Monthly Archives: October 2020

Abominable Adolescents “这是一种可怕的可爱”

October 30, 2020 2020年10月30日

What we are as kids and what adults want for kids can be very different things. As adults, we try to protect and guide children, but despite best efforts, they can be mischievous little monsters. But it’s understandable—we were all kids once and know that the most fun is had around the corner from the adults’ view. It’s something that Vivian Le knows all too well, and in her illustrations, she captures the innocence of childhood with pastel colors and a grisly slant. Resembling dolls or laboratory clones, the children who populate her art rebel against what’s expected of them with violence, profanity, and sex.

小孩的真实面目，可能与成人所期待的那样非常不同。大人不惜一切要保护和教导孩子，但是无论多努力，有些小孩依然是调皮的捣蛋鬼。但这其实不难理解，我们都曾经是小孩，所以我们都知道，最有趣的事情往往发生在大人的视线之外。在 Vivian Le 的插图作品中，她用温暖的色调陈述了阴翳的故事，呈现了自己眼中的纯真童年。在她的作品中，那些外形酷似洋娃娃或实验室克隆出来的孩子，颠覆了人们对小孩的期望，充斥着各种暴力、猥亵和性爱元素。

“I want to challenge the idea of what innocence means by portraying these adolescent figures committing comical acts of debauchery,” Le says. “It’s a macabre cuteness.” Across her works, cherubic figures with plastic limbs swarm among pink backdrops, throwing up the middle finger, and occasionally strangling or eating one another (or worse).

“我想通过描画孩子放荡的行为，挑战人们对于纯真的理解。这是一种可怕的可爱。”Vivian 解释道。粉色的背景中，有着塑料四肢的小孩挤在一起，看上去天真无邪，却又竖起中指，相互勒着对方脖子或噬咬彼此，甚至有过之而无不及。

Her choice of colors are also meant to conjure a different perspective of femininity. “People either love or hate pink, because it’s seen as ‘girly’ which can be misconstrued as ‘lesser,’” she says. “Growing up as a girl, pink was everywhere and it became a journey of whether or not it was appropriate to like pink at all. It was so feminine and I didn’t want to be seen as weak.” But by pairing red with pink, she hopes to subvert these notions. “Together they instill specific feelings of love and sensuality, conflicting with my subject matter.”

她之所以选择粉色也是为了让人们对女性气质有另一种理解。她说：“对于粉红，有人喜欢，有人讨厌；有人会觉得这种颜色太‘女孩子气’，是‘弱者’的颜色。作为一个女孩，从小到大，粉红色简直无处不在，甚至你会想，到底喜欢粉色对不对？它代表的是柔弱的女性气质，但我不希望别人觉得我太软弱。”于是，她用血红搭配粉红，希望这种搭配能颠覆这些偏见。“这两种颜色的结合令人想起爱情与性感，可以让我笔下的小孩形成一种矛盾感。”

The red also appeals to her as a first-generation Vietnamese-Chinese immigrant in America; in Asian culture, the color is associated with luck, vitality, and celebration. “I like to include details like these,” she says. “I occasionally title work in Chinese, and generally give my characters Asian features. But I don’t believe my heritage should ever be reduced to aesthetics.”

另外，红色也源于她作为第一代美国中越混血移民的身份；在亚洲文化中，红色代表着好运、活力和喜庆。她说：“我想在作品中融入这些细节，我偶尔会为作品取中文标题，画一些亚洲面孔的人物。但我认为，我身上的文化根源不应该仅停留在美学层面。”

The world Le has created is many things: for one, it’s designed to evoke fond childhood memories, allowing the viewer and artist to relive their youth. But it also challenges the notion that they were truly days of innocence and provides an outlet to escape the pressures of adulthood.

“The viewer is looking at my subjects through a filter,” Le says. “They are being looked at, therefore objectified. Being projected onto.” Although her work is about children, it’s also about the viewer, and ultimately, herself. “Often, when you see them eating each other’s entrails or eyeballs, that’s me venting my emotions.”

Vivian 创造的艺术世界具有多面性：一方面是唤起美好的童年回忆，让观众和艺术家重温或回顾自己年少的时光；另一方面，又要挑战纯真童年这个概念。更是一种逃避成年压力的手段，但又不会对童年的回忆产生盲目的迷恋。

“观众是通过一个滤镜来看我笔下的人物。它们变成一种被审视的客观对象，是被投射的对象。”Vivian 说道。虽然画的是小孩，但这些作品讲述的也是观众以及她自己。“插画里那些小孩在互相啃噬对方的内脏或眼球，这些其实是我自己发泄情绪的出口。”

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Website: www.vivianleart.com
Instagram: @levivianart

 

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。

 

网站: www.vivianleart.com
Instagram: @levivianart

 

供稿人: Mike Steyels
英译中: Olivia Li

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The Night Shift 缅甸岁月

October 28, 2020 2020年10月28日

“In some way that I can’t define to you, the whole life and spirit of Burma are summed up in the way that girl twists her arms.” — George Orwell, Burmese Days.

Under a gleaming magenta light, a slim young girl, intricately dressed, dances to orchestra music. She twists her arms, hips, and legs in movements carried through generations as she performs on an open-air stage made of bamboo, palm leaves, and tarp. Before her, a lively audience sitting on mats laid out on the bare ground watches on. This is Burmese Zatha Bin, an all-night variety show combining theater, dance, and music, composed of traveling troupes that tour Myanmar’s rural areas.

“对我而言，缅甸女孩子在空中扭动的手臂，或像是当地人生活与精神的一道缩影。” —— 乔治·奥威尔，《缅甸岁月》

明晃的洋红色灯光中，身材苗条的年轻姑娘穿着精致华丽的服装，她正翩翩起舞，身后传来民间管线乐队的声响。在由竹子、棕榈叶和篷布搭建的露天舞台上，姑娘的手臂、胯部和双腿灵活地在空中扭动。正对她的，是围着垫子席地而坐的人群，他们全神贯注，看得入迷。这种名为 “Zatha Bin” 的缅甸传统舞蹈，如今已在当地经历了数代人传承；其融合了戏剧、舞蹈和民间音乐，令人眼花缭乱，有时甚至可以通宵达旦。在缅甸当地，由专门的剧团带队，游走在各个乡间。

A different world exists backstage, where dozens of musicians, dancers, actors, and crew members congregate and prepare before and during the show. That’s what Burmese photographer Zarni Myo Win chose to portray in his series Behind the Curtain. Following 15 different Zatha Bin troupes throughout Myanmar, his series not only documents moments backstage but captures the performer’s lives and the contrasting reality that builds up to the spectacle.

“I followed them to take detailed photographs of how they moved from one place to another, how they set up the show, how they perform, where they stay, and what they eat,” he says. “If I were to express my experience in words, it would be an account of too many pages.”

走下舞台，幕后又是一个截然不同的世界：几十位乐手、舞蹈家、演员和剧组成员齐聚一堂，忙得不可开交。缅甸摄影师 Zarni Myo Win 跟随 15 个不同的 Zatha Bin 舞蹈剧团前往缅甸各地，用镜头捕捉这个后台世界，最终完成了《Behind the Curtain（幕后）》系列作品。

照片上，真实的生活环境以及幕后的片段，与舞台上形成了鲜明对比。 “我的镜头深入到整个剧团，希望能捕捉下每一个细节，包括吃、住、行以及现场的布置、甚至跟随他们体验舞台在不同地方之间的迁移和搭建。如果将这段经历以文字整理出来的话，我可以洋洋洒洒写上好几页纸。” 他说道。

Many images feature the performers putting on makeup and getting into costume, their glamour not diminished by the rustic ambiance around them—tiny rooms of tarp walls litten only by one or two hanging bulbs. It’s where they sit or squat, gazing at small plastic mirrors, and where they spend their time for, on average, 150 days a year. It’s where they eat, have their cigarette or cheroot breaks, rest, and sleep, surrounded by the amalgam of tools, props, and personal belongings they carry on their peripatetic lives.

拍摄大都在由篷布搭建的不大空间里进行，只有一个或两个挂起的灯泡勉强起到照明的效果。不过，表演者的魅力并未因简陋的空间而减弱。在这里，他们常常蹲坐在小小的塑料镜前梳妆打扮，就连每天的吃饭、睡觉、抽烟都在这堆满了杂物和工具的环境中进行。一年平均 150 天，他们都在这样的小房子里度过，过着漂浮不定的生活。

While some of the troupers are art-school graduates, most of them worked in agriculture, low-income service jobs, or hard labor. In a country of oppressively low salaries, joining a Zatha Bin as a trouper is an additional source to make ends meet, even if it’s only of minor help. “For an all-night-long performance, they still earn a minimal wage, which they call ‘night-shift fee’ which is about K10,000 ($8),” Zarni Myo Win says. “I find their lives harder than ordinary people’s lives.” He gives an example of a female trouper who performs in the night’s latest act (that’s early morning) and doubles as a waste collector picking up plastic bottles and other recyclables left onsite when the show is at rest.”

剧团中少数演员来自艺术院校毕业生，绝大多数则由农业、低收入人群组成，一些人甚至平时还做着杂工和苦力。面对缅甸国内低收入的残酷现实，加入 Zatha Bin 舞蹈阵营是额外收入的选择之一，但挣得也并不算多。“演出通常会持续一整晚，但费用却还是不尽如人意。这种被称为所谓的 ‘夜班’ 费用，一般在 10000 缅元左右（人民币 52 元左右），” Zarni Myo Win 说道。“我发现他们演员比一般普通人的生活还要苦。” 他甚至曾看到一些团内成员在演出结束后收集废弃的塑料瓶，赚取额外的费用。

A fascinating aspect of the series is the variety of unique musical instruments he depicts. The heart of any Burmese music ensemble is the Pat Waing, a large horseshoe-shaped percussion instrument made of 21 drums, and the Ci Wain, with a similar form but smaller and made of gongs. In both, the percussionist sits at the center to play. The musicians’ intimacy with these instruments is evident in Zarni Myo Win’s photos where they’re shown resting or sleeping atop of them. Their ability to find comfort in discomfort seems to personify the whole troupe’s attitude.

此外，照片中五花八门的独特乐器也格外吸人眼球。围鼓（Pat Waing，由21个鼓组成的大型马蹄形打击乐器）和围锣（Ci Wain，其形状与围鼓类似，但较小，由锣组成）在缅甸民间音乐中扮演核心角色。演奏这两种乐器时，乐手需要盘坐在由鼓组成的环形中央。在 Zarni Myo Win 的照片中，可以看出乐手与这些乐器之间的亲密联系，他们甚至可以与乐器共枕同眠，这种 “苦中寻乐” 的姿态也体现了整个剧团面对生活的态度。

Out of the spotlight, but equally essential to each show, are the stagehands. In Zarni Myo Win’s photos, they’re often seen holding or sitting next to rope cords and indirectly illuminated by the stage lights. On their faces, not heavy stage makeup, but dried thanaka, a yellowish-white paste that the Burmese people have traditionally worn for thousands of years. Many seem to marvel at the performances unfolding onstage. “Some of them became professional troupers too, slowly, after they join the group as general workers,” Zarni Myo Win explains.

聚光灯之外，管理员同样是舞台必不可少的角色。照片中，他们紧握绳索，或坐在绳索旁边，面孔总被舞台灯光照得通红。脸上没有厚厚的妆容，取而代之的是檀娜卡粉末（ Dried Thanakha）。这种粉末是缅甸当地传承了两千年的黄白色香木粉浆，有消暑、防晒、美白、保湿的功效，也可以在面部图绘出不同的图案。管理员们注视着舞台上的表演，檀娜卡粉末在灯光的照耀下醒目。Zarni Myo Win 说道：“他们中的一些人以普通员工的身份加入剧团，但慢慢也会成为这里的演员。”

At dawn, the whole group breaks camp and moves to the next village in a small procession of trucks and cars. Their travel conditions are akin to their living standards, and road safety is not improving, but rather deteriorating in the country. Zarni Myo Win aches at the memory of a tragic accident he witnessed: a truck tipped over, killing six or seven dancers. However, such a sad recollection exists amidst warmer and happier ones, of when he shared meals or tea with the troupers, having long conversations about their culture and life.

黎明时分，剧团的人们开始拆卸帐篷舞台，他们纷纷坐上卡车和汽车，前往下一个村落。缅甸的出行条件与生活状况不相上下，道路安全的问题尚未得到改善，反而在不断恶化。Zarni Myo Win 难过地回忆起他曾亲眼目睹的一场事故：一辆卡车侧翻，6、7 名舞者因此丧生。不过在这些悲伤的回忆之余，也夹杂着温暖和快乐：他时常与剧团演员一起吃饭喝茶，盘谈甚欢，渐渐地熟悉了他们的文化和生活。

Even more troubling nowadays is the fact that Burmese Zatha Bin is in peril. For decades, it thrived in regions with very few entertainment alternatives. In a country where television is still not widespread in rural areas, it brings communities together and deepens the sense of national character. Unfortunately, the imminence of modernity, cell phones, and the internet has taken its toll on the tradition.

Since performing-arts schools are not well developed in Myanmar, knowledge is generally handed down from one generation to the next, a gift passed on in family lines for over one hundred years. “For example, now, oboists are having a hard time passing on their ability to younger people; most are not interested anymore,” says Zarni Myo Win. “Besides, their earnings don’t even cover the operation costs. What keeps the tradition alive is their passion.”

如今，剧团正面临当下一个令人不安的事实 —— Zatha Bin 正不断从大众视线里消失。几十年来，Zatha Bin 表演在娱乐活动极度匮乏的地区得以蓬勃发展；在一些农村地区，电视机还没有被全面普及，剧团的表演能让社区的人们聚集在一起，加强人们的民族认同感。然而，随着现代化的发展，手机和互联网的普及对这种传统文化带来了新的冲击。 由于缅甸的表演艺术学校发展尚不成熟，一百多年来，这些表演知识通常都是靠家族内世代传承。Zarni Myo Win 说：“一些双簧管吹奏家现在已经很难找到继承人；大多数年轻人都不感兴趣。除此之外，剧团的收入甚至不够支付运营成本，他们只是凭满腔的热血在坚持这项传统。”

The trouper’s perilous conditions are palpable in Behind the Curtain. The series is a cautionary tale of what can happen to culture if not cherished and respected. But it’s also a register of how it endures prompted by the creative passion of a few dreamers. Zarni Myo Win’s series is the complex mosaic of these dreamer’s lives, a dazzling marriage between intent and exertion, which is perhaps best symbolized in the pictures of certain performers getting into character, ready to enter the stage,  the moment of trance when they leave the world behind as they step out from beyond the curtains.

你能在《Behind the Curtain》系列摄影中感受到，传统艺术在缅甸社会现实下的不堪，同时还有那些满怀梦想的执着。Zarni Myo Win 的这一系列摄影作品为人们拼凑出梦想家的方方面面，展示了理想与汗水的交融。其中最具有代表性的莫过于演员上台前的准备画面：当他们进入角色，那一瞬间令人觉得恍惚，他们从幕布中走来，离开背后的世界，踩在聚光灯下，双臂扭动出现实之外的另一个自我。

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Website: www.zarnimyowin.com
Instagram: @zarno_myo_win

 

Contributor: Tomas Pinheiro
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: www.zarnimyowin.com
Instagram: @zarno_myo_win

 

供稿人: Tomas Pinheiro
英译中: Olivia Li

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Graffiti Menagerie “成为领导者，而不是掠夺者”

October 26, 2020 2020年10月26日

Graffiti and street art are often regarded as distinctly separate art forms, but some artists manage to find a way for the two to flow together naturally. Abdulrashade (the name is a combination of his real name, Abdul Rashid, and graffiti name, Shade) is just one such artist. His art combines the energetic flow of his graffiti with a menagerie of wild beasts, birds, and monsters. 

涂鸦和街头艺术通常被认为是两种不同的艺术形式，但也有一些艺术家却能将二者出色地融合，譬如 Abdulrashade。这个名字由他的真名 Abdul Rashid 和涂鸦笔名 Shade 组合而成。他尤其擅长将野兽、鸟类和怪物的图案融入到活力四射的涂鸦作品中去。

Both his graffiti and murals are defined by choppy, wavy textures, and the two styles often merge with one another. His letters burn like flames, billow like smoke, and vibrate with energy. He uses the structure of his graffiti letters in his character designs, slicing them into shards with black linework, coloring it all in the same bright hues, making it easy for one to become the other. He describes it as an expression of adrenaline.

Abdulrashade 的涂鸦和壁画兼具有波浪式的纹理、熊熊燃烧的字体，它们彼此交织融合，字符如跳动的火焰，而波纹像飘缈的烟雾，迸发出蓬勃能量。在每一个字符的设计上，他沿用了字体设计的形式，将字体轮廓用线条一刀刀切割成不同的碎片，然后再用统一的亮色填充起来，让图案与字体交融得浑然天成。每当以这样的形式创作，都能让 Abdulrashade 的肾上腺素飙升。

The Kuala Lumpur-based artist got his start with street art at a late age, not picking up a can until he was 23. These early days were spent painting the same character over and over again, but bored with that repetition, he eventually decided to try his hand at a wildstyle piece, which is a graffiti style using complicated details and the elastic exaggeration of letters. The typography and design involved in such a piece seemed like a natural progression from his graphic-design roots. It was his graffiti that first caught the public’s attention and he’s stuck with the art form since.”I started by exploring the alphabet’s flow but injecting my own organic style,” Rashid says. “Then I began incorporating those strokes into my subjects or abstract patterns. The can and walls are just mediums. I manipulate the strokes into whatever I want it to be. I’m a shapeshifter.”

这位来自吉隆坡的艺术家直到 23 岁才拿起喷漆罐。最早的时候，他总是一遍又一遍地喷绘着相同的字符，直到对这种重复产生厌倦，他决定尝试创作更为野性的作品——Wildstyle，又称野性涂鸦，其拥有复杂的细节、具有侵略性的字体样式。这样的进阶对于本是平面设计出身的 Abdulrashade 来说，像是一件水到渠成的事。

初次引起公众的关注之后，他决定要将这种风格坚持下去。“我先去研究了字母设计的流动性，但同时注入自己原本的风格，之后再开始将这些字体设计纳入我的主题或抽象图案中。喷漆罐和墙壁都只是媒介，而我是这场魔术的主角。”

Rashid has more recently started folding Southeast Asian elements from Malay and Nusantara culture into his work, such as batik patterns infused with nature-related motifs. “I like local folklore too,” he tells us. “It makes my pieces more interesting and meaningful. I feel compelled to promote local culture via graffiti. Not everyone owns their local culture, so when you successfully assimilate the two, it captures people’s eye.”

Abdulrashade 最近开始将马来人和马来世界（Nusantara）文化等东南亚元素融入作品中，例如蜡染图案与自然图案的交相呼应。他说：“我很喜欢当地一些民间传说，这些元素使我的作品更有趣，也更有深层的内涵。我觉得自己有责任通过涂鸦来推广传统文化。并不是每个人都那么熟悉自己的文化，但换一种方式将它们结合在一起，自然会吸引更多人关注。”

These days Rashid runs with BAMC, a global graffiti crew that’s recruited some of the best artists from around the world, including many in Kuala Lumpur. “They have everything I love, it’s definitely not your regular graffiti lettering style!” he gushes. “I found the perfect family, they keep me pushing to be better and I’m honored to carry the name.”

近期 Rashid 加入了 BAMC，这是一支全球性的涂鸦团队，在世界各地招募最出色的涂鸦艺术家，其中也包括吉隆坡多名艺术家。“这个团队有我想要的一切，大家的涂鸦作品都很不同凡响！我们是一个大家庭，它让我不断努力变得更好，很荣幸能成为他们的一员。” 他激动地说道。

Rashid is a full-time mural artist now but often avoids government commissions to stay out of politics. “If it’s an event or festival for the people, I’m all in,” he says. In fact, it was one such festival that convinced him to start painting animals.

Rashid 现在是一名全职壁画艺术家，不想参与政治的他，并不待见政府主办的任何项目。他说：“如果是面向大众举办的活动或节日，我倒是很乐意参加。”实际上，促使他开始创作动物图案的契机也是他参加的一次活动。

He recalls that his usual style might not have made sense at this particular event, so he decided to paint a rooster. “I called it ‘Be a leader, not predator,’ because roosters are supposedly the head of the family but sometimes eat baby chickens or eggs,” he explains. “I got a good response and learned that Malaysians prefer things they can relate to.”

回想起来在一次活动上，Abdulrashade 原本的涂鸦风格与活动主题有些出入，于是临时决定画一只公鸡。他解释说：“我给这幅作品取名’成为领导者，而不是掠夺者‘，因为据说公鸡虽然是一家之主，但有时也会吃小鸡或鸡蛋。这幅作品获得了很好的反响，这让我意识到，马来西亚人更容易接受与自己文化息息相关的事物。”

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Contributor: Mike Steyels
Chinese Translation: Olivia Li

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Website: www.abdulrashade.com
Instagram: @abdulrashade
Facebook: ~/abdulrashade

 

供稿人: Mike Steyels
英译中: Olivia Li

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Akira, Remixed 阿基拉！

October 23, 2020 2020年10月23日

When COVID-19 brought the world to a halt, galleries scrambled to figure out digital alternatives. While this often led to some clunky, difficult virtual exhibitions, it also opened up new possibilities. Steve Lawler, AKA Mojoko, originally launched his Akira fan-art show with the intent of a physical showing. But when forced to launch a digital show instead, he adapted, finding solace in the fact that they were now able to create a Neo-Tokyo styled space that’s itself an extension of the Akira multiverse. Viewers can duck into the dark, grimy gallery (created by METAMO Industries), which is loosely based on Harukiya, the bar that the biker protagonists frequent in the film. Inside, they’re introduced to virtual sculptures created by Japanese artist Humanoise, themselves based on the violent stuffed animals that appear in the anime. Digital artworks reimagining other characters and scenes from the iconic title are hung on the walls. “If we did it in real life it wouldn’t have looked like that cyberpunk gallery,” Lawler laughs. “I’d hate for people to come to a real-life white cube and be disappointed.”

