Control 控制，还是受控

December 31, 2019 2019年12月31日

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We may never know if we’re in control of our own reality, and Phương Vũ seems to think that’s pretty bad news. In Control, his directorial debut, we follow a young man through multiple virtual environments. The story begins with him scrolling through a holographic feed. He receives an invitation that takes him into an all-white control room. There, with a swipe of his hand, he changes his entire outfit. A portal then takes him into a grassy field with blue skies. It’s an unexpected setting for the mood that’s been set so far, but splintering fragments of reality and the steadily building electro arpeggios remind viewers that they’re still in cyberspace. It’s all but confirmed as the man’s VR unit experiences system failure and starts to scramble his mind. The green pastures are suddenly replaced by a grey, toxic wasteland populated by men in hazmat suits. The panicked protagonist runs about in blind confusion, accompanied by a punishing drum-and-bass soundtrack.

我们可能永远不知道，现实是否由我们自己掌控。而在 Phương Vũ 看来，操控与被操控似乎是一场非常糟糕的关系。在个人导演处女作《Control》（控制）中，我们跟随镜头与一位男子在多重虚拟环境之间穿越。影片开头，男主人公正在滑动着全息屏幕上的信息，这时，一封邀请信弹了出来。手指一滑，他来到了一个全白色的控制室里，换上了新的服装。随后，他穿过传送门进入蓝天白云的广阔草地，这一场景打断了影片开场以来所营造的氛围。但是，被撕成碎片的现实与持续的电子琶音提醒观众，这里仍然是网络之境。之后，男子的 VR 装备明显出现了系统故障，他的脑海开始变得混乱不堪。绿色草原瞬间切换成灰暗的荒地，穿着防护服的人在他四周走来走去。伴随强烈的鼓打贝斯节奏（drum-and-bass），惊慌失措的男主人公带着疑惑与不解四处跑动。

The music ends abruptly and the film cuts to a first-person POV of someone shopping in a grocery store. Loud ringing fills the air as a man’s voice whispers for them to wake up. Visual distortions gradually worsen as patterns generated by a modified version of Google DeepDream begins to remove all semblance of reality: kaleidoscopic colors, unsettling textures, and canine faces overwhelms the frame. This hallucinogenic sequence then fades away, showing the man now shirtless and alone on a flooded highway as Beethoven’s “Ode to Joy” blares. The sense of peace doesn’t last—viewers are quickly taken to the film’s conclusion, revealing the protagonist as a casualty for some sort of advanced VR experiment.

音乐骤然终止后，影片切换成在商场购物的第一人称视角。刺耳的铃声在空气中亮起，男人的低语“快醒来”不断在耳边响起。眼前的现实景象被 Google DeepDream 生成的图案逐渐侵蚀，视觉变成失真的模块并进一步加剧：万花筒般的颜色、令人不安的纹理和动物的形象充斥于画面之中。之后，贝多芬的《欢乐颂》响起，幻觉片段逐渐消失，此时，男子赤裸着上身，独自一人，站在被洪水淹没的高速公路上。短暂的平静之后，影片来到尾声，向观众揭露：原来男主人公是某个高级 VR 产品的实验对象。

Vũ made the video with a crew of self-taught creatives in Hanoi, Vietnam who originally came together to create a one-off video lookbook for Vũ’s streetwear brand, Nirvana. But the ragtag team of freelancers enjoyed working together so much that they decided to start a production house together, and Antiantiart was born. Control pays homage to the crew’s unexpected origins by opening with a scene from that first lookbook video. Elements and b-roll footage from other past projects are also sprinkled throughout.

“We feel lucky to have found each other. It’s a love story,” Vũ laughs. “Youth culture is still very new here. While there’s a lot of people coming up now, the scene isn’t very close. There are more people in Ho Chi Min, but we’re working with them a lot. Our name is starting to travel.”

Each member of Antiantiart focuses on a different aspect of their productions, and their areas of expertise often have little to do with what they studied in college: one sticks to directing, another to color grading, another to edit.

这部短片由来自越南河内的 Vũ 与一帮自学成才的创意者共同制作。最初，他们因为创作 Vũ 的街头服饰品牌 Nirvana 的视频造型录而走到一起，在进行了愉快的合作之后，这支由自由职业者组成的团队一起创办了工作室 Antiantiart。《Control》开头的场景就来自他们之前创作的视频造型录，以此致敬这个偶然创立的团队故事，以往项目的元素和辅助镜头也贯穿了整部短片。

“能够彼此相识，是一件很幸运的事情，就像一个浪漫的爱情故事。”Vũ 笑着说，“本地的青年文化才刚起步。虽然现在有越来越多人参与，但整个圈子之间并不是很紧密。现在胡志明市的人口越来越多，我们也会与更多人接触，名声也开始慢慢传开来。”

Antiantiart 的每个成员分工合作，负责影片制作的不同领域，有人负责导演，有人负责颜色分级，另外的人负责编辑，但大部分成员此前都没有接受过相关的专业学习。

Control feels like a collage, with various bits patched together to create a surreal yet cohesive visual experience. This video, like much of their past work, is more conceptual than narrative, an exploration of aesthetics and pop culture that they’re endlessly inspired by. Antiantiart is making it up as they go along, and it’s a spontaneity that’s increasingly valuable in today’s fast-changing world. They aim to bring their wildly varied interests and skills all under one roof, and people are starting to take notice. Vũ and his team have worked with international brands and regional artists, but above profits, they remain committed to realizing his own personal creative vision. Vũ says, “That’s what’s really important.”

《控制》就像一幅拼贴画，由不同元素拼凑在一起，打造出超现实又连贯的视觉体验。和他们以往的大部分作品一样，这部短片更偏向抽象而非叙事，探索审美和流行文化带给他们源源不断的启发。Antiantiart 也在不断提升自己，在这个瞬息万变的时代，这种自发性显得越来越珍贵。他们的目标是把各自不同的兴趣和技能结合起来，这一点也慢慢吸引了人们的关注。Vũ 和团队曾与国际品牌和当地艺术家合作，但相比于赚钱，他们更重视实现自己的创意，“这才是真正重要的。”Vũ 说道。

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Instagram: @antiantiart_ | @lf.pvnirvana

Contributor: Mike Steyels
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

Instagram: @antiantiart_ | @lf.pvnirvana

供稿人: Mike Steyels
英译中: Olivia Li

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Whimsical Allegories 我是白，白日梦的白

December 27, 2019 2019年12月27日

With hands outstretched, a blindfolded woman traipses through total darkness. She’s desperate to find something to grab onto but the only thing she finds is a thorn-covered animal. It means her no harm, but she’s forced to find a different route. And it’s there where she runs into a man, who like her, has also been blindfolded. They seem surprised to have found one another, but it’s a brief encounter. He reaches out, feeling up and down her face before walking away—she isn’t the one he’s looking for. Alone again, the woman walks onwards. She’s just one of the many people and creatures wandering through this pitch-black void. They’re all blindly in search of something, but whatever it is, they haven’t quite found it yet.

This is “San Bu” (meaning “walk”), a comic exploring our collective need for connection and belonging. Though it only consists of a few simple frames, it evokes a poignancy that weighs on the mind. It’s one of the 43 stories featured in You Xi (meaning “games”), the debut graphic novel of Chinese artist Wo Shi Bai.

在漆黑一片的空间里，蒙着双眼的女孩伸出双手，摸索前行。她近乎绝望地想要抓住什么，但只抓到浑身肉刺的动物。虽然这只动物不是有意伤害她，但女孩不得不换个方向继续前行。就这样，她遇到了一个男孩。这个同样蒙上双眼的男孩对她产生了好感。这次相遇让他们都感到了一丝惊喜，但这却是一次短暂的邂逅。他伸出手，上下摸了摸她的脸，然后离开了 —— 女孩不是他要找的人。女孩再次孤身一人，继续摸索着前行。黑暗的空间里，除了她，还有许多人都在徘徊游荡。所有人盲目地四处摸索，像是在寻找什么，但一直未能找到。

这篇名为《散步》的漫画，探讨了人们心中对人际关系和归属感的需求。虽然只是简单的几格漫画，却唤起了压在每个人心中的酸楚。这篇漫画与另外 42 个故事共同组成了合集《游戏》，漫画的作者是中国艺术家 “我是白”。

Wo Shi Bai has been a working illustrator in China for the better part of a decade (even releasing multiple collaborative prints with Neocha in 2012). But his foray into comics wasn’t until 2017 when Gummi Comics approached him to create weekly comics around different keywords. He found the challenge to be creatively invigorating, so much so that even after the project concluded, he continued making comics on his own. To him, making a comic is like a game for his imagination, and You Xi is the culmination of these play sessions.

