From Darkness Comes Light “想画好光,必须理解影”

July 17, 2018 2018年7月17日

“To paint light, first you have to understand the dark,” says Lee Wai Yam.

Lee, a Hong Kong-based artist who goes by the name Lee Lee, paints works suffused with a hazy light that seems to surround the viewer, drawing them into a perfect, half-lit moment: a cat staring into space, a blazing sparkler, a lone carousel horse on the side of the road.

You might expect the person behind such paintings herself to be warm and gentle. But when Lee hears people say as much, even with no ill will, “it makes me feel guilty, as though I’m giving someone a false impression,” she says.


“想画好光,必须理解影。”

来自香港的插画师盐李李(李玮钦)如是说。她的画里透着朦胧的光晕,仿佛可以将人包裹,回到褪色的美好时光——发呆的猫咪、燃烧的仙女棒、停驻的旋转木马……

画且如此,那么画布背后的人,也一定温柔恬静吧。但盐李李说自己每次收到这样善意评价时,“简直良心不安,像是编造了一种错觉。”

The warmth in Lee’s paintings is real, and that makes her feel especially anguished that she’s stubborn or inconsiderate outside the canvas. For a time she lay down her brush and stopped painting, seeking peace from the reproaches of her conscience.

“There was one painting in particular that people described as peaceful and calming. I still remember the sunny afternoon on which I painted it: it was the day my father was diagnosed with cancer. On the way back from the hospital, he went out of his way just to pick up my favorite food. He said nothing when he got home, and I didn’t know how to offer any words of comfort. I turned my back to him and painted. The silence in the room was broken only by the sound of my brush on canvas, humming like cicadas in the summertime. Continuing to work was wrong—it was clearly distressing, even violent.”


画中温柔是真实,画外的执拗与莽撞,才更让人揪心。因而盐李李也一度掷笔不画,在这种苛责中寻求平静。

我记得有张画,人们说温柔又宁静。我记得那天下午,阳光明媚。父亲确诊癌症,从医院回家,拖着疲惫身躯,依然绕了远路,买我喜欢吃的菜餸。他沉默凝重,而我半句话都没说,背着他,一室死寂,唯有那画笔落在纸上的声音如夏日蝉鸣— —我那不合时宜的孜孜不倦,明明是多么的嘈吵且暴力。

Sobering life experiences like these fill Lee’s works: the surface is full of light and warmth, yet the gloom is never far behind, and it sooner or later pays a visit.

After her self-imposed exile from painting, eventually the clouds parted, and Lee became reconciled to herself. “I want to accept my headstrong, immature nature, to accept that there are no fresh starts,” she says. “The road is long, so there’s nothing wrong with taking your time.”


那“饱满的生命经验”,盐李李曾竭力填塞到创作之中,光明和温柔是表象,生命中如影随形的阴霾,随着历练的增叠,也如期造访。

但所幸,云开雾散之后,盐李李终于还是与自己达成和解:“我想接受难以成长的顽劣本性,接受没有重新的开始,路途本就悠长,我想,无所谓缓慢。”

 

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Website: leewaiyam.com
Weibo: ~/鹽李李
Vimeo~/leewaiyam


Contributor: Chen Yuan


网站: leewaiyam.com
微博
: ~/鹽李李
Vimeo~/leewaiyam


供稿人: Chen Yuan

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Arts and Crafts

July 16, 2018 2018年7月16日

When does a craft become art? For Feng Cheng-Tsung, whose bamboo-and-rattan sculptures draw on a tradition of Taiwanese handicrafts, the line between the two is unclear. In last year’s Fish Trap House, he used techniques learned from the Thao people of central Taiwan to create an installation piece that seems to float above the shoreline of Sun Moon Lake. This summer he’s erected a similar handmade structure outside Taipei’s Museum of Contemporary Art, which will be on display until July 22. In both installations, Feng breathes new life into a traditional handicraft, creating airy structures with a singular beauty.


工艺何时才能成为艺术?艺术家范承宗运用台湾传统工艺创作出竹藤雕塑,对他而言,工艺和艺术两者的分野并不明显。他在去年的《筌屋》里向台湾中部的邵族部落取经,创作出看似漂浮于日月潭湖岸的装置艺术作品。今年夏天,他在台北当代艺术馆外面架起一件类似的手工装置,该件作品将会展示到 7 月 22 日。艺术家在这两件装置作品,创造出如空气般轻盈的结构,呈现独特美感,替传统工艺带来新气象。

When he was commissioned to create an installation on the shore of Sun Moon Lake, Feng had no clear idea of what he would make. His sole requirement was that the piece reflect the local culture, so he and his team toured the area and met with nearby indigenous communities. “I saw the Thao people’s fish traps and thought they were very beautiful,” he says. They met an elder from the Ita Thao tribe, the last of his people who could still make such basket-like traps, and he taught them his technique. “Later we analyzed the fish-trap making process and transformed it into a large-scale installation piece. I invited 20-odd tourists at Sun Moon Lake to make it with us,” he recalls. “The elder came, too, and was happy to see everyone eagerly learning the craft he’d preserved.”


当范承宗接到委托要替日月潭创作地景装置的当下,他并不知道自己要做些什么,日月潭风景管理处只告诉他希望创作能反映当地文化。因此他和团队探访当地,并和在地原住民部落族人见面。“我看到邵族人渔筌,觉得很美。” 他们见了伊达邵部落的一位长者,他是部落里最后一位懂得制作渔筌的人。这位长老亲自教授范承宗和他的团队这项技艺。他回忆道,“之后,我们将渔筌的制作过程分析,转换成一件大型装置艺术,邀请了二十几位到日月潭的游客一起制作。长老也来了,看到大家开心的在学习他保留下工艺,他很是欣慰。”

The sculpture has two window-like holes: one at the top and one looking out over the lake. “When people enter, they can look through the window and see the scene we framed, which is one of the most beautiful views over the lake,” Feng explains. “There are no built structures like restaurants, hotels, or high rises—it looks just as Sun Moon Lake did long ago.” Feng will be returning later this year to create another installation piece—this time one that floats on the water’s surface.


这件地景雕塑有两个像窗户的圆洞,一个在头顶,另一个则望向湖面。“人们走进去之后能透过圆洞看见我们框起的最美的一块小小的景色。” 范承宗解释道。“画面里没有任何饭店旅馆大楼之类的人造物,就像很久很久以前的日月潭吧。” 艺术家今年也会在这创作另一件装置作品,只是这次的作品将会漂浮在湖面上。

Taipei’s Museum of Contemporary Art provides a very different setting for Feng’s sculpture, titled “Trap.” Rather than framing a natural lakeside landscape, it sits next to a solid brick structure, offering a sort of frail monument to impermanence. And rather than enclosing visitors in an intimate space, it rises above them in a vault. The work highlights traditional crafts by taking them out of context, placing them in dialogue with a neoclassical building that’s less than a century old. Light and translucent against the museum’s red brick, Feng’s “Trap” makes a striking contrast.


台北当代艺术馆则提供给范承宗的竹编雕塑另一种不同的环境。这件名为《筌》的作品,这次不再框住湖边自然风景,而是座落于坚固的红砖建筑旁,给了这件作品某种脆弱、易逝感。跟日月潭的《筌屋》不同,当代艺术馆的《筌》不把参观者关在一个私密空间,而是像一座拱顶罩住他们。这件作品使传统工艺离开原本的脉络,让它和不到一百年的新古典风格建筑产生对话,借此彰显这项工艺。当代艺术馆的红砖立面更加凸显这件作品的轻巧和通透性。

Feng’s studio, Studio Kao Gong Ji, is named after a fifth-century BCE text documenting how various tools were made. (The Kao Gong Ji is known in English as the “Artificer’s Record.”) “It contains a line that I think is a wonderful explanation of what craftsmanship is,” says Feng. “‘A favorable heaven, an auspicious earth, beautiful materials, skilled craft: combine these four and you can achieve quality.’” He explains: “The line says that a good object contains its age, its environment, its local roots, and an awareness and grasp of beauty.”

Feng is guided by this ethos of grounding creative work in a specific time and place. The results are works of art—or craft—that draw their beauty from a painstaking, thoughtful creation process. His current project is a four-part exhibition on the food, handicrafts, farming practices, and daily life of the people in and around Taitung.


范承宗将工作室取名为考工记工作室。《考工记》写于春秋战国时期,是一本记载如何制作各式工具的古书。“里头有写到段我认为对工艺很棒的诠释。” 艺术家说。“天有时,地有气,材有美,工有巧。合此四者,然后可以为良。” 他解释说,“这段话在说一个好的物件,包含了时代、环境、自然风土以及对材料美感的觉察与掌握。”

范承宗以这段话为准则,根据不同时节和环境进行创作。而他创作出的艺术品,也可称做工艺品,因为创作过程经过仔细思量而产生美感。艺术家目前正进行四项展览计划,主题关于食物、手工艺品、农耕习俗和台东人的日常生活。

“For me, the borders between art and craft—or design as well—are blurry and hard to distinguish clearly,” says Feng. Within those borders, though, he notes that each has different strengths. From design, he’s learned the value of planning and an analytical mindset, and from art, he’s learned the value of openness and abstraction. Yet craft occupies a central place in his work. “Personally, I think craftsmanship definitely needs to involve attention to materials and to production process and methods. If a piece doesn’t have this, I have a hard time calling it craft.”

By that definition, Feng’s fish traps are certainly examples of “craft,” but they’re also works of art. He transforms traditional practices into something beyond tradition, structures that catch the visitor in a moment of wonder.


“艺术和工艺,或者再加上设计,对我来说的边界是模糊而难以清楚分割的。” 范承宗说。在这些边界里,他发现每个领域都有不同的力量。他从设计里学到规划和分析性思考的重要性,从艺术里学到开放和抽象的价值。然而,工艺是他的创作核心。“我个人认为,工艺其不可或缺的部分,正是对材料和制作过程和方法的关系,若一件作品少了这部分,我就比较难以将它和工艺做联想。”

根据这样的定义,范承宗的渔筌无疑是工艺品,而且也是一件艺术品。他让传统技艺超越了本身的传统意涵,而转换成能够让参观者惊叹不已的装置作品。

Website: chengtsung.com
Instagram: @lasicfan

 

Contributor: Allen Young


网站: chengtsung.com
Instagram: @lasicfan

 

投稿人: Allen Young

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10 Taiwanese Bands to Check Out 十组值得关注的台湾独立乐团

July 13, 2018 2018年7月13日

Without music, life is bland and uninspired.

We always have our ears to the ground in our search of new, interesting music. In this edition of Neocha Roundups, we take a look at Taiwan’s music scene to introduce ten Taiwanese music acts that should be on your radar. From rock and hip-hop to electronic and folk, no matter your taste or mood, we’ve got you covered.


没有了音乐,生活该是多么索然无味。

我们总是走在发掘新音乐的路上,这次 “Neocha 精选集” 集合了十组值得关注的台湾独立乐团,他们的曲风各异,从摇滚、嘻哈、电子、到民谣,适合各种心情的你。

No Party For Cao Dong

Who said today’s youth haven’t tasted hardship? No Party For Cao Dong creates melodic, danceable tracks that contrast with the snide sarcasm of their lyrics. Despite their age, they seem to have already experienced their share of bitterness, perceptively observing society’s dark side and using music to stand up to the world.


草东没有派对

谁说少年不识愁滋味? 草东没有派对的乐曲充满精彩的刷弦和跳跃的拍点,但歌词却是极度入世、讽刺的。他们年纪轻轻像尝尽了世间的苦,用透彻的双眼观察社会现实的黑暗面,选择用音乐去对抗世界。

 

 

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Sunset Rollercoaster

This is a band that makes people fall in love. Moving, dreamy, and romantic, Sunset Rollercoaster‘s addictive sound tinges the world with a sunset orange glow. From their debut album, Bossa Nova, to the recently released Cassa Nova, their style has evolved, and they’ve now blossomed into a mature band.


落日飞车

“这是一支让人恋爱的乐队”。他们浩浩荡荡用音乐将世界染上一大片夕阳般的橘红色,梦幻的旋律、浪漫的编曲,听落日飛車是会上瘾的。从第一张专辑《Bossa Nova》到刚刚推出的《Cassa Nova》,风格是转变许多,也成为了越来越成熟的乐队。

 

 

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deca joins

After a name change to deca joins (a combination of the words “decadent” and “decaffeination”), the band formerly known as FUBAR (and at one point Gray Dwarf Star) continues to use music to express their youthful vigor. Comforting and contemplative, their music is filled with the raw emotions that make up our lives: helplessness, hope, joy, mourning, and everything in between.


deca joins

名字换了又换,从 FUBAR、灰矮星、到现在的 deca joins (取自decadent 颓废+decaffeination 无咖啡因的组合字),他们还是这么一群诚实用音乐来抒发生活的青年。他们借着音乐抚慰人心,唱的歌就像你我的生活,有无奈有希望,有欢乐也有哀愁。

 

 

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Elephant Gym

Math rock is an experimental style of rock, characterized by complex rhythms and irregular time signatures. On initial listen, it may sound chaotic and dissonant, but emerging from the chaos, there’s a harmony that’s precisely calculated. In Taiwan, Elephant Gym has proven itself to be at the forefront of the genre.


大象体操

数学摇滚是一种实验性的摇滚风格,特色是复杂的编曲结构,频繁地使用不规则的节拍,听起来错乱却意外和谐,就像是经过精密的演算一样。大象体操即是台湾数学摇滚的代表乐团。

 

 

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Yeemao

The slogan, “Sleep all day and rage all night,” embodies the spirit of hip-hop duo Yeemao. Signed to KAO!INC, the same independent hip-hop label that signed Soft Lipa, Yeemao consists of Leo Wang and Chun Yan, two 90’s-born rappers who are gaining a loyal following with their playful twist of hip-hop.


夜猫组

“白天睡觉、晚上暴走” 是夜猫组的精神所在。与蛋堡同属于独立嘻哈厂牌颜社 KAO!INC,夜猫组由两个九零后的大男孩 Leo王和春艳组成,猎奇又有趣的创作风格让他们备受瞩目。

 

 

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Muddy Basin Ramblers

Muddy Basin Ramblers is a group of UK and US nationals living in Taiwan whose genre-blending sound mixes folk, blues, and swing. Using clay pots and metal bins as musical instruments, their performances are raucous, out-of-control parties that need to be experienced in person.


泥滩地浪人

泥滩地浪人由一群定居于台湾的英美籍人士组成。曲风融合民谣、蓝调、摇摆乐等等,他们拿着陶罐和脸盆奏乐,每次演出都像一场狂欢的派对。

 

 

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Angry Youth

Angry Youth creates music that’s grounded in reality. Forgoing the sappy pop ballads of mainstream music, they bellow out high-octane anthems inspired by their personal life experiences. What really makes them stand out are their riotous live performances.


厌世少年

厌世少年的音乐贴近真实,不唱矫揉造作的情歌,而是用尽全力地放声唱出个人的生命故事。脱序、反动、几近疯狂的表演风格则是他们最大的特色。

 

 

无法观看?前往街声音乐试听

 

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JADE EYES

Jade Eyes is a rare all-female electronic band that puts out catchy, psychedelic tracks that’ll make you want to hit the dance floor.


孔雀眼

孔雀眼是乐界中少见的全女性电子乐团,音乐迷幻而幽艳,充满重拍的电气节奏让人忍不住跟着随之舞动。

 

 

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Cicada

“You can hear them, but you can’t see them.” That’s the idea behind naming the band Cicada. Using classical string instruments, pianos, acoustic guitars, and an array of other instruments, this large ensemble composes poetically beautiful songs about Taiwan’s great outdoors. From mountains and the ocean to fauna and flora, Cicada’s music explores the relationships between the island’s natural forces.


Cicada

“能听到牠们的声音,却看不见其形体” 是 Cicada (蝉) 名字的含义,由古典弦乐、钢琴、木吉他等乐器组成的多人编制乐团,曲风温柔而诗意,娓娓道出台湾这座岛屿与大自然、海洋、动植物生命之间的关系。

 

 

 

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Sheng-Xiang & Band

Shen-Xiang & Band has long focused on social and environmental issues. Singing in the Hakka language and fusing Western and traditional Taiwanese elements, they’ve emerged as one of Taiwan’s premiere folk bands.


生祥乐队

生祥乐队长期关注农工与土地环境议题,使用方言客家语来创作,融合台湾传统和西方音乐元素,是台湾乐界相当重要的新民谣乐团。

 

 

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Contributor: Yang Yixuan


供稿人: Yang Yixuan

Au Naturel 一虫一世界

July 12, 2018 2018年7月12日

“To see a World in a Grain of Sand / and a Heaven in a Wild Flower”: the plant art of Raku Inoue calls to mind William Blake’s “Auguries of Innocence,” finding countless worlds in each meticulously arranged insect.

Born in Japan and based in Canada, Raku Inoue, one of the founders of Reikan Apparel, is a multimedia artist who uses materials scavenged from the great outdoors to create elaborate works of art. He collects flowers, twigs, and leaves—which are then trimmed and layered—to arrange colorful 3-D sculptures of familiar insect forms. Each lifelike piece showcases his masterful artisanal skills. Yet more than a vessel of self-expression, his work is a way of paying homage to the intricacies of Mother Nature and sharing that with every attentive viewer.


如果说一花一世界,那么在 Raku Inoue 井上罗来 的手中,一虫能代表着大千世界。

目前为品牌 Reikan Apparel 的主创者之一的 Raku Inoue,生于日本,长于加拿大,他惯以大自然随处可得的花草枝桠作为媒介,再把这些细枝末节拼接成昆虫的模样,堆叠的叶片让昆虫的身体变得饱满、立体且五彩斑斓,既显得良工巧匠,又浑然天成。这不仅仅是创意的表达,Raku Inoue 的作品更包含着对自然万物的细腻感受,并传递给每一个悉心的观者。

Behance: ~/RakuInoue
Instagram: @reikan_creations


Contributor:  Chen Yuan


Behance: ~/RakuInoue
Instagram: @reikan_creations

 

供稿人:  Chen Yuan

Taking It Easy with Kuoyi 原来生活还“可以”这样

July 11, 2018 2018年7月11日
Kuoyi, Issue #1 / 《可以》第一期

People in Chengdu, an old saying goes, don’t know the meaning of the word hurry. No matter how dire the situation, they never lose their calm. Maybe it’s the constant humidity of the Sichuan Basin that keeps them so unruffled, or maybe it’s the fragrant Sichuan rice they eat every night, its delicate sweetness seeping into their pores.


