foundry. Located in Taiwan, Rixing Type Foundry is the last surviving foundry for traditional characters, and it holds nearly 300,000 lead slugs inside. Twenty years ago, the advent of digital typesetting put an end to the age of printing as an art. Casting movable type is a technique that’s no longer needed, and one after another the foundries that used to support several households have now closed. Only Rixing, founded in 1969, remains. The reason lies in Zhang’s fondness for the profession of casting type: he doesn’t have the heart to let a tradition of such historical significance disappear forever. That’s why he’s fought to preserve this small storefront and the invaluable foundry inside.


另一位值得一提的访谈者,是日星铸字行的老板张介冠。位在台北的日星铸字行是世上仅存唯一的繁体中文铸字行,店内收藏了近三十万个铸铅字。二十年前,数位排版软体的出现终结了印刷术的年代。专为活版印刷存在的铸字技术,如今已不再被需要,曾经养活好几人家的铸字行,也一间一间关门了。其中日星铸字行是从 1969 年创立以来,坚持下来的最后一间。原因是张老板对铸字这行业的一片心意,不忍心让这项承载着重要历史意义的传统永远消失,于是把这一间小小的店铺,和里面极具价值的铸字,努力保存下来。

Everyone interviewed in the film is deeply engaged in the innovation and preservation of Chinese characters. In addition to Hsueh and Zhang, the film includes enlightening conversations with font designers, billboard makers, and some sixteen other people. “In the process of shooting, even we learned a lot,” admit the filmmakers. “We hope that Hanzi leads people to rediscover the typefaces around them, and learn about how characters are designed, and how important language is to culture. And if after seeing it you start to feel proud or thankful for this part of our culture, even better.”

Hanzi is now available for purchase. For more information, please visit their official website.


影片中每一位访谈者,对汉字领域的保存或创新都具有重要的意义。除了以上两位,片中还收录了像是字体设计师、看板匠人等将近二十位人士充满智慧的对谈。“其实包括我们自己,在拍摄过程中也学到了很多。我们希望《汉字》这部纪录片可以重新引起大家对身边字型的认识,了解到中文字的设计过程,以及语言对文化的重要性。如果能让你开始对这份文化感到感激或骄傲,那就更好了。”

《汉字》现在已发行!想要进一步获得放映及购买的资讯的话,可以到官网查询。

Website: www.hanzithemovie.com
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Contributor: Yang Yixuan


网站www.hanzithemovie.com
Facebook
: ~/hanzithemovie

 

供稿人: Yang Yixuan

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Unexpected Boxes 造梦空间

April 12, 2018 2018年4月12日
A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

The Time Goes By 你追求的是美 还是美貌

April 11, 2018 2018年4月11日

“Those wrinkles weren’t there before,” the elderly woman remarks, gesturing at one of the photos of herself. “My eyes are getting covered up by the sagging skin.”

Shot by Lean Lui, the aforementioned photo is from The Time Goes By, a series inspired by and dedicated to the photographer’s septuagenarian grandmother.

Lui recalls the incident that sparked the idea for the series. “There was one time when I did her makeup, dressed her up, and took some photos of her. Everyone who saw the photos said she looked beautiful. I thought she’d be so happy, but it made her sad. She felt like all of her friends had aged gracefully. But when she looked at herself, she felt like she hadn’t. She felt her appearances now were worlds away from the beauty of her younger days.”


“年轻的时候是没有这些皱纹的,眼睛都被下垂的皱纹遮住了。”她指着照片中的自己说。

这系列照片是 Lean Lui 送给她婆婆的专题辑《The Time Goes By》,照片的灵感也是来自于年逾古稀的婆婆。

“有一次帮她化妆打扮拍照,每个人都说我把她拍得很漂亮,我以为她会很开心,但没想到她在看到照片的时候是闷闷不乐的。”Lean 说,“婆婆说以前那些长相一般的同学跟现在也没什么分别,很耐老,相反年轻时貌美如花的自己,一老就显出了太大的反差。”

As the Chinese saying goes, time wears away youth.