“我是白” 创作插画已经有近十年时间（曾在 2012 年与 Neocha 有过多次合作）。但直到 2017 年，他才开始画漫画。当时接受了 “软糖漫画” 的邀请，每周围绕不同的关键字创作一幅漫画作品。这个项目大大激发了他的创意，以至于在项目结束后，他继续做漫画。对他来说，画漫画的过程就像是让自己的想象力玩“游戏”，而《游戏》就是这些想象力游戏的最好证明。

You Xi is a collection of standalone comics that uses whimsy as a vehicle for exploring deeper subject matters. For example, in “Sheng Zi” (meaning “rope”) a simple game of cat’s cradle is used to represent self-worth, the search for external validation, and how seemingly insignificant actions can bring about positive changes; in “Fang Xiang” (meaning “direction”), a magnet and snow globe are visual metaphors that ask if our decisions are truly our own or if they’re influenced by unseen forces; while in “Xiao Tou” (meaning “thief”), the story of a house burglar who only steals book pages is a meditation on the fine line between inspiration and plagiarism.

《游戏》由一组独立的连环漫画组成，通过各种奇思妙想，探索更深层次的主题：例如，在《绳子》里，“我是白” 以简单的翻花绳游戏，表达自我价值，寻求外部认可，以及看似微不足道的行动如何带来积极的变化；在《方向》中，他以磁铁和雪球作为视觉隐喻，向观众发问：我们所做的决定是自己的决定，还是会受到看不见的力量的影响？《小偷》讲述了一位喜欢偷盗书中夹页的窃贼，绝妙地引起人们对灵感与剽窃之间的思考。

Despite this fondness for allegories, Wo Shi Bai isn’t an artist who takes himself too seriously. In fact, many of the comics in You Xi are simply meant to be enjoyed at face value; they’re fragmented daydreams that revel in their own silliness, featuring over-the-top characters such as sentient clouds, a bottle with arms and legs, and a narcissistic bigfoot.

虽然“我是白”偏爱各种隐喻，但他并不是一个十分严肃的艺术家。事实上，《游戏》中的许多漫画只是纯粹出于好玩而画，它们像是作者逗趣的白日梦片段，其中也包括了一些夸张的角色，例如有感觉能力的云朵、指手划脚的瓶子以及孤芳自赏的大脚怪。

This effortless back-and-forth between the absurd and the conceptual is an impressive demonstration of Wo Shi Bai’s abilities as an artist and storyteller. It’s also this range that makes his snappy comics in You Xi so bingeable—readers never know what they’ll get next, but they’re kept wanting more.

You Xi is now available for purchase online at JD, Dangdang, and Taobao.

在荒诞与内涵性之间的自由切换，体现了“我是白”作为艺术家和故事作家的出色能力，也令《游戏》中的短篇漫画让人读得停不下来。读者永远不知道接下来会读到什么故事，但这恰恰令他们欲罢不能。

《游戏》现已在京东、当当网和淘宝网上有售。

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Contributor: David Yen
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

微博: ~/woshibai
Instagram: @woshibaii

供稿人: David Yen
英译中: Olivia Li

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Arts & Sciences 比起科技，人类才是永恒的焦点

December 25, 2019 2019年12月25日

The Wall of Gazes (2011) by Mariano Sardón & Mariano Sigman / Video 马里阿诺·萨顿与马里阿诺·西格曼《凝视之墙》(2011) / 视频

Talk of “the arts” usually calls to mind painting, sculpture, music, or literature, and might involve a discussion of how a scene is portrayed or how an artist’s ideas are expressed. Often there’s a story behind a work of art, and the work itself might be seen as a vehicle for conveying the thoughts and emotions of the person created it.

Yet what if instead of picking up a brush, the artist simply wrote some code? What if the artist isn’t a person at all? Can such works still be called art? These are some of the questions raised by “40 Years of Humanizing Technology,” a show held at the Design Society in Shenzhen in conjunction with the Ars Electronica festival of Linz, Austria—now celebrating its 40th year—and curated by Qiu Zhijie and Martin Honzik. On display are several astonishing and unsettling works that bridge the realm of art and technology.

当我们谈及“艺术”，很大概率上，我们会说起油画、雕塑、音乐或文学，我们会说，它呈现了什么样的情景，表达了艺术家怎样的想法……那些艺术作品的背后往往都有自己的故事，而艺术则是一种渠道，去传递出这些故事背后人的情绪。

但如果根本不用亲手涂抹颜料、应用科技手段编程，甚至艺术家根本不是人的话，艺术还可以被称之为艺术吗？正由深圳举办的“科技艺术四十年——从林茨到深圳”这场展览提出了种种艺术与科技的问题。由设计互联与奥地利林茨的电子艺术节联合举办，由邱志杰和马丁·霍兹克策划。展览带来了许多震撼人心的作品，且在艺术和技术领域之间架起了一座桥梁。

The Wall of Gazes (2011) by Mariano Sardón & Mariano Sigman / Video 马里阿诺·萨顿与马里阿诺·西格曼《凝视之墙》(2011) / 视频

One artist featured is Xia Yubing, aka Xiao Bing, a recent graduate from the Experimental Art Institute at the Central Academy of Fine Arts who earned particular praise from Qiu, one of the curators. “There’s good composition, an abstract treatment of still lifes, skillfully conveyed animal forms, a solid artistic sense,” he says. “The entire piece is original and engaging. It dares to be both true and fantastical, to leave things shrouded in darkness.”

In fact, however, Xiao Bing is not a person at all, but an AI created by the Microsoft Internet Engineering Institute. Its artistic talents come from studying masterpieces by 236 great painters from the past 400 years. Visitors can even give the AI a keyword prompt to have it create original works. Art once belonged solely to humankind, yet Xiao Bing has broken free from that constraint: data have replaced the mind, technology has replaced technique, and humans are nowhere to be found.

中国艺术家夏语冰，师承中央美院实验艺术学院的邱志杰教授。邱对她的评价是：“构图很好，静物抽象的涂抹，动物造型的表现能力，艺术的感觉很准……整个画面随意而灵动，敢于大虚大实，敢于让很多东西淹没于黑暗之中。”

但事实上，她是微软技术团队开发的人工智能“小冰”。通过对过往 400 年艺术史上 236 位著名画家的名作进行学习后，夏语冰展现出专业的绘画能力。这次的展览室，只要观众输入“绘梦”为主题的文本关键词，就可以激发她完成自己的原创作品。既往历史中，艺术是“人性”的。但夏语冰打破了这种桎梏：数据成了“大脑”，技术代替了“技巧”，艺术也可以是“科技性”的。

Alternative World-Painting Dreams (2019) / Interactive Installation 《或然世界之绘梦》(2019) / 交互装置

But can new media works based on data and technology still contain any artistic or philosophical thought?

Chinese artist Qiu Siyao seems to think so. His piece, Sisyphus, is based on philosopher Friedrich Nietzche’s idea of eternal recurrence, which theorized that existence is cyclical in that energy and matter don’t cease to exist but simply transform over time. It’s a concept Qiu visualizes in this installation, which consists of a small hill-like structure ringed by a channel with a magnetic liquid metal. A hidden mechanism draws the metal up the hill, congealing it into a soft solid state. But just as it’s about to reach the peak, it rolls back down under its own weight and reverts to a liquid.

但纯数据技术产出的“新媒体”作品，还可能存在艺术或哲学性的思考吗？

中国艺术家邱思遥带来的作品叫《西西弗斯》，就好像那个知名的神话故事一样，邱思遥造了一座“假山”，让磁性液态的金属凝成软固态，并藉由内部机械装置的不断攀向山顶，即将到达山顶时，又由于自身的重量又滚下山去，恢复成液态流入假山上的“河道”。如此时时刻刻循环往复，就好像尼采曾提出的“永劫回归”一般，看似毫无意义，实际上正是意义所在。

Sisyphus (2019) / Magnetic liquid metal, 3D printing 《西西弗斯》(2019) / 磁性液态金属、3D 打印模型

Compared to conventional painting or sculpture, new-fangled works using emerging media can sometimes look outlandish. Yet for media artists, technology is simply a new material, as the curators point out. Such artists are “capable of positioning ‘new technologies’ in society with their alternative approaches and ways of thinking,” says Honzik. “With their philosophical farsightedness and their technical ability—far beyond critical, catalytic reflection—[they] make them accessible and draw new, unexpected connections.”

借诸新兴媒介而创作的科技艺术，在传统的艺术领域显得十分特别。对于这些艺术家来说，科技不过是一种表达艺术的新手段，策展人之一马丁･霍齐克说，“一直以来，他们都以另类的切入点和独特的思考方式来定义社会上的‘新技术’，他们以充满哲思的远见和娴熟的专业技能，使‘新技术’得以普及，并在新技术与人类之间构建别具新意的联系。”

Remains: Vallée de Joux (2018) by Quayola / Light Box 夸尤拉《遗迹》(2018) / 灯箱

Walking City (2014) by Universal Everything / 4K Projection Universal Everything《行走的城市》(2014) / 4k 投影

Origins (2019) by Refik Anadol / Video 拉菲克·安纳度《起源》(2019) / 视频

That’s the case of the Japanese art collective Another Farm, whose Modified Paradise: Dress is a garment made of fluorescent silk. The collective genetically modified a group of silkworms using DNA from jellyfish and coral, and then wove the resulting naturally fluorescent thread into a traditional Japanese fabric known as nishijin-ori. The result is a stunning garment that glows with a pale light, a perfect combination of genetic modification and traditional art.

例如来自日本的艺术团体 Another Farm 则带来了一组用“荧光蚕丝”制成的系列雕塑作品，《改造的天堂：衣裙》（Modified Paradise: Dress）。添加了发光水母和珊瑚基因的蚕，吐出的丝自带荧光，而日本传统的织布技术“西阵织”则让这丝丝缕缕幻化成精美的服装作品——这是基因改造科技、人文艺术传统相互交织的完美体现。

Modified Paradise: Dress (2019) / Transgenic silk 《改造的天堂：衣裙》(2019) / 转基因蚕丝

Another daring work that spans technology, art, and biology is Ai Hasegawa’s installation Humanity x Sharks. The Japanese artist created a fragrance that mimics the scent of female sharks, spread it on a wetsuit, and dove underwater, drawing a group of sharks to crowd around her. In the resulting film, she shows the spectacle of the dance between people and sharks, drawing comparisons to the harassment that Japanese women are subject to in their everyday lives. Hasegawa’s works may make use of technology, but the questions they address are about human gender and society.

由长谷川爱带来的行为装置艺术《人类 x 鲨鱼》也是一个大胆的跨越科技艺术与自然物种的作品。这名来自日本的女性艺术家调制出一款类似雌性鲨鱼气味的香水，涂在潜水服里下海，吸引了成群的鲨鱼聚拢过来。展览以纪录片的形式向人们呈现了人鲨共舞的奇景，试图展现大多数日本女性在日常社会中所遭受的压抑，并引发观者对女性身份的探讨。虽然长谷川爱呈现的作品是数字的、科技的，但其表达的内容却是人性的、社会性的。

Human X Shark (2017) / Glass flasks, Plexglass, Video 《人类 x 鲨鱼》(2017) / 玻璃烧瓶、有机玻璃、视频

In fact, people are at the heart of both artistic creation and technological development: humanity is their starting point.

The theme of this exhibition is “humanizing technology.” Now that technology has invaded every aspect of our lives, it affects all sorts of issues that were traditionally the province of art, the humanities, and social science. “The focus is always on the human being,” says Honzik, “not on technology.”

事实上，所有的艺术创作以及科技发展的核心都是“人”，它们共同关注的是人性的部分，并由此向外拓展。

这也正如马丁･霍齐克所说的，“科技人性化”是此次展览的核心。随着科技的发展，人类社会与科技的关系也在不断演变，不仅作用于日常生活的方方面面，更触及到与艺术、人文和社会相关的种种议题。“比起科技，人类才是永恒的焦点。”

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Website: www.designsociety.cn

Contributor: Chen Yuan
Images Courtesy of Design Society

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网站: www.designsociety.cn

供稿人: Chen Yuan
图片由设计互联提供

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Out of Fashion Boys “过时” 男孩儿  

December 20, 2019 2019年12月20日

For Beijing-based creative collective Out of Fashion Boys, their city can at times feel stale and inhibiting, but they also believe it’s a place with untapped potential. As China’s capital, Beijing is the political center of the country, but politics is the farthest thing from the minds of the city’s youth. Young creatives, like those behind Out of Fashion Boys, have been hard at work carving out their own paths, and with little interference from commercial interests, they’ve been left to their own devices to do so. As their name suggests, Out of Fashion Boys doesn’t care about being hip or “fashionable.” The group, an offshoot of the now-defunct music label THUDVR, aims to be more mindful of how youth culture is broadcast.

在 Out of Fashion Boys 眼中，北京是一座压抑、下沉又充满能量的城市。尽管地处政治中心，但那里的年轻人希望用更多不循规蹈矩的方式来看待身边的一切。而与一些经济最发达的城市相比，这里所形成的文化气候并不容易被市场完全消耗，呈现出深沉又具有能量的气魄。正如其名，Out of Fashion Boys 并不想赶时髦，这支前身为 THUVDR 电子音乐厂牌的团体，希望用不浮躁的方式表达自己的文化讯号。

Album design by Heimer 封面设计: Heimer

Listen to OUT OF FASHION BOYS VOL.1 below:

点击即可试听《OUT OF FASHION BOYS VOL.1》:

On December 19th, Out of Fashion Boys released OUT OF FASHION BOYS VOL. 1, both digitally and as a physical CD. The compilation album features a dozen music producers, who’ve all been invited to share their interpretation of Beijing through music. Participating artists include Shanghai’s ZEAN, London’s Air Max ’97, New York’s False Witness, Mexico City’s Lao, among other up-and-coming producers from around the world. We caught up with Luxixi and TsingLung, the two founders of Out of Fashion Boys, to talk shop about music, mainstream trends, and the importance of breaking the mold.

2019 年 12 月19 日，Out of Fashion Boys 第一张合辑以数字和 CD 的形式发行。《OUT OF FASHION BOYS VOL.1》集合了世界各地曾经造访北京的电子音乐艺人，包括了上海的 ZEAN、伦敦的 Air Max ’97、纽约的 False Witness 以及墨西哥城 Lao 等等十二位杰出的场景人物。他们将各自对北京的印象融进音乐的制作中，打造一种形散神不散的概念。

在合辑发行之际，我们找到了 Out Of Fashion Boys（以下简称为 OOFB）的主理人 Luxixi 和 TsingLung，和他们聊了聊电子音乐以及 “时尚” 和 “过时” 的界限。

Luxixi

TsingLung

Neocha: Why was THUDVR disbanded? How did this new project come about?

OOFB: As THUDVR, we threw a lot of electronic music parties between 2016 and 2019, and had a lot of fun ideas. But it felt limiting just being a record label and party organizer; we wanted to be more experimental with what we were doing. So after deliberating long and hard, we decided to end THUDVR, start anew Out of Fashion Boys, and bring some of our kooky ideas to fruition.

Neocha: 什么契机会选择永久终止 THUVDR，并另起炉灶？

OOFB: 2016年到今年2019年，我们做了很多电子音乐的派对，过程中也萌发了许多有趣的念头。作为派对厂牌的 THUVDR 却变得难以作为这些萌芽的土壤。我们认真的思考后决定永久停止 THUVDR 的一切活动，以 Out of Fashion Boys 作为全新的起点实现这些有趣的想法。

Neocha: What does being “in fashion” and “out of fashion” mean to you?

OOFB: Being fashionable and being out of fashion aren’t polar opposites. It’s all a cyclical process. What’s considered dated will become fashionable again. For us, being “out of fashion” means deconstructing preconceptions and expressing the things we want to express without being influence by what’s “in” at the moment. Copying for the sake of staying up-to-date is a shameful compromise. Some that’ve been done to death. For example, the explosion of people throwing LGBTQ+ parties or retro-themed parties feel gimmicky. They become bastardized into something that’s far from their roots. The name Out of Fashion Boys is meant to capture our intentions: in a time of fast-changing trends, we want to do things that are “outdated,” a subversion of our modern need keep up with the latest trends.

Neocha: Out of Fashion Boys 眼中 “时尚” 与 “过时” 的衡量标准是什么？

OOFB: “时尚” 与 “过时” 永远不是两个对立面，轮回中的 “过时” 就是 “时尚”。在我们眼里“过时”是抛弃大众对一件事物的刻板印象，表达自己想要表达的而不被大众认知所影响的“时尚”根源。为赶时髦而复制是对大众刻板印象的妥协，那些被复制了上千次的内容，比如一簇而拥的 LGBTQ+ 派对和复古派对，最后会变成了一个噱头，最终与其背后的文化却渐行渐远。之所以取名 Out of Fashion Boys 也是对我们的初衷做一个诠释 —— 在浮躁的浪潮中，我们只想做一些“过时”的东西，来反对浮躁的文化现象。

Neocha: What’s your take on the growing popularity of electronic music in China? What does the new album aim to contribute to the burgeoning scene?

