Love Through the Lens 你最需要的，不过是爱

August 17, 2018 2018年8月17日

Like the Beatles, Jeon Yunyoung thinks all you need is love. The Seoul-based photographer, who works under the name Neuj, sees love as an omnipresent force that powers the world, and believes it comes in all shapes and sizes. His photography reflects this belief, sometimes in obvious ways, with lovers locked in a passionate embrace, and other times more subtly, by choosing as his subject a close friend or family member.

“I want to convey all the emotions I feel in my photographs,” he explains. “But I also hope that, by sharing my work, and by establishing a relationship between artist and audience, I can spark new feelings.”

像披头士乐队（Beatles）一样，首尔摄影师 Jeon Yunyoung 也认为“爱才是人们最需要的”（All we need is love）。他将爱视为一种无所不在的力量，是世界的原动力。他坚信，爱会呈现出各种形态。他的摄影作品恰恰反映出这种信念，有时，爱以明显的方式呈现，譬如热情相拥的恋人；有时则更微妙，譬如摄影的对象是他的好友或家人，爱就通过镜头含蓄地展露。

“我希望在照片中传达出自己的所有情感。”他解释道，“但我也希望通过分享我的作品，建立艺术家和观众之间的联系，以此给观者带来一些新的感受。”

Website: jeonyunyoung.com
Instagram: @neuj_

Contributor: George Zhi Zhao

网站: jeonyunyoung.com
Instagram: @neuj_

供稿人: George Zhi Zhao

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What Money Can’t Buy 金钱的艺术

August 16, 2018 2018年8月16日

Money Soldiers

Can money be a kind of art?

Everyone knows what paper money looks like, but not everyone’s observed it closely. For Japanese origami artist Yosuke Hasegawa, whose imagination borders on madness, banknotes are worth more than their face value. Bills from different countries have different designs that reflect their history and culture, but most feature a portrait of a famous historical figure. What if those figures could cast off their stolid, decades-old appearance?

钱，也可以是一种艺术吗？

来自日本的折纸艺术家长谷川洋介（Yosuke Hasegawa）对于纸钞这个每个人都习以为常、却不曾仔细观察过的日常用品，怀抱着几近疯狂的想像，对他来说，纸钞承载的不单单只有金钱的重量而已。各国纸钞因应各地历史和文化有着不同的设计，最普遍的是印有当地伟大历史人物的肖像。如果，这些名人能够摆脱百年来一如既往的严肃样貌呢？

Lincoln Cup (USA)

Lincoln Ninja (USA)

From Mongolia

From India

From Japan

Hasegawa has traveled to eighteen countries, including the US, the UK, India, Vietnam, and Nepal, and he’s collected money from all of them. Banknotes from more distant countries, or those that have been discontinued, he buys on the internet. Then he uses the portrait on the bill to make playful origami or collage pieces.

So far he’s made origami works with banknotes from 60 countries. How did he start doing all this? “At first, I took inspiration from another people’s money origami. Using money was very shocking and interesting for me, so just I tried to fold some. And I found out that I could do it perfectly on the first try, even without practice,” he says. “I made something new every time. And I couldn’t stop folding money.”

他总共游历过美国、英国、印度、越南、尼泊尔等等十八个国家，收集当地的纸钞，其余遥远国家的纸钞、或是不再发行的绝版纸钞就从网路上购买。之后将纸钞上的名人肖像创作成这些幽默的折纸或是拼贴作品。

至今，他已经创作超过六十种国家纸钞的折纸。而这一切是从何开始？“一开始我是受到别人类似的作品启发。对我来说，用钱折紙这个概念很惊人也很有趣，所以我也开始尝试折纸，发现我不需要任何练习，第一次就可以折得很好。我能用纸钞折出各种新的造型，久而久之，我就爱上折纸了。”

Party Queen (UK)

Jackson Clown (USA)

From Japan

“What I keep in mind when I fold origami is that the edge and folding lines should be sharp and crisp. Image, nuance, and balance are important, as is how it fits with the portrait,” he explains. “Traditional Japanese origami is mathematics, but my money origami is kind of freestyle folding.”

“在折纸过程中，我经常面临的挑战是如何让肖像清楚地展示，同时折出锋利的边缘和干净的收边。构图、平衡、微妙的细节之处，它们如何与人像契合，是我折纸最重视的部分。” 他进一步解释，“传袭于日本传统的折纸艺术，这是一种与数学原理相近，需要精密计算的艺术。但我折纸的时候更倾向于自由发挥。”

Einstein on the Street

Elizabeth on the Street

In Hasegawa’s hands, money becomes like a kind of art. He sees it simply as a medium, dismissing any thought of its conventional worth and endowing it with a new value.

“Origami is only part of my money art. I’m more interested in destroying and recreating the value of money,” he says. “Each banknote has a value, but after it becomes origami, maybe you can no longer recognize that value.”

在长谷川洋介的手上，钱俨然成为一种艺术。他将之视为一种单纯的素材，脱去普遍 “价格” 的思考，再赋予新的 “价值”。

“折纸只是我作品中的一小部分。我更感兴趣的是通过折纸，去消减金钱的价值。每张纸钞原本都有各自的币值，但是当纸钞成为折纸，名人肖像的尊严和形象被抹去，你再也无法认出纸钞的原型时，它们的价值便不复存在了。”

Mao Flaming Star

Nobody Recognizes

Chase Your Dreams

Rookies

Landscape of the Money World

Money 911 Landscape

Delusion Landscape of Money

Website: yosuke89.wixsite.com

Contributor: Yang Yixuan

网站: yosuke89.wixsite.com

供稿人: Yang Yixuan

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Water and Ink 我有一幅画，可以慰风尘

August 15, 2018 2018年8月15日

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities. Traditional Chinese ink paintings usually leave empty space on the scroll, and Lost Mountain Main, fascinated by eastern aesthetics, uses a understated, gentle, pleasantly flowing technique to add a touch of the mystical.

沉浸在忘川山人的水墨世界，寥寥几笔勾勒的画卷里，却是文人墨客，流觞曲水，畅叙幽情。

对比色彩繁芜的插画或设计，忘川山人笔下那氤氲开的淡淡笔触，让传统水墨与现代审美交相融合。自中国古代传承而来的水墨画，则大多都会在卷幅上留白。忘川山人对这样的东方美学很是着迷，含蓄、温润，娓娓道来的手法，让他笔下那氤氲开的淡淡水墨，也仿佛带着些许仙气。

In most of his works, the artist conveys a certain feeling, one that arises from the dialogue between humans and nature and appears at both the individual and the monumental scale. Watercolor and ink compose and rearrange these subtle relationships, creating an intriguing effect. “Ink and watercolor both involve a play between pigment and water. With practice on the page, with long-term perseverance, you can achieve harmony, coordination, and control. All that remains is the emotion you want to give voice to.”

The landscapes in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”

在大部分的画作里，他阐述的是某种情感，在人与自然环境对话时产生，在微小的个体或宏伟的场景中普遍存在着。而水彩和水墨，则在对这些微妙关系的梳理与重构中，让画面的表达变得更为有趣。“其实水墨和水彩都是颜料与水的游戏，还是需要多做纸上练习，长期坚持，就会与之产生和谐的默契和把控力，剩下的，只有你想抒发的情感内容了。”

其实画中的世界，也正是他个人意趣的写照：“我始终感觉自己身处巨大的孤独之中，时常念及世事无常，人若草芥，而头上的无边宇宙斗转星移，寂静仍然，我将这种渺小与浩大的事物之间的反差视如一种观照，照见谦卑，照见虔诚。”

Douban: ~/忘川山人
Instagram: @lostmountainman

Contributor: Chen Yuan

Douban: ~/忘川山人
Instagram: @lostmountainman

供稿人: Chen Yuan

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Korea’s Pastel Schoolhouses 原来我们从未毕业

August 14, 2018 2018年8月14日

Macaron-colored walls composed in tidy symmetry. An intoxicating, sugary dream where time seems to have stopped. These aren’t stills from a Wes Anderson film—they’re real shots of Korean schools taken by Spanish photographer Andrés Gallardo Albajar.

Gallardo, who now lives in Estonia, took these photos in Seoul and Busan while traveling. “It all started by accident, when I got a little lost in Seoul and ended up in the playground of a school. I was fascinated by their pastel colors, their trees, their symmetries, and the symbols like clocks, the national flag and the alphabet I didn’t understand,” he says. “But I never expected I’d do a series about Korean schools.”

马卡龙色的外墙，整洁对称的构图，时光仿佛静止于甜美梦境里，让人沉醉。而这一切，并非是韦斯·安德森的电影画面，这是 Andrés Gallardo Albajar 镜头里韩国校园内的真实景色。

生于西班牙、目前长居爱沙尼亚的摄影师 Andrés，在旅行途中拍下了首尔和釜山两地的校舍，“这一切都出于偶然。当时我在首尔汉城迷了路，最后走到了一所学校的操场上。我被他们柔和的颜色、树木、钟表、国旗，还有它强烈的对称感和我不认识的字符给迷住了。” Andrés 说，“但我从来没有想过，我最终会组成关于韩国学校的一系列作品。”

Gallardo’s experiences in Europe and Asia have given him diverse impressions and experiences. Korea and Spain have different styles of architecture, but they have a lot in common, he notes, since they both have centuries-old cultures. For him, the process of exploring and taking pictures in each one is equally fascinating.

Asked how Korea differs from Europe, he says, “the people in South Korea were extremely nice to me, and that made a great impression. One can tell that South Korea is doing well financially, since you can see plenty of modern architecture by some of the biggest contemporary architects. That doesn’t happen in Estonia, for instance, where everything is more local.”

Andrés 在欧亚两地的经历，给他留下了不同的印象与感触。首尔与西班牙的建筑虽然风格不同，但区别并不大——它们都留有古代文化的印记。对他来说，探索和拍摄的过程都一样迷人。要说到比较，Andrés 说：“韩国的人民对我非常好，这给我留下了深刻的印象。另外你可以看出，韩国在财政上做得很好，因为你可以看到很多当代最伟大的建筑师的现代建筑，而在爱沙尼亚，情况并非如此，那里的一切都更有本土气息。”

“As a matter of fact, visiting all these schools had a big nostalgia effect on me. As a child my only purpose in going to school was to see my friends and play football or other games during breaks,” he explains. “When doing this series, I often had to wait until the break was over so I could take photos freely. While waiting I could observe the kids playing on the playground, and I could see how, even though thousands of kilometers and around 30 years separated them from my experience, kids will always be kids.”

“事实上，参观所有这些学校，让我产生了很大的怀旧感。孩童时代，我上学的唯一目的就是去见好朋友，在课间休息时我们可以一起踢足球或者玩别的运动。但在拍这些照片的时候，我不得不等到休息时间结束，才可以自由拍照。在等待的时候，我可以看到孩子们在操场上自由自在地玩耍嬉戏。即使我的童年和他们隔着几千公里，也隔着大约 30 年的时光，但孩子永远都是孩子啊。” Andrés 如此感慨道。

Website: andresgallardo.photography
Behance: ~/AndrésGallardo
Instagram: @andresgallardo.photography

Contributor: Chen Yuan

网址: andresgallardo.photography
Behance: ~/AndrésGallardo
Instagram: @andresgallardo.photography

供稿人: Chen Yuan

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Concrete Stories 世界尽头，爬楼相会

August 13, 2018 2018年8月13日

When you hear the phrase rooftop photography, what usually comes to mind are epic cityscapes captured from dizzying vantages or images of daredevils hanging off of precarious ledges. But for Romain Jacquet-Lagrèze, a French photographer based in Hong Kong whose series The Blue Moment we’ve featured before, “rooftopping” means something else entirely.

Shot from a birds-eye perspective, Jacquet-Lagrèze’s latest series, Concrete Stories, is a bracing departure from the cliché aerial photos of Hong Kong. Rather than the city’s architecture, he focuses on the human element. From a man adjusting satellite antennas to girls playing jump rope, each image is a charming glimpse at life on the rooftops of Hong Kong. Alone, each image in the series works as a vignette of quiet moments amid the chaos of the city, while together they form a larger narrative around the adaptive spirit of humans in this fast-changing urban environment.

提到爬楼摄影，人们想到的通常是那些从高空拍摄的壮观城市画面，或是冒着生命危险跃上悬崖突岩拍摄的照片。但对于来自法国的香港摄影师 Romain Jacquet-Lagrèze 来说，爬楼摄影完全是另一回事。

我们曾经介绍过他的《The Blue Moment》系列作品。在最新作品《Concrete Stories》（《混凝土故事》）中，Jacquet-Lagrèze 同样以鸟瞰的角度来看香港，却没有遵从一贯以来的高空摄影风格，反而呈现了一组令人耳目一新的作品。城市的密集建筑不再是摄影的主角，而是更专注在 “人” 的身上——从调整卫星天线的男人，到玩跳绳的女孩，每张照片都是香港屋顶生活的迷人一瞥，在这座城市的喧闹混乱中，定格住安静的一刻。每张照片都是独立的画面，却又彼此共同编织出更宏观的叙述，讲述着在香港这座快速变化的城市中，人们那种努力适应生活的精神。

Sun-dried

Young Reporter

Job Done

Morning Fix

Toddler on Bike

Concrete Canyon

Pushing Up

Altitude Nap

Bonsai Master

Collecting Laundry

Badminton Lesson

Life in Grey and Pink

Carjacking

Website: romainjl.com
Instagram: @romainjacquetlagreze

Contributor: David Yen

网站: romainjl.com
Instagram: @romainjacquetlagreze

供稿人: David Yen

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The East Was Red 东方红

August 10, 2018 2018年8月10日

“The east is red, the sun is rising. From China comes Mao Zedong.” So goes China’s most famous propaganda song, “The East is Red.”

China in the 1960s and 1970s was indeed red. From the propaganda posters covering the streets and alleyways, to the copies of the little red book in everyone’s hands, to the Mao badges on their chests, red—symbolizing leftism, communism, socialism, and revolution—filled every aspect of people’s lives and thoughts.

In a new project entitled The East Was Red, artist Sheila Zhao finds old photographs from that time and retouches them, highlighting the political atmosphere of the time.

就像歌里唱的那样：“东方红，太阳升，中国出了个毛泽东。”

六七十年代的中国，确实是红色的。从大街小巷遍布的宣传画，到人手一份的 “毛主席语录” 或毛主席勋章——象征着左派、革命、社会主义和共产主义的政治红色，充斥着人们生活和思想的方方面面。

而这个系列名取自红歌《东方红》（The East Was Red），Sheila Zhao 找到当时的老照片，并进行了再度创作，以突出那个时期的政治气氛。

Born in Beijing in the 1980s, at age seven Zhao moved to the US, where she grew up and studied. Of course, without the benefit of personal experience, Zhao is a stranger to those times, so hard for outsiders to grasp or comprehend.

But Zhao’s love of documentary photography, especially historical images, transports her back in time. “I’m not a historian or an expert in the Cultural Revolution, by any means,” she says. “I look at that time in history from the point of view of someone interested in the images it created, and in what that says about the country’s collective identity at the time.”

Sheila Zhao 其实是 80 后，在北京出生，七岁时搬到美国，并在那里完成了学业。照理说，Sheila 对那个时代是陌生的，没有亲身经历的加持，也很难理解和感受。

但对纪实摄影尤其是老照片的热忱，把 Sheila 带到了这段历史面前。“我不是一个历史学家，也不是一个研究当时运动的专家。我从一个对所创造的形象感兴趣的人的角度来看待历史上的那段时期，以及这个国家当时普遍存在的集体认同感。”

All of the images in The East Was Red, and all her other archival images, were acquired from second-hand antique markets near Beijing and Shanghai. As the majority of the photos were taken in the 1960s and 1970s, a common theme stood out: “I noticed the photographer and those being photographed from this period, whether consciously or not, brought politics into the shot,” she says. Clearly, people in that time lived entirely under its shroud.

Fascinated by this, Zhao began retouching select photos from her collection, coloring over the posters, images, Mao badges, and books of quotations with a cherry red, using the color to stand in for these thoroughly political objects. On the one hand, this alludes to the color’s political significance, and on the other, it lets the viewer, who can see how prominent the red is, understand just how widespread Communist ideology and the cult of personality had become throughout China.

《东方红》系列的所有照片，Sheila 档案中的其他照片一样，都是在北京和上海附近的古董二手市场淘到的。这个系列则大多选取于上世纪六七十年代间所拍摄的照片，几相比较，有个异常明显的特征浮现出来：“有趣的是，我注意到在这个时期，摄影者和被拍摄者都有意无意地把代表政治的东西包括进来。” 可见，那时期的人们完全生活在其笼罩之下。

于是，Sheila 在再度创作的过程中涂红了标语、照片、勋章和 “红宝书”。鲜艳的大红色被用以代替这些照片中这些充满政治意味的 “物件”，一来对应 “红” 的隐喻，二来，观者只消参见照片里红色有多么壮观，就能发现当时的共产主义思想和个人崇拜情结，在全中国是有多普及。

“China underwent a very unique socioeconomic movement at the time, which coincided with the rise of photography. It happened to be when cameras became more accessible, leading to more people using them as a means of self-expression,” Zhao says. “In the early 20th century, photography was still something that was reserved for the privileged. By the mid-20th century, cameras became even more common. Although they were still considered a luxury, there wasn’t that sense of exoticism of being imported anymore. Looking at photos from that era, it’s quite interesting to see how political doctrines influenced people’s lives.”

“中国当时所经历的是一场非常独特的社会经济运动，也恰巧发生在摄影史上，当时越来越多的人开始有机会通过摄影媒介表达自己的观点。” Sheila 说，“在 20 世纪初期，摄影仍然是特权阶层的活动。但到了中期，相机的使用开始变得越来越平民化，尽管还稍显奢侈，但它已不再那么具有‘舶来品’的异国气质。所以在照片中，我发现当时的政治辞令是如何影响人们描述和记录自己生活的方式，这是非常有趣的。”

Website: sheila-zhao.com

Contributor: Chen Yuan

网站: sheila-zhao.com

供稿人: Chen Yuan

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The Boys of Sangkhla Buri 那些纵身跳入水中的少年

August 9, 2018 2018年8月9日

Sangkhla Buri, a small town in the western Thai province of Kanchanaburi, has recently become a popular destination for local and foreign tourists. Its iconic Uttamanusorn Bridge lays claim to being the longest wooden bridge in Thailand, and it draws crowds for the groups of young boys who take turns diving into the water below.

Sangkhla Buri 是位于泰国西部省份北碧府的一个小镇，最近，这里成为了一个吸引众多当地和外国游客的热门旅游目的地。这里有一座著名的地标 Uttamanusorn 大桥，据说是泰国最长的木桥，成群结队的年轻男孩为此而来，进行着跳水表演。

Divers are between eight and fifteen, and they typically work the bridge in small groups. One boy might beckon tourists, while another performs the actual dives. They don’t explicitly ask for money, but there’s an unspoken expectation that some baht will change hands. Tourists snap pictures of the dive, and sometimes even ask the boys to jump over and over again until they get a perfect shot.

这些跳水的男孩年龄大都落在 8 岁到 15 岁之间，他们通常是以团体形式一起工作。一名男孩负责招来游客，另一名男孩则负责跳水。他们不会明确地向游客要钱，但却怀抱着心照不宣的期望，希望游客多少能留下一点小费。游客们在一旁拍下男孩跳水的照片，有时候甚至会要求男孩一遍又一遍地跳水，直到他们拍到满意的照片为止。

Ye Te Su is a 13-year-old who spends his weekends making money as a diver. He’s been performing on the bridge since he was 10, having learned from his older friends. Despite a lack of professional training or safety equipment, Ye has fortunately never suffered any injuries diving.

13岁的 Ye Te Su 会在周末专门表演跳水来挣钱。他从10岁就开始在桥上表演，跟着年长一些的朋友学习跳水。尽管缺乏专业训练或安全设备，幸运的是，他从来没有受过伤。

Ye lives with his grandmother and his five siblings in a simple wooden house with a sheet metal roof. It offers minimal protection from the elements, and since it’s not officially registered, it lacks proper plumbing. Water for cooking and drinking has to be fetched every few days from a nearby fountain alongside the river.

Ye’s grandmother works full-time, so he often has to take care of his siblings after school. His parents work in the city and send what money they can every month, but it’s not much. Faced with these harsh realities, Ye sets aside part of the money he makes on weekends to help feed his family.

现在，Ye Te Su 和奶奶、五个兄弟姐妹一起住在一间简陃的木屋里，房顶只是一块简单的金属板。这间木屋只能为他们提供最基本的庇护，并且因为房子没有被正式地登记，屋里也没有安装必要的管路系统。每隔几天，他们就必须到附近的河边喷泉去取做饭和喝水用的水。

他的父母进了城里工作，每个月都尽量给他们寄钱回来。他的祖母也在全职工作，所以 Ye 放学后经常要负责照顾他的弟弟妹妹。面对这些严酷的现实，他周末所努力挣来的钱，一部分也要用来养活他的家人。

Popular as the diving is, local authorities are strongly opposed to it. They point out that the activity is dangerous, and that paying the young divers encourages them to drop out of school to earn money. Besides, they argue, it’s wrong to use children as a tourist attraction. Signs on the bridge warn people not to give them money.

But for Ye, it’s not so simple. He still goes to class in a school nearby, but weekend diving is an important source of income. There are others like him, young boys facing adult pressures. And as long as the tourists keep coming to Sangkhla Buri, the divers will continue to weigh the risks, and continue to take the leap.

尽量这样的跳水表演很受欢迎，但地方当局对此强烈反对。他们认为这项活动不仅危险，还是在鼓励年轻跳水员辍学赚钱。况且，利用儿童作为观光目的也不太妥当。因此他们在桥上放了一个标志，警告人们不要付钱给这些男孩。

但对 Ye 来说，事情并没有那么简单。他现在正在一所当地学校上课，周末跳水表演那点微薄的收入成为了他家里一项重要的收入来源。而他的情况并非个案，就像许多其他年轻男孩同样面临到这样的困境。但是，只要还有络绎不绝的游客来到 Sangkhla Buri，这些跳水表演员就会继续冒着风险，纵身跃入河中。

Contributor & Photographer: Will Wiangchai

供稿人与摄影师: Will Wiangchai

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The Lighter Side 如果星星没电了怎么办？

August 8, 2018 2018年8月8日

A white cloud brought to tears by a barbecue’s smoke, a star that needs a recharge, a planet with a moon that keeps blocking its sight: breaking down the barrier between reality and fantasy, these images can’t help but bring a smile to your face.

The Beijing-based artist who created them, John Johnny, describes himself as “a decently indecent person.” His comes up with bold, creative animations featuring everyday objects. That’s because, as he puts it, he “likes anything that’s fun, and likes to make life fun.”

被熏哭的白云、需要充电的星星、卫星障目的小行星……这种打破现实和幻想之间界限的作品，让看到的人不得不为之莞尔。

作者是约翰强尼，来自北京，喜欢用 “一个正经的不正经人” 来形容自己。他以日常物品为主体结合脑海里的各种奇思妙想，创造出天马行空的动图。用他自己的话来说，这是因为“喜欢一切有趣的东西，喜欢把生活变得有趣”。

《大自然的烦恼》系列云

《大自然的烦恼》系列星星

《大自然的烦恼》系列沙漠

《大自然的烦恼》系列火山

We say “everyday life” to mean something ordinary, but perhaps each day is an underappreciated miracle. “As I was doodling one day, I drew a character with a cute round head, and I thought it’d be fun to turn it into a GIF. Then I decided to make the round head into a sun instead.” Once you’ve got a sun, then you need a moon, and that’s how, with one idea after another, the Natural Exasperation series was born.

“What I like most is a mellow, simple style, something that’s relaxing to look at,” says John Johnny. “I think that’s what these times call for.”

我们每天称之为日常的生活，或许每个都是被忽视的奇迹。“有一天我在纸上涂抹，然后觉得一个圆脑袋挺可爱就想做个 GIF，就把圆脑袋变成了太阳……” 有了太阳，就有了月亮，也就有了他个人最喜欢系列《大自然的烦恼》。

约翰强尼说，“我个人要是做最喜欢那应该是轻松简单放松的风格。看了能让人放松，我觉得这个时代需要这些。”

《大自然的烦恼》系列行星

《大自然的烦恼》系列月亮

《大自然的烦恼》系列太阳

《大自然的烦恼》系列冰山

《大自然的烦恼》系列大海

《大自然的烦恼》系列小山

《让我治愈你》系列

《玉米兄的日常》系列

Weibo: ~/约翰强尼

Contributor: Chen Yuan

微博: ~/约翰强尼

供稿人: Chen Yuan

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City Fragments 明日世界

August 7, 2018 2018年8月7日

How are our lives shaped by a rapidly changing urban environment? Korean artist Min Joonhong‘s multimedia works seek to answer this question.

His assemblages, which have been shown in London, Seoul, and Milan, are often large enough to fill entire galleries. With such size, it comes as something of a surprise that his central London studio, housed in a nondescript office building, is so small. “Here I work on scaled-down versions of my concepts, so I can familiarize myself with how they’ll be pieced together,” he explains. “This helps me work quickly once I’m in the actual space.” Each sculpture is created on location and customized according to the amount of space available.

日新月异的城市环境，究竟是如何塑造我们的生活的？对此，韩国艺术家 Min Joonhong 通过自己的作品以进行探讨，目前已经在伦敦、首尔和米兰展出。

组合艺术作品往往有着非常可观的体积，常常会占满整个画廊。但 Joonhong 的工作室却位于伦敦市中心里一栋普通办公楼里的小房间，实在让人意外。Joonhong 说，“我会先在这里将概念做成缩小版本的作品，熟悉一下各部分是如何拼凑在一起的。这有助于我到了实际场地时能更快完成作品。”每件作品都是他在展出场地上完成的，依据可用空间大小进行定制创作。

Efficiency and discipline are fundamental to Min’s creative process. He sticks to a rigid work schedule he sets for himself every day. Even outside his working hours, he says he spends much of his free time thinking about how to improve his art.

This incessant self-reflection carries over to the thematics of his works. Min looks to “uncomfortable memories” for inspiration and says that the best way to harness the anxiety and alienation of modern urban life is to channel them toward art. By reimagining the city environment, Min explores what’s left out in contemporary urban society.

Joonhong 创作的基础，源于效率和自律。他严格遵循自己订下的工作日程，在工作时间之外，也用很多时间以琢磨改进自己的艺术创作。

这种不断的自我反省，同样反映在他的作品主题上。Joonhong 说自己会从那些“不愉快的记忆”里寻找灵感，在他看来，驾驭现代城市生活中的焦虑和孤立感，最好的方式就是在艺术中寻找出口。从城市的角度来看，他正在建构一个如今城市化社会其遗漏部分的叙述作品。

Min’s vertical sculptures are designed to resemble a futuristic skyline. Yet his interest in the urban environment is also visible in his choice of materials. From broken furniture to discarded packaging, he scavenges random objects from London’s streets, reassembling them to create model high rises and skyscrapers.

Finding new uses for these left-behind items is his way of engaging with the past, just as building elaborate cityscapes is his way of embracing the future. As cities around the world continue to reinvent themselves, Min’s work invites us to consider how yesterday’s discarded junk can help us imagine the world of tomorrow.

Joonhong 对城市环境的兴趣，也体现在他所选择的材料中。他从破碎的家具到被丢弃的包装，他将自己从伦敦的街道上搜罗到的物品，重新组装成高楼和摩天大楼的模型，这样的垂直雕塑模拟着城市的天际线。

如果说，为这些被人们所遗弃的物品寻找新的用途是他与过去打交道的方式，那么，组装精致的城市建筑模型则是他拥抱未来的方式。随着城市向着“明日世界”这个目标不断建设，Joonhong 的作品恰恰是在邀请观众思考：属于昨日的物品究竟是如何被不断丢弃和回收的呢？

Website: minjoonhong.com

Contributor: Juliet Fang

网站: minjoonhong.com

供稿人: Juliet Fang

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Bitchy Fashion by Hao Lingyu 我的怪异跟你一样普通

August 6, 2018 2018年8月6日

Common People

“L’s designs all look bitchy.”

I quickly put away my phone when I see my friend’s message. In front of me sits Hao Lingyu, a recent graduate of Donghua University who has red hair and a knack for designing bitchy clothing. In her bedroom, she keeps a shy hedgehog as a pet, along with a collection of cute stuffed animals and shojo manga.

“When I was little, I actually wanted to be a comic artist, but I eventually realized I couldn’t quite cut it,” she confides.

Coming from a family of architects, she likes to approach things from a holistic angle. That’s how she chose fashion design: she wasn’t entirely following her dreams or hobbies. In fact, she’s also curious about what her life would be like if she’d listened to her mother and chosen engineering.

“ L 的东西看上去婊婊的。”

看完这条朋友的评价，我放下手机继续跟眼前的郝凌宇本人闲聊，这个顶着一头红发、作品婊婊的服装设计师今年才刚从东华大学毕业。她的房间里有一只非常内向的刺猬，还充满了各种可爱的动物布偶和梦幻的少女漫画，“其实我小时候有想要当一个漫画家，后来发现自己的水平好像没法出道。”

建筑家庭出身的她，喜欢综合一切因素去考虑问题，就像她选择服装设计，并不完全出于梦想啊、爱好啊之类的理由。事实上，她同样好奇如果当时听妈妈的话选择工科，现在的自己会是怎么样。

Sketches for Temporary Templates

Sketches for Common People

The emerging designer incorporates all sorts of different elements into her works. “In my life, I’m bombarded with information, and when I make something I often throw a bunch of random things together,” she says. “By the time I’ve reorganized them, sometimes the designs don’t even look like they’re mine.”

Her three new collections, Temporary Template, Common People, and Artificial God, touch on issues from religion and fertility rites to everyday life to thangkas made from human skin. Within these wildly divergent themes, her design details are equally varied. Artificial God, for example, shows her thoughts about traditional Tibetan Buddhist culture, but she opted to present the collection in the form of a virtual game.

她的作品涵盖的元素丰富多样，“我的生活常会接收大量信息，做东西时似乎经常把一些有的没的东西揉和在一起，重组过后，有时候甚至会觉得这些作品不像是我的。”

最新的三个系列《Temporary Template》、《Common People》、《Artificial God》分别讲述了宗教与生殖崇拜、普通人以及人皮唐卡三个命题，南辕北辙的主题里同样包含着形色各异的细节，比如《Artificial God》的概念来自藏传佛教文化，但她却选择以虚拟游戏的视角去呈现这个系列。

Artifical God

In both their use of materials and their final appearance, Hao’s designs are very much in step with subculture trends. But she insists she’s drawn to these ideas naturally and doesn’t make a point of trying to stand out. In fact, what she’s become aware of, not only in her own designs but also in the current environment, is how ordinary she is.

“Kids today all think they’re special,” she says. “I wish everyone would wake up.”

无论是对材料的运用还是最终的视觉呈现，这些作品似乎都正中了当下的亚文化风潮。但 L 认为自己只是自然而然的选择这些命题，而非刻意地去表现特立独行。相反地，结合当下环境她从自己的作品中意识到更多的是自己的普通，“现在小孩都觉得自己特殊，希望大家醒醒。”