Lui considers herself as someone who’s always able to say the right things, and in this instance, she wanted to tell her grandma that she’s just as beautiful as ever. But seeing as how her grandma wasn’t comparing herself to anyone else but her past self, Lui struggled to find the right words.

“If it’s something you treasured and you lost it, the people who never had it won’t be able to empathize with the pain of losing it,” Lui says. “I could sympathize with her frustrations of aging, but I also understand that the past is the past. If your eyes droop, then it droops. If your skin is loose, then it’s loose. Aging is an inevitable part of life, but I also understand how scary it can be for many, especially women.”


岁月催人老。

面对这个问题,平时能言善辩的 Lean 语塞了。Lean 没有办法说出像“别这样说啦!你现在也很漂亮啊!”这样安慰人的话,因为婆婆比较的对象不是他人,正是年轻时候的自己。

“我明白,如果你不曾拥有,就不会担心失去的痛苦……我感受到她对岁月流逝的失落与无奈。我明白有些事发生了就是发生了,眼角下垂了就是下垂了,皮肤的确不再紧致了;人类的老化是无可避免的,也明白衰老对于女性来说是多么恐怖。”

“You really won’t be beautiful if you don’t appreciate the beauty you have now,” Lui told her.

“I’m already old and wrinkly, what beauty is there to speak of?” Lui’s grandmother sulked.


“你要是不懂得欣赏自己现在的美,那可就真的不美了哦。”Lean 这么告诉婆婆。

“现在又老又皱皮的,还有什么美可言?”婆婆说,但 Lean 知道这只是婆婆的赌气话而已。

But how exactly is beauty defined? When you’re young, you may have pretty eyes, a gorgeous face, and a perfect body, but is that all beauty is?

Lui decided to share the Japanese idea of wabi-sabi with her grandmother. This philosophy embraces aging and the imperfections that come with it, believing that the true essence of beauty lies in authenticity. “If you want to look like your younger self again, that’s impossible,” Lui told her. “But what you have now is wisdom and life experience, and I believe that the unconditional love you have for our family now is the most beautiful thing about you.”


我们是如何定义“美”的呢?年轻的时候,柳叶弯眉、明眸皓齿、亭亭玉立,这些固然是美,但“美”仅仅如此吗?

Lean 选择告诉婆婆日本的侘寂美学(wabi-sabi)是什么:那些经历岁月洗礼后遗留下来的,才是最本质最真实的美。“你要是要追求年轻的肉体的话,那真的是没有的了;但是你拥有的是睿智与生命阅历,再以我的角度而言,你现在的美,是美在对家人无条件的爱与牺牲。”

In truth, beauty and age shouldn’t be seen as relative with one another. While superficial traits are universally used to gauge beauty, the intangible factors that make a person “beautiful” are often discounted. Is the wisdom and experience that come with age not more meaningful than external beauty? This quote perhaps sums it up best:

“One day, I was already old, in the entrance of a public place a man came up to me. He introduced himself and said: ‘I’ve known you for years. Everyone says you were beautiful when you were young, but I want to tell you I think you’re more beautiful now than then. Rather than your face as a young woman, I prefer your face as it is now. Ravaged.’”

–– An excerpt from Marguerite Duras’s The Lover


美,其实和年纪无关。普世价值中那狭隘定义的美丽,往往只是“美貌”,并非“美”的全貌。年岁何尝没有给过我们最丰厚的回赠呢?你看——

 

我已经老了,有一天,在一处公共场所的大厅里,有一个男人向我走来。他主动介绍自己,他对我说:“我认识你,永远记得你。那时候,你还很年轻,人人都说你美,现在,我特意来告诉你,对我来说,我觉得现在你比年轻的时候更美,那时你是年轻女人,与你那时的面貌相比,我更爱你现在备受摧残的面容。

——玛格丽特・杜拉斯《情人》

Lean Lui is currently hosting a solo exhibition in Hong Kong of a photo series based on the relationship between humans and nature. See below for details.