OOFB: I’d say that electronic music isn’t truly prospering here at all. It’s an illusion. With that being said, we of course hope for the domestic electronic music scene to grow. This is also partly why we wanted to make this album—we want more people to see that Chinese electronic music is something alive, something unique.

Neocha: 如何看待当下繁荣的电子音乐场景？《OUT OF FASHION BOYS VOL.1》合集希望为电子音乐场景注入一种怎样新的观点？

OOFB: 当下绝对不是电子音乐最繁荣的时期，你所看到的繁荣可能只是一个假象。我们也期待中国的电子音乐市场可以真正的繁荣起来，这也是这个合辑的出发点。我们希望更多人看到中国电子音乐的生命力，与独特之处。

Neocha: The new album asks musicians to present their perspective of the city through a single track. What are some of the most surprising ways that these producers have approached this task?

OOFG: Every producer had their own unique perspective and ways of interpreting their impression of the city. Their inspirations were often based on specific memories, so it all feels very different. Japanese producer WRACK remembers the intense flavors of hotpot, and he tried to reproduce that in his song; Dehousy’s “Eastern Sunrise” is inspired by his memory of seeing the sunrise in Jingshan Park. The frigid morning air and panoramic vista of Beijing’s cityscape were his creative springboards; he managed to translate these visuals into a mystic but melodic soundscape.

Neocha: 合辑中共连接了数位曾经造访北京的电子音乐艺人，把世界和北京这座城市连接在了一起。这些艺术家会用哪些方式来连接音乐与这座城市的记忆？

OOFB: 合辑中每位艺术家都有自己独特的视角，来诠释对这座东方城市的印象。每个音乐人都找到了自己独特的动机，这些动机就来自于他们的记忆。日本的音乐人 WRACK 把火锅对味蕾的冲击表现为音乐中；Dehousy 的《Eastern Sunrise》灵感来自景山公园的日出，他把早晨的寒意和面对整个北京城的景色转化为仙境一般的迷雾感旋律。

Album design by Heimer 封面设计: Heimer

Neocha: Aside from music-related aspirations, what can we expect from Out of Fashion Boys in the future?

OOFB: Since we’re not a music label but a more all-inclusive collective, our members are made up of interesting folks from a variety of backgrounds: we plan to make art installations, release more fashion collections, curate exhibitions, and produce documentary films. Of course, we’ll still be organizing parties since it’s very much in our wheelhouse. We’re open to experimentation and trying anything that seems fun.

Neocha: 除了音乐，我们还会在未来看到 Out of Fashion Boys 哪些令人期待的内容？

OOFB: Out of Fashion Boys 不是一个音乐厂牌。它应该是一个更包容的团体，在这个团体里我们有各个领域有趣的人参与。装置、服装设计、展览、纪录片还有我们擅长的派对都是在未来的计划里的，这些有趣的点子都是我们愿意去尝试的。

Out of Fashion Boy S/S 2019 collection Out of Fashion Boys 2019 春夏

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WeChat: OUTOFFASHIONBOYS
Bandcamp: ~/OOFB

Contributor: Pete Zhang
Images Courtesy of Out of Fashion Boys

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

微信: OUTOFFASHIONBOYS
Bandcamp: oofb.bandcamp.com

供稿人: Pete Zhang
图片由 Out of Fashion Boys 提供

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Giving Voice to the Past 被噤声的历史

December 16, 2019 2019年12月16日

Phan Thảo Nguyên‘s works are challenging for young, international audiences. In this year’s Hugo Boss Asia Art Award show, held at the Rockbund Art Museum in Shanghai, Phan’s dense watercolors, curtains of jute stalks, and sombre, halting videos leave viewers with more questions than answers. What is she trying to say?

A multimedia artist who lives in Ho Chi Minh City, Phan creates pieces that are deeply engaged with Vietnam’s past, and some historical background is required if you want to make sense of her art.

对于年轻的、全球的观众来说，潘涛阮的作品并不好“看”。在这次外滩美术馆 HUGO BOSS ASIA 亚洲新锐艺术家大奖的展览中，你会看到氤氲的水彩、倒悬的黄麻杆、蹒跚踌躇的镜头……“她要表达什么？”你会问。

潘涛阮（Thao Nguyen Phan）是一位来自越南的多媒体艺术家，现居胡志明市。但让我们可以先抛开她的作品不谈。如果你想要解读作品，越南当地的近现代史就是绕不过去的“背书”。

Phan’s contribution to this year’s show is a mixed-media exhibition titled Mute Grain, a trilogy of works that uses video, photographs, paintings, and installation to tell of a historical tragedy little discussed outside Vietnam: the Red River Famine of 1944-45. During the Second World War, the Japanese army occupied Vietnam under the pretext of freeing it from colonial rule. To ensure supplies for the war effort, they forced farmers to grow jute, cotton, and other militarily useful crops instead of rice; the resulting famine killed perhaps more than a million people. “Years ago, I read a short prose piece titled Starved by To Hoai,” Phan says. “I was an adolescent, and the agony of this famine, compressed in a few printed pages, left a lasting impression on me.”

在第二次世界大战的 1940 到 1945 年间，日本军队打着“帮其摆脱法国殖民统治”的旗号重新支配越南，由于战争的需要，迫使当地人种植黄麻、棉花等可军用的植物，代替了稻米庄稼，导致了两百万人大饥荒。

这次为 HUGO BOSS ASIA 带来的“无声的谷粒”（Mute Grain）是一系列混合媒介作品。“几年前，我读过一篇 To Hoai 写的名为《饥饿者》的文章。对当时少年的我来说，这场饥荒的痛苦，被浓缩在几页印刷的书页里，给我留下了难以磨灭的印象。”潘涛阮说。而这最终酝酿成一系列作品“无声的谷粒”。

The centerpiece of Mute Grain is a three-channel video of the same name that tells the story of a dead young woman called August and her brother March. As March looks anxiously for his sister, unaware that she’s passed on to the spirit realm, August drifts between layers of time and space, searching for her place.

In Vietnam, which formerly relied on agriculture, “these are the poorest months of the year, when the new harvest is not ready and the rice and other food saved from previous seasons has already run out,” Phan explains. “March and August are a tenuous time in which farmers have to borrow money and rice and find other work to sustain their living.”

These two characters are also the protagonists of Dream of March and August, which is the second part of the exhibition. “While March looks in vain for the memories of his sister, they somehow meet in a dream-like world impossible to reconcile in reality,” she says.

《无声的谷粒》也是这次展出的同名三频影像的作品名，它讲述的故事始于一个名叫“八月”的少女之死，而哥哥“三月”则在现世中苦苦寻找少女的踪迹，殊不知“八月”却早已变成了幽灵，穿梭于层叠的时间和空间中，奔跑并追逐她的哥哥 “三月” 在现实中的足迹。

越南曾是一个以农业为主的国家，潘涛阮说，“三月和八月是一年中最困难的时期，新的收成还没有准备好，而从前几个季节结余的存粮业已消耗殆尽，农民们曾经不得不借钱和做兼工来维持生计。”

这两个悲情角色同时也是展览第二部分《三月和八月的梦乡（Dream of March and August）》的主人翁。她说：“虽然 ‘三月’ 透过记忆对妹妹的寻找看起来徒劳无功，但他们却以某种方式在无法变为现实的梦境世界中相遇。”

Phan’s third piece, No Jute Cloth for the Bones, an installation bridging the rooms containing the other two, likewise evokes the Japanese occupation of Vietnam, when jute was used to make burlap sacks. Every time someone walks through the installation, the jute stalks make a loud, crisp sound, as though cautioning viewers not to lose themselves in pretty illusions about the past, because behind them lies a cruel reality.

梦境与现实并不能交汇 —— 这样的故事概念也正如横亘与两个展厅之间的、最新的在地的装置《被剥皮的黄麻杆》（No Jute Cloth for the Bones），正是为了呼应日本占领越南、黄麻被用以制作布袋的那个时期而创作的。每次有人经过，黄麻杆便会乒乓作响，声音竟出奇地清脆，仿佛在提醒着过路的观众：莫要迷失在幻美的记忆里，因为残酷的现实紧随其后。

In a separate piece titled Voyages de Rhodes—part of her series Poetic Amnesia, not included in the Hugo Boss show—Phan traced her country’s history back even further. She created a series of watercolors on the pages of the book Voyages et Missions du Père Alexandre de Rhodes, which recounts the travels of a seventeenth-century French Jesuit missionary to Vietnam. The paintings show a young woman draped in a tiger skin, youths diving off of a water tower, and children banging drums in a jubilant marching band. It all seems innocent enough, but closer inspection reveals a sinister undertone: one boy is being swung around like a jump rope, others have tropical plants sprouting from between their legs, while still others kneel on the ground with a ladder around their necks like an oversized cangue. A painting with the word “white optimism” alludes, by way of a Vietnamese poet from the 1950s, both to socialist realism and to contemporary racism.