新冠疫情的爆发就像给世界按下了暂停键，各地画廊争先恐后地寻找数字化替代方案。虽然由此带来的线上虚拟展览比较复杂，也未尽如人意，但也为艺术展览开辟了新的可能性。Steve Lawler（又名 Mojoko）原本打算在线下推出的《阿基拉》艺术展览，也因为疫情被迫转为线上的形式。进行了一些调整和适应后，他发现了线上展览也有其优势：他们可以打造一个新东京风格的空间，作为阿基拉多重宇宙的延伸，为观众呈现一个黑暗肮脏的虚拟画廊空间（由 METAMO Industries 公司打造）——而这个空间以动画《阿基拉》中作为主角的车手少年经常光顾的 Harukiya 酒吧为原型设计。进入画廊后，观众将看到由日本艺术家 Humanoise 打造的各种虚拟雕塑，这些雕塑是根据动画中的暴力玩偶而设计的。墙上还挂满了以这部经典动画作品中的其他角色为原型设计的数字艺术品。“如果我们是在线下做这个展览，可能就不会有这种赛博朋克的氛围。我可不想让观众来到展览，却因为看到那种‘四面白墙的白盒子画廊’而感到失望。”Lawler 笑道。

The exhibition features 14 original pieces from artists across Asia. One black-and-white drawing by Singapore’s Arcadia In Mayhem has so much detailed linework it resembles an inescapable maze. SuperCyberTown’s submission reimagines the destruction of the fictional megacity, with the film’s Japanese title plastered above the blast zone. BÜRO UFHO’s digital painting deconstructs the iconic neon signs and highway overpasses into swirling shards of glass, concrete, and metal. Ivan Despi from the Philippines has created an illustration with elements from the film exploding from the mutated arm of Tetsuo Shima.

“I simply called up some artist friends that I knew were capable of making some really potent work,” Lawler says. “With projects like this, as soon as you email them, you get an immediate reply: ‘Fuck yea!’ They can’t wait.” He didn’t give them any guidelines other than that the pieces be scaled to A0 size and ensure that they’re printable. Other than that, the artists were given free rein. “Creative freedom is part of the deal.”

此次展览展出了多位亚洲艺术家的 14 件原创作品。来自新加坡的 Arcadia In Mayhem 创作了一幅精密繁复的黑白线稿，看上去就像是一个无法逃脱的迷宫；SuperCyberTown 的作品则呈现了一座虚构的大城市被毁灭的画面，而《阿基拉》的日文片名就出现在爆炸现场的上方；另一边，BÜRO UFHO 的数字绘图将标志性的霓虹灯招牌和高速公路立交桥解构，变成了旋转的玻璃、混凝土和金属碎片；而菲律宾艺术家 Ivan Despi 则画了岛铁雄的变异手臂，从手臂中爆发出动画中的各种元素。

Steve 说：“我只是召集了一些艺术家朋友，因为我相信他们能创作出不错的作品。大家都很喜欢这样的项目，所以刚发完邮件就收到大家的回复：‘当然可以了！’，每个人都满怀期待。”Steve 没有给艺术家们任何规则限制，除了要求作品可以按比例缩放为 A0 大小，以便打印作品。除此之外，艺术家们可以自由创作。“创作的自由性是基本的要求之一。”

Akira is a film that excites people from all walks of life and has served as an inspiration to an entire generation of artists. So how can someone possibly build on something so indelible? “Akira is a timeless piece, but it’s pacing is so fast, the movements so quick; there are times where you wish you could pause and expand on it and elaborate on it,” Lawler says. “I never felt like we were adding to the film; it was more about adding to the Akira multiverse, giving fans something more to drool over.”

那么问题来了：《阿基拉》是一部让所有人都热血沸腾的电影，曾激励着一整个世代的艺术家，真的能在这样经典的作品之上再创作吗？Steve 是这么看的：“《阿基拉》是一部经典作品，但它的节奏很快，动作切换得飞快；有时候，你恨不得按下暂停键，将画面进行扩展和丰富。我从不认为我们是在丰富这部电影；更多的只是在丰富阿基拉的多重宇宙，给粉丝更多有看头的东西。

Lawler says he’s a collector at heart and that bringing together various artists for a project like this sates that particular drive. “It’s really exciting when people start sending you artwork and you’re downloading this new exciting image,” he says. “It’s really like collecting art.” The project was created under the umbrella of the Unusual Network, a content creation agency that connects artists with brands and institutions. But the Akira-inspired show was simply for the love of art rather than as a commercial project. “We just want to keep ourselves interested, keep ourselves excited, which in turn keeps us exciting.”

They didn’t commission the pieces but it did provide a platform for the collaborating artists to sell their work. Unusual Network worked with a respected printer to sponsor the printing and framing of artworks. And they handled the website, dealing with fulfillment and sales. “Group shows are low commitment,” Lawler explains. “Maybe artists don’t have the time for a whole solo show but they’d love to do one piece for a group show.”

Steve 觉得能汇聚各个领域的艺术家一起来创作这个项目，让他很有满足感。他认为自己的内心是位收藏家，“当你收到大家发来的作品，然后你点击下载时，这个过程真的令人激动不已，感觉就像是在收藏艺术品一样。”这个项目是在 Unusual Network 的支持下完成的，这是一个致力连接艺术家与品牌和机构的内容创作工作室。但举办阿基拉同人作品展览纯粹是出于对艺术的热爱，而不是作为一个商业项目。“我们只是想满足自己的兴趣爱好，让自己开心一下，反过来这又让我们在创作时更有热情。”

他们没有付费委托创作这些作品，但也为合作的艺术家提供了一个销售作品的平台。Unusual Network 与一家著名的印刷商合作，赞助艺术品的印刷和装裱。而他们则负责管理网站，处理送货和销售的工作。Steve 解释道：“参加群展不需要投入太多时间，有些艺术家可能没有时间去准备个人展览，但他们可以将自己的一幅作品放到群展里展出。”

“There are a lot of people in Singapore who are skillful but they’re not really driving the scene properly,” Lawler says, laying out why it’s important to organize projects like this. “They’ll try and apply for money, and if they don’t get the money they won’t do the project. I kind of do the project and then ask for money. Artists are naturally givers but when it comes to something like organizing an event or gallery it’s just too much work.”

“新加坡有很多高水平的创作者，但他们并没有切实地推动着这个行业的发展。”Steve 说，“很多人都是先尝试申请资助，如果拿不到钱的话，可能就不会做这个项目了。而我是先做项目，然后再去要钱。艺术家是天生的给予者，但是要组织活动或举办展览实在是需要付出大量精力。”

Although the virtual gallery was a work of art in itself, Lawler still pines for a physical space and bristles at parts of the digital format. “In a browser, viewers lost a lot of functionality and it often froze,” he sighs. “There were issues with zooming in on the artwork too. But I’m looking forward to doing it again and exploring more virtual-reality features.”

Singapore is slowly returning to normal now as more galleries are allowed to reopen, and Lawler plans to follow through with a physical showing of the Akira show. “As fun as these digital galleries can be, nothing beats the in-person connections made at a physical space,” he says. “People create bonds for life at shows like that and it makes me feel great to play a role in that.”

虽然虚拟画廊本身就是一件艺术品，但 Steve 仍然渴望有实体的画廊空间，也不太满意数字化的形式。“用浏览器看展的话，很多功能会由此牺牲，而且很容易卡死，放大作品也有问题。”他叹了口气，“但我很期待再做这样的线上展览，探索更多的虚拟现实功能。”

在新加坡，人们的生活正逐渐恢复正常，越来越多画廊获准重新开放，Steve 计划继续举办线下的阿基拉同人作品展览。他说：“数字化的虚拟画廊固然很有趣，但始终无法取代实体空间里人与人之间的联系。在实体的展览里，人们可以互相结识，参与举办过程也让我觉得很棒。”

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Website: www.theunusualnetwork.com/akira

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li

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网站: www.theunusualnetwork.com/akira

 

供稿人: Mike Steyels
英译中: Olivia Li

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Tangible Light 触摸光是种什么样的体验？

October 21, 2020 2020年10月21日
Photographer: Han Cheng-Yeh 摄影师: Han Cheng-Yeh

What would it be like to touch light? Aka Chang has a better idea than most. The Taipei-based light artist, whose given name is Chang Fangyu, uses lasers, projectors, and computer code to create planes of color, deconstruct rooms, and sculpt shapes out of thin air. He collaborates with musicians, DJs, and performance artists to bring his art to life. 

触摸光是种什么样的体验？Aka Chang（原名张方禹）可能比大多数人更有体会，这位来自台北的艺术家利用激光、投影仪和电脑代码来构造彩色平面，解构空间，在空气中雕塑光的轮廓，并会与音乐家、DJ、表演艺术家合作，生动地呈现自己光线艺术。

Chang got his start as a VJ while studying fashion design in college. At first, he simply stitched together animation and film clips, which he would make move to the sound of the beat. “The style was like ’90s MTV videos,” he laughs. “Today it might seem old school, but in 2005 there weren’t many VJs in Taiwan.” 

在大学修读服装设计时，Aka Chang 就成为了一名 VJ（“影像骑师”，即搭配音乐来播放画面者）。起初，他只是简单拼接动画和电影短片，按照音乐节拍剪辑影片。“那些作品的风格很像 90 年代的 MTV 视频。现在看来比较 old school，但在 2005 年的时候，台湾做 VJ 的人还很少。” 他笑着说道。

These interests led him to start a VJ group called Muse Whisper, which operated together for about 10 years. He was also part of MWVA, an audiovisual arts group with a fluctuating roster of members. These collaborative projects allowed him to build confidence and explore his ideas as he learned. “In some ways I’m very shy, and for years I was troubled by depression. Art gave me the freedom to find a way to believe in myself.” As he grew more skilled and self-assured, he began to step out from the shadows and reveal himself as a performer, working under his current stage name.

兴趣使然的他成立了一个 VJ 团队，取名 Muse Whisper，团队一起创作了大约 10 年时间。另外，他还是 MWVA 的成员之一，这是一个视听艺术团体，成员流动性比较大。这些合作项目让他树立了信心，不断去探索自己的创意想法。“在某些方面，我比较害羞，而且多年来深受抑郁症的困扰。是艺术给了我自由，让我重拾自信。”渐渐地，他逐渐从阴霾中走出来，并以现在的艺名成为了一名表演艺术家。

A recent project took place at Taipei’s most prominent underground dance music club Final. Using lasers, roving stage lights, and LEDs trained on smoke and walls, Chang sent shards of light in geometric patterns over the dance floor, seemingly changing the shape of the room. The lights hung mid-air, fluttering with the beat. The installation was created for a party thrown by the rave organizers Pure G.

Light art often finds a home in clubs, and Chang has worked on similar projects turning familiar spaces into new worlds. Last year, he used 190 red laser beams to weave a glowing net that hovered five meters above the dancing crowd. Called Empty Universe, it featured Pure G DJs performing on stage, fitted in all-white and covered in masks by designer Kayn Ken Chen, while Chang conducted his orchestra of blazing red light. 

Aka Chang 最近的一个项目是在台北著名地下舞蹈音乐俱乐部 Final 的表演。他使用激光器、闪烁的舞台灯光，以及映射到烟雾和墙壁上的 LED 灯光，在舞池中投射出几何图案的光线碎片，看上去似乎改变了整个空间的形状。悬挂半空的灯光，随音乐节奏摇摆，这是他为锐舞派对主办方 Pure G 而打造的艺术装置。

灯光艺术多见于俱乐部，Aka Chang 之前也做过一些类似的项目，用灯光将人们熟悉的空间改头换面。去年，他在舞池观众上方 5 米的空中，用 190 支红色激光束编织了一个光亮的网，作品取名《Empty Universe》（虚空），搭配上场地方 DJ 们的音乐与 Kayn Ken Chen 设计的全白服饰与口罩，Aka Chang 则负责操控耀眼的红色光束。

摄影师: Ray Zhao
摄影师: Ray Zhao
摄影师: Ray Zhao

The link between light art and music is natural. A more intimate example of this symbiotic relationship is Chang’s June Orbs project. It’s a traveling collaboration with musician Jez Fang, a pioneer in Taiwanese experimental electronic music from the group KbN. The pair sit facing each other on a stage built from interlocking plastic boxes, surrounded by four obelisks, each projecting light from its peak. “Usually we work together by jamming,” Change explains. “He’ll throw out some sounds, and I’ll try to start developing some visuals, so the sound and visuals grow organically.”

Chang relies primarily on TouchDesigner to create his visuals, which is plugged into Fang’s Ableton controls, so some knobs that control the music will also affect the light, making both wobble or expand together, for example. Although the sphere seems to float in the air in three dimensions, it’s actually projected onto the wall behind them.

灯光艺术与音乐之间天然有着紧密的联系，这种相互依存的关系在 Aka Chang 名为《June Orbs》的作品中尤其突出。这是他与音乐人 Jez Fang 合作的一个巡演项目。Jez Fang 是 KbN 乐团成员之一，是台湾实验电子音乐的先驱。表演时，他们两人面对面，坐在一个由互扣塑料盒搭建的舞台上，四个方尖碑将他们包围其中，从顶部投射出光线。Aka Chang 说：“我们通常都是即兴演奏。在他给出一些音乐后，我就尝试根据制作出视觉效果，所以两者都是以一种即兴的方式展开的。”

Aka Chang 主要运用 TouchDesigner 来创造视觉效果，他将其连接到 Jez 的 Ableton 控制器中，这样一些控制音乐的按钮也能用来调整光线，譬如可以使得光线随音乐一起摆动或扩散。虽然看上去像是一个漂浮在空气中的立体光球，但实际上光线只是投射到他们身后的墙上。

Chang works with stage performers too, blending with their choreography, accentuating the movement of their bodies, and elevating the mood and meaning of their work. Last November he participated in the Kuan Du Light Art Festival, which took over Taipei Art University’s swimming center. As dancers and actors appeared to walk on the surface of the dark water, Chang sent blasts of fluorescent lasers, transforming them into stark silhouettes, drawing paths to the heavens, and opening doors that seemed to lead to alternate worlds.

Aka Chang 也会与舞台演员合作，结合他们的编舞，用光线突显舞者的身体动作，营造氛围，传达作品的涵义。去年十一月，他参加了在台北艺术大学游泳中心举办的关渡光艺术节。当舞者和演员行走在黑暗的水面上，Aka Chang 用荧亮的激光将他们变成鲜明的轮廓，勾勒出一条迈向天堂的道路，打开了通向异世界的大门。

摄影师: Lin Yu-Quan
摄影师: Lin Yu-Quan
摄影师: Lin Yu-Quan

“In one part, an astronaut stood in the center of the pool while beams from four corners baptized and shot through him, like a symbol of energy transferral and intensification,” Chang explains. “A laser beam fell onto the water, reflecting a surface of light, like an image of a rift in space and time. Finally, four beams drew a cross in the pool, like a path guiding the astronaut ashore. All the scenes have a futuristic, high-tech feel, but they create a richly philosophical and poetic relationship between pure light and people and space.”

“Laser light is very strong, very extreme, and once it appears no one can look away,” Chang says. “At the same time, the surface of the light that appears in the air is so delicate, so beautiful.”

“在其中一个部分，一位宇航员站在水池中心，四面八方的光束将他包围起来，并穿透他，这是在象征能量的转移和凝聚。”Aka Chang 解释道，“一束激光投射到水中，映照出光亮的表面，看上去像是时空的裂痕。最后，四支光束在池中勾勒出一个十字架，仿佛是在指引宇航员走上岸。所有场景充满前卫的未来感和科技感，同时营造出光线、人与空间之间的深刻哲理和诗意关系。”

“激光是一种强烈、激烈的光线，人们无法忽视。但与此同时，当激光在空气中传播时，它又显得如此微妙而迷人。”

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Instagram: @aka_chang

 

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: @aka_chang

 

供稿人: Mike Steyels
英译中: Olivia Li

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The Simple Things 两面人生

October 19, 2020 2020年10月19日

With hands tucked behind her head, a young girl lounges inside a pitted avocado half. Her partner in crime—on the other side of the frame—holds the pit like a basketball above his head, almost as if he’s ready to go for a free throw. Between them, a row of delicious avocado slices is nestled atop a warm bed of toast. The illustrations of Dana Hong are often just as simple as this one, but this simplicity is precisely what makes them so endearing. Using vivid colors and crisp lines, the Korean artist conjures idyllic worlds zested with a child-like sense of playfulness and joy.

她，双手垫着后脑勺，背靠着巨型牛油果豆袋，她就这么舒舒服服地躺着休息；他，手举着牛油果核，就像准备扣篮一样，试图抛掷果核。横亘图片中间的，恰恰是一片温热的烤面包，涂满了切片牛油果。

如果是第一次看 Dana Hong 的插画作品，你大概很容易被其中的色彩和线条所吸引。她的插画通常内容多为一两个人物和日常生活环境，但大量鲜艳色块的运用，却让她的作品富有趣味——它们简单，却并不单一。Dana 试图用自己的方式呈现生活的两面性。

Born in South Korea, Hong moved to the U.S. to study communications, and then later graphic design in the U.K. Though she’s now set up base in Seoul, her international experiences have endowed her with invaluable clarity with what she wanted out of life—to be a full-time illustrator.

When Hong first moved back to Seoul after her time in the States, she had trouble fitting in. Her appearances didn’t fit in with the mainstream notions of beauty in the country. In combating the anxiety and negative emotions that followed, she turned to art. With a stylus in hand, she channeled the frustrations she felt into her drawings.

出生成长于韩国的 Dana，在美国读了传媒专业之后，又去英国念了设计，目前定居首尔。漂泊的经历却给了 Dana 确定自我方向的机会，成为一名插画艺术家似乎是偶然中的必然。

本科毕业后的 Dana 回到家乡首尔，却发现自己怎么都融入不了韩国对年轻女性的主流审美。为了对抗一系列由生活上的变化所带来的焦虑和抑郁情绪，Dana 打开电脑，尝试用线条和色彩将她内心的感受一点点形象化，以此作为发泄的方式。

Then, when she was furthering her studies in the U.K., she met a boy. But upon finishing school, she had to move back to Seoul. Their long-distance relationship became the creative basis of her multimedia project Mediated Love. In each animated scene, she captures the routines of their separate lives and the challenges of maintaining a relationship time zones apart.

On the project’s webpage, each frame is interactive. Hovering your cursor over the page will change the scene. Sliding a bit to the right will reveal the female, who’s stuck in Seoul, and sliding the cursor to the left will unveil the boy in London. Each is going about their day (or night). In one scene, it’s 1 a.m. in Seoul and she’s sound asleep in bed, but on the opposite side of the world, the boy is enjoying the sunshine and listening to music. He texts her a link, “Babe, check this song out when you wake up!” For anyone who’s been in a long-distance relationship, there’s a relatability that tugs at the heartstrings.

后来在英国读书时 Dana 遇见了恋人，但回国后二人不可避免地开始了时差长达 8 小时的异国恋。Dana 将灵感延伸，创作了名为《Mediated Love》的多媒体艺术项目，用一组动态视频表现跨国恋情侣的日常，并借此探索在远程沟通代替见面的数字时代，恋人间的亲密是如何被影响、转化和体现的。

在作品网页上，画面可以随着鼠标滑过而切换场景——左边是在首尔的女孩，右边是在伦敦的男孩，表现同一时间的两人正在做不同的事。她细腻而敏锐的感知，转化为这一作品里无处不在的真实动人的细节——如首尔凌晨1点半，女孩正在睡觉时，正在晒太阳的男孩将听到的歌曲发给她，“宝贝，等你起床后听一下这首歌噢”。任何有相似经历的人，或许都能感到一丝共鸣。

Illustration is Hong’s way to bridge her emotions with the tangible world. Through art, she hopes that the emotions that people often suppress in our hectic lives can be given ample breathing room. In fact, negative emotions are often the starting point for her art—she often feels most inspired when she’s in a down mood, and as she creates, her negative emotions give way to positive energy. With her simple linework and colors, Hong looks to bring about a similar cheery mood for viewers. “I hope my illustrations can put people in a different headspace, allowing them to reflect on and embrace their emotions,” she says. “My works are a salutation of sorts, a way for me to ask people, ‘Are you feeling ok?'”

插画是 Dana 表达情绪和与世界产生联系的主要方式，她希望其他的人在看到她的插画时，也能够感受到那些在这个疯狂、复杂而快速的现代生活里被压抑的情绪，并与之共鸣。

Dana 通常在自己心情低落的时候开始画画，但创作的过程却常常让她不知不觉中将负面情绪转化为了积极能量，Dana 希望能通过简单的色彩与线条组合，给观者传递一种积极的“正能量”。“我的插画让其他人跟我有了情感上的共鸣和连接，真的很棒。” Dana 说，“我希望我的插画能够为观众提供一个空间，让他们坦然思考和拥抱自己的情绪，我想通过这些作品去传递我的问候，对他们说‘你们还好吗’？”

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Website: danahong.kr
Instagram: @hongdana

 

Contributor: Echo Tang

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网站: danahong.kr
Instagram: @hongdana

 

供稿人: Echo Tang

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Chiang Mai Revivalists 去一趟清迈，怀旧

October 16, 2020 2020年10月16日

Is it that life was more interesting in the past or that we look at the past through rose-colored glasses? Either way, vintage is still hip, and a group of local Chiang Mai entrepreneurs is leveraging its timeless cool in their businesses—some driven by nostalgia, all driven by passion.

真的是过去的生活比较有趣吗？还是因为它带着玫瑰色的滤镜？无论如何，Vintage 现在仍然很时髦，一群清迈当地的创业家选择善加利用 Vintage 的迷人魅力，有人是出于念旧而为之，但对他们来说，热情是最根本的动力。

The Toys Club & 1st Press

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When Bird Trinniphat found a childhood toy, a Japanese superhero figurine made in 1991, he was filled with joy. This would become the start of a collection of now over 3000 original Japanese toys from the 1960s to the late 1990s. His entire collection is now on display at his café, The Toys Club, tucked away on a nondescript street east of the Ping River. The collectibles are displayed alongside retro video games, signage, and other related paraphernalia.

He keeps his most valuable items in a glass cabinet near the bar, including his rarest toy: the Tetsujin 28-go, a handmade robot from the early 1980s, and one of only 500 ever made. “Their value increases with the years,” he explains of his toys’ value. “If you still have the original box and original price tag, even better. Sometimes, these toys were never opened at all, which makes them even more valuable.”

Trinniphat often travels to Japan to hunt for collectibles in toy stores, thrift shops, and even local grocery shops, avoiding bigger cities to get better deals. In recent years, he’s begun looking for noteworthy items in Thailand, at a small town by the Salween River, on the border between Thailand and Myanmar, where containers filled with second-hand products from Japan regularly arrive. “They sell stuff in bulk, by the kilo,” he says. “Sometimes I find truly fascinating stuff in the piles, and people don’t realize their value.”

A sliding door at the back of The Toys Club opens into 1st Press, a hidden Japanese-style vinyl bar, Trinniphat’s latest project. Together with Print Siwakorn, a 24-year-old vinyl collector and bartender, they’ve faithfully recreated the atmosphere of a Japanese speakeasy in Chiang Mai, similar to the ones Trinniphat would visit on his trips. The space—decorated with old sofas, chairs, and an impressive record collection—is inviting and warm, and feels more like a friend’s living room than a bar.

 

Hours:

The Toy Club, Tuesday to Saturday, 10 AM ~ 6 PM
1st Press, Tuesday to Saturday, 5 PM~ 12 AM

Address:

46/1 San Pa Koi Rd, Tambon Chang Moi, Mueang Chiang Mai District

当 Bird Trinniphat 找到了一个小时候的玩具——1991 年制造的日本超级英雄模型时，他感到无比开心。这触发他开始收藏 1960 年代到 1990 年代的中古日本原创玩具，至今已经累积 3 千多件。他把所有收藏都陈列在他经营的咖啡馆里——The Toys Club，座落在 Ping River 东边河畔一条隐匿的街上。除了玩具，一起展出的还有一些复古电子游戏、广告牌和装饰品小玩意。

最值钱的收藏品都被收在吧台附近的一个玻璃展示柜里，包括他最稀有的物件：1980 年代早期全手工制作的“铁人 28 号”模型，是全世界仅仅 500 件的其一。“它们的价值会随着时间增加。”他解释道，“如果你还保留着原本的包装盒和原价标签，那就更好了。有时候这些玩具根本就没有拆开过，这让它们更值钱。”

Bird Trinniphat 经常去日本的玩具店、二手店、甚至是杂货店寻找收藏品，通常在大城市以外的地方会有更好的发现。近年来他开始在泰国本地挖宝，在缅甸和泰国边境的萨尔温江边的一个小镇里经常会有装满来自日本二手产品的集装箱。他说：“他们以公斤为单位批量销售商品。“有时候我会在成堆的货物中发现真正吸引人的宝物，其他人都不知道它们的价值。”

隐藏在 The Toys Club 后面一扇拉门背后的是日式黑胶酒吧 1st Press，这是 Bird Trinniphat 的最新计划，他与 24 岁的黑胶收藏家兼调酒师 Print Siwakorn 一起忠实再现了之前旅行途中经常拜访的日本地下酒馆的氛围。店内温馨迷人的空间收纳着老旧沙发座椅和令人叹为观止的黑胶唱片收藏，给人感觉就像待在朋友家的客厅一样亲切。

 

营业时间:

The Toy Club：周二到周六，早上 10 点到晚上 6 点
1st Press：周二到周六，下午 5 点到凌晨 12 点

地址:

46/1 San Pa Koi Rd, Tambon Chang Moi, Mueang Chiang Mai District

Stand Behind the Yellow Line

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A stone’s throw away from Chinatown is Stand Behind the Yellow Line, a garage that’s been converted into an antique shop by husband-and-wife duo Vorawan Lekvongderm and Sirat Assawachaipong. The name comes from the first iteration of their shop, which was opened in Bangkok beside an MTR station.

Inside the new Chiang Mai location, it feels like a hoarder’s paradise—with a wide variety of products filling every possible corner, ranging from kitchen appliances and religious artifacts to stationery goods and vintage posters. Even entire Disney VHS collections and Penthouse magazines featuring Pamela Anderson can be found for sale. It’s a nostalgia-inducing space, especially for kids who grew up in the late 1980s and 1990s.

Aside from the comprehensive collection of retro goods and antiques, the couple has also managed to find space to add a coffee shop and bar serving coffee, beer, and—for kids—Milo chocolate drink.

 

Hours:
Monday to Saturday, from 10 AM ~ 7PM
Vinyl bar is 5 PM ~ 10 PM

Address:
140 Chang Moi Rd, Tambon Chang Moi, Mueang Chiang Mai District

距离清迈中国城只有一步之遥的 Stand Behind the Yellow Line，是一家由 Vorawan Lekvongderm 和 Sirat Assawachipong 夫妻俩用车库改建而成的古董店，店名的灵感源自他们在曼谷的地铁站旁开的第一家商店。

清迈的新城区是收藏家的天堂，各式各样的物品琳琅满目，从厨房用具、宗教文物到文具用品和复古海报，甚至迪士尼所有的录影带、Pamela Anderson 担任封面模特的《阁楼杂志》都可以找到。这是一个引人怀旧的地方，特别是对于在 1980 到 1990 年代长大的那一代来说，更是如此。

除了展示数量繁多的中古物件和古董，这对夫妇还设法挤出了空间供应咖啡和啤酒，以及专为小孩子准备的美禄巧克力。

 

营业时间:
周一到周六，早上 10 点到晚上 7 点；黑胶酒吧是下午 5 点到晚上10 点

地址:
140 Chang Moi Rd, Tambon Chang Moi, Mueang Chiang Mai District

Den Souvenir

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Den Souvenir is a zine and art shop owned by Kitiwat Mattanapan that’s become a local hub for underground and graffiti artists and enthusiasts. More than a shop, it’s a space that encourages artistic collaboration.

Mattanapan also runs his own publishing house, the Den Publishing Group, curating zines featuring local and international artists. To support the creators, he bears the printing costs himself and sends half of the copies to the artists, wherever they are. He also owns a streetwear clothing label, with limited edition designs made in collaboration with local designers, which are also available for sale in the store

There’s a corner of the shop dedicated to pop-up exhibitions, which he hosts at least once a month. “In Chiang Mai, everybody knows each other in the art scene,” he says. “Still, it’s very diverse. Our store is one of the few enablers of collaboration. It goes beyond just selling stuff; we want to be like a meeting point for artists in Chiang Mai.”

Other parts of the shop are dedicated to miscellaneous souvenirs, including a collection of original 1980s Pattaya and Phuket caps with tropical prints or Memphis patterns. Scattered around the space, you can also find bootleg toys, political toy art, and miniatures with graffiti art painted by local artists.

Hours:
Friday to Wednesday, 1 PM ~ 6 PM

Address:
48 Chaiyapoom Rd, Tambon Si Phum, Mueang Chiang Mai District

Den Souvenir 是 Kitiwat Mattanpan 经营的一家杂志和艺术空间，现已成为当地涂鸦艺术家和地下文化爱好者的本营。它不仅仅是一个商店，更是一个激发艺术合作的场所。

Kitiwat Mattanapan 同时经营着自己的出版社 Den Publishing Group，策划当地和国外艺术家的独立手工杂志项目。为了支持创作者，他自愿承担印刷费用，并把一半的杂志都寄给艺术家，无论他们身在何方。他还拥有一个街头服装品牌，与当地设计师合作制作限量版设计服饰，商店里也有贩售。

店里有一处角落是专门保留给每月至少举办一次的快闪展览。他说：“在清迈的艺术界每个人都互相认识。”他说，“这里还是很多样化的，我们的商店是为数不多促成合作的媒介之一。不只是买卖，我们还想成为清迈艺术家的交集。”

商店也有出售各种各样的纪念品，包括一系列产自 80 年代芭堤雅、普吉岛热带图腾或孟斐斯图案的帽子。散落在其他角落，你还可以找到违禁玩具、带有政治意味的艺术古玩、以及由当地艺术家绘制的涂鸦微型模型。

 

营业时间:
周五到周三，下午 1 点到晚上 6 点

地址:
48 Chaiyapoom Rd, Tambon Si Phum, Mueang Chiang Mai District

Brewginning

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A few doors down from Den Souvenir, a group of friends opened Brewginning a little over one year ago in a mid-century modernist building. They were initially attracted by its street corner location, and have designed it to be a semi-open coffee shop; it can be difficult to distinguish where the street ends and the cafe begins, especially considering the minimal amount of seating.

A Chinese tailor previously occupied the building, and he ran his clothing shop on the ground floor and used the upper floor as his workshop. “We wanted to keep the original features of the building, so we only made small improvements. Most of it remains as it was, even the holes from hooks and hangers and the original color of the walls,” says Natdanai Sontinen, one of the founders.

The second floor has an open terrace and other multifunctional rooms, including the original bathroom, which doubles as a photo booth for events. On the walls, vestiges of old Chinese New Year couplets sit in contrast with art prints, cracked concrete, and exposed piping, forming a unique take on the derelict-industrial style.

 

Hours:
Daily, 7 AM ~ 7 PM.

Address:
260 Chang Moi Rd, Tambon Chang Moi, Amphoe Mueang Chiang Mai

大约一年多前，就在 Den Souvenir 附近不远处的一座中期现代主义建筑里，一群好朋友来到这里联手开了一家名为 Brewginning 的咖啡厅。受到它独特的街角位置吸引，他们将它设计成一个半开放空间，座位数量极少，让人难以分辨清楚咖啡馆和街道的分界。

这座大楼先前是由一位中国裁缝所有，他在一楼开了一家服装店，楼上则是工作室。“我们想留下原有的特色，所以只做了一点小改动。大部分都保持原样，挂钩和衣架的钻洞、甚至是墙壁的颜色都没有改变。”创始人之一 Natdanai Sontinen 说道。

二楼有开放式露台和其他多用途空间，原先的浴室现在作为活动摄影棚。墙上还可见古老的中国新年对联，历史的痕迹与艺术版画、裂开的水泥和裸露的管线形成了鲜明的对比，形成了一种别具一格的废弃工业风。

 

营业时间:
每日营业，早上 7 点到晚上 7 点

地址:
260 Chang Moi Rd, Tambon Chang Moi, Amphoe Mueang Chiang Mai

Lee On Ink

Students in uniforms eating cake with baby cutlery lounge about on mismatched furniture while tattooists, wearing gold-and-silver chains and all-black baggy clothes, ink equally edgy customers. That’s the vibe at Lee On Ink.

When Ponatip Suanphet, better known as Leeon, discovered an empty warehouse in a mostly residential area away from the old town, he saw it as the perfect space to expand his tattoo business and invited two other tattooists to join him. “When we moved here, people in the neighborhood were a bit suspicious, especially when we said it was a tattoo shop, but we showed them that everything runs peacefully,” he laughs. Lee On Ink is also located close to a Buddhist temple, which, in Thailand, means no alcohol or parties.

The space was so big that, even after they set up a workshop for the three tattoo artists, there was still a lot of unused real estate. “The coffee shop was a natural evolution since people who came to get tattoos often came with friends who had to wait,” Lee explains. While he’s tattooing, his girlfriend, Chamchuree Apiwong, runs the coffee shop; she’s also the operational manager.

The couple slowly furnished the space with cheap second-hand shops around Chiang Mai, “No money style,” as Lee puts it. The furniture collection grew into a mix of independent mid-century designs, with pieces ranging from a Noguchi coffee table to a Le Corbusier Cassina armchair, which sit next to 80s-era lounge sofas, geriatric infant furniture, and camping tables. It also follows an open floor plan, extending into a spacious yard with a gargantuan statue of the Loch Ness Monster.

 

Hours:
Friday to Wednesday, 2 PM ~ 8 PM

Address:
Prachautid Rd, Chang Phueak, Mueang Chiang Mai District

在风格混搭的家具旁，学生们穿着制服、举着儿童餐具吃蛋糕；而戴着粗项链、穿着黑色宽松上衣的纹身师正在为前卫的顾客刺入墨水——这就是 Lee On Ink 的氛围。

当 Ponatip Suanphet、或更常被称作 Leeon 在远离老城区的居民社区里发现一个空仓库时，他认为这是能拓展纹身业务的完美空间，他邀请了另外两位纹身师一起加入。他笑着说：“当初我们搬来这里的时候，附近的人都有点疑心，特别是听到这是一家纹身店。但我们向居民证明了一切都很平静。” Lee On Ink 位在一个佛教寺庙附近，这在泰国意味着没有酒精或派对。

因为空间实在太大了，即使为其他三位纹身师划分出专属工作区，仍然剩余很多闲置空间。“咖啡馆是一个自然的演变结果，因为来纹身的人往往是和朋友一起来的，他们不得坐在那里不等待。” Leeon 解释道。当他在纹身时，他的女朋友也是运营经理 Chamchuree Apiwong 则打理着咖啡厅。

这对情侣用在清迈周边廉价二手商店发现的物品，慢慢地布置装饰起这家店。正如 Leeon 所说，“这是一种叫’我们没钱’的风格”。店内累积的家具逐渐发展成为一个中期现代主义设计混合体，从野口勇闻名于世的 Noguchi 咖啡桌角茶几、到 Le Corbusier Cassina 扶手椅，旁边摆着 1980 年代的沙发、老家具和露营桌。它还有开放空间，延伸出一个宽敞的院子，里面有一尊巨大的尼斯湖水怪雕像。

 

营业时间:
周五到周三，下午 2 点到晚上 8 点

地址:
Prachautid Rd, Chang Phueak, Mueang Chiang Mai District

Like our stories? Follow us on Facebook and Instagram.

 

Contributor: Tomas Pinheiro, Lucas Tinoco
Photographer: Nat Chittamai
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

供稿人: Tomas Pinheiro, Lucas Tinoco
摄影师: Nat Chittamai
英译中: Olivia Li

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Delinquent Society 我在我们那儿，算是个“狠人”

October 14, 2020 2020年10月14日

When it comes to rap in the Philippines, Manila reigns supreme. The capital plays an outsized role in the scene, but there are artists emerging from all over the island nation. In Davao City, the main city on the southern island of Mindanao, Delinquent Society is making the most noise. Their diverse beats and bouncy delivery have captured the mood of the new generation, and they’re bringing their sound to the rest of the country.

说到菲律宾说唱文化，马尼拉是你绝对绕不开的城市。作为首都，这里无疑是当地的说唱重镇；但与此同时，在菲律宾其他城市，有越来越多的说唱歌手开始崭露头角。在棉兰老岛南岸的达沃市，Delinquent Society 就是当下声名狼藉的说唱团队，他们善用丰富的节奏与律动俘获大批新生代乐迷的芳心。而现在，他们正努力用自己的说唱音乐征服世界。

Listen to selects track from the Delinquent Society below:

点击即可试听:

“When we started, everyone in Davao was on the gangsta rap tip, all that tough stuff,” says Audible Lecter, the group’s founder. “It wasn’t as diverse as it is now.” Some of those artists were actual gangsters, so they just stuck to the style through the years. But it left an opening for a younger sound to come up and Delinquent Society seized the opportunity. “We were the first ones who didn’t really have that background when we started. A few were already rapping over trap beats, but we were the ones who really went with it and made it popular.” He says that the boom-bap style also had a foothold, like most other places in the world, but they were able to fully break the mold.

团队创始人 Audible Lecter 说：“最早的时候，达沃几乎所有人都在做匪帮说唱。那时候的嘻哈圈子可不像现在这样多元。” 当时一部分说唱歌手本身就是黑帮成员，所以多年来一直坚守在匪帮说唱阵营。不过这也为当地年轻人营造了施展才华的空间，Delinquent Society 则抓住了这个机会。“和老一辈说唱歌手不一样，我们是第一批没有黑帮背景的说唱歌手。虽然当时达沃已有人在做 ‘陷阱说唱 (Trap)’，但我们是真正专注这一种风格、并将其在本地发扬光大的人。” 他还认为，虽然 “蹦啪说唱 (boom-bap)” 风潮在世界和当地早已占据一席之地，但是他们正在为这种风格带来创新与突破。

These days, their sound has found a foothold in the local rap scene and crowds have grown. In Davao City, they mainly perform in small bars to mixed crowds that lean towards younger kids. “There aren’t many festivals here and at first there were only one or two venues,” says Fusr, another crew member. “In the beginning, the crowds would just nod their heads because they were used to the boom-bap thing. But now they’re all moshing. They go crazy!” (Just take a look at the guest performer from one of their recent shows.)

 

如今，他们已在当地的说唱圈子里站稳脚跟，粉丝基数正在进一步壮大。在达沃市，他们的活动主要在小酒吧里进行，观众大多由年轻人构成。团队另一名成员 Fusr 说：“这里的音乐活动很少举办，起初仅有一两个可供演出的场所。最早的一批观众也只是跟着音乐点头，因为他们是最早听老派说唱的过来人。到后来，大伙儿会随着音乐跳动，整个现场很躁！” 只要随便去一场他们最近的演出，现场的气氛都能令你炸翻天。

Delinquent Society is a crew of four rappers, including Audible Lecter, Fusr, Contemplate, and Mellow Marc. Everyone is 21 or 22 years old and they all met each other through graffiti. Aud worked in Japan for a year to save up for recording equipment, and when he came back they got together to make music. The entire crew, including their producers, DJ, and videographer, are all born and raised in Davao.

Being based in Davao has its challenges. The city implemented a harsh liquor ban a couple of years ago, so venues have to close by 2 a.m.. And because the island has been under martial law since 2017, it hasn’t gotten much easier. (Martial law has since been lifted, starting from January 2020) It’s also difficult getting known since they’re so far from the capital, but they’ve been working hard to bridge that gap. “Manila is where everything happens, and people don’t know much about Davao,” says Aud. “We have to go there to show them we exist. We have the internet, but it’s really different when you’re not face to face with people.” Since the crew has four rappers, traveling to Manila can be expensive, but they’ve visited a couple of times and collaborated with popular Manila acts like Katell’em and Rjay Ty from Bawal Clan.  

Delinquent Society 由四名说唱歌手组成，分别是 Audible Lecter、Fusr、Contemplate 和 Mellow Marc。成员的年龄都在 21、22 岁左右，他们通过街头涂鸦相识。Aud 之前为了存钱买录音设备，在日本打了一年工。回国后，四人为了音乐又聚在了一起。整个团队，包括制作人、DJ和摄像师，全都是土生土长的达沃人。

在达沃做音乐也带有一定挑战。几年前当地实施了严厉的禁酒令，规定所有场所必须在凌晨 2 点前结束营业。加上 2017 年后，菲律宾就开始实施军事管制，情况一直没有好转。更何况，达沃离首都城市较远，想要提高知名度也并非易事，但他们一直在努力弥补这些差距。Aud 说：“马尼拉是说唱文化的中心，人们对达沃并不太了解。我们需要偶尔在马尼拉做做活动，向大家证明 Delinquent Society 的存在。尽管网络发达，但线上的交流还是无法与面对面的表演相提并论。” 由于团队有四位说唱歌手，出去一趟的花费不能算少；目前，他们已经去了几次，也跟很多著名的马尼拉歌手合作过，包括 Katell’em 和 Bawal Clan 团体的 Rjay Ty。   

 

无法观看？前往腾讯视频

无法观看？前往腾讯视频

无法观看？前往腾讯视频

Part of the reason the crew raps in English is because their native language, Bisaya (officially called Cebauno), isn’t widely spoken in the North, where Manila is located. English is understood by 75 percent of the country and 85 percent of people in Manila, so it acts as a middle ground for them since they’re not comfortable rapping in Tagalog, which is the country’s main language. Aud actually got his start in the battle-rap circuit while in Japan, competing with other foreigners who spoke English, so he’s most comfortable rapping in English. And Fusr’s parents are American immigrants, so they taught him the language to prepare him for the States.

达沃市的本地语言是 Bisaya（官方名为 Cebauno），该语种在首都马尼拉所在的北方地区并不常用。而菲律宾 75％ 的人口、马尼拉 85％ 的人口都能听得懂英语，加上他们不擅长用菲律宾的官方语言加禄语（Wikang Tagalog）说唱，所以英语就成为了他们的折中选择。

Aud 个人的说唱事业起步于日本地下的说唱 battle，当时他经常需要用英文与外国选手对决，所以英文说唱对于他来说已经游刃有余。而 Fusr 的父母都是美国移民，从小便接触英语，以便他日后在美国的生活。

The team also says that rappers from Manila rarely do nationwide tours, so they don’t often come to Davao, furthering the divide. And radio in Davao tends to only play pop music from Davao, not much local rap. The crew recently signed to Sony Philippines, which they say has been a big help; they can be found on many Spotify playlists now for example. And collaborating with filmmaker Murphy Caballero has also had a big impact, helping them to create compelling visuals to make their work even more accessible. “He’s got a background in dancing, so he understands hip hop,” Aud says. There’s still a lot of ways to go, but the crew has been making serious progress. As the crew says, “#DavaoUp!”

团队还表示，目前马尼拉的说唱歌手很少在国内巡演，所以很少造访达沃，这使得两地说唱文化的鸿沟被拉大。更何况，当地电台通畅喜欢播送流行歌，让本地的说唱音乐的发展进程举步维艰。最近，团队与 Sony Philippines 签约，给予了他们很大的鼓舞与帮助，人们可以在 Spotify 的播放列表中找到他们的歌。另外，团队与电影制片人 Murphy Caballero 的合作也掀起了一些波浪，帮助他们打造了更抢眼的视觉效果，吸引了更多人关注他们的作品。“Murphy 有舞蹈背景，也比较懂嘻哈，所以我们合作起来非常顺利。”Aud 说道。而对于团队 Delinquent Society 来说，前方的道路还有很多险阻，但他们已经取得了不错的进展，随之呐喊的，是一声响亮的口号：“#DavaoUp！”

Like our stories? Follow us on Facebook and Instagram.


Instagram: @delinquentsociety_
Facebook: ~/delinquentsociety
YouTube: ~/delinquentsociety

 

Contributor: Mike Steyels
Photographer: Karlos Manlupig
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: @delinquentsociety_
Facebook: ~/delinquentsociety
YouTube: ~/delinquentsociety

 

供稿人: Mike Steyels
摄影师: Karlos Manlupig
英译中: Olivia Li

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Flesh & Machine 血肉之躯 VS 数字技术

October 12, 2020 2020年10月12日
From Squarepusher's "Terminal Slam" music video 来自 Squarepusher《Terminal Slam》MV

Daito Manabe is an artist, interaction designer, and co-founder of Rhizomatiks, a firm that aims to bridge the gap between art and technology. The ambition comes naturally for Manabe, whose fascination with programming and sound began when he was just 10 years old. The music, sound effects, and aesthetics of video games in the 1980s captivated him, and he spent his teenage years trying to reproduce them on his NEC computer and a DX-7 synthesizer. “I wanted to make a shooting game like Gradius,” he recalls.

He has come a long way since then, boasting an impressive list of collaborations with notable artists such as Björk, Jesse Kanda, and Ryuichi Sakamoto. Perhaps most notable is Rhizomatiks’ work on a production for the closing ceremony of the Rio De Janeiro Olympics in 2016, which projected images of events to be held at the 2020 Tokyo Olympics onto live performers. His most recent work includes music videos for Squarepusher’s “Terminal Slam” and KAZU’s “Come Behind Me, So Good!”.

还记得 80 年代的电子游戏吗？那种有魔性的声音效果和美学风格让 Rhizomatiks 的创始人之一Daito Manabe 着迷不已，十几岁的时候，他就经常用 NEC 电脑和 DX-7 合成器进行模仿创作。他说：“我想制作像《宇宙巡航机》（Gradius）这样的射击游戏。”

如今作为一名艺术家和互动设计师，Daito 把艺术与科技无缝融合，对 10 岁开始就喜欢上编程和音乐的他来说，成立公司并把自己对观念发扬光大是水到渠成的事情。一路到现在，他已经陆续与 Björk、Jesse Kanda 和坂本龙一等著名艺术家合作过。其中最著名的可能是他们为 2016 年里约热内卢奥运会闭幕式制作的作品，将关于 2020 年东京奥运会上的影像投影到了现场表演者身上。而他的最新作品包括为 Squarepusher 的《Terminal Slam》和 KAZU 的《Come Behind Me，So Good！》制作的音乐 MV。

Still from Squarepusher's "Terminal Slam" music video 来自 Squarepusher《Terminal Slam》MV
Still from Squarepusher's "Terminal Slam" music video 来自 Squarepusher《Terminal Slam》MV

Music is central to Manabe’s work because it is intimately tied to his interests in technology. While studying mathematics in university, he pursued music by working as a DJ and playing in a jazz band. As a DJ, Manabe opened for Flying Lotus and Squarepusher in their Tokyo tours. Though he is mainly focused on multimedia projects, Manabe still continues to pursue music on his own. He even took up dance as a hobby while collaborating with a Japanese techno-pop unit called Perfume. “I’ve been dancing for about five years now, and I’m not getting any better,” he jokes. He also plans to release some original music later this year. “Of course, it’s not just music, and there’s going to be something else related to it as well, so please check it out,” he hints.

在 Daito 的作品中，音乐的作用至关重要，它和 Daito 对科技的兴趣密切关联。在大学修读数学专业时，他同时兼职 DJ，还加入了一支爵士乐队，曾为 Flying Lotus 和 Squarepusher 的东京巡回演唱会开场。虽然 Daito 专注于多媒体项目，但一直未放弃追求自己创作音乐。在与日本流行电音乐队 Perfume 合作期间，他甚至还喜欢上了跳舞。他开玩笑说：“我跳舞已经有五年了，但是我的舞蹈水平没有任何进步。”他还计划在今年晚些时候发行自己的原创音乐。“当然，除了音乐，还会有其它一些相关的东西，所以记得关注一下。”他透露道。

 

无法观看？前往腾讯视频

 

无法观看？前往腾讯视频

 

无法观看？前往哔哩哔哩

Aside from his music, Manabe is world-renowned for his work in interaction design. His trademark is awe-inducing multimedia performances that are extremely R&D-intensive—drawing inspiration from robotics, real-time data visualization, machine learning, and computer-generated imagery, to name a few. Culminating in a 2016 Award of Distinction at Prix Ars Electronica Festival, Manabe produced a complex technical setup involving 2 dancers, drones, and 3D scanning for Nosaj Thing’s “Cold Stares” music video.

He also directed live AR/VR imaging for Björk’s performances of “Quicksand.” Manabe is constantly working to push the boundary of what can be done, both technically and artistically. His work often has a performative aspect to it, whether it be Manabe himself performing with another prolific artist, or his technology.

在音乐之外，Daito 最为人熟知的是他的交互设计作品，令人震撼的多媒体表演融入了大量的创新科技，包括机器人技术、实时数据可视化、机器学习和计算机成像等。2016 年，Daito 凭借在电子音乐制作人 Nosaj Thing 的 MV《Cold Stares》中的出色表现，摘得 Prix Ars Electronica Festival 的 “杰出” 奖项，视频中舞者、无人机以及 3D 扫描线条等元素随音乐撕扯着整幅画面。

2018 年，他也还在冰岛女王 Björk 的音乐视频直播《Quicksand》中指导过 AR/VR 成像。可以说，Daito 一直在努力超越技术和艺术上的界限。无论是和其他艺术家合作表演，或是他所呈现的技术，他的作品始终带有的表演性让他与众不同。

Electric Stimulus to Face - Test 7 《Electric Stimulus to Face - Test 7》

Manabe has a long history of using cutting-edge technology to augment, manipulate, and interface with the human body. In one of his first experiments to go viral, “Electric Stimulus to Face,” he electrically stimulated his own face, making his facial muscles contract along with music. Though he has since moved more towards choreographing machines in productions such as 24 Drones, where drones flew alongside dancers in dizzying synchrony, he is again meditating on how technology can directly interface with the human body.

Daito 经常使用尖端技术来增强、操纵，以及实现与人体的交互。在最初一个广为流传的实验“Electric Stimulus to Face”（面部电刺激）中，他用电刺激自己的脸部，使面部肌肉随着音乐而收缩。尽管此后他在作品中更偏向于编舞机器，譬如在《24 架无人机》中与舞者同步移动的无人机，但他一直在思考如何让科技直接与人体交互。

From Bork's "Quicksand" performance 来自 Bjork《Quicksand》表演
From Bork's "Quicksand" performance 来自 Bjork《Quicksand》表演
From Bork's "Quicksand" performance 来自 Bjork《Quicksand》表演

“Human beings and machines are universal themes, but the brain, which was once thought to be a black box, and its output of emotions became more approachable and relevant subjects thanks to machine learning; questions that used to be philosophical are now becoming questions of computer science and mathematics,” Manabe says. He also highlights the reality of brain-machine interfaces today; there already are non-invasive devices that can activate or inhibit certain parts of the human brain, simply through the use of magnetic fields or ultrasonic waves. Manabe considers that idea, saying “it is interesting you can directly control the brain by transcranial magnetic stimulation or ultrasonic stimulation.”

“人机主题很普遍，有赖于机器学习，曾经被视为黑匣子的大脑及其情感输出变得更加容易理解。曾经属于哲学领域的问题，现在也逐渐变成计算机科学和数学的问题。” Daito 说道。此外，他还强调称，如今的脑机接口已经出现了一些非侵入性设备，可以通过磁场或超声波来激活或抑制大脑的某些部位。Daito 也考虑过这种技术，他说：“你可以通过经颅磁刺激或超声刺激直接控制大脑，这是很有趣的事情。”

24 Drones / Courtesy of ELEVENPLAY x Rhizomatiks 《24 Drones》/ 素材由 ELEVENPLAY x Rhizomatiks 提供
24 Drones / Courtesy of ELEVENPLAY x Rhizomatiks
24 Drones / Courtesy of ELEVENPLAY x Rhizomatiks

The process of converging on a project concept often happens in an iterative process for Manabe. As conceptual director of Rhizomatiks, Manabe does not narrow down the idea in the beginning, but rather takes a practical approach of trial and error, in a process he describes as “designing the path to the goal.” Technological development is a strong influence on Manabe: “I’m inspired when I look at new technologies. Because it makes things possible that weren’t possible before,” he says.

对 Daito 而言，确定项目概念通常是一个迭代的过程。作为公司的概念总监，他在一开始并不会刻意限定概念，而是通过实践反复试验，他称之为一个“设计通往目标的路径”的过程。科技发展对 Daito 也有着重要影响，“当我看到新技术时，会备受鼓舞启发，因为新技术让以前不可能的事情变成可能。”他说道。

Still from KAZU's "Come Behind Me, So Good!" music video 来自 KAZU《Come Behind Me, So Good!》MV
Still from KAZU's "Come Behind Me, So Good!" music video 来自 KAZU《Come Behind Me, So Good!》MV
Still from KAZU's "Come Behind Me, So Good!" music video 来自 KAZU《Come Behind Me, So Good!》MV

Manabe is very keen, however, to caution that his works aren’t technological demonstrations or gimmicks. In contrast to an increasingly saturated field of new-media artists and advertising agencies that often leverage flashiness as a selling point, Manabe strives to weave complex stories in his art that the audience can gradually unravel. “You can even create a work of art to provoke thought or raise a question, letting the audience think for themselves when you don’t know the answer,” he explains. In comparison to what he calls the necessity of “straightforward storytelling” in entertainment and advertising, he espouses the view that in art the audience must be inquisitive, willing to work alongside the artist in pursuit of greater understanding.

但是，Daito 也特别小心不让自己的作品沦为纯粹的技术演示或技巧。不同于越来越多喜欢用炫目科技作为卖点的新媒体艺术家和广告公司，他努力在自己的艺术作品中加入复杂的故事，让观众逐渐理解。他解释说：“你甚至可以将自己也不知道答案的问题，创作成艺术作品，激发想法或提出问题，让听众自己思考。”他认为，不同于娱乐和广告中“直截了当的故事讲述”，他更倾向于另一种观点，即在艺术中，观众必须是好奇的，愿意与艺术家一起努力以寻求更多的理解。

From Sensing Streams 来自《Sensing Streams》
From Sensing Streams 来自《Sensing Streams》
From Sensing Streams 来自《Sensing Streams》
From Sensing Streams 来自《Sensing Streams》
From Sensing Streams 来自《Sensing Streams》

For Manabe, art is “not just about doing something crazy.” He believes that the things we see and hear every day can take on new value, and become art. With technology, Manabe takes this a step further and examines sounds and sensations that are imperceptible to humans. In his 2015 collaboration with Ryuichi Sakamoto, Sensing Streams, Manabe explores the relationship between humans and the cities we build. The production makes electromagnetic waves both audible and visible by capturing ambient signals from cellphones, Wi-Fi, and FM radio, and subsequently generating visuals on a large screen. Various representations of the data, ranging from soundwaves to vibrant orbs, are affected in realtime by the surrounding environment. The audience can turn a dial to manipulate the range of frequencies, and the use of cellphones or other electronic devices in the area will alter the imaging. Whether it is by encouraging audiences to discover such parallels or by superimposing projections onto dancers in the form of augmented reality, Manabe embraces the intersection of technology and the physical world.

With Rhizomatiks, Manabe creates art to pose questions about new technology and the ensuing possibilities of how it could control, interact with, or even dance alongside us. Just like the interplay between a glowing drone and a dancer on a dark stage, Manabe welcomes a future in which man and machine can become vehicles of expression for each other.

对于 Daito 来说，艺术“不仅仅是做疯狂的事情”。他认为，我们每天的所见所听都能呈现新的价值，成为艺术。通过技术得以更进一步地探索着人类所无法察觉的声音和感觉。在 2015 年与坂本龙一在《Sensing Streams》的合作中，Daito 深入探讨了人类与城市之间的关系。通过采集来自手机、Wi-Fi和 FM 广播的环境信号，随后在大屏幕上生成视觉效果，将电磁波变成人们听得见和看得见的影像。数据的各种表现形式（从声波到振动的球体）都会受到周围环境的实时影响。观众可以转动拨盘来控制频率范围，在周围使用手机或其他电子设备也会改变成像。无论是鼓励观众进行此类探索，或是通过增强现实，将投影叠加到舞者身上，Daito 一直在努力融合技术与现实世界。

Daito 在 Rhizomatiks 中所创造的艺术，旨在提出有关新技术的问题，了解技术控制人类，与人互动，甚至是共舞的可能性。正如黑暗舞台上那些发光的无人机和舞者的互动一样，Daito 希望能看到人类与机器在未来可以成为彼此表达的工具。

Like our stories? Follow us on Facebook and Instagram.

 

Website: www.daito.ws
Instagram: @daitomanabe
YouTube: ~/daitomanabe

 

Contributors: Lia Coleman, Eugene Lee
Chinese Translation: Olivia Li
Images Courtesy of Daito Manabe

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

Website: www.daito.ws
Instagram: @daitomanabe
YouTube: ~/daitomanabe

 

供稿人:  Lia Coleman, Eugene Lee
英译中: Olivia Li
图片由 Daito Manabe 提供

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Far from Shy 戳破那个气球试试？

October 9, 2020 2020年10月9日

Sometimes, our minds distort the everyday objects we see with phallic, yonic, or sexual connotations. These are intrusive thoughts, mental impulses that most of us tend to hide. But not South Korean artist Joyce Lee; instead, she revels in such thoughts, transforming them into provocative illustrations that explore sexuality and love through the lens of the human body.

有些时候，有些日常用品，或多或少会让我们联想到生殖器官或是充满性暗示的画面，但往往这些念头和画面都被我们潜藏于心。但韩国艺术家 Joyce Lee 却反其道而行，她不仅为此深深着迷，还爱用插画把脑中假想赤裸裸地画出来，以探索性与爱的话题。

An interlocked pair of women’s legs with scissors handles, a pink balloon floating into the glans of a penis-shaped cactus, and the protruding shape of a nipple ring under a nun’s habit. These are just some of the suggestive images that compose Lee’s oeuvre, most of which are displayed on her Instagram account.

“Wherever I am, I always take a good look at the objects around me,” she says. “I think about how to transform them. I want to twist and recreate them in a sexual or funny way. This instant transformation of objects can happen only in our imagination, and turning these private images into something visual is what we artists do.”

两把交缠的剪刀，象征着两双玉腿；吹鼓的粉色气球，飘到阴茎形状的仙人掌里；一本正经的修女服下，两枚乳头环若隐若现……Joyce Lee 在 Instagram 帐户上发布了一系列充满性暗示的作品。

“不管去哪里，我都喜欢观察四周的物体，然后思考如何改造它们，把它们变成和性有关的物体，用有趣的方式呈现出来。”Joyce 说，“我们在自己的想象里瞬间将物体变形，但之后就需要由艺术家将这些私人的画面演绎成视觉作品。”

Lee uses watercolor for the base of her drawings and colored pencil for the contours and details. She works on yellow-tinted kraft paper because it enhances skin tones and adds a vintage feel. For the finishing touches, she might add a few digital alterations before posting them online, but most of her work is done entirely by hand.

Social media plays a crucial part in Lee’s practices, not just in showcasing her art, but also in the formulation of her subject matter. Since the beginning, the popularity of her work with the online audience encouraged her to test how far she could take her risque art. As she interacted with her followers, Lee began realizing the importance of matters such as gender empowerment and feminism, themes they identified in her works even before her. “I didn’t think about the subject too much at first; but, after hearing people talking about it, I also began to see it,” she says. “My audience showed me something I hadn’t seen in my own work. It’s amazing.”

画画时，Joyce 会先用水彩打底，再用彩色铅笔勾画轮廓和细节。她喜欢在黄色牛皮纸上画画，因为可以突出皮肤的色调，增添复古感。在发到网上前可能还会用软件润色一下，但实际上她的作品大部分都是手绘完成的。

社交媒体在 Joyce 的创作中地位颇重。她不仅可以在那里展示自己的作品，而且可以获得构思主题的灵感。从一开始，她的作品就获得了许多网上观众的认可，这也鼓励了她不断突破在创作上的大胆程度。通过和粉丝的交流，Joyce 开始意识到性别赋权和女性主义这些话题的意义，甚至可以说，观众比她更早意识到自己的作品中所体现的这些内涵。“我一开始并没有对作品的主题想太多，但是当我了解到许多人关于这些问题的讨论后，我也开始认真思考这些话题。可以说，是我的观众让我从自己的作品中有了新的发现，真是太棒了！”她如是说。

Lee has more fans abroad than in her own country. She admits that, through her hashtag usage, she looks to reach Western audiences over South Korean audiences as she’s concerned about the adverse reactions her erotic art may provoke at home. “Even though Seoul is a very modern city and young people here are progressive in many ways, following an erotic art account could still be seen as an act of rebellion,” she explains.

Joyce 国外的粉丝比国内要多。她表示，自己发表帖子时添加的标签也很明显是倾向于吸引西方国家的观众，而不是韩国本地的观众，因为她担心自己的情色作品在韩国可能会招致恶评。“虽然首尔是一座非常现代化的城市，这里的年轻人在很多方面也很前卫，但是关注一个情色艺术帐户在很多人看来仍然是离经叛道的行为。”她解释说道。

Despite the conservative values of South Korea, she freely explores themes of gender identity, equality, and empowerment through visual metaphors that call to mind Magrittean surrealism. Sometimes her works are an ode to female autonomy, emphasizing sexuality as if urging women to take the matter in their own hands—quite literally. “I always see beautiful girls in the works of many South Korean artists, but they look so sad and shy,” she says. “One thing is clear: women inside my art are far from shy. They don’t hesitate to express their feelings with their body.”

即使身处观念保守的韩国，她依然无所拘束地通过各种视觉比喻，探讨性别身份、平等和女性赋权的主题，令人想起马格利特那样的超现实主义。有时，她的作品歌颂女性自主，通过对性的描画，鼓励女性在性爱方面掌握主动权。她说：“我经常看到很多韩国艺术家画了一些很漂亮的女孩，但她们看上去都很悲伤或者很害羞；这一点跟我的作品截然不同，我笔下的女性绝对跟害羞沾不上边；相反，她们都是敢于用身体表达自我感受的女孩。”

But there’s a more tender aspect to Lee’s illustrations. In a piece created after the Covid-19 outbreak, for instance, she alludes to the struggles of female self-care during the quarantine, Lee depicts a woman with her hands over her groin, attempting to cut her pubes, which are entangled by a spider’s web. As in many other pieces, Lee shows a compassionate consideration to women’s emotions, desires, and frustrations.

Her care is also particularly apparent when she depicts hands. Lee finds that the human hand has the most fascinating shape of all the human organs. She draws them with remarkable attention to details such as lines, wrinkles, and even veins seen through the skin. Of course, hands also have a sexual function.

然而 Joyce 的插图作品中也有温柔的一面。譬如新冠疫情爆发后，她一副作品里画下了，一名女子把手挡在下体上面，试图剪掉蛛网般缠绕的阴毛的样子，以表达在疫情隔离期间，女性在自我保护方面的一些挣扎。和她其他许多作品一样，这幅画体现了她对女性的情感、欲望和挫折的同情和关怀。

这种关怀在她描画人物的手部时尤为明显。Joyce  认为，人的双手是人体中最迷人的部位，因此她一丝不苟地描画出手部的各种细节，如细纹和皱纹，甚至是皮肤上隐约可见的血管。当然，手也可以有性器官的作用。

Sex in art is not new. From Mesoamerica to Japan, phallic art was a fascination in the ancient world, seen as a symbol of fertility and good luck. But it was in the late 20th century when the sexual revolution beaconed sex as something to be celebrated in art in even more transgressive, playful, and humane ways. Today, Lee’s work follows the same indispensable ethos: one side of it is empathetic and warm, while the other is a visceral punch in the face of the so-called moral society. “I want people to get excited, blush, and imagine something more by seeing my art,” she notes. “But I also want them to know that there is someone who dares to show something that most of them are thinking but would never express.”

艺术描绘性爱并不是什么新鲜事。从中美洲到日本，情色艺术在古代很流行，也被视是生育和幸运的象征。直到 20 世纪后期的性解放运动后，艺术作品中的性才变得更加大胆、有趣和人性化。而现在 Joyce 的作品承袭同样的精神：一方面是感同身受与温暖关怀；而另一方面又是对所谓社会道德的猛烈抨击。她说：“我希望人们在看到我的作品时，能感到兴奋、脸红，甚至浮想联翩。但我也希望他们能意识到，有人敢于将他们大多数人都想过但不敢说出来的想法呈现出来。”

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Contributors: Tomas Pinheiro, Lucas Tinoco
Chinese Translation: Olivia Li

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供稿人:  Tomas Pinheiro, Lucas Tinoco
英译中: Olivia Li

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