有人说成都人似乎不明白匆忙生活的意义,遇到任何麻烦事成都人总能温柔以待。或许是巴蜀盆地久久不散的湿气让成都人变得平和,不沉沦也不热烈,“平和之气” 伴随着每晚川米软糯的香味,渗透到成都人的骨头里。


A Celebration of Life in Chengdu

 

“In the Chengdu dialect, kuoyi signifies an attitude of contentment. It’s about taking things as they come. It’s a laid-back lifestyle—a simple, everyday happiness. That’s why we decided to use it for the name of our magazine,” says Zhang Jianlan, the co-founder, publisher, and editor-in-chief of Kuoyi.

If you whisper the word kuoyi, you can almost feel your entire body loosening up. That’s the feeling Zhang Jianlan and her co-founder Xue Rong want to bring readers. It’s an experience that extends beyond the articles themselves.

There’s value in seeking excellence in something you love, as Zhang and Xue show. With calm and perseverance, they’ve done something other people might consider crazy: they’ve started an independent magazine about the city they live in and love. They stroll down the city’s avenues and alleyways to find the most kuoyi treasures, and they’ve put that attitude of contentment and generosity between two covers.


它关于成都,关于生活态度

 

在成都话里,“可以” 这个词语被寄托了一种知足常乐的心态,是随遇而安的心境,是舒适悠闲的生活,是简单平常的快乐。所以我们的书取名为《可以 KUOYI》。——《可以》创始人、出品人、主编:张简蓝

如果你小声低吟一句 “Kuoyi”,整个人会立刻感觉松了起来。这就是《可以》创始人张简蓝和薛蓉,想带给读者们超越文字本身更多的意义。

“把自己热爱的事情做到极致便有了它的价值。” 这句话是这两个女生最佳的佐证。她们平静而坚定地去做了一件别人看来也许很疯狂的事——自己办了一本独立杂志,主题即是她们生活并且热爱的家乡成都。她们走过成都大街小巷,发掘出其中最 “可以” 的人事物,每一个文字、每一张照片都透露出这座城独有的知足与豁达。

Kuoyi is a magazine for ordinary people, without pretentious words or a flashy layout. Zhang and Xue decided that a minimal, no-frills approach would be the most honest way to tell the stories of ordinary people. “We wanted it to be down-to-earth, real, and inspirational,” Zhang says. It’s a magazine for office workers stuck in the nine-to-five rat race, for dreamers reluctant to take the leap of faith, for travelers in search of undiscovered sights, for everyone interested in experiencing the kuoyi attitude and lifestyle.


《可以》是一本属于百姓的书,没有太多浮华的辞藻,也没有复杂的排版,她们选择了一种最简单淳朴的表达方式,去真实述说 “老百姓” 的生活。“它是接地气的、真诚的、励志的。”  具像而言,是为了那些朝九晚五的人能接触到工作之外的生活,原来还 “可以” 这样;让还在犹豫是否要去追求梦想的人,增添一丝 “可以” 的勇气;让喜欢旅游的人,寻找到另一条 “可以” 的旅行路线;让更多人体会到这样 “可以” 的生活方式和态度。


Kuoyi, Issue #4 / 《可以》第四期

Faith in the Printed Word

 

Faith can make people throw caution to the wind. It all began in 2013, when Zhang quit a comfortable office job in Beijing to return to her hometown of Chengdu, a move that required no small dose of courage. Her motivation was simple: to create an independent magazine celebrating local Chengdu culture.

Asked about the inspiration for the magazine’s title, Zhang tells a story: she and her friends were out one day, crossing the street while discussing where they should go to eat. She suggested they get congee. One of her friends responded, “kuoyi, kuoyi“—roughly,”sounds good, sounds good.” An idea flashed in Zhang’s mind: they’d call the magazine they were about to launch Kuoyi. The friend who had said those words was none other than Xue, the magazine’s co-founder.

In March 2014, they started to prepare their inaugural issue. At first, they lacked both resources and content—all they had was a simple concept and their own dedication. Eventually, through friends, they met some like-minded people and gathered together a group of young people who not only became good collaborators but had also a knack for discovering the stories that every good issue needs. In Zhang’s view, a good issue requires good people and good stories. “Looking back to how we got started, it was all really very simple.”


它关于纸媒人的一份信仰

 

信仰的力量可以让勇气疯长。一切的开始是2013年张简蓝从北京辞职了,放弃一份安稳的工作去闯荡,是极需勇气的。重回家乡的她决定做一本立足于本土文化的独立杂志。

说起这本杂志的诞生,据说还有这样一个小故事:有一次和朋友在聚餐的路上,大家一边过马路一边讨论着待会要去吃哪家餐馆。张简蓝随口问了一句 “要不喝粥?”,一个朋友回答道 “可以可以”。 于是一个想法突然就冒了出来,她们决定将这本即将诞生的杂志就取名为《可以》。而那位回答 “可以可以” 的朋友,就是和张简蓝一起创办这本杂志的薛蓉。

2014年3月,她们正式开始筹备《可以》首刊。一开始她们没有任何资源与内容取材,只有一个简单概念和想做一本杂志的心。后来通过朋友介绍,认识更多有着相似信仰的朋友,就这样一群年轻人聚集在一起,不仅成了工作上的好伙伴,也得到了书中需要的好故事。对于简蓝而言,一本好的书是需要好的人与好故事集结在一起才能实现的。“现在想起当时的初衷,真的是好简单。”


Kuoyi, Issue #4 / 《可以》第四期

A Story of Perseverance

 

Listening to how Kuoyi came to be, I noticed a common theme of perseverance. A perseverance for creating print, a perseverance for providing a suitable reading experience, and a perseverance for promoting the stories and culture of Sichuan and Chengdu.

In magazine publishing, there are no shortcuts. What does it really take to put out an issue? When they started out, Zhang and Xue had no idea. In the early days, when they operated with limited funds, the two oversaw and handled everything themselves, from picking the topics, to writing the articles, to designing the layout, to printing and binding the copies. The inaugural issue came about thanks to their enormous perseverance.

But then they faced new challenges: How do you distribute to bookstores around the country? Outside of Sichuan, the first store they set their sights on was Beijing’s Fashion Lounge Bookstore. Over and over they contacted the store, and each time they were rejected. But they never gave up, and eventually they won the owners over. With that same kuoyi perseverance, they went on to secure shelf space in stores across China, from Chengdu’s Fangsuo, to Hangzhou’s Fenglin Books, to Xiamen’s Bu Zai Bookstore.


它关于一种叫做 “可以” 的坚持

 

在《可以》这本杂志里,我看到了三种坚持——坚持做书、坚持适合的阅读方式、坚持推广四川、成都文化。

出版杂志没有捷径,在一本杂志正式出版前究竟要经历多少努力?这个问题对于当时的张简蓝和薛蓉而言是无法估计的。由于初期资金有限,从选题、撰稿、排版、印刷、到装帧,全由她俩亲自监督完成。创刊号终究在她们强大的坚持下诞生了。

可是又该如何让杂志推向全国书店?省外的第一个目标锁定在北京的时尚廊书店,天知道她们尝试了多少种方法和书店沟通,一次又一次的拒绝并没有让她们放弃,最后时尚廊终于被她们打动。接下来她们持续用独特的 “可以” 式坚持,将杂志成功推广到成都的方所、杭州的枫林晚书店、厦门的不在书店等城市文化地标。

Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期
Kuoyi, Issue #4 / 《可以》第四期

How can print publications adapt to new reading habits? “We hope our future formats will change by paying close attention to how people’s lifestyles are changing. People don’t necessarily create to survive. Sometimes they create to live a better life,” Zhang says.

That’s the thinking behind Kuoyi‘s fifth issue, “Zazhi,” a pun on the word for magazine that might literally be translated as “snippets” or “paper scraps.” Each story in the issue is printed on a single piece of paper, in five different classic formats, sizes, and folds. The issue is split into snippets that can be read in either one minute, five minutes, 10 minutes, 25 minutes, or 40 minutes. Readers can choose what they’re interested in, making reading a way to fill their idle moments. Kuoyi is constantly experimenting and innovating to adapt to modern reading habits.


而怎么样的纸质阅读方式,才最适合当下及未来人的阅读习惯? “我们希望未来的阅读方式,是亲切地考虑到人的生活习惯的变化而改变。人类创造事物不一定是为了生存而造,有时候是为了更好的生活。” 张简蓝说道。

于是有了《可以5:杂纸》(piece)。这本 “杂纸” 的形式很特别,只用 “一张纸” 就承载所有内容,而每一个内容都单独成页。共设计五种开本大小,分别适合长短不一的碎片化阅读时间。读者可以在细碎的生活片刻里,轻松的选择自己想看的内容,让阅读变成一种填补空闲的习以为常。寻找到最适合现代人的阅读方式,是《可以》坚持创新探讨和突破的原因。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

After five issues documenting the different  facets of Chengdu, some readers might wonder if Kuoyi will run out of material. “I’ve lived in Chengdu for almost 30 years, and I still don’t know enough about it,” Zhang answers.

Her dedication to preserving and promoting traditional Sichuanese culture is admirable. “Young people today are into Western music, or music from Hong Kong and Taiwan—pop, rock, jazz, folk, and more recently hip-hop. How many of them know about Sichuan opera? Qing yin? Jin qian ban? Or other forms of Sichuanese folk music? ” she asks. “We want to tell the stories of older artists and younger artists, to help more people discover them. The Yuelai Teahouse puts on authentic Sichuan opera performances, and the few times we’ve gone there for interviews, the audience was made up entirely of old folks and foreigners. So we made a silent vow that we’d devote ourselves to celebrating Sichuanese culture. We want younger people to visit the tea house, to have more people fall in love with Sichuan Opera and other folk performances. That’s the essence of what we want to accomplish.”


至今,《可以》已经出到第五期,读者心中难免会猜想,记录了那么多面向的成都,会不会最后这座城都被 “挖空” 了呢?  “我生活在成都快30年了,但我还是不够了解它。” 这是张简蓝给我们的答案。

而更令人敬佩的是她专注于保存传统,坚持推广 “川文化” 的心意。“当下的年轻人都在追逐欧美、港台、流行乐、摇滚、爵士、民谣或最近火爆的嘻哈,有多少人知道川剧、清音、金钱板等都是四川曲艺的代表呢? 我们希望通过真实的描述还坚守在曲艺岗位的老艺术家和年轻艺术家的背后故事,让更多人了解他们。在成都的悦来茶楼可以看到正宗的川剧表演,我们几次去做采访看到观众席中几乎全是老人和外国人,我们也默默地对自己说,我们一定要坚持推广川文化,有一天悦来茶楼里会坐有更多年轻人。让更多人尊重和喜欢上川剧和其他曲艺表演,这就是我们想做的。”

“All I know is, I want to keep going,” Zhang smiles.

Anyone dedicated to print media deserves admiration. Infotainment and listicles and have diluted the value of reading itself, and more and more people are abandoning print for the convenience and affordability of digital. Yet even today independent publications like Kuoyi continue to pop up, with independent editors like Zhang and Xue supporting them.

No matter your age, gender, or location, if you appreciate the world around us, then Kuoyi might be the magazine for you.

Issue 5 of Kuoyi is now available on the Neocha Shop.


“我只知道这件事我要一直做下去。” 张简蓝向我们说。每一个选择纸媒的人都是值得敬佩的,各种娱乐方式和碎片化信息在冲淡读书本身的价值,有越来越多人因为方便或价钱纷纷放弃了纸本。然而现今你仍旧能不断看到像《可以》这样的独立杂志出现,看到像张简蓝这样的独立人对于纸媒的坚持。

如果你是个热爱生活的人,不限地域、年龄、性别,我们都希望你能感受到这一座 “可以” 的城市,和这一本 “可以” 的独立杂志。

《可以》第五期现已于 Neocha商店发售。

Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期
Kuoyi, Issue #5 / 《可以》第五期

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《可以》第五期 “杂纸”

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Additional Recommendations from Kuoyi’s Editor-in-Chief

I’d like to recommend some great independent Chinese magazines, such as Gou Yong Jiu Hao (“Good Enough”), Salt, Though, Solo, Fish, Ben Di (“Local”), San (“Three”), publications by DreamCo, releases from One Villain and 49 Horses, and so on. Why? Guess you’ll have to buy one and find out.


主编推荐:

我要推荐国内很棒的的独立杂志,比如:《够用就好》、《盐巴》、《though》、《solo》、《Fish》、《本地》、《叁》、梦办出品、联邦走马出品的等等。至于为什么?买一本看了就知道了。

Contributor: Handowin Ho
Images Courtesy of Kuoyi


供稿人: Handowin Ho
Images Courtesy of Kuoyi

When Attitude Meets Tradition 头戴斗笠 跳上滑板

July 10, 2018 2018年7月10日

Vietnamese illustrator Dương Giáp finds inspiration from a wide range of influences. His initial interest in visual art dates back to his childhood, when Japanese anime like Doraemon and Naruto left a deep imprint. As he outgrew these shows, a fascination with skateboarding and hip-hop culture took over, eventually steering him into the world of street art. During this time, serendipitous friendships with prominent Vietnamese street artists like LIARBEN and Zunk helped him develop his own artistic sensibilities. Today, while Dương is best known for his illustrations, he still enjoys spending his free time creating murals around his hometown of Haiphong, in Northern Vietnam.


越南插画家 Duong Giap 创作灵感的来源十分广泛。他对视觉艺术的兴趣源自童年,小时候看的《机器猫》和《火影忍者》等日本动漫给他留下了深刻的印象。然而,随着年纪渐长,过了看卡通片的年纪后,慢慢他迷恋上滑板和嘻哈文化,并最终踏入了街头艺术的世界。在此期间,偶然结识 LIARBEN 和 ZUNK 等越南著名街头艺术家,更是让他逐渐发展出自己的艺术情感。现在,Giap 凭借自己的插画作品而为人熟知,但他依然喜欢趁空闲时间,在他的家乡——越南北部的海防市创作壁画。

In 2017, Dương was invited to take part in The Singularity Plan, a fledgling art platform in Guangzhou, China. The initiative, founded by Chinese illustrator Tony Cheung, invites emerging artists from all over Asia and presents an opportunity for them to showcase their work.


2017 年,Duong Giap 受邀参加了奇点计划,这是一个在中国广州刚刚起步的艺术平台。该活动由中国插画家张朝阳创立,邀请了来自亚洲各地的新艺术家,并为他们展示自己的作品提供了机会。

What makes Dương’s work stand out among his many talented peers is the way he plays with the contrasts in modern society. Throughout his work, he seems to tease at the friction between an encroaching globalization and the traditions that remain strong in Vietnam.

“I love joining street culture with Vietnamese folk culture, because they’re essentially totally different things,” he explains. “One has attitude and a strong personality, while the other is traditional and polite. Bringing street culture attitudes to Vietnamese imagery creates a contrast.”


在奇点计划中,Giap 的作品从众多才华横溢的艺术家中脱颖而出,这一点可以归功于他对现代社会的关注。他在作品中调侃着全球化观念的侵入与越南传统观念之间的冲突。

“我喜欢将街头文化和越南民间文化融合在一起,因为它们本质上是完全不同的东西。”他解释道,“前者很有态度、个性很强,而后者则是传统的、谦恭有礼的。将街头文化的态度融入越南传统意象时,就能产生化学反应。”

Despite the positive reception of his exhibition at The Singularity Plan, Dương remains critical of his own works, especially his earlier illustration. While he invested a great deal of thought and time into his earlier pieces, much of the work was tainted by negativity.

“I used to be a negative person a year ago,” he says. “And I always found inspiration in negative ideas in the society around me, because I was struggling with my life. By now I’ve grown a lot. I’ve started living my life with more balance and trying to be a better person than before.”


尽管作品在奇点计划的展览上大获好评,但 Giap 仍会不断反思,特别对是他之前的插图。虽然在自己早期作品中也投入了大量的思考和时间,但在他看来,大部分的作品都被他在生活中所经历的一些负能量所污染了。

他说:“一年前的我曾经是一个消极的人,总是会从社会中发生的负面事件中找灵感,因为那时我自己的生活也处于一个低谷时期。现在,我已经长大了很多,开始真正地生活,努力成为一个更好的人。”

Some of Dương’s works have prompted criticism, while others have earned him mixed reactions. One piece depicting a school shooting was both lauded and attacked on social media. Compared to his more defining works like Let Yourself Go, this piece was much darker, as if it were an indictment of violence in society.

Concerned about spreading negativity to young fans, he eventually deleted the image from his social media.

“I was getting a lot of attention for making negative illustrations, so I kept making them, getting deep in it,” he says. “But then recently I had a chance to spend two months in Saigon. My experience there helped me change and made me want to be a better person. Since then, in this new phase of my life, I want to create more positive, light-hearted art that can hopefully inspire the next generation.”


对于他过去一些有争议性的作品,则招来了褒贬不一的评价。譬如其中一幅描绘校园枪击案的作品,在社交媒体上,既有人点赞也有人抨击。和《Let Yourself Go》(《放飞自我》)以及他的其它代表性的作品一样,这幅作品的风格更黑暗,就像是对现代社会的控诉。

最后,因为担心这幅插画会给年轻粉丝传播负能量以及他对未来的悲观主义,他最终将这幅画从自己的社交媒体中删除了。

“因为这些负能量的插画,我获得了很多关注,于是就越画越多,甚至有点陷了进去。”他说,“直到四个月前,我去西贡生活了两个月。在那里的经历改变了我,让我想成为一个更好的人。从那时起,在我人生的这个新阶段,我想创造出更多积极、轻松的艺术,希望能激励下一代人。”

Behance: ~/duonggiap
Instagram: @lon_non

 

Contributor: Bryan Grogan


Behance: ~/duonggiap
Instagram: @lon_non

 

供稿人: Bryan Grogan

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Ethereal Tones 吹万的雨夜梦境

July 9, 2018 2018年7月9日

 

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“Sheep’s Shadow,” a music video by Chui Wan, the Beijing-based experimental psych-rock group, features watercolor animation by Tu Qian, a talented Chinese artist who we’ve featured in the past. The article, “Watercolor in Motion,” was what first brought Tu’s work to the group’s attention. “They saw the story and really liked my style,” says Tu. “One of the band members, Yu Long, got in touch with me. A lot of my friends are fans of Chui Wan, so I was really excited to hear from them.” The track comes from their latest album, The Landscape the Tropics Never Had, which was released last year.


《羊的影子》是来自北京的四人实验迷幻摇滚乐队吹万的最新专辑《热带从未有过的风景》之中的一首单曲,MV 由艺术家涂迁以水彩定格动画的方式逐格绘制。而我们两年前对涂迁的一篇专访文章《Watercolor in Motion》间接促成了这次合作。涂迁告诉我们,“乐队的玉龙通过报道联系到了我。我的几个朋友都很迷吹万,所以收到邮件的时候还是很得意的。”

The Landscape the Tropics Never Had contains six long tracks, each lasting around seven minutes. Chui Wan’s poetic, psychedelic sound, neither rushed nor slow, leaves plenty of room for the listener’s imagination, while Tu’s watercolor GIFs can quickly set a mood. The artists’ shared creative outlook made this collaboration go especially smoothly. With its ethereal vocals and soft, overlapping colors, the video draws the viewer into a rain-streaked dreamland.


《热带从未有过的风景》里有六首时长超常的歌,平均长度在7分钟左右,他们的歌不紧不慢,带有诗意的迷幻音调为听众保留出足够的想象空间。而涂迁擅长创作的水彩 GIF 动画,也同样是以意境取胜。带给观众相同的从容感。这样创作上的共通之处,似乎也让这次合作来的更加顺畅。MV 中错落重叠的柔和色彩,加上歌曲中飘渺的人声,将观众轻轻一推,推进吹万的雨夜梦境中。

As you’d imagine for such unconventional artists, the collaboration was very free. Chui Wan hardly gave Tu any limitations—they just sent some images from a tour as inspiration. “Balloons become birds, clouds turn into girls, grays gradually shade into bright red-orange, and then into a deep-sea blue,” he says, describing the video. “The tabletop horizon gives way to vertical elevator doors, and the sea’s calm surface is the boundary between the horizontal and the vertical. I want to be clear in the mood and narrative rhythm, but not too clear. I think that pretty much sums it up.”


关于 MV 的绘制过程,如我们想象的一样,这样空灵的两位(组)艺术家的合作,应当无比自由的。吹万对涂迁的视觉呈现基本没什么限制,只发来一些乐队巡演时的画面作启发。涂迁告诉我们:“比如变成鸟的气球到幻化成女孩的羊,渐近的灰转向赤热的橘再到深海一般的蓝,横向的桌面水平线到纵向的电梯大门,平静的海面是横竖空间的间隙。不论是叙事节奏还是歌词意境,我很想把事情说清楚,又怕说的太清楚,就这样随随意意交待一下我觉得就差不多了。”

Cargocollective: ~/tuqian
Tumblr
: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
Facebook: ~/chuiwanband

 

Contributor: Ye Zi


Cargocollective: ~/tuqian
Tumblr: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
脸书: ~/chuiwanband

 

供稿人: Ye Zi

Cyclops Skaters & Odd Animals 从独眼巨人到爬行的鱼

July 6, 2018 2018年7月6日

Felix_Shaozi, the winner of the 2017 Vans Asia Custom Culture Competition, is a Beijing-based creative whose diverse body of work includes graphic design, illustrations, murals, comics, fashion design, and much more. This versatility is what keeps his work fresh and unpredictable, and lets him weave concepts and techniques from one medium to another.


2017 年亚洲区 Vans Custom Culture 鞋履设计比赛的冠军 Felix_勺子,是一位来自北京的创作人。他的作品涉猎广泛而多元,包括图形设计、插图、墙绘、漫画、时装设计等等。这种多样性使他的作品永保新鲜,且难以捉摸,让他在各种的艺术媒介中自由穿插着概念与技术。

Shaozi doesn’t believe in waiting around for inspiration to strike. As a curious and self-driven individual, he relies on experimentation and hard work to bring new ideas to fruition. Even if not every idea pans out, he thinks putting in the effort to express himself is still valuable. “Everyone has something they want to say,” he tells us. “For me, art and design are ways of speaking. I create because I have something to say.”


勺子不赞成对灵感持“守株待兔”的心态。作为一个充满好奇心和自驱力的人,他依靠不断的尝试和努力工作来实现新点子。即使不能都成真,他依然觉得努力表达自己很有价值。“每个人都会有想说的话吧。”他告诉我们,“对我来说,设计和创作,其实是一种‘说’的方式。我创作,是因为我有想说的‘话’。”

From a skateboarding cyclops to an amphibious fish walking on all fours, Shaozi’s illustrations are doused in a sense of mischief that highlights two of his most beloved subjects: skate culture and animals.


从一个滑板独眼巨人到一条四足爬行的两栖鱼,勺子的作品充满着滑稽搞怪的色彩,也凸显出他最爱的两个主题:滑板文化和动物。

“I think animals are much more beautiful than humans,” he admits.

This belief is made evident in his artworks. Many of the characters appearing in his illustrations – even anthropomorphic ones – are based on animal forms. This fondness for wildlife is also rooted in a bit of nostalgia: drawing animals stirs up childhood memories of visiting the zoo with his family and spending countless hours watching Animal Planet and the Discovery Channel.


“我认为动物比人类更美丽。”他坦言,在他的插图中,出现的许多人物——甚至是拟人化的形象——都是以动物的形态为基础的。这种对野生动物的喜爱源于儿时的怀旧记忆:小时候的他常和家人一起参观动物园,花费无数个小时观看《动物世界》和 “Discovery 探索频道”。

For the 2017 Vans Custom Culture Asia Competition, Shaozi brought his love of animals and skateboarding together in his winning entry – an impish alligator designed in a vibrant green-and-red colorway on a pair of Vans’ iconic skate shoes. His interpretation of “Off the Wall”—the theme for 2017—stood out from the patterned and collage-style sketches submitted by many of the other talented participants. Nine months in the making, his shoe has now hit the shelves and is available on Vans.com.cn , shop.vans.co.kr, and at the Vans Hong Kong LCX Store.


在 2017 年亚洲区 Vans Custom Culture 鞋履设计比赛中,勺子将他对动物和滑板两者的热爱结合在了一起,创造出一只顽皮的鳄鱼,在一双 Vans 标志性的滑板鞋上,鳄鱼的红绿对比色分外鲜明。勺子对 2017 年的主题 “Off the Wall” 的诠释,在其他同样有才的竞赛者及他们提交的拼贴风设计稿中,脱颖而出,最终赢得桂冠。9 个月之后,他的鞋子已经在Vans.com.cn , shop.vans.co.kr、与香港的 Vans LCX 上架销售。

You can vote for your favorite designs for year’s Vans Custom Culture Asia True White Slip-On now. See some of the inspiring designs from this year below or click here to learn more!


今年的亚洲 Vans Custom Culture 定制鞋大赛,为你心中最爱的的 Slip-on 真鞋设计投票吧。点击此处,了解更多!

Weibo: ~/deutschshaozi247
Behance~/felix_shaozi
Instagram: @felix_shaozi

 

Contributor: David Yen
Photographer: Li Zi


微博: ~/deutschshaozi247
Behance~/felix_shaozi
Instagram: @felix_shaozi

 

供稿人: David Yen
摄影师: Li Zi

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A Woman’s Work Is Never Done 凡是女性 都必须如此逆来顺受?

July 5, 2018 2018年7月5日
The Scale 2 / 《秤2》

“One Is Not Born, but Rather Becomes, a Woman.”

—Simone de Beauvoir

 

Women today face injustices of all kinds. Some of these, like sexual harassment, are found nearly everywhere (one in six women is a victim in the U.S., for example), while others, like the arranged marriages some Indian girls are forced into, are specific to certain countries or regions.

Sexual harassment and arranged marriage are only two very visual manifestations of injustice. Often the problems women face are a subtler, less visible oppression. In patriarchal society women have certain roles: an age-old voice tells you to be obedient, gentle, maternal, proper, good, and when the situation requires it, you have to erase your true self and become what you’re supposed to be.


“女人不是天生的,而是后天被塑造成的。” ——西蒙・波伏娃

 

时至今日,女性承受的不正义仍然持续,没有淡去,没有停息过。在印度,有些女孩连青春的滋味都没有尝过,就被迫施上厚重的脂粉,出嫁成为一个女人;或是在美国,根据反性暴力组织 RAINN 过去五年来的调查,每六位女性就有一位坦承遭遇过性骚扰。

而这只是冰山一角,在其他地方,女性面临到的问题也许不是实质上的暴力,而是一种潜移默化的隐性压迫。父权社会为女性定义出许多规范,一个自古以来的声音告诉女孩们要听话、要温柔、要持家、要当个有操守的好女人。情况必要的话,你要抹去真正的自我,以成为一个 “你” 该有的样子。

 

Carrier I / 《搬运 I》
Carrier II / 《搬运 II》

“It Was As If I Had to Grow Up Again

As a Thai woman.”

 

Kawita Vatanajyankur learned about women’s roles in Thailand only as an adult. A Thai artist who spent her teenage years in Melbourne, Vatanajyankur didn’t experience her homeland’s sexism until she moved back to Bangkok. She felt like a complete outsider who didn’t fit in. “Society has strong beliefs for how women should behave,” she says. “Women have to do things that men never have to do, like being the emotional shelters of their homes, being housewives. Women also work everyday to gain a particular social status, while also having to fill the traditional role of being a ‘good’ woman.”


“我好像必须以一个 ‘泰国女人’ 的身份重新成长一次。”

 

这是泰国籍艺术家 Kawita Vatanajyankur 面临到同样问题时,心里所得出的结论。她从小在澳大利亚墨尔本成长,当正式搬回家乡泰国曼谷居住,至深体会到当地社会对待女性的不公平,她觉得自己像是一个彻底的外来者,无法融入。“我们的社会为女性立下各种角色设定,我们要做一些男人永远不用做的事情,当一个家庭的情感庇护所、家庭主妇。我们既要努力工作以争取一定的社会地位,同时也被要求当一个被传统认可的 ‘好女人’。”

 

The Carrying Pole / 《竿》
The Dustpan / 《簸箕》
The Robes / 《袍》

“So I Asked, Does Every Woman

Have to Be So Subservient?”

 

What does being a “good” woman entail? Silently accepting society’s appointed duties? Vatanajyankur finds that some chores always fall to women, especially cooking and cleaning: washing clothes, sweeping the floor, rinsing rice, slicing melons, weighing vegetables, gutting fish, etc. Many women work day and night, not unlike the machines that people say may one day replace human labor. Vatanajyankur responds to this inequality by raising questions through her art—and using her own body as a medium.


于是我问了 “凡是女性,都必须如此逆来顺受吗?”

 

好女人的定义为何呢?是否包含被噤声似的接受社会指派给女人的责任?Kawita 发现有一些劳动工作,比如洗衣、筛米、剖瓜、秤菜、打扫、处理渔获等等,向来都只落在女人身上。在这机器即将取代人力的社会里,有一群女人却形同机器,日日夜夜劳动着。眼见这样不对等的待遇,Kawita 运用艺术来提出质问——而她的创作媒介即是自己的身体。

The Ice Shaver / 《削冰器》
Poured / 《倒水》

Vatanajyankur simulates various tools, carrying out a task over and over in what appear to be painful performances. She puts her body in extremely uncomfortable positions, suspending herself from a rope, for example, or carrying an unimaginably heavy burden on a pole. Asked why she persists with these extreme solo performance methods, she answers, “I have to do the performances alone because I want to test myself. I always want to know whether pain can be decreased and eliminated.”


她将自己模拟成劳动的工具,一个人反覆操作,单独进行这样看似痛苦的表演,把身体放置在一个极不舒服的位置,有时候只用一条绳子悬挂着,或是在杆上承担超乎想像的重量。问到为何坚持这样极端的表演方式?她回答 “我的艺术一部份也是在挑战我自己的极限。‘疼痛是否可以被减轻或移除?’ 这是我不断问自己的问题。”

The Basket / 《洗衣篮》
Squeezers / 《榨汁器》

“When Performing, My Strength Increases.”

 

But people are not tools—they possess thoughts and feelings. When performing, Vatanajyankur needs to constantly convince herself she is “no longer there” and minimize her sense of self. Only then can she turn herself into a tool, an unfeeling implement. “It seems painful when you’re in the audience, but as a performer, as I push the boundaries of my limits, my strength increases and my pain is removed through the process of losing my sense of self. I’m stronger than ever while performing these works,” she says. “Making art has made me understand myself. It helps me find a true meaning of life, as I search for the universal truth that lies beyond tradition. I will definitely continue to be a voice for women all around the world.”


“我在表演中获得很大的力量,一种由疼痛转化而来的巨大力量。”

 

人和工具的区别,在于是否拥有思考和感受,Kawita 在表演时必须不断说服自己是 “不在场的”,以把自我意识降到最低,才能真正将自己 “工具化”,成为一个没有感觉的器具。“ 一旦我移除了自己的存在感,我的感受也被移除了。你看我的表演也许会觉得我当下很不舒服,但当我把自己的极限推得越来越远,我反而能在表演过程中获得很大的力量,一种由疼痛转化而来的巨大力量。我从来没有感到自己如此坚强过。艺术让我更了解自己,帮助我找到除了遵循传统之外,关于生命更真实的意义。如果可以,我会继续为女性发声。”

The Scale / 《秤》
Scale of Justice / 《正义之秤》

Websitekawita-v.com

 

Contributor: Yang Yixuan


网站: kawita-v.com

 

供稿人: Yang Yixuan

Out of the Closet 出柜后,然后呢

July 4, 2018 2018年7月4日
我们采访者其一的纹身,意为“生来如此”。/ One of our interviewees' tattoos.

The second season of Qipa Shuo, a popular Chinese talk show, featured an episode on the issue of whether gays and lesbians should come out to their parents. It brought tens of millions of clicks to the online video platform iQiyi and quickly became a hot topic of conversation. Then the episode was taken down by censors, on the grounds that it dealt with “sensitive issues.”

In LGBTQ circles, coming out is a dividing line. Most of those who cross it have made up their minds to be themselves, or to free themselves from a long-held mental burden.

But what happens once you’re out?

Chinese society is becoming more and more tolerant, and online programs can now discuss issues like coming out. But tolerance isn’t the same as equality. You can talk about coming out, but you can’t openly embrace your identity.

According to the “Third Annual China LGBTQ Community Survey,” published by Work for LGBT in late 2016, in mainland China only very few LGBTQ people, around 5%, are fully out of the closet (to their families, friends, and coworkers). Around 20% have come out to some family members, 56% have come out to their friends, and 30% are entirely closeted.

We interviewed seven members of the younger generation who have already come out to at least one of their parents. While none of the seven were rejected by their families, that doesn’t mean that everything’s out in the open.


《奇葩说》有一期议题是同性恋该不该向父母出柜,仅在爱奇艺平台上就引来了好几千万的点击量,之后更是引起超乎往期的热议。随后,这期节目因涉及话题敏感而被迫下架。

出柜,也就是你身边人知道你是同性恋吗?,在 LGBTQ (同性恋、双性恋、跨性别者和酷儿)的圈子里是一条线。跨过这条线的时候,大多数人是抱着我要做我自己的决心,或者是卸下自己心理上积累的负担。

然后呢?

社会变得比以往宽容了,至少网络节目可以讨论出柜;但它并没有宽容到足以平等的程度,可以讨论,但不能堂而皇之。

根据 2016 年底由“同志商务”统计的“第三届年度中国 LGBTQ 群体生活消费调查报告”显示,在中国大陆 LGBTQ 人群中,完全出柜(包括亲属、朋友和同事)的人群甚少,仅占5%。有 20% 对一些家人出柜; 56% 对好友出柜;还有 30% 的 LGBTQ 完全没有出柜。

我们采访了已经对父母(或其一)公开出柜的年轻一代,幸运的是,在我们采访的七个人中,都没有因此与父母反目的。但一切也并没有走到阳光底下。


Keep It to Yourself

 

“Over Chinese New Year I told my parents I wanted to meet them for dinner,” says Songbanniu, who’s in his thirties. “They were talking about who had gotten married, so I took the opportunity to say, ‘I’m not going to get married to a woman. But I’ll still get married, so don’t worry about me ending up alone.’ The mood turned serious. My mom cried out, ‘Are you trying to kill us?’ But my father said, ‘I always knew.'”

Even though he’d prepared, Songbanniu says he still broke out in a cold sweat at the table that day.

That dinner was, in essence, a way for Songbanniu to fulfill what he saw as his duty to be open with his parents. It was a roundabout but powerful way of saying, “Don’t worry, I’ve found love.” “I think they can probably accept it themselves, but they’re worried about other people. They don’t want me to tell anyone else—they’re afraid I could lose my job.”

Since dinner that evening, Songbanniu says, “my family has never mentioned it again.”


秘而不宣

 

80 后的松阪牛说,“我是过年的时候跟我父母说要找他们吃顿饭,他们在聊谁谁谁结婚的话题,我就顺势说:我就不准备找女朋友了,我也会结婚的,你们也不用担心会没有人跟我在一起。然后气氛就变得比较严肃。我妈听到这句话后说了一句:乃么要西了。但我爸当时就说,我早就知道了。’”

松阪牛回想起当天的场景,尽管事先有所准备,但饭桌上自己还是一身冷汗。

这一场饭局,本质上说来,就是对父母一种义务上的告知,是以一种婉转却有力的方式向父母传达我有所爱,不必担心我觉得可能他们自己可以接受,可是他们担心周围的人,让我不要跟别人说,担心我工作上会被排挤。

下了饭桌,松阪牛说,我们家之后就没有再提这件事。

松坂牛 / Songbanniu

Sitting next to Songbanniu is his boyfriend, Daxiong. “I think that in China most people who face pressure choose not to come out,” he says. “That’s the case with almost all of my friends.”

Pressure often comes from parents’ worries about their children—especially in a country like China, where family occupies such an important place. In families that aren’t as close, by contrast, there’s naturally less pressure.


在松阪牛一旁的伴侣大雄说:我觉得中国的社会,有压力的人都会选择不出柜,我身边的朋友几乎都是这样。

压力,来自于父母的关切,特别是对于中国这个尤其重视家庭的国度来说。而倘若关系疏远,就会自然导致压力的减轻。

大雄 / Daxiong
松坂牛和大雄 / Songbanniu and Daxiong

In his first year of university, Daxiong bought a DVD copy of the gay comedy Formula 17 and hid it in his backpack. It was soon discovered by his mother, who had a habit of going through his things. Yet mother and son tacitly agreed not to bring it up.

“Then one evening much later, when we were lying in bed together, back to back. Out of the blue, she asked me, ‘You like boys, don’t you?’ I began to sweat! I said, ‘I’m still not sure what I like.’ A year later, when she asked me again, I said ‘Yes, I do.'”

Today Daxiong and his mother, who’s divorced, still have a good relationship. “At home, I never encountered anything negative because of my sexuality. My mom practically raised me as a girl. When I was a kid she had me wear dresses—I guess she thought it was fun. Now the only thing she’s worried about is that I’ll get sick,” Daxiong laughs.

But Daxiong’s father, who’s not really involved in his life, is still unaware of his son’s sexuality. “Actually, when my parents got divorced, I went to live with my dad. I think he definitely knows, we just haven’t come out and said it.”


在大雄大一的时候,他买了《17 岁的天空》的“同志喜剧” DVD,放在包里没有拿出来,当时就被爱翻包的妈妈发现了,但母子二人都默契地选择了不提。

到后来有一天晚上,我跟我妈背对着睡在床上,我妈就默默地来了一句:‘你是不是喜欢男孩子?’当时我汗就下来了!我回答说:‘我可能还不知道自己想干嘛。’第二年她再问我这个问题的时候,我就说:‘嗯,对。’

如今,大雄和离异的母亲就这么相安无事地保持着联系,“关于性取向,我在家里没遇到什么负面的事。我妈从小把我当女孩子养,从小就给我穿裙子,她大概觉得好玩。现在我妈唯一担心的是我会生病。”大雄笑着说。

但在大雄生活里缺席的父亲,至今还是不知道的状态。“其实我妈跟我爸离婚的时候,我跟的是我爸。我觉得我爸肯定清楚,但只是没有说破过。”大雄说。

乐老师 / Le
乐老师 / Le

Having open-minded parents isn’t necessarily a precondition for coming out. In fact, there’s a certain correlation between how distant family relationships are and how easy it is to come out.

Parents who are distant from their children often lead very independent lives. Whether or not their children are queer is like whether or not they have a tattoo, or which city they live in: it’s their life.

Le, a teacher in his thirties, says, “When I came out I didn’t feel any pressure. Now my parents know. After I told them, nothing changed, because I was never very close to them . . . My parents are the kind of people who don’t want trouble. They’re open-minded in the sense that they don’t want to be bothered.”


其实,出柜的前提未必是一对开明的父母,家庭关系疏离和出柜的难易程度存在一定关联。

与孩子关系疏离的父母,大多都拥有自己独立的世界,至于孩子是不是同性恋,和他们要去哪个城市生活、有没有纹身一样,是他们自己的世界。

已出柜的乐老师也这样跟我们说,出柜一点都没压力,他们就这样知道了。后来也没什么不一样,因为我原来和爸妈也不是很近……因为我爸妈本质上是怕麻烦的人吧。他们的开放,是基于不给他们添麻烦。


Acceptance

 

In China, who decide to come out to their family often think their parents will eventually come around since they love them so much. And most parents of LGBTQ children do in fact accept them. Yet such acceptance comes qualified with a request: keep it quiet. It’s as though they don’t want the family’s dirty laundry to be aired in public.

Almost every young person in China today is an only child, and most parents have poured all their love and energy into them. No matter what their child does, they’re forgiving, tolerant, and accepting. But even though parents can find a way to accept their children, once they face the outside world, they’re again beset by worries: “This isn’t good,” they think. “This isn’t natural.”


接受

 

选择出柜的人心里会抱着这样的期许:父母那么爱我,最终会理解我的吧。事实上,出柜后被父母接受的人并不在少数,但这种接受要加一种形容——“默默地 。仿佛是,家丑不可外扬。

在中国,当下的年轻人大多是独生子女,大多数父母对自己的孩子倾注了所有的爱和精力。无论孩子做了什么事情,选择包容、接受、承担是为人父母的天性所致,也是因为特殊的社会环境,让这唯一的孩子变得不可失去。所以面对孩子,他们会千方百计地调整自己去接受;但是一旦面对外界,他们的内心依然残留着这不是件好事”“这不正常的暗示。

小锤子 / Chuizi

Unlike the men above, Chuizi has always been close to her parents. When she was growing up, there was nothing they couldn’t talk about.

“When I was in middle school, I told my teacher to make my parents take me to a psychologist,” recalls Chuizi.

She was in boarding school when she first realized she was different. “I confessed to my parents that I liked girls. I was really sad . . . I don’t know what prompted it, probably a kind of middle-school terror.”

A visit to the doctor didn’t reveal any medical problems, of course. “In the hallway of the clinic, waiting for the so-called doctor to talk to me, it suddenly made sense: I liked girls, so what?”

“But back then I was still young. Maybe my parents thought I was joking—they didn’t take it very seriously,” she says. “But they must have known. I wasn’t like other kids, I gave them more than a few headaches . . . Actually I planted a seed, and they began to worry.”

Chuizi’s parents really came to understand her sexual orientation when she was in college because she’d often talk to them about her romantic problems. “I used to take walks with my mom, and I’d talk about which girls I liked, that sort of thing. I wanted to share it with them. That’s also why I came out: I wanted to be closer to them,” she recalls.

Her whole coming out process, and her parents’ process of acceptance, took a long time, but eventually, they came around.

“Now, at family gatherings during Chinese New Year, when my relatives ask questions like when I’m planning to get married, they’ll deflect them for me, and say ‘she’s still young, she still needs to work,’ that sort of thing,” says Chuizi. “Though even that’s really great.”


不同于上面几位男士,小锤子和父母的关系一直很亲密,在成长过程中,可说是无话不谈。

我是初二的时候,直接跟老师说,让爸妈带我去看心理医生的。小锤子说。

在寄宿制初中的时候,她就认识到了自己的不同,我那时候就和爸妈很坦白地说,我喜欢小姑娘,我很痛苦……我不知道是什么触发了我,大概初中时候那种悸动吧。

当然,看医生没看出什么病症,其实在医院的走廊上,等所谓的医生跟我讲话的时候,我就想通了,我就是喜欢女生,又怎么了?

但那时候年纪还小,但父母会觉得是玩玩,他们没有把它认作一个很认真的事情。可他们应该知道,我和一般的小朋友不太一样,就是有点不省心’……我其实给他们埋下了一个种子,他们开始不安了。

小锤子的父母真正明白她性向的时候,是大学时她因为感情问题反复和父母说过好几次。我以前和我妈散步的时候,会跟她讲,喜欢哪个女生啦,之类的。我想跟他们分享。出柜,也是因为我想和他们更亲近。小锤子说。

她整个出柜的过程,父母认同的过程,路漫漫,终于看到了光亮。

现在过年的时候,亲戚吃饭总会问到什么时候结婚这类的,爸妈就会帮我挡一挡,说她还小,还要工作这类的。小锤子说,虽然这样已经很好了。

Crown
Crown 家中与女友的拍立得合照 / A polaroid of Crown and her girlfriend at their home

Crown had a very different experience. Her mother took the news very calmly, in an ordinary moment over a meal. “She just asked me point-blank—’Are you?’ She said my grandmother wanted to know. I said I was. Then she replied, ‘Oh,’ and went on eating her noodles.”

It was Crown who didn’t take it calmly. The next day, she excitedly told her friends. It just seemed so rare: not every mother can ask such a question and calmly accept the answer. Crown says her mother has a very Western way of thinking. “She really respects my private life. She rarely stops by, and even when she does, she politely waits at the door. She’s not like other parents, who just intrude. I think my mom is unusually open-minded—she’s really awesome.”


相比之下,Crown 的妈妈却是在一个很寻常的吃饭时刻,很坦然地接受了这个事实,她就问我是不是,说我外婆想知道。我就说是的,妈妈就了一声,继续吃面条了。

真正不淡定的反而是 Crown,她隔天就告诉了好友妈妈开口问她性取向的事,因为这太难得了,不是所有母亲都有问出这个问题并坦然接受的能力。Crown 说妈妈的思想一直很西化,她很尊重我的私人生活。她很少造访我家,即使要来,也会先礼貌地站在家门口,不会像其他家长那样主动侵入。我觉得我妈妈特别开明,特别牛。

Crown

Like Chuizi, Crown feels she’s had a closer relationship with her mom since she opened up about her sexuality. A lot of things she couldn’t say in the past she can now gradually start to talk about. “But sometimes my mom thinks she did something wrong, or wonders whether I turned out a lesbian because of something she did,” she says. “Whenever she says that, I always object, and say, ‘No, it’s not! I was born this way.'”


和小锤子一样,和妈妈坦诚了性向之后,Crown 觉得母女之间的关系更近了,很多以前不会讲的话,现在也慢慢打开了话题。只是妈妈有时候还是会觉得是自己的错,是不是因为自己的原因,让我变成了同性恋?碰到这种情况,我就会很激烈地反对说,不是的!妈妈,这是生来如此的。她说。


Side by Side

 

For LGBTQ groups, the challenge is to overcome society’s prejudice and injustice, and to speak out for themselves—for ourselves—and for the community.

For the parents of LGBTQ people, the question is how to accept something that doesn’t fit with—or is even at odds with—their values, how to accept being forced to mentally change sides.

It’s hard to reexamine an entire value system and overturn long-held beliefs. In this sense, it’s not LGBTQ people themselves who face the biggest challenge in coming out—it’s their parents.


并肩


对于 
LGBTQ 群体来说,他们的挑战在于战胜社会的不公和偏见,为自己、为这个群体发声。

对于 LGBTQ 的父母们来说,他们面临的问题是如何让自己接受已有价值观里不存在的,或者是反感的存在,如何被迫接受这一场内心的倒戈

推翻已有的,建立新的——并且是从整个价值观上重新来过。这一点上,面临出柜最大难题的不是他们本身,而是他们的父母。

Bon

Bon’s mother learned of her sexual orientation when she eloped with her college girlfriend.

“I was with my girlfriend at the time, and her parents were opposed to us being together, so we eloped. After that, both sets of parents met and made a scene—it was really ugly,” she recalls. “But my parents actually didn’t put up any opposition. They’re very open-minded, so there was no struggle. Looking back on it now, I think the way I acted was really not right. Later on, my mother met other girlfriends of mine.”

Now that Bon has a stable girlfriend, her mother often comes to eat with them,  and she treats them as a couple.

At breakfast one day, her mother said, “I accept you. Unlike other parents, I accept you. I just want you to be happy. For me, it’s like I have two daughters now—I’m pretty lucky.”

“I just want you to be happy”: often parents say this for their own sake. But wanting their children to be happy is reason enough for them to stand by their side—and to stand up to the world’s prejudices.


Bon 的妈妈,则是在她与大学时期的女友私奔时,知道她的性向的。

我和当时的女友在一起,她家里人不同意,我们就私奔了。然后双方父母都见了面,闹得很难看。” Bon 说,但其实我父母没什么不同意的,他们是很开明的父母,没有什么斗争吧。现在想起来,觉得当时自己的做法欠妥。后来我妈妈也见过我的一些历任女友。

而现在的 Bon 和女友维持着稳定的感情,她的妈妈也常会来一起吃饭,见到她俩成双入对。

在一次早餐时,Bon 的妈妈对她们说道:我接受你们,不像其他父母,我接受你们。只要你们开心就好。对我来说,我就像养了两个女儿,挺好的。

只要你开心就好,很多时候,这句话是父母说给自己听。但这一条理由也足够让他们和自己的孩子站在一起,共同抵抗外界的偏见。

Bon
Bon 与她女友 / Bon and her girlfriend

Of all the people we interviewed, only Kiya had experience with a sham marriage.

The marriage was mainly her family’s idea. They didn’t pressure Kiya herself but targeted her mother, who was in poor health. “Look what you did to your daughter!” they’d say. “At her age, she’ll never get married.” Such comments had their effect. “My mom’s the kind of person who cares about appearances,” Kiya says. “So she also wanted me to get married. She said that if I didn’t, she would never be able to look them in the eye.”


Kiya 是我们这次采访中,唯一有过形婚经验的人。

她的形婚,很大程度上因为亲戚的压力。他们并不施压于 Kiya 本人,转而对准 Kiya 身体抱恙的母亲。他们跟 Kiya 的母亲说,你看都是因为你影响了你女儿到那么大了还嫁不出去,这样的话,听上去简直像针似的扎人。我妈妈一开始还算是个比较要面子的人吧。”Kiya 说,所以她也希望我结婚,觉得我不这么做的话,会让她在亲戚面前有点抬不起头来。

Kiya

She decided to get married when she was 33. “The pressure from my mother was too great,” she says.

“I found a gay man, and we started planning a sham marriage. At first, everything was very clear. I said I wasn’t going to have children, so we’d split everything split down the middle. Then everything would be handled normally. We did a lot of preparatory work,” she says.

She also talked to a lawyer friend about many of the issues involved. Almost everything was ready. But then something inside snapped.


33 岁的时候,Kiya 决定踏出这一步,因为妈妈压力太大了

我找了个 Gay,准备形婚。一开始都说得很清楚,我说我不生孩子,所有东西都 AA 制。然后所有东西都按照正常程序处理,做很多准备工作吧。

Kiya 也找了个律师朋友,咨询了很多相关的内容。

万事俱备只欠东风的时候,Kiya 爆发了。

Kiya

“My lawyer friend said, ‘an agreement is just an agreement. If you go ahead and get legally married, everything is subject to the law.’ When I got home that day, I’m not sure why, I suddenly broke down. I went back to my mom and said, ‘Mom! I’m not getting married, okay?’ I remember I spent the whole day crying. I just can’t lie. I thought, if I get married, how many excuses will I have to come up with to fill out that lie? What’s the point in putting on this show?”

Seeing her daughter burst into sobs, Kiya’s mother also began crying.

Through tears, mother and daughter finally saw eye to eye.


朋友跟我说,协议只是协议,如果真的办了结婚证,都是法律来控制的。然后那天回来,不知道什么原因,我就忽然崩溃了。回来就和我妈说,妈,我不结婚了,行吗!?我记得我那天就一直哭,一直哭。我不是个会说谎的人啊,我想着要是结完婚之后,我要编多少借口去圆这个谎呢?要骗一辈子吗?去做这一场秀,有什么意义呢?

Kiya 压抑已久的痛哭声中,妈妈也泪流满面。

这场母女间的理解在眼泪中达成。

Kiya

The day we stopped by Kiya’s home, her mother happened to be there too, and she knew why we’d come. She greeted us with excitement, then quietly closed the door behind her and went to cook dinner for her daughter. As dinner time approached, she opened the door again and asked if we’d like to eat with them.

Her mother’s accepting attitude had gradually formed a protective cover around Kiya, providing a source of strength and motivation. She’ll no longer have to fight alone. When neighbors see Kiya and her girlfriend nearby and start to ask nosy questions, her mother makes a point of saying, “That’s my adopted daughter!” and Kiya beams with delight.


我们到访 Kiya 家里的那天,她的母亲正好也在,也了解我们究竟缘何而来。一阵热闹寒暄后,她悄悄带上门去为女儿烧晚饭。临近饭点时,Kiya 的妈妈还热情地推开门来,问我们要不要一起留下吃个便饭。

母亲的接受态度,慢慢在她周围形成了保护罩,给她勇气,也给她动力。她不再会像从前那样一个人孤军奋战,Kiya 说,现在还有些街坊邻居会看到 Kiya 和女友在附近活动,转而来问东问西的时候,她妈妈就会主动和别人说:啊,那是我干女儿! Kiya 向我们形容的语气里,满是幸福。


How Much Further?

 

Many LGBTQ people in China encounter incomprehension, coldness, or verbal abuse when they come out to their parents. Sometimes parents even break off contact. The seven people we interviewed happen to all be fortunate, but their good fortune is a far cry from widespread acceptance.

The parents of the people we interviewed mostly had the following reactions:

“I see.”

“I still love you.”

“Your happiness is all that’s important.”

Yet even the most accepting parents are seldom willing to say, “Gays and lesbians are regular people. I’ll come out with you.” They accept their children, but ultimately what they’re accepting is how their children are different, not how they’re the same as everybody else. Their acceptance comes most often out of love.

This shows that there’s hope, but also that progress in society at large still has a long way to go.


还有多远?

 
我们身边也有很多人,和父母出柜后遭遇各种不解、冷漠、恶言相加,甚而断绝关系。只是采访的这七个人,恰巧都是幸运者而已——但这幸运背后,离彻底的接受又存在着距离。

这些父母的态度大多数是:

我知道了。

我依然爱你。

你开心最重要。

但哪怕是这些幸运者,也没有出现同性恋本来就是正常人,我来和你一起走出去这样的父母。他们只是接受自己的孩子,但究其实质,是接受孩子的不一样,而非和大家一样。他们的接受,更多是出于爱。

这让我们看到希望,也看到了社会大环境的进步依然缓慢。

Kiya

Our last interviewee, Kiya, told us, “Just two months ago, I accidentally hurt my foot and had to get surgery. At the time I really wanted my girlfriend to sign some consent forms for me at the hospital, but they wouldn’t let her. I can’t help but think, when I’m older, if something really serious happens, my girlfriend will have no way to sign in my place, since she’s not my ‘family.’ Maybe they won’t even let her in the operating room. What do I do then?”

After coming out, there’s still a long road ahead.

On this long road, hopefully the people you love and who love you will walk alongside you, lighting your way.


在采访的最后,Kiya 和我们说,就在前两个月,我的脚意外受伤,不得不住院手术了。当时手术我特别希望是我女朋友给我签字,但是没办法。我会忍不住去想,但以后我年纪大了,老了,真要有什么事,我的女朋友根本没办法替我签字,她不是我的亲属,可能连手术室也进不去。怎么办呢?

出柜之后,路还很长。

在这很长的路上,希望爱你们和你们爱的人会在左右,掌着你心里的灯。

Contributor: Chen Yuan
Interviewer: Shou Xing,  Chen Yuan

Photographers: David YenCrown Wang


供稿人: Chen Yuan
采访人: Shou Xing,  Chen Yuan

图片摄影师: David YenCrown Wang

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