在她另一系列《诗意的失忆》（Poetic Amnesia）的分支作品《罗得之旅》（Voyages de Rhodes）中，潘涛阮则用一本法文旧书《Voyages et Missions du Père Alexandre de Rhodes》作为画布，书中讲述了讲述了一位17世纪法国耶稣会传教士前往越南的旅行。在画布上，你可以看到披着虎皮的少女；看到爬上水塔又纷纷跳下的孩子们；看到敲锣打鼓好似在庆祝的乐队……但仔细往后看，潘涛阮的画作却呈现出一种愈加险恶的基调：跪在地上拴木梯的少年、被当做长绳来甩动的少年、男孩们的性器官周围缠绕着热带植物。一副印有 “白色乐观主义” 大字的画布，则是间接地表达了社会主义的现实主义和当代人种偏见，这个词语来自上世纪五十年代越南诗人。

Through this sprawling work combining image and text, Phan delves into the modern history of Vietnam: its invasion by France in the nineteenth century, the impact of colonization and cultural imperialism, the replacement of a character-based writing system by the Latin script, and the gradual changes in people’s daily lives that followed.

这是个庞大的图像和文本集合作品，潘涛阮通过自己的方式去阐述着越南近现代的历史：十九世纪法国入侵并殖民越南，而收到当时殖民地的影响及文化侵占的需要，拉丁字母逐渐取代了本土文字 “喃字”。人们的日常生活，也随着西方列强的文化入侵而慢慢改变。

Phan uses art as a means to revisit episodes of Vietnam’s past that are intentionally ignored: agricultural labor, famine, the natural environment, and the changes wrought by humans.

Yet even stories that are lost to history never lack witnesses. What Phan does is retell them: her paintings, installations, and images all encourage viewers to delve into history, to read it, to engage with it. Her works are as haunting as ghosts, reminding us that the past is never gone.

潘涛阮以艺术的媒介重述了那些被人刻意漠视的过往：农耕、饥荒、大自然和人为改造的历史。

但事实上，湮没在历史长河里的故事，从来不乏亲历者。而潘涛阮所做的一切，是讲述它们。因而她的画、装置与影像，一直试图在鼓励观众走进它、阅读它、与它互动，这一切都能如幽灵般提醒着我们，过往的历史不会消散。

无法观看？前往优酷

Thảo-Nguyên Phan’s works are now on display at the Rockbund Art Museum in Shanghai, as part of the Hugo Boss Asia Art Award show curated by Billy Tang. Also on display are the works of the three other finalists: Hao Jingban (mainland China), Hsu Che-Yu (Taiwan), and Eisa Jocson (Philippines). Click here to purchase tickets.

Exhibition:
2019 Hugo Boss Asia Art Award

Dates:
October 18, 2019 to January 5, 2020

Address:
Shanghai Rockbund Art Museum
Huqiu Road, No. 20
Huangpu District, Shanghai

潘涛阮的作品目前正在上海外滩美术馆 HUGO BOSS ASIA 亚洲新锐艺术家大奖展览中呈现，展览由资深策展人曾明俊（Billy Tang）策划，同期展出的还有郝敬班（中国大陆）、许哲瑜（台湾地区）、艾萨·霍克森（Eisa Jocson，菲律宾）的作品。欢迎前往参观。

展览:
HUGO BOSS亚洲新锐艺术家大奖 2019

展期:
2019 年 10 月 18 日～ 2020 年 1 月 5 日

地址:
上海外滩美术馆
上海市黄浦区
虎丘路 20 号

Like our stories? Follow us on Facebook and Instagram.

Website: www.thaonguyenphan.com
Instagram: @thaonguyenphan_

Contributor: Chen Yuan
Images Courtesy of Shanghai Rockbund Museum & Phan Thảo Nguyên

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

网站: www.thaonguyenphan.com
Instagram: @thaonguyenphan_

供稿人: Chen Yuan
图片与视频由上海外滩美术馆及潘涛阮提供

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The Emotion of Color 你还像从前一样看油画吗？

December 11, 2019 2019年12月11日

On her first trip to Rome, Mona Shen was awed by the frescos and tempera paintings of the city’s churches. She had seen photos in books before, but the vibrancy of the colors and sense of history were things that couldn’t be replicated in print. These had to be experienced in person and with reverence. “Being there physically, I felt an intimacy with the materials used in creating the pieces,” she recalls. “As someone who grew up in the East but studied and has spent time in the West, I found these traditions and mediums familiar, even as they piqued my curiosity and left me with more questions.”

This trip is what ultimately inspired Shen to start painting and develop a visual language of her own.

在罗马第一次看到教堂里的湿壁画和蛋彩画的时候，沈梦丹（Mona Shen）就为之沉醉了。不同于画册中的印刷图像，那些画的色彩与历史一样厚重，是需要人仰着头，带着崇敬的态度去观赏的。“置身现场中的我深切感受到和材料的亲近感。”沈梦丹说，“作为当代东方人的我，在西方常年学习和生活的经历，让我对这种传统和媒介既有认同也有好奇和质疑。”

这是她下定决心“用油画探索自我的语言”的开始。

A Hard Boiled Dream (2019) 152.4 x 203.2cm / acrylic & oil on canvas 《A Hard Boiled Dream》(2019) 152.4 x 203.2 cm / 布面油画、丙烯

Sun at Night (2018) 152.4 x 190.5 cm / oil on canvas 《Sun at Night》(2018) 152.4 x 190.5 cm / 布面油画

Eating Fries (2019) 76.2 x 101.6 cm / acrylic & oil on canvas 《Eating Fries》(2019) 76.2 x 101.6 cm / 布面油画、丙烯

Shen grew up in Wuxi, China, and has called the U.S. home ever since she moved to New York for her MFA. She’s captivated by the city’s art and culture scene, which has pushed her to devote herself fully to her love of painting and develop a style defined by vivid colors and abstract forms. Through her brushstrokes, she stitches together patches of color to capture specific emotions, creating works that beckon viewers to step closer and lose themselves in the layers of paint.

Shen often relies on titles to give context to her abstract art. Names like Pink Rain, Humming Wind, and Sun at Night give viewers a framework to understand these color-based narratives. “I’m inspired by Cubism, photography, and geometry,” she explains of her approach. “For example, in Weather for All Kinds, I’m not looking to show anything specific. It’s conceptual, an exploration of how brushstrokes, color, and material can come together on a flat surface.”

Still, she adds, many of the elements that appear in her art are sourced from everyday life. “I often incorporate my observations, such as city streets, lights, and colors, into my art.”

沈梦丹生于江苏无锡，来纽约求学后，一住就是七年。这里的文化艺术环境让她沉迷，也让她日复一日投身于画画的欣喜中。她的画色彩厚重，时常用抽象的、大块的颜色去诠释某种具体的情绪，但观看的时候却能令人置身其中。

粉色的雨，嗡鸣的风，暗中寻光的人……作品名给了观看的人以一种途径，去试图在颜色构建出的画布上找寻故事。“我的作品形式上受立体主义、摄影和几何学影响很大。比如《Weather for All Kinds》, 它并不是描述一件具体的事物，而是专注用不同笔触、色块、材料，直觉性地在平面上探索一个思维空间。”沈梦丹说。在她笔下，作品的灵感都来源于对现实的感知，“比如看到的街道、光线、色彩，在创作的时候我会从中抽取一个元素作为我的观点。”

Humming Wind (2019) 76.2 x 101.6 cm / acrylic & oil on canvas 《Humming Wind》(2019) 76.2 x 101.6 cm / 布面油画、丙烯

Composition and form are still the primary focus of her work, but Shen has begun moving away from purely abstract pieces in the past two years. “My paintings have a central theme that’s grounded to specific time periods and settings,” she says. “They’re not meant to be only conceptual. I want viewers to discover a specific meaning. From where a brushstroke ends to how each patch of colors is sized, different emotions are presented through these decisions, and that’s what my art is about. It’s not about the specific characters and things being shown.”

At the midpoint between concrete emotion and narrative abstraction—that’s where Shen seeks to position her work.

近两年来，即便在绘画过程中，沈梦丹依然着眼于构成和形式，但她渐渐地对纯抽象的东西感到乏味。“我的画有个主题，对观者来说是有属于特定的时间和地点，是可以让人产生‘具体’联想的，而不是被限制在任何概念里面。”她说，“我想要自己的画读起来是‘具体’的：具体到这一笔到哪里结束，那边色块大小如何明度关系，这中间往往表达了我的情感。而不是具体在画的这个人到底长什么样子，穿什么衣服。”

具象的情感与抽象的叙述，其间的折中处，就是沈梦丹作品的意图所在了。

Lake House (2019) 22.86 x 30.48 cm / oil on canvas 《Lake House》(2019) 22.86 x 30.48 cm / 布面油画

Eclipse Watching (2018) 121.92 x 91.44 cm / oil on canvas 《Eclipse Watching》(2018) 121.92 x 91.44 cm / 布面油画

Cuts, Breaks, Shapes (2019) 76.2 x 60.96 cm / oil and collage on canvas 《Cuts, Breaks, Shapes》(2019) 76.2 x 60.96 cm / 布面油画、拼贴

Shen says Pete Doig and Tal R are two artists she looks up to the most. Though their art styles are different, they both create works that are as thoughtful as they are personal. In both of their works, color is used as a narrative device to explore humanity, history, and more. “Their works may be intimate and full of emotion, but it never feels over the top,” she says.

These are qualities she hopes to incorporate into her own work. As she grows as an artist, she’d also like to be more consistent, create works that feel more cohesive, and learn how to develop deeper narratives. “History, cinema, and photography are things I’d like learn from,” she says. “Learning about these different subjects can help me become a more versatile artist. I’d also like to learn how to slow down when I’m working, maybe invest a few years into a single work.”

聊起她欣赏的艺术家时，沈梦丹提名 Peter Doig 和 Tal R，两者的画虽属不同流派，但都从很敏感和私人的角度切入，以色彩呈现和讨论更大的人类和历史问题。“他们的画有强烈的个人性，有情绪，但又不是张扬的”。

如果要给未来画画定一个努力的方向的话，沈梦丹说希望未来她的作品主题更有连贯性、重复性和叙事性，“我想借鉴更多历史题材、电影、摄影作品作为参考媒介。表现手法更多样化，花更多时间去慢慢完成一张作品，甚至可以用几年的时间。”

Night Beach (2018) 76.2 x 76.2 cm / oil on Linen 《Night Beach》(2018) 76.2 x 76.2 cm / 亚麻布油画

Turn Light into Dust (2018) 167.64 x 167.64 cm / oil on canvas 《Turn Light into Dust》(2018) 167.64 x 167.64 cm / 布面油画

Weather For All Kinds (2019) 76.2 x 76.2 cm / oil on canvas 《Weather For All Kinds》(2019) 76.2 x 76.2 cm / 布面油画

Pink Rain (2019) 122 x 203 cm / oil on canvas 《Pink Rain》(2019) 122 x 203 cm / 布面油画

Untitled (2018) 152.4 x 274.32 cm / oil on canvas 《Untitled》(2018) 152.4 x 274.32 cm / 布面油画

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Website: www.monashen.org
Instagram: @monafloat

Contributor: Chen Yuan

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网站: www.monashen.org
Instagram: @monafloat

供稿人: Chen Yuan

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Streetside Comics 漫画里跑出来“一面墙”

December 9, 2019 2019年12月9日

Fivust‘s paintings look like they were pulled straight from a comic book. The Indonesian graffiti writer and street artist takes the dense intricacy of traditional burners and adds colorful characters and backgrounds. Many of his works are divided into panels, peppered with the “wham! pow!”-style onomatopoeias of superhero comics in layered graffiti lettering.

印尼涂鸦师和街头艺术家 Fivust 的绘画作品看起来就像直接从漫画里跑出来的，他在传统涂鸦 burner（指“精制壁画”）的基础上，添加色彩缤纷的人物和背景。他的作品往往像连环画一样画在方格里，还经常会加上“砰！啪！”那些来自超级英雄漫画中的拟声词和分层加粗的字体。

Fivust got started at a young age. Back in junior high school, when he first saw a classmate sketching tags in a notepad, he was fascinated. Already familiar with illustration and acrylic paint—his musically inclined parents had encouraged his passion for art—he turned his attention to graffiti, and quickly began experimenting with styles and honing his skills.

Fivust 读初中的时候，无意间看到同学在笔记本里画的涂鸦作品，让他很是着迷。当时他已经能熟悉地创作插图和运用丙烯颜料之类的工具——他父母对音乐的爱好激发了他对艺术的热情——他把注意力转到了涂鸦，并开始探索不同的创作风格，磨练自己的技术。

Fivust was raised in the city of Bogor, about 60 kilometers outside Jakarta. In high school he found his hometown’s graffiti scene limited, so initially he looked abroad for inspiration, particularly to the US and Europe. He pored over photos online, exploring different artists and styles. “We also looked up to local artists as well, especially since we could see the techniques and tricks up close,” he’s quick to add. “But the community was really small back then. When we started, we were doing half-legal and half-illegal stuff. But we were always bombing the same wall, so eventually, we just asked for permission and they let us paint there.”

Fivust 自小在距离印尼首都雅加达 60 公里开外的茂物（Bogor）长大，高中时，他觉得当地的涂鸦文化太狭窄了，因此会去看国外的艺术家，特别是美国和英国的涂鸦师找灵感。他经常到网上去搜索图片，了解不同的艺术家和风格。“我们也会去看本地艺术家的作品。”他很快补充道，“因为我们可以近距离看到他们所用的技术和技巧。但是，那时候的圈子还很小。刚开始的时候，涂鸦还是半合法半非法的事情，所以我们一直都在同一幅墙上画，所以最后我们争取了许可，他们就让我们画了。”

Getting materials took effort in those early days, and Fivust had to order them online or make the trip to Jakarta. But within a couple of years, spray paint and other supplies started to appear in Bogor. In fact, Fivust was partly responsible for the change. “I opened a studio in 2015 with my friends,” he says. “I was aiming to create a basecamp and graffiti store for artists in Bogor. I also wanted to establish an illustration and graphic design studio.”

That studio stayed open only two years, yet it gave him and his crew a launch pad. His work with spray paint helped him get design clients, and his design work paid for his spray paint.

在早期，要获取涂鸦的工具非常困难，他们要么就上网订购，要么就要到雅加达去买。直到几年之后，茂物才开始有更多的涂鸦用品出售。关于这一点，Fivust 的功劳不小。“2015 年我和朋友合伙开了一间工作室。我的目标是在茂物打造一个艺术家大本营和涂鸦用品店。同时也想成立一间插图和平面设计工作室。”他说道。

虽然工作室只持续了两年时间，但这个经历对他和团队来说是一个很好的起点。他的涂鸦作品帮助他吸引了一些设计客户，而他的设计作品又能帮他获得收入，购买涂鸦喷漆。

The scene in Jakarta, where Fivust has recently moved, is much more varied: “It’s growing pretty fast here because of the workshops and events conducted by the community, like graffiti supply shop Garduhouse and their Street Dealin’ festival. There are different age groups that are into graffiti right now, including young kids who were inspired by watching us paint.” Although for now he mostly works at street level, he’s got larger ambitions. “I’m planning a five-story piece now,” he says. “It’ll be my biggest yet.”

Fivust 最近搬到雅加达，当地的涂鸦场景更多元化：“当地的涂鸦社区会举办各种工作坊和活动，例如涂鸦用品店 Garduhouse 和他们的 Street Dealin’ 艺术节，所以这里的涂鸦文化发展得很快。现在，这里可以看到不同年龄段的涂鸦爱好者，有一些小孩因为看到我们涂鸦而喜欢上这种艺术。”虽然现在 Fivust 的作品大多是在街道上，但他有更大的野心。“我现在正在筹划创作一幅五层楼高的作品，这将是我至今最大幅的作品。”他透露道。

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Website: www.fivust.com
Instagram: @fivust

Contributor: Mike Steyels
Photographer: Atet Dwi Pramadia
Chinese Translation: Olivia Li
Additional Images Courtesy of Fivust

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

网站: www.fivust.com
Instagram: @fivust

供稿人: Mike Steyels
摄影师: Atet Dwi Pramadia
英译中: Olivia Li
附加图片由 Fivust 提供

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Ambitions as a Rider 摩托车背上的人生

December 6, 2019 2019年12月6日

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The first country people think of when they hear the word “Vespa” is Italy. But imaginative Vespa lovers in Indonesia are laying new claim to the iconic scooter.

Filmmakers Marc Ressang and Daniel Agha-Rafei’s recently released documentary, Rebel Riders, takes viewers inside the island country’s custom scooter scene, where DIY enthusiasts have turned the Italian moped into a symbol of freedom and self-expression. These creations, which look like they belong in the wastelands of Mad Max rather than real life, are known as “extreme Vespas.”

提到 Vespas，大多数人都会想到它的原产地意大利。但在印尼，Vespa 车迷正在对这一标志性的摩托车提出新的主张。

电影人 Marc Ressang 和 Daniel Agha-Rafei 最近推出的纪录片《Rebel Riders》（《叛逆骑士》）让我们得以一窥这个岛国里的摩托车改装场景。在那里，摩托车 DIY 改装爱好者把 Vespa 变成了自我表达和自由的象征。这些改装的作品看起来有种超现实主义的风格，更像是来自《疯狂的麦克斯》里的荒原，因此也被称为“extreme Vespas”（意为“极限 Vespas”）。

Considering the extent of the modifications, it may seem dubious to even call these bikes Vespas. But an annual festival celebrating the customized scooters in Kediri, Indonesia—now entering its fourth year—has a clear-cut definition of “extreme Vespa”: the vehicle just has to be powered by a Vespa engine. It doesn’t matter how outlandish the design is. In fact, many riders make a point of being as over the top as possible.

“It’s about being different from others,” says one of the riders interviewed in the video. “No one wants to be outdone. If there’s someone with a big bike, we’ll want to go bigger. If there’s a long bike, we’ll want to make something longer. If there’s one with a lot of wheels, we’ll want one with even more wheels.”

有些作品的改装程度之大，已经让人几乎认不出那是 Vespas 车。但在印尼凯迪里一年一度庆祝改装摩托车的节日（目前已经进入第四个年头）中，对可以定义为“极限 Vespas”的摩托车要求很明确：有 Vespa 发动机就行。不论最终的造型看上去多么奇怪，都没有关系。实际上，越是浮夸的设计就越受欢迎。

“关键是要与其他人不同。”接受采访的车手之一说道，“所有人都想要超过其他人。如果谁的车很大，我们就要想办法把车做得更大；如果谁的车很长，我们就要做出更长的车；如果有人装了很多车轮，我们就设法装更多车轮。”

This competitive spirit means that riders are constantly pushing their creativity to the limit. In the film, one of the most astonishing feats of engineering is a scooter made from a tree—not a vehicle built with wooden parts—an actual tree on wheels. The scooter body is a tree trunk, while the handlebars are branches that have been mounted like antlers.

这种好胜的精神意味着车手要不断推动自己，将创意发挥到极致。在这部纪录片里，最惊人的改装是一辆用树来改装的 Vespas，不仅仅是指车的零件用木制成，车身主体就是用树干做的，而前板和车把则是用树枝制成。

This unique manifestation DIY culture was eye-opening for Ressang, but what truly made his time in Indonesia such an enjoyable experience were the people he met. “A lot of these guys can look pretty intimidating, with their face tattoos, piercings, and their copious drinking and smoking, but once we made our intentions clear, they were extremely hospitable and enthused about showing off their creations,” he recalls with a laughs. “I’d like to go back to make a feature-length film around one of the crews and their life on the road.”

这些独特的创意和 DIY 文化确实让 Marc 大开眼界，但对他来说，沿途遇到的人才是这部纪录片最特别之处。Marc 笑着说：“这些家伙中很多人看起来都很凶，脸上有纹身、穿洞，也喝酒抽烟，但是一旦我们说明来意，他们就会变得非常热情好客，急切地想要向我们炫耀他们的作品。我希望以后有机会回去印尼，围绕车队和他们在路上的生活拍摄一部专题影片。”

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Website: marcressang.com | danrafei.com
Instagram: @marcressang | @theurbanpersian

Contributor: David Yen
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

网站: marcressang.com | danrafei.com
Instagram: @marcressang | @theurbanpersian

供稿人: David Yen
英译中: Olivia Li

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Flowers from Clay 陶土开花

December 4, 2019 2019年12月4日

Kanako Kitabayashi spends her days surrounded by clay. Trained in traditional pottery and sculpture, the Japanese artist creates pieces that are neither strictly functional nor inaccessibly abstract. Varying in size and texture—some include braided ropes, while others are covered in grass-like shoots—they seem to embody the Japanese aesthetic of wabi-sabi, the notion that flaws can add beauty. And they all seem to share a plumpness that’s slightly suggestive, even unsettling.

Viewers often remark that Kanako’s sculptures, which were recently on display at Diego, a gallery and fashion shop in Tokyo, look more like rocks and stones than pottery. They lack a perfectly geometric shape or polished surface, and they’re dyed in understated pale or earthen tones. In the grooves and on the surface of these “rocks and stones,” yarn, resin plates, glass, tulle, and other materials burst forth like tender shoots, or like new leaves stretching outward.

日本青年艺术家北林加奈子终日与陶相伴。从工艺到雕塑，她一路接受着正统的学院派训练，手中的陶器却既不实用也不高冷。那些大大小小的陶塑总是圆滚滚的，要么扎着小辫儿，要么长出小草；既有日式传统的侘寂之美，又带着一点儿调皮或是不安分。

常有人说北林奈子的陶塑不像手工艺品而像石头。这些陶器没有完美的几何外形，颜色是安静的青白色或原土色，表面保留着两三分粗砺。就是在这些“石头”的缝隙中或表面上，毛线、树脂、玻璃、绢网等材料像嫩芽一样破石而出，像枝叶一样自由伸展。

This sense of an artificially created nature is both a reflection of Japanese animism and an extension of the “soft sculpture” tradition of using pliable materials to mimic organic forms. Kanako’s threads, pearls, wires, strips of gauze, balls of feathers, and other objects call for a response different from detached appreciation. She seems to invite viewers to step into a miniature world and alight upon the details of each work—to touch the dimpled surface of baked clay, sit on a wire swing, or caress strands of yarn.

这种人为制造的天然感，既反映着日本传统中万物有灵的底色，又延续着软雕塑用非定形材料模拟有机体的脉络。面对这些作品中的那些丝线、小珠、铁丝、纱布、毛球等等，居高临下的“欣赏”姿态不再适用。这些作品邀请每一位观众把自身缩小再缩小，着陆到每一件作品的细处，去触摸陶土烧成后的坑洼表面，或坐在弧形的铁丝上荡个秋千，或与毛线的纤维肌肤相亲。

“Two years ago, at a show in France, viewers kept telling me that the style of my work was very Japanese, something I hadn’t thought about until then,” she says. “When working on a sculpture, I like to believe there’s a spirit living inside. I intentionally leave blank spaces to bring out the unseen elements, and maybe that’s part of what people mean when they call the work ‘Japanese.'”

“两年前在法国展出时，观众们纷纷表示我作品的风格‘很日本’，可在那之前我自己却从没有意识到这一点。”她说，“我做作品的时候总是相信物件中是住着灵魂的。我重视留白，希望把某些看不见的部分体现出来。可能这种感觉恰好与观众所理解的‘日本’这个词的某些内涵一致。”

Kanako was born and raised in Tokyo, and she now lives in the city’s Shinjuku district. “Shinjuku is very crowded, and the space between people is so slight that everyone’s are always on the verge of bumping into one another. In such close proximity to others, we can grow desensitized and feel cut off. It can be overwhelming.” This constantly crowded, overwhelming world has instilled in Kanako a solemn appreciation for the minor moments of everyday life, those unexpected discoveries that send a tingle down your spine.

“Such discoveries may be exceedingly small, hidden in the dust of everyday life. Or they can be short-lived, immediately forgotten once you look away,” she says. “Yet they latch onto the undefined spaces in our mind, and when the memories are one day triggered, they can surface again in a sort of déjà vu.”

北林加奈子在东京出生长大，住在新宿区。她说：“新宿总是有很多人，人与人之间保持着一种几乎要彼此碰到却还没碰到的非常微妙的距离。在如此近的距离下，我们反而会失去很多感受，觉得有很多东西无法触碰，如同过载。”正是这个纷纷拥拥的过载世界使她更加珍惜日常生活中的琐碎风景，郑重地对待那些让心里“‘呼’地动了一下”的不经意的发现。

“这些发现可能极其细小，隐藏在日常的尘埃中；也可能非常短暂，视线离开时就会被立刻忘记。尽管如此，这些发现仍然设法锁定了我们记忆中一些未定义的空隙。有朝一日若有什么恰好触发了这里的开关，那些记忆就会再次浮现，似曾相识。”

Kanako’s recent Tokyo show, Urn, represents a formal return to the point where pottery and sculpture meet. Each piece is an empty vessel with a body and lid, yet as in her previous work, what these urns contain is not so much of a material as of a spiritual nature. They are windows onto another world, a way for the living to look back on the dead. Each one offers a moment of kindness, bringing some quiet to the surrounding world and clearing a little space for memory.

上月，她的新作《骨壶》系列在东京的 Diego 画廊/时尚杂货店展出。这一系列在形式上回归到了工艺和雕塑的结合点，每件作品都是有身有顶的中空容器。不过一如既往，这些骨壶，即骨灰坛，作为容器所承载的更多的是精神怀想，而非物件用具。它们是现世连接他界的窗口，是生者追思故人的凭借。它们各自献出一份诚恳的好意，让周遭的世界安静下来，为怀念保留一点余地。

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Website: kanakokitabayashi.com
Instagram: @kanako_kitabayashi

Contributor: Yangyu Zhang
English Translation: Allen Young

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

网站: kanakokitabayashi.com
Instagram: @kanako_kitabayashi

供稿人: Yangyu Zhang
中译英: Allen Young

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Futureproof Geisha 机器人艺伎和她的 320 年

December 2, 2019 2019年12月2日

The year is 2192. In a sterile Tokyo lab, we witness the birth of a cyborg. Batteries, pistons, and sensors are meticulously assembled by other robots. Its eyes are potent cameras, and its head is covered by soft silicone, revealing the delicate features of a geisha—Kiyomi Kobayashi.

The story of a geisha frozen in time and awakened three centuries later as a cyborg spy is an ambitious project for any solo filmmaker. Yet Chinese digital artist Axl Le decided to tell it in a trilogy of short animation films under the title Kiyomi Kobayashi: Sword and Fire, The Mask, and The End of the Love.

2192 年，东京的一间无菌实验室里，一个生化机器人即将诞生。一帮机器人们围绕在她身边，正有条不紊地将电池、活塞和传感器组装在一起。这个生化机器人以强大的摄像头为眼，头部正逐渐被柔软的硅胶材质覆盖，显现出一位眉清目秀的艺伎模样，她的名字叫小林清美。

这部影片讲述了一位日本艺伎在沉睡三个世纪后被唤醒，化身为高科技打造为间谍机器人的故事。对任何电影制作人来说，单枪匹马地完成这件作品都非常需要野心。但中国数字艺术家乐毅（Axl Le）决定把这个短片做出来。他将这个故事制成了动画短片《小林清美》三部曲，其分别是《剑与火》、《面具》和《爱之终结》。

“I couldn’t produce a long-form movie at the time,” Le says. “So the solution was to make preludes and give people at least a hint of the story I had in mind.” The first two films took the form of title sequences, and the latter, of a video clip.

The narrative germinated in Le’s mind after his first visit to Kyoto. One night, on his way back to his hotel, far away from the geisha district, Le was surprised to see a lady in a pink kimono calmly making her way through the ultramodern streets. He was captivated by the contrast between this delicate character and the hypermodernity of her surroundings.

“目前，我还不能制作长篇影片，所以最开始会想做几部短片作为前奏，给观众们带来一些我脑海里的故事线索。”乐毅说。在他创作的三部曲中，前两部短片以片头的形式呈现，最后一部则更像是一段视频节选。

起初，这个故事的萌芽与乐毅第一次造访京都的经历有关。某晚乐毅正在回酒店的途中，在远离热闹的寺庙商圈之外，他意外地看到身穿粉色和服的女孩从容地穿行于现代的街道上，柔美的身影与女孩周围充满未来主义的建筑形成鲜明对比，让乐毅深深着迷。

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Sword and Fire is set in Kyoto in 1872, amidst the scenery of a fictional war. Le recreates the features of Japanese architecture with the same zeal that he sets the mood by manipulating light and color. There’s an underlying sense of conspiracy and mystery around the geisha, as well as hints of a tragic romance with a blood-spattered love letter alongside a soldier’s photograph.

第一部《剑与火》以 1872 年战争纷乱的京都为背景。乐毅再现了富有日本特色的建筑，通过对光影与色彩的调整，营造出影片的氛围。艺伎的身上笼罩着浓浓的不测和神秘感，一封溅满血迹的情书和旁边军人的照片，暗示着一段浪漫的悲剧故事。

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In The Mask, we flash forward 320 years to that harrowing Tokyo lab where Kobayashi is resurrected and transformed into an instrument of espionage. As the skin-colored silicone mask covers the animatronic structure of her head, we see her face for the first time. In this film, Le’s stylistic influences are apparent, and the opening scene looks like a hybrid of Akira and Blade Runner, with a retro-futuristic cyberpunk aesthetic.

而《面具》则把时间推进到 320 年后，在一个冰冷的东京实验室里，小林清美从沉睡中苏醒，成为一名受人摆布的间谍。软硅制成的肤色面具覆于她仿人类结构的头上，第一次展露出她的真实面貌。在这部短片中，乐毅在设计上的风格影响显而易见，开场画面如同《阿基拉》（Akira）和《银翼杀手》（Blade Runner）的混合体，呈现出带着怀旧感的未来主义赛博朋克美学。

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Following the suggestive title, The End of the Love has a drearier mood. Kobayashi wakes up with a bewildered look and falls defeated into her new existence. She calmly walks through the modern streets of Tokyo disguised in full geisha costume: kimono, umbrella, and straw hat. Her amazement at the cityscape shows her remaining traces of humanity.

Le’s trilogy blurs the line between fiction and reality and uses cyberpunk to allude to contemporary issues like surveillance and the control of information. “I see the future as an escape. It hasn’t happened yet, so it’s not real. But it can be used to represent reality,” he says.

到三步曲终章《爱的终结》，影片的氛围正如片名，显得尤为沉重。小林清美醒来，睁开困惑的双眼，坠落到新的世界。她身着整套艺妓服饰：和服、伞、草帽，镇定自若地漫步在现代的东京街头。周围的城市景象让她露出吃惊的表情，展现出她内心所残留的人性。

乐毅的三部短片模糊了虚构与现实之间的界线，并藉由赛博朋克来暗示一些当代社会的话题，例如监视和信息控制。“未来对我来说是一种逃离。它还没有发生，所以不是真实的。但却可以用来代表现实。”乐毅解释道。

Studying architecture in college honed Le’s eye for detail and taught him how to use 3D-rendering software. A job working as an assistant to Chinese photographer Maleonn provided further aesthetic inspiration: “I learned from Maleonn how to make new stuff look old: you have to leave marks on it; it gives it a realness, like fingerprints and scratches. This is an invaluable lesson.”

The 3D-modeling process Le uses combines the digital equivalents of sculpture, painting, and photography: sculpture, because you have to start by molding something that looks like a digital clay ball; painting, because you need to set its texture, color, and opacity; and photography, because you need to set the light.

大学期间主修建筑专业的经历，养成了乐毅在创作上严谨细致的习惯，以及 3D 渲染软件的精通。而他为中国摄影师马良担任助理的经历也进一步激发了他的美学灵感：“我从马良身上学会了如何让新的事物有一种老旧的感觉：就是要在物体表面留下痕迹，譬如指纹和划痕，这样能让物体看上去更真实。这都是很宝贵的经验。”

乐毅的 3D 建模过程结合了雕塑、绘画和摄影等手段。之所以包含了雕塑，是因为整个过程必须首先从“外形”开始，这就像是在制作数字化的粘土球；而绘画则需要调整作品的质地、颜色和透明度；至于摄影，则讲究对整体光线的把控。

Kiyomi Kobayashi was a creative breakthrough for Le, and he hopes that it can eventually develop into a feature-length film. It’s already attracted the attention of a major art institution, the Shanghai Museum of Contemporary Art, which is currently showing the trilogy as the centerpiece of the group exhibition Do You Copy?

Do You Copy? continues at MoCA Shanghai until January 5, 2020. Tickets are available online.

Exhibition:
Do You Copy?

Dates:
Aug. 26th, 2019 ~ Jan. 5th, 2020

Address:
Museum of Contemporary Art Shanghai
231 Nanjing West Road (Inside People’s Park)
Huangpu District, Shanghai
People’s Republic of China

除了音效部分，乐毅几乎一人包揽了短片大部分的制作，他的 3D 创作与深刻的电影摄影艺术出色糅合，让人刮目相看。对乐毅来说，《小林清美》是一次创作上的突破，他也希望最终可以由此延展出一部长篇影片。这部作品也成功引起了一些大型艺术机构的关注：在上海当代艺术馆目前举办的群展“塔台呼唤”中，《小林清美》成为了主要的展览作品。

“塔台呼唤”将于上海当代艺术馆持续开放至 2020 年 1 月 5 日。前往 MoCA 微店即可购票。

展览:
塔台呼唤

展期:
2019 年 8 月 26 日 ~ 2020 年 1 月 5 日

地址:
上海当代艺术馆
上海市黄浦区
南京西路 231 号（人民公园内）
中国

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Contributor: Tomas Pinheiro
Chinese Translation: Olivia Li

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供稿人: Tomas Pinheiro
中译英: Olivia Li

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