 

Event: Flow by Nature
Date: March 27, 2018 ~ May 12, 2018
Opening Hours: Tuesday ~ Saturday 11:00 am ~ 7:00 pm (closed on public holidays)

Address:
5th floor, Amber Commercial Building
70-74 Morrison Hill Road
Wanchai
Hong Kong

Website~/leanlui
Instagram@leanlui

 

Contributor: Chen Yuan


Lean Lui 近期在香港 F22 Poto Space Cafe 举办个人摄影展“Flow by Nature”,欢迎前往观瞻。

 

活动: “Flow by Nature
展期: 2018年03月27日——2018年05月12日
时间: 周二至周六 
上午 11:00 至晚上 19:00 (公众假期休息)

地点:
香港
湾仔区
摩理臣山道 70-74 号
凯利商业大厦 5 楼


网站
~/leanlui
Instagram@leanlui

 

供稿人: Chen Yuan

Prey & Predator 猎物和捕食者的关系

April 10, 2018 2018年4月10日
Details of The Resistance of the Prey (2017), Oil on canvas.

For many viewers, the eyes alone are enough to induce a sense of unease.

But is it the look of desperation that’s found in the eyes of an animal facing imminent death? Or is it the look of excitement that’s found in the eyes of a predator following a successful kill?

Created by Korean artist Moon ChanpilPrey & Predator is a series of paintings that depicts predator-prey relations through unsettling portraits. On a basic level, the series revolves around predation and the artist’s personal experiences, but closer scrutiny reveals a deeper narrative – the project aims to highlight the disturbing similarities between the behavior of humans and wild animals. “Predators cannot always be predators, nor can prey always be prey,” Chanpil tells us. “All beings are predator and prey at once.”


仅仅一个眼神,就能让你被画面中的恐惧牢牢攫获。

这可能是猎物濒死前绝望的眼神,也可能是捕食者终于果腹时渴求的眼神。

这一系列《猎物和捕食者》(Prey & Predator)的作品,来自韩国的插画家 Moon Chanpil。仅仅直视这系列作品中的眼睛,就会感到一种让人恐惧的力量迎面而来。画布上狩与猎的故事,也不只是个体化的经历,更像是创作者在诠释整个人类社会乃至自然界的普遍法则。“捕食者不可能永远是捕食者,猎物也不可能永远是猎物。所有的生物都既是捕猎者,也是猎物。”Chanpil 说。

The Resistance of the Predator (2017), 90.9 X 72.7 cm, Oil on canvas.
The Resistance of the Prey (2017), 90.9 X 72.7 cm, Oil on canvas.

As a self-professed nature documentary fanatic, Chanpil’s infatuation with predator-prey relationships can be traced back to his childhood. “I loved seeing scenes of big cats hunting when I was younger; I cheered for their success,” he recalls. “But at the same time, [when I saw the prey], my mind cried out, ‘Run away! Survive!’ Although it was just television, it was sad to see a deer bitten in the neck and watch as the life disappeared from its eyes. I saw the lion’s eyes as he bit down into the deer’s neck as well, and in those eyes, I saw desire and fatigue.”

With scene like this imprinted in his mind, Chanpil began to question the nature of existence. “Why are we designed like this? Is that our world? Just a tragic existence?”


Moon Chanpil 从小就是自然纪录片的忠实粉丝。“当我还是个孩子的时候,我喜欢看着纪录片里大猫狩猎的场面,为他们狩猎的成功而欢呼。这实在很酷。但同时,另一种声音也一样在我脑海中回响——‘快跑!’‘活下去!” Chanpil 说,“虽然我和这一切隔着电视屏幕,但直面它依然一件很可悲的事。我看到狮子紧紧咬住鹿的脖子,我看到小鹿的生命气息渐渐从它的眼睛里消失;我还看到狮子眼中的欲望,看到了它竭力猎杀后的疲倦。”

所以,现在的 Chanpil 会忍不住想知道,“我们为什么生来如此?这就是我们所处的世界吗?我们就是某种悲惨的存在吗?”

Breath in the Predator (2015), 65 X 50 cm, Oil on canvas.
An animated version of Breath in the Predator
An animated version of Breath in the Prey

But of course, humans are different from lions and deer. We’re afforded the luxury of not having to be a part of the predator-prey cycle that every other living animal is fated to endure. Humans have escaped the food chain, but we’re the only exception. Other living creatures are unable to escape this vicious circle, and at the core of Chanpil’s paintings, there’s a sense of sadness that comes from this realization. He explains, “As I see the eyes of the dying deer, I feel sadness and empathy. It seems like its very purpose is to be killed and eaten. At the same time, for that lion, whose cruel fate is to kill again and again to survive, I also feel sadness and empathy. By projecting my own emotions through these animal’s lives, I’ve gained insight into the truth or secrets of human life. In my series, the events that occur between prey and predator come from my personal stories, but I think there’s a universality to them. This predator and prey dynamic may be happening within the mind of one individual, or between two individuals, or between an individual and a group, or between two groups of people.”


从某种意义上来说,或许人类和小鹿类和狮子是不同的,人类得以试着避开食物链系统中捕食者与猎物的关系,甚至人为地进行改变。Moon Chanpil 觉得,我们存活在一个“没有任何回旋余地”的世界中,自然系统很少允许像人类这样的例外发生。

现在,对我来说,最核心的情感反应是‘悲伤’——当我看到小鹿在被狮子咬伤后失去生命,我为之悲伤也为之同情。那只鹿生存的意义,或许就是为了死亡、为了被狮子捕食;而狮子则必须不断捕猎和杀戮才能得以存活,它的命运也一样残酷。” Chanpil 说,“我通过他们的生活投射我自己的情感,在这个过程中洞察人类生活的真相或秘密。在这个系列中,捕食者和被捕食者之间所发生的事,也就是发生在我身上的事。我认为这存在着普遍性。捕食者与被捕食者可能是发生在个人内部,或个人与个人之间,或个人与群体之间,或群体与群体之间的一个事件。”

Breath in the Prey (2015), 65 X 50 cm, Oil on canvas.
Hello There (2018), 72.7 X 53.0 cm, Oil on canvas. An extension of the Prey & Predator series.

Describing the creative process behind his series, Chanpil tells us, “When I approached the initial character design, I first needed to feel maximum empathy. So I drew a portrait based on my own face rather than creating a fictional character. However, in order to convey the theme of predator and prey more dramatically, I referenced the actual eyes of predator animals and prey animals, using the eyes of cattle or tigers in lieu of my own. For my predator paintings, the character’s eyes are those of the archetypal predator – the tiger.  Their mouths are rarely dry of blood, and in a way, I wanted to console them by removing that blood from their mouths. The blood-colored whale symbolizes what’s in the mind of a predator. While whales aren’t typically preys in the food chain, I’ve always thought that they have all the features of prey. They’re slow, kind, beautiful, and solitary.”


“要谈论角色的设计的话,首先,我得展现出极大的同理心。所以我根据我的脸画了一张自画像,而不仅仅创造了一个人物角色来。为了更生动地传达主题,我通过借用真实的掠食动物或猎物的眼睛来设计了人物的眼睛,我通常会大猫和牛的眼睛。比如‘捕食者’,他的眼睛是典型的食肉动物:老虎。老虎的嘴角常会凝结着干血,我想用抹去他们嘴上的血来告慰他们。而一只血红的鲸鱼,则象征着猎物的心灵。虽然鲸并不是食物链中的猎物,但我一直认为鲸具有这样的特性——缓慢、善良、美丽而孤独,满足了所有猎物的特征。”

The Encroaching Prey (2017), 90.9 X 72.7 cm, Oil on canvas.
The Encroaching Predator (2017), 90.9 X 72.7 cm, Oil on canvas.

For each painting, Chanpil taps into his own experiences and memories to convey emotions with depth and authenticity. “When I draw a predator, I like to imagine myself as the predator in the painting as I work on it. When I draw a prey, I like to imagine I’m the prey in the painting. But no matter which role I take, I always feel a sense of sadness.”

“Similar to real life, I like to express emotions with moderation in my work, so the emotions I paint aren’t that extreme. The characters aren’t loudly crying or yelling out in fury. But if the viewers are seeing strong emotions in my work, I believe it’s because they’re reacting to the character’s inner feelings. As I’ve previously said, it’s all rooted in a sense of melancholy – this is a sadness that no being in this world can escape from or get rid of. Aside from this sadness itself, I wanted to express my own feelings of fear that came from this realization. […] Prey & Predator is the world through my eyes. I want to show people the true essence of our world, but not necessarily the visible parts of it.”


在这一系列中,Chanpil 在画布上展现出的思想和情绪相当真实,真实到他无需设计,画布上所展现的内容本身,就已是他全部的思想和情绪。“当我画捕食者的时候,我会想象我是一个捕食者,是捕食者在作画,我就是它;同样地,我画猎物时就会假想自己是猎物本身。而两种角色的表情都很悲伤。”

“就像我自己在现实世界里一样,我更喜欢适度的情绪表达,而不是在工作中将之爆发。所以作品中人物的面部表情并不极端,他们不会大声号哭。但是,如果画中的情感被传递给你为某种极端的感受,我想那是因为你对角色的内在情感作出反应。正如我前面提到的,这种感觉是悲伤。这个世界上没有人能够从这种悲伤中逃离或解脱。‘我们无法动弹。’——我也想借此表达我的恐惧。” Chanpil 说。

“《猎物和捕食者》是我看到的真实世界。我想要透过这个系列去讲述世界的本质,而不是表面上的可见世界。”

A Predator (2014), 53 X 46 cm, Oil on canvas.
A Prey (2014), 41 X 32cm, Oil on canvas.

Behance: ~/moon_on
Instagram: @moonchanpil

 

Contributor: Chen Yuan


Behance: ~/moon_on
Instagram: @moonchanpil

 

供稿人: Chen Yuan

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Between Two Cultures 我到底属于哪里?

April 9, 2018 2018年4月9日

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”


许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中,我也会去探讨华裔美国人的真正涵义。”

 

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Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”


许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google 和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”


许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”

 

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In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao

The Color of Faith 信仰的颜色

April 6, 2018 2018年4月6日

 

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In India, Somvati Amavasya is an event that typically happens two or three times every year. It refers to the appearance of a new moon on a Monday, and on every Somvati Amavasya, over 700,000 devotees travel from different corners of India’s Maharashtra state to the small village of Jejuri for the Bhandara Festival, a holy day dedicated to Lord Khandoba, who is believed to be a manifestation of Lord Shiva. In the day-long celebration, turmeric powder is flung around, covering the Khandoba Temple and legions of devotees in rich hues of yellow. The turmeric represents gold, which symbolizes the wealth and riches that they hope Lord Khandoba bestows them with.


在印度,新月节(Somvati Amavasaya)是指在星期一出现新月的现象。这种现象每年通常都会出现两到三次。在新月节这一天,会有超过 70 万信徒从印度的马哈拉施特拉邦(Maharashtra state)各地出发,前往一个名为杰久里的小村庄,一起庆祝班达拉节,一个致献湿婆的化身勘都巴神(Lord Khandoba)的节日。

庆祝活动会持续一整日,姜黄粉被洒向空中,让勘都巴神庙和众多的信徒都披上金黄的色调。姜黄粉代表黄金,也就是财富,寓意人们希望勘都巴神能给他们带来财富。

At the extravagant celebration, the importance of Lord Khandoba to Maharashtrian communities around the country is put on full display. All of the devotees who arrive in Jejuri on this day have made the pilgrimage to let Lord Khandoba know that they believe in his powers and in the miracles that he brings to their lives.

“I could never build my house right, there stood many issues every single time I tried,” says Keshav, a 35-year-old man who has come from the nearby village of Valanj to celebrate the festival with his wife and twin daughters. “Once it rained heavily, and another time the cement sacks were stolen. Then I came to Jejuri one morning and prayed until the sun went down behind the temple. Within the next three months, I had built a house of my own in the village.”


在这场大张旗鼓的庆祝活动中,勘都巴神在马哈拉施特拉邦社区的重要性得到了淋漓尽致的展示。这天到达杰久里(Jejuri,马哈拉施特拉邦的一个城镇)的所有信徒都经历了一场朝圣之旅,以此让勘都巴神知道,他们相信他的能力,相信他能为生命带来奇迹。

“我一直都没办法建好我的房子,每一次我想要动工,总是会有各种问题出现。”35 岁的 Keshav 说道。他带着妻子和双胞胎女儿从附近的 Valanj 村庄特地过来庆祝的。“有一次是因为下大雨,还有一次几袋水泥被偷了。然后一天早上,我来到杰久里祈祷,一直到太阳下山后。之后的三个月里,我终于在村里建好了自己的房子。”

One of the more peculiar traditions that can be witnessed at the festival is a ritual of self-punishment. Devotees can be seen whipping themselves with a thick rope, believing that by doing so, they can free themselves from the clutches of their past sins. Those that engage in this practice also see it as a way of paying ultimate reverence to Lord Khandoba.


这个节日里,还可以看到另一个比较奇特的传统,那就是自我惩罚的仪式。人们会拿着粗绳子鞭打自己,因为他们相信,这样做可以让他们摆脱过去的罪恶。也有人把这种仪式看作是对勘都巴神一种终极的致敬。

The highlight of the festival is the ferrying of the palki to a nearby river to be bathed. The palki is a chariot-like vehicle that houses the deity, and when it’s brought out of the temple, there’s an immediately noticeable shift in atmosphere. This is when the euphoria of the celebration reaches its peak. People can be seen tearing up at the mere sight of the palki; other devotees are bellowing out holy chants of “Yelkot Yelkot Jai Malhar” at the top of their lungs as a show of devotion; and around the actual palki, swarms of devotees are fighting for a chance to touch the palki.

“Every year we see a rise in the number of people who come to Jejuri on this day,” says Asha, a woman in her late 50s and a festival attendee for the last 40 years. “They paint the village golden with their untouched faith in Khandoba, and in a matter of hours, you see Jejuri turn into shimmering gold. Back in the 90s, my son once got a chance to be one of those to carry the palki to the river. That was the happiest time of my life.”


节日的亮点是运送“Palki”到附近的河流中去沐浴。这种双轮战车般的车辆,上面摆放神像,当它一出寺庙大门时,周围的气氛瞬间就变了。这是庆典的高潮之处:人们一看到 Palki 就开始热泪盈眶,一些信徒者放声歌唱圣歌《Yelkot Yelkot Malhar》,以示内心的虔诚;在 Palki 的四周,成群的信徒争先恐后地要摸一摸 Palki,以期带来好运。

“每年到杰久里参加这个节日的人越来越多。”一位50多岁女士说道,她在过去 40 年一直都有参加这个节日。“他们出于内心对勘都巴神纯粹的信仰,将整个村子粉饰成金色一片,短短数小时内,你就能看到杰久里变成闪闪发光的金色。90 年代的时候,我儿子曾经有机会成为那些运送 Palki 到河边的人之一。那是我一生中最快乐的时光。”

The festival is a stunning experience not only for the devotees but for anyone attending. Even if you’re not of the faith, it’s a breathtaking feeling to be immersed in the celebratory energy and feel the connection that these revelers share with their god. If you want to experience the celebrations yourself, the next Bhandara Festival will be taking place this month on April 16th.


不论是对于信徒,或是任何参加这个节日庆典的人来说,这都是一次令人心潮澎湃的体验。即使你不是信徒,沉浸在欢庆的能量中,感受到这些狂欢者与他们的神之间的联系,也是一种令人惊叹的体验。今年的班达拉节将于 4 月 16 日举行,你也可以亲自前往,体验当地的节日狂欢。

Contributor, Photographer, and Videographer: Omkar Phatak


供稿人,图片摄影师与视频摄影师: Omkar Phatak

Black Holes and Strange Worlds 颅内星球避难所

April 5, 2018 2018年4月5日

Despite a gravitational force strong enough to swallow light, black holes don’t actually destroy everything inside them. According to the late Stephen Hawking, black holes aren’t as “black” as we think. Matter or energy pulled beyond the event horizon might still find a way out, or even emerge in another universe. 

This may be true enough of real black holes, at least in one scientist’s theory. But the black holes imagined by Korean illustrator Sangho Bang are very different. For him, they’re an otherworldly refuge.


黑洞,其实并非是所有物质的黑终结之地。尽管黑洞的引力巨大,能把任何物质包括光线都吸入其中,但史蒂夫霍金用他伟大的一生向我们提出了这样的见解:黑洞没有我们想象的那么。任何进入黑洞的事物最终还是会找到出口,或者跑出黑洞外,又或者跑进了另一个宇宙。

那是一个科学家头顶上的星空,和他对黑洞的理解。而对于来自韩国的插画艺术家 Sangho Bang 来说,他心中畅想的黑洞,更像是一处宇宙避难所。

Bang draws outlandish creatures prowling across psychedelic terrains dotted with gaping craters and lumpy bulges. “My work is mainly about building a world of other planets, depicting their landscapes and inhabitants, and giving them artistic expression,” he explains. “On the planets I create, everything is extremely primitive: creation, disintegration, and copulation.”


在 Sangho 创造的星球上,你会看到无数形态怪谲的生物,像是变异的多囊细胞核,充斥在鲜艳颜色迷幻孔洞世界。“我的作品主题主要是建立行星世界,描述景观,并通过艺术媒介表现出来,” Sangho 说,“在我创造的星球上,创造、爆炸和交配,一切都是非常原始的。”

For Bang, black holes are portals to an unknown world. “When I peer into those holes, I can see other worlds inside,” he says. “And the worlds in those holes have holes of their own. This chain of interlinked black holes means we can never know the exact scale and location of these worlds.”


而黑洞是通道,连接的是另一个未知的世界。“当我往这些洞里看进去时,我可以看到里面出现了其他的世界,也看到了其他世界里一样的洞。这种黑洞一层层的连锁循环,阻止了我们猜测世界大小尺寸或具体位置的可能,” Sangho 说。

Bang’s worlds are refuges, a sanctuary for his own real-life emotions. Like emotions, these worlds are constantly in flux: the organisms and spaces on the planets he creates can be microscopically small or larger than the sun; the entire planet might appear as an animal’s head or a plant leaf. There’s no order or logic, and nothing has to respect or resemble the world as it actually is.

“Whether we’re stepping into an invisible space or a vast, boundless universe, our imagination lets us enter the black hole and probe even its furthest reaches.”


这里也是 Sangho 作为自己现实和感受的避难所。在这个星球上,空间和生物体可以像细胞一样小,也可以比太阳还大;星球的形状也千变万化,可能是动物的头颅,可能是细胞或植物。一切都不必参考和遵循既有的存在,也没有秩序和概念。

“我们可以进入一个看不见的空间,或进入一个巨大深邃的宇宙。我们通过想象,进入到黑洞内部,甚至可以看到它最深处的部分,去一探究竟。”

Website: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

Contributor: Chen Yuan


网址: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

供稿人: Chen Yuan

taipeilove* 彩虹高挂

April 4, 2018 2018年4月4日

 

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taipeilove* is a documentary from Berlin-based filmmaker Lucie Liu that follows the LGBT movement in Taipei, Taiwan. The film shares the experiences of three individuals and their struggles with traditional expectations from family, religion, culture, and society set against the backdrop of Taiwan’s initiative to legalize same-sex marriage.


在纪录片《taipeilove*》中,柏林电影制片人 Lucie Liu 用镜头记录了台北的同志运动。影片记录了在台湾同性婚姻合法化倡议的背景下,三个人的经历以及他们与传统家庭、宗教、文化和社会间的斗争。

The idea for taipeilove* first came about when Liu visited the Taiwan Pride Parade in 2016. She shares, “I got in touch with a group of Koreans and some Japanese men. Independently from one another, they told me how they would come to the Pride every year and how these visits were the only few days in the year where they could be completely free and open about their sexuality without fearing repression. That was the time I realized how important Taiwan’s fight for marriage equality truly is on a larger scale.”


Lucie 第一次有了拍摄《taipeilove*》的想法是在 2016 年参加台湾骄傲游行(Taiwan Pride Parade)的时候。她回忆道:“我当时认识了一群韩国和日本男同性恋者。他们每个人都跟我说,每年都会来参加骄傲游行,游行的这几天是他们一年中最自由的几天,因为他们可以坦诚地公开自己的性取向,不用压抑自己。那时我才意识到台湾在争取婚姻平等这个问题上的重要性及影响之广。”

In October of 2017, Liu would arrive in Taipei to begin pre-production on the film. She would reach out to members and activists of the local LGBT community to hear their experiences – often encountering stories of pain, abandonment, exclusion, and even of attempted exorcisms. After speaking to dozens of individuals, Liu would be introduced to Sarah, one of the three main protagonists of the film: “Sarah had just come from a long shift as a nurse, but she was full of energy and very open, and this intrigued me. Kevin is one of her friends, and David is his life partner. So we had some long talks and decided to go on this journey together.“


2017 年 10 月,Lucie 抵达台北,开始影片的前期制作。她与当地 LGBT 社区的成员和积极分子联系,听他们讲述自己的经历,这些经历中往往掺杂着痛苦、遗弃、排斥甚至企图驱魔的故事。在与数十人聊过后,有人介绍 Lucie 认识了 Sarah,最终 Sarah 还成为了这部影片中的三大主角之一:“那时候 Sarah 刚刚完成长时间的工作,她是一名护士,但她依然精力充沛,态度也非常坦诚,这一点令我特别感兴趣。Kevin 是她的朋友之一,David 是他的爱人。我们聊了很久,最后决定一起拍这部影片。”

The pre-production of taipeilove* was initially financed by a German foundation, but due to the small amount of financial support provided, the project has since been driven mostly by the hard work and dedication of a small but passionate team of creatives and filmmakers. In addition to financial challenges, the documentary has stirred up strong reactions on social media, including harassment and homophobic messages from strangers. These challenges have only further intensified Liu’s mission to further educate the public about LGBT issues. Liu tells us, “I realized that messages from strangers on the internet as well as in conversations with elderly members of Taiwanese society all share the same thing: fear of change. It takes time, education and dialogue to overcome those fears and arrive in the 21st century, and to realize that same-sex love and marriage equality won’t cause anyone any harm.”


《taipeilove*》的前期制作最初由一家德国的基金会提供资金,但由于提供的资金很有限,主要都还是靠一小群满腔热情的创意团队和电影人在努力支持。除了财务方面的挑战之外,这部纪录片还在社交媒体上引起过强烈反响,收到过来自陌生人的骚扰和恐同留言。但这些挑战只会让 Lucie 更加坚定自己推广 LGBT 问题的使命。Lucie 告诉我们:“不论是互联网上那些陌生人的信息,或是与台湾社会老年人的交谈中,我发现他们都有共同之处:一种对变化的恐惧。我们需要时间、教育和对话来帮助他们克服这些恐惧,去真正进入 21 世纪,去明白同性爱情与婚姻平等,不会对任何人造成任何伤害。”

In 2017, the Constitutional Court of Taiwan ruled that same-sex couples should have the right to marry. Liu tells us, “Taiwan is setting a great example here and I wish for the rest of Asia to follow. My documentary shows that there is hope for progression.” The taipeilove* documentary is currently in post-production and is planned to be made available for educational screenings at universities and NGOs, in addition to being screened at film festivals. If you would like to make a donation to help support post-production funding of taipeilove*, please visit their crowdfunding campaign at Indiegogo.


2017 年,台湾宪法法院裁定同性配偶应有权结婚。Lucie 说:“台湾在这里树立了一个很好的榜样,我希望亚洲其它国家也能效仿。我的纪录片也表明,这一切都是希望去取得进步的。”《taipeilove*》纪录片目前正在进行后期制作,除了在电影节上放映外,还计划在大学和非政府组织进行教育放映。如果您想进行捐赠,支持《taipeilove*》的后期制作经费,请访问他们在 Indiegogo 上的众筹活动。