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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。

Like our stories? Follow us on Facebook and Instagram.

 

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。

Like our stories? Follow us on Facebook and Instagram.

 

Weibo: ~/woshibai
Instagram: @woshibaii

 

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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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
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
Album design by Heimer 封面设计: Heimer
Album design by Heimer 封面设计: Heimer
Album design by Heimer 封面设计: Heimer
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
Out of Fashion Boy S/S 2019 collection Out of Fashion Boys 2019 春夏
Out of Fashion Boy S/S 2019 collection Out of Fashion Boys 2019 春夏

Like our stories? Follow us on Facebook and Instagram.

 

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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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

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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

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

 

供稿人: David Yen
英译中: Olivia Li

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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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Certain Uncertainties 唯一能确定的就是不确定性

November 25, 2019 2019年11月25日

As the saying goes, the only certainty in life is uncertainty.

It’s a concept that’s long fascinated Kelvin Kyung Kun Park. At his recently unveiled solo exhibition, Double Mirror, on display now as part of the Shanghai Glass Museum’s “Annealing” project, the Korean artist presents brand-new works that examine the theme of uncertainty in the context of identity, perception, and transformation.

For those familiar with Park’s past work, it might seem strange to see an artist best known for his directorial work at the Shanghai Museum of Glass, but this is precisely the point of “Annealing”: by inviting artists from different backgrounds, Lise Li, the project’s art director, hopes to push both the medium of glass and the artists’ creativity to their limits. She believes that this friction yields the best types of art, and Park’s stunning contributions this year validate this philosophy.

俗话说得好，生活中唯一能确定的就是不确定性。

一直以来，艺术家朴庆根都对这句话非常着迷。在他最近举办的个展 “我是我的镜子” 中，这位韩国艺术家展出了一系列全新的作品，探讨了在身份、感知与事物转变的背景下的不确定性主题。目前，他的作品作为“退火”项目的一部分，在上海玻璃博物馆进行展出。

对于那些熟悉朴庆根之前作品的人来说，或许你会因为一位知名视频导演现身在玻璃博物馆内而感到奇怪，这也恰恰是 “退火” 的主旨所在。项目的艺术总监李力邀请了来自不同背景的艺术家，并希望他们能够运用玻璃与创意，来突破各自的极限。她坚信这样的碰撞能带来最好的艺术形式，而今年朴庆根的出色贡献，就很好地兑现了这一理念。

The first work in the show is a video art installation that plays to Park’s strengths as a director. Lacking dialogue, the film shows a pair of identical twins wandering through a labyrinth of mirrors. As they make their way through, they find themselves captivated by their own reflections, but the intensity with which they’re studying themselves in the mirror is unsettling—it’s almost as if they don’t recognize the person standing before them.

By making it unclear on whether the camera is trained on the characters themselves or their reflections, Park conveys the characters’ own sense of uncertainty. The ultra-wide aspect ratio, used purposefully to limit the audience’s field of view, heightens this feeling to anxiety-inducing levels. The discomfort that courses through the film’s 12-minute runtime poses a simple question, “How can we be sure that the person we see in the mirror is our true self?”

展览中的第一件作品是朴庆根作为导演身份擅长的部分：视频装置。全片没有对话，讲述了一对孪生双胞胎徘徊在镜子迷宫之间。当从数面镜子间穿过时，她们会被镜中反射的自己迷住，但整个过程令两位双胞胎都很不安，看上去她们好像并不认识镜中的自己。

其实，就连摄像镜头也没办法确定拍摄到的是否是真实的人物还是镜像，朴庆根通过这部作品传达出了视频中人物自身的不确定感。超宽的影像，将观众的视野限定在视频中，让人们的焦虑感上升。整个影片共 12 分钟，其带来的不安氛围仿佛向我们提出了一个简单的问题，“我们怎么知道镜中自己就是我们本人？”

In the second part of Park’s exhibition, he gives physicality to the notion of uncertainty through a series of glass-and-steel sculptures that represent the inconstancy of human nature. On each work, triangular panes of glass affixed to a steel column and powered by servomotors that change their position over time. As they rotate and flip into different configurations, they reflect new geometric patterns of light across the ceiling and walls. The sculptures’ subtle changes and their effect on the surrounding room speak to a number of ideas: though we may not notice it, we’re always changing as individuals, and these changes directly influence the world around us—or at least our perception of it.

Through this multimedia exhibition, Park aims to alleviate our collective fear of change and uncertainty: once we recognize and accept that change is inevitable, we can stop worrying about things out of our control and fully appreciate the present.

个展的第二部分，朴庆根将不确定性赋予在了一系列玻璃和钢铁制成的雕塑上，用来展示人性的无常。每支作品都由数个三角形玻璃框构成，它们围绕在钢柱上，并由发电机供电，不停地翻转着。当变换出不同的外形时，它们在天花板和墙壁上也会反射出不同的几何光图。雕塑的细微变化与它们在房间内部的反射，仿佛告诉了我们一些道理：尽管我们可能没有注意到，但我们作为个体总是在变化，这些变化会直接影响我们周围的世界，或者至少我们对它的感知。

在这次多媒体展览中，朴庆根希望缓解我们对不确定和改变的集体恐惧。当我们意识到改变是不可避免的，我们就会选择去接受它。我们要做的，就是停止对不可抗力因素的焦虑，坦然并真挚地活在当下。

Aside from Kelvin Kyung Kun Park, Chinese artist Sun Xun is also holding a separate solo exhibition, Frontier Part II, as part of this year’s “Annealing” project. Both are now on display at the Shanghai Glass Museum of Art until March 29th, 2020. Tickets are available online at Maoyan and Damai.

 

Exhibitions:
Double Mirror & Frontier Part II

Exhibition Dates:
November 5th, 2019 ~ March 29th, 2020

Hours:
Tuesday ~ Friday, 1 pm ~ 5 pm
Weekend & Holidays, 11 am ~ 5 pm

Address:
Shanghai Museum of Glass Park
685 Changjiang West Road
Baoshan District, Shanghai
China

除了朴庆根个展，今年的“退火”艺术项目也展出了中国艺术家孙逊的“塞上（下集）”。二人的作品目前都在上海玻璃博物馆进行展览，截止至 2020 年 3 月29 日。你可以通过猫眼和大麦进入购票链接。

 

展览:
“我是我的镜子” 与 “塞上（下集）”

展览时间:
2019 年 11 月 5 日 ~ 2020 年 3 月 29 日

开放时间:
周二至周五，下午一点至晚上五点
周末及节假日，早上十一点至晚上五点

Address:
上海玻璃博物馆
中国上海市宝山区
长江西路 685 号

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Website: kelvinkyungkunpark.com
Instagram: @kelvinkyungkunpark

 

Contributor: David Yen
Chinese Translation: Pete Zhang
Images Courtesy of the Shanghai Museum of Glass

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网站: kelvinkyungkunpark.com
Instagram: @kelvinkyungkunpark

 

供稿人: David Yen
英译中: Pete Zhang
图片由 上海玻璃博物馆 提供

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Cities of Solitude 田岛大介：宏伟的孤独

November 22, 2019 2019年11月22日
View of Forced Isolation (2017) 194 x 112 cm / pen & ink on paper 《強制孤獨景色》(2017) 194 x 112 cm / 纸上钢笔、墨

Daisuke Tajima’s black-and-white ink drawings have a hypnotic power that draws viewers in. It’s easy to get lost in the Japanese artist’s intricate cityscapes, whose repetition and towering size form endless valleys and unimaginable peaks. Exaggerated lines of perspective command attention, and the seemingly endless level of minutiae rewards a viewer’s scrutiny.

日本艺术家田岛大介的黑白水墨画有一种催眠的力量，令人为之深深吸引。细看田岛笔下错综复杂的城市景观，很容易迷失其中——重复且高耸的图形，构成了无尽的山谷和难以想象的山峰。夸张的透视线让人目光驻留，而无穷的细节描绘，则能让观者收获不少细枝末节的惊喜。

Neo-territory II (2017) 181 x 91.2 cm / pen & ink on paper 《新界Ⅱ》(2017) 181 x 91.2 cm / 纸上钢笔、墨
Neo-city Sai Ying Pun (2019) 130.3 x 97 cm  / pen & ink on paper 《新西營盤市街》(2019) 130.3 x 97 cm / 纸上钢笔、墨

Tajima has always been an introvert; it’s a personality that fits the profile one might expect from such obsessively precise work. His withdrawn personality was considered weird by classmates at school but it’s proven to be a virtue in adulthood. “I always seem to disturb other people over everything,” he says. “For instance, when I played sports in school, I was the worst teammate. I started realizing how embarrassed I’d become in general society.” Slowly, he retreated into art without even realizing it; though doing art in isolation can often feel lonely, it was better than uncomfortable interactions with people who didn’t understand him.

田岛一直是一个内向的人，而这样的性格恰恰对应着人们所期望的：他从事着痴迷精确的工作。在学校里，性格孤僻的他常被同学认为是个怪人，但在成年后，这种孤独却被证明是一种美德。他说：“我似乎总是打扰别人。比如在学校集体运动时，我就是最差的队友。我开始意识到自己在社会上会变得多尴尬。”慢慢地，他在不知不觉中退回到艺术的怀抱里，虽然孤立地做艺术常常会感到孤独，但总好过与不理解他的人进行不舒服的交流。

Superpower of Eternal (Part 2) (2018) 334 x 240 cm / pen & ink on paper 《無限之超大國(第2部份)》(2018) 334 x 240 cm / 纸上钢笔、墨
Core of the Neo Territory (2019) 116.7 x 90.8 cm / pen & ink on paper 《新界的核心》(2019) 116.7 x 90.8 cm / 纸上钢笔、墨

But as Tajima started gaining attention for his work in recent years, he began meeting more and more like-minded people he could be himself around. : “I feel I’ve found a connection with other people because of my art. I’ve reached people outside of my small community, even overseas.” He grew up and still lives in Nara, a city with a sparse population of artists and art lovers when compared with places like Tokyo or Osaka. . “Normally I don’t even encounter other guys my age because most have left. The only people I talk to in person here are my elderly neighbor and my mom. It’s pretty boring, but I’m able to focus on my art.” He’s nestled in at home, designing and constructing a black-stained, wooden garage studio next to his house where he spends the majority of his time.

但随着田岛最近几年的作品开始引起人们的注意，他认识了越来越多志同道合的朋友，让他可以做自己。“因为艺术，我觉得我已经找到了与其他人之间的联系。我接触到了我这个小社区以外的人，甚至海外的人。”田岛在奈良长大，与东京和大坂相比，这里依然是一个艺术家和艺术爱好者稀少的城市。“通常我甚至不会遇到和我年龄相仿的人，因为大多数年轻人都离开了。在这里我只能和我的老邻居和妈妈交谈。虽然很无聊，可我能专注于我的艺术。”他窝在家里，在他的房子旁边设计和建造了一个黑色的木制车库工作室，他大部分时间都在那里度过。

Photographer: Yugo Matsumura 摄影师: 松村有吾
Image Courtesy of Daisuke Tajima Studio 图片由田島大介工作室提供
Image Courtesy of Daisuke Tajima Studio 图片由田島大介工作室提供

Solitude helps him work, and considering the amount of time his drawings take, it’s essential to his art. A three-meter wide aerial view of a city took him three months to draw, working seven hours every day. To create a large piece like that, he first does a series of small sketches, a process that helps him figure out the layout and composition. He then affixes a large piece of paper to the wall, sketches the preliminary drawing with pencil and ruler, and fills in the final lines with pen and oil marker. For many of the larger pieces, he has to use a ladder to reach the higher sections. “That’s why my back always hurts,” he laughs.

Through art, he’s been able to travel and see the cities across Asia that inspire his artwork. But he always comes back to his village, where he can face inward and focus on the work that’s helped him come to terms with his introversion.

孤独助长了他的艺术，考虑到他的绘画需要花费的时间，独处是必不可少的因素。他花了三个月的时间来画一幅 3 米宽的城市鸟瞰图，每天需要工作 7 个小时。为了创作出这样的大作品，他先画了一系列小草图以厘清布局和构图。然后再在墙上贴上一张大纸，用铅笔和尺子画出初步的草图，接着用钢笔和油彩笔在最后一行里填上。对于许多较大的作品，他不得不使用梯子到达更高的部分。“这就是为什么我总是腰酸背痛。”他笑着说。

通过艺术，田岛开始旅行，看到亚洲各地的城市，这也激发着他的艺术创作。但他总是回到他的家乡，在那里，他可以直面内心，专注于向内挖掘的艺术创作。

City Scape II (2015) 109.5 x 95.5 cm / pen & ink on paper 《世界市Ⅱ》(2015) 109.5 x 95.5 cm / 纸上钢笔、墨
Wild Flowers (2019) 182 x 116.7 cm / pen & ink on paper 《野生花》(2019) 182 x 116.7 cm / 纸上钢笔、墨
Superpower of Eternal (Part1) (2018) 400 x 194 cm / pen & ink on paper 《無限之超大國（第一部份）》(2018) 400 x 194 cm / 纸上钢笔、墨

Like our stories? Follow us on Facebook and Instagram.

 

Website: www.taransan.web.fc2.com
Instagram: @tienda006
Twitter: ~/tin4dou2

 

Contributor: Mike Steyels
Chinese Translation: Chen Yuan

喜欢我们的故事？欢迎关注 Neocha 的微博与微信。

 

网站: www.taransan.web.fc2.com
Instagram: @tienda006
Twitter: ~/tin4dou2

 

供稿人: Mike Steyels
英译中: Chen Yuan

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Unconventional Aesthetics 把街趣穿在身上

November 18, 2019 2019年11月18日

Foil insulation, herbal supplements, and tacky signage: these unlikely objects are all fertile ground for fashion inspiration in the eyes of Jeff Shen. The Guangzhou native has an affinity for incorporating outlandish and unexpected elements into his clothing and accessory designs. The pieces are often created as tongue-in-cheek experiments, but their playfulness is balanced with an aesthetic eye. 

在 Jeff Shen 眼中，铝箔绝缘材质、草药补品还有又土又丑的广告标牌等等不太可能被利用的元素，都是他滋生时尚灵感的沃土。这位在广州长大的服装设计师，喜欢将一些意想不到的偏怪元素融入进服装与装饰品中。他的作品看上去就像是半玩笑性质的实验品，但玩笑又能和审美达到平衡。

In one piece, Shen repurposes the advertising stickers and storefront signage of China into an all-over pattern for a pair of sneakers. In another, he embeds price tags into a transparent choker. These pieces were school projects, but he’s since parlayed that work into an entry-level job at Puma.

在 Jeff 的一幅作品中，他尝试将中国广告贴纸和标牌融入在整双鞋子的图案设计里；还有一幅作品，他甚至将一些价格标牌嵌入在透明脖圈内。虽然这些都是 Jeff 在校期间完成的作品，但已经达到了彪马敲门砖的水准。

Shen has always been creative. “I liked to doodle on the wall at home as a little kid,” he recalls. “We moved out of that house when I was about five, but my parents really loved my  doodles, which they never cleaned from the walls, so they didn’t rent it out until recently.”

Shen’s father is a poet and his mother was an illustrator and fashion designer, so they’ve always supported his creative pursuits. In middle school, he began designing T-shirts for events, and his grades were good enough to get into one of Guangzhou’s top high schools, though he admits to slacking off once he got in. “I kind of stopped paying attention in class and instead I was drawing logos, illustrations, and stuff.”

Jeff 时刻保持着创造力十足的样子。他回忆道：“小时候的我喜欢在家中的墙壁上涂画。大概在五岁的时候我们搬到了别处，但我的父母非常喜欢我的画。他们从未清理过墙壁，直到最近，他们将房子了租出去。”

他的父亲是诗人，母亲是插画和服装设计师，双方一直非常支持 Jeff 所追求的创意。初中时期，他开始为活动设计体恤衫。尽管他的成绩可以考上广州顶尖高中，但他也承认了自己当时的懒惰。“我那时候整天做 Logo，插画之类的事情，已经没有心思上课了。”

That interest in illustration and graphic design was matched by a fondness for street fashion. “I love to dress fresh,” Shen says, “I’ve been a sneakerhead since high school. But I never considered becoming a shoe designer or apparel designer.” He didn’t work with fabrics until his junior year at RISD in the US, and he didn’t start making shoes until his senior year, which changed his whole career path.

这种对插画和平面设计浓厚的兴趣，与他对街头时尚的喜爱相吻合。Jeff 说：“我喜欢把新鲜感穿在身上。高中时期开始，我就是狂热的球鞋爱好者。但那时候我从来没想过自己会成为一名鞋样和服装设计师。” 在纽约罗德岛设计学院的头一年，Jeff 才开始接触各种面料材质。随后，在他高年级期间 Jeff 接触到了鞋样设计，也彻底改变了他的事业轨迹。

Although Shen has been inspired mainly by US and Japanese designers, he believes China is catching up: “China used to be a little behind, but brands are making lots of great moves in recent years. The innovation speed is incredible.” He cites designers like Su Wukou of Purlicue fame and kids on Instagram like @scccccry as people changing the game back home. 

尽管 Jeff 的灵感主要受到一些美国和日本设计师的影响，但他相信未来的中国会迎头赶上。他说：“在这个领域，中国之前会落后一些，但近些年来很多品牌都有大动作。创造与革新的速度令人惊叹。” 他列举了苏五口、魏子雄等国内的设计师们，他们都是正在改变规则的人。

With a portfolio of work that ranges from avant-garde fashion to stress-relief toys, the young designer’s interests have been broad and varied over the years—but sneaker design seems to have finally captured his heart.

“What kind of designer is better, someone who does one thing for 30 years, or someone who designs all sorts of different things?” Shen asks. “My mother thinks there’s essentially no difference between the different types, as they both grow and develop in their own way. When a person does a thing for an extremely long time, the world doesn’t get smaller, instead it gets bigger and bigger as this person digs deeper. It’s an expanding universe in itself.”

从前卫时尚到令人放松的玩具，Jeff 的作品集展示了一位年轻设计师涉猎多年的广泛与多样胃口。只不过，他的内心似乎只会被球鞋俘获。

“什么样的设计师更好，是拥有三十年经验的设计师？还是拥有与众不同风格的设计师？” Jeff 闻道，“我妈妈认为，不同事物之间并无比较可言，它们都在按照自己的方式成长与前进。当某人很长时间只做一件事，世界对他／她来说不会变小。要知道研究越深入，世界观就会越大。而我们所处的世界，也正不断延伸。”

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Website: jeffshen.net
Instagram: @ye_.s
Behance: ~/SHenmou

 

Contributor: Mike Steyels
Chinese Translation: Pete Zhang

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

网站: jeffshen.net
Instagram: @ye_.s
Behance: ~/SHenmou

 

供稿人: Mike Steyels
英译中: Pete Zhang

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West Bund Art & Design 2019 一年一度，咱们西岸见！

November 8, 2019 2019年11月8日

A decade ago, it would have been hard to imagine that a disused industrial zone on the banks of the Huangpu River could become Shanghai’s premier art hub. But in 2011, an urban regeneration project funded by the municipal government, the West Bund Cultural Corridor Initiative, set out to make just such a transformation a reality. Over the last eight years, the stretch of waterfront has been transformed into a thriving center for contemporary art that rivals New York’s Museum Mile and London’s South Bank.

Today, factories and warehouses still stand as a testament to the West Bund’s past life, though now they’ve been repurposed as hip spaces that every weekend draw crowds of art-goers and selfie enthusiasts. The West Bund Long Museum occupies the site of a coal-processing facility, the Yuz Museum is housed in a former aircraft hangar, and Tank Shanghai, which opened earlier this year, has turned five massive oil silos into exhibition spaces. Such institutions have made promenade the city’s new artistic center of gravity. Yet credit for this transformation also goes to the annual West Bund Art & Design fair, which has played a central role in raising the city’s profile on the international art scene.

十年前，谁也不会想到黄浦江畔的废弃工业地带会成为如今上海屈指可数的艺术港湾。早在 2011 年，上海市政府颁布了重改计划，“西岸文化走廊” 正式启动，让一切转变为现实。随着八年的不断孵化，这片沿岸区域现已成为当代艺术领域里繁荣的中心地带，可以与纽约“艺术馆大道”、伦敦“南岸”同日而语。

现如今由仓库和工厂重新改造而成的前卫空间，每周都会会吸引大量艺术和自拍爱好者。那里承载着西岸的过去与现在。龙美术馆的所在场地，之前被用来进行煤炭加工；余德耀美术馆坐落在以前的飞机仓库里；而今年早些时候开放的油罐艺术中心，则是由五个巨大的石油储备仓改造而成。这些场馆与主办单位，是掀起整座城市新艺术的造浪者。与此同时，一年一度的西岸艺术与设计博览会（West Bund Art & Design）也为这场转变留下了深刻印记，其在打造上海市冉冉升起的国际艺术形象的环节中扮演着中心角色。

West Bund Art & Design is an annual art extravaganza first held in 2014. In its earlier years, it was a much more understated affair, hosting a small selection of international galleries at its riverfront site. But as more and more international galleries have sought to tap into the Chinese art market, the fair has grown dramatically. In 2018, since the refurbished factory workshop that initially hosted the event could no longer accommodate all the galleries and visitors, a new exhibition hall, comprised of three interconnected pavilions, was built across the street. In its sixth edition, which kicked off today, the fair will welcome over 100 world-class galleries from 18 countries in its two exhibition halls, showcasing works from over 800 artists.

With so much to see and so little time, West Bund Art & Design can feel daunting. So, to help our readers navigate the two exhibition spaces, we’ve put together a list of our favorite Asia-based galleries taking part in this year’s festivities.

自 2014 年起，西岸艺术与设计博览会每年都会为我们带来美不胜收的艺术作品。展览创立的早期会精选一些少量来自世界范围内画廊的作品，不过随着越来越多国际艺术画廊尝试进入中国市场，西岸艺博会取得了翻天覆地的变化。2018 年，最初翻修过的工厂车间已经容纳不下所有的画廊和参观者，一个由三个相互连接的展厅在马路对面打造完成，一同承接整场博览会。从开创至今，西岸艺术与设计博览会已举办六届。今年的博览会，两个展厅共收纳了来自 18 个国家中 109 个世界级画廊的作品，展出艺术家超过 800 位。

时间少、作品多，西岸艺博会可能会令人望而生畏。为了帮大家在两大展馆四个展厅内找到方向，我们列出了一份以亚洲地区画廊为主的心头好，来共同迎接这一年一度的盛宴。

INK Studio

墨斋

True to its name and mission, Beijing-based gallery INK Studio has curated a stunning collection of avant-garde works that showcase the versatility and complexity of Chinese ink. This year’s showcase includes an intricate landscape painted on multi-paneled folding screens by Peng Kanglong, a trypophobia-inducing composition by Jeong Gwang Hee, artistic manipulations of language by the acclaimed Xu Bing, and much more.

来自北京的墨斋秉承着它的名字和使命，策划了一系列前卫的作品，展示了中国水墨的多样性和复杂性。这次艺博会墨斋带来了彭康隆在多屏屏风上绘制的复杂景观、首次亮相的冰逸的新抽象作品，以及郑光熙创作的、很可能引发密集恐惧症的作品等等。

Kukje Gallery

Kukje 画廊

Kukje Gallery has been a leading name in the Korean art scene since it first opened in 1982. While its long been committed to championing Korean artistic talent, the gallery’s showing at this year’s West Bund Art & Design also includes world-class artists from outside of Asia, such as Julian Opie and Jean Michel-Othoniel

自 1982 年开业以来，Kukje 画廊一直是韩国艺术界的领军者。尽管一直致力于支持韩国艺术人才，但画廊今年在西岸艺术与设计展上也展出了来自韩国以外地区的蓝筹艺术家的精选作品。

Canton Gallery

广州画廊

Displaying only a single work by artist He Chi at their booth, Canton Gallery’s less-is-more approach demonstrates a curatorial confidence that’s hard to not be impressed by. The showcased piece, Goodle, is a visually arresting installation comprised of flawed ceramic creations that exemplify the concept of wabi-sabi, a Japanese philosophy centered on embracing the beauty of imperfection.

广州画廊本次的展位秉持“少即是多”的理念，在展台上只展示了一件作品，令人耳目一新。由中国艺术家何迟创作的装置作品“古瓦（gū）者瓦（dū）”，视觉上非常有冲击力，它由艺术家本人收藏的古代烧制失败的陶瓷制品构成。“古瓦（gū）者瓦（dū）”是日本“wabi-sabi”（意为“侘寂”）哲学的典型代表，其核心理念正是拥抱不完美之美。

Ota Fine Arts

大田秀则画廊

Situated directly inside the main entrance of Hall A, Ota Fine Arts presents an eclectic showcase that feels comfortably out of place from the sterile white environment of the surrounding booths. With its collection of graffiti-covered paintings and disfigured sculptures placed front and center, the Japanese gallery seems keen to continue pushing the boundaries of contemporary art, just as it has done for the past 16 years.

位于主馆A厅一进门处的大田秀则画廊，像是个特立独行的陈列柜，与四面白墙的环境相映成趣。这家日本画廊收藏的涂鸦画作和抽象雕塑摆在最前方的正中位置，就像它过去 16 年所做的那样，大田秀则画廊持续不断地输出当代艺术的最前沿风潮。

ROH Projects

ROH Projects

Jakarta-based gallery ROH Projects returns to this year’s West Bund Art & Design with another impressive showcase of works from a powerhouse roster of Indonesian artists, including an electronic sculpture by Bagus Pandega, conceptual works by Aditya Novali, paintings by Arin Dwihartanto Sunaryo, and more.

位于雅加达的画廊 ROH Projects 今年重返西岸艺博会，提供了强大的印尼艺术家群作，包括 Bagus Pandega 的电子雕塑，Aditya Novali 的概念作品和 Arin Dwihartanto Sunaryo 的绘画作品等。

Galerie Dumonteil

杜梦堂

With locations in Paris, New York, and Shanghai, Galerie Dumonteil is a gallery that’s long committed to bridging the gap between the East and the West through art. This year’s booth has been dedicated to French artist Tess Dumon’s solo exhibition A Thing of Beauty is a Joy Forever. The exhibition, with works spanning across a gamut of mediums, blends together elements and concepts from Buddhism, Taoism, and Chinese folklore to form a deeply personal narrative.

在巴黎、纽约和上海都设有空间的杜梦堂，长期致力于通过艺术弥合东西方之间的隔阂。在本届艺博会，杜梦堂呈现了法国艺术家苔丝·杜蒙的个展“美是永恒的喜悦”，艺术家将佛教、道教和中国民间传说中的元素和概念融合在一起，形成了深刻的个人化叙事。

Star Gallery & Line Gallery

星空间 & 玉兰堂

At the booth co-curated by Beijing-based art institutes Star Gallery and Line Gallery, description placards for each piece of art are nowhere to be found. Instead, artist names and working titles have been hastily scribbled in pencil on the walls. This same sense of youthful whimsy underpins the collection of art on display, which includes works from comics artist Yan Cong, painter Gao Yu, and more.

在北京的艺术机构星空间和玉兰堂共同策划的展位上，每一件艺术品的描述标牌都不见了。取而代之的是，艺术家的名字和着作的标题被匆忙地用铅笔写在墙上。这种年轻的、异想天开的氛围，支撑着展出的艺术收藏品，其中包括漫画家烟囱、画家高瑀等人的作品。

TKG+

TKG+

Some of the most standout pieces presented by Taipei-based gallery TKG+ are the works of Mit Jai Inn. By applying layers upon layers of paint to a variety of canvas surfaces, the Thai artist creates kaleidoscopic textures and patterns that captivate the imagination.

台北 TKG+ 画廊展位最抢眼的作品是来自 Mit Jai Inn。通过在各种不同的画布表面上涂一层又一层的颜料，这位泰国艺术家创造了千变万化的纹理和图案，供人们展现无穷的想象力。

MadeIn Gallery

没顶画廊

Shanghai’s MadeIn Gallery hits all the right notes with its quirky collection of contemporary art. The works include a sculpture depicting the iconic silhouette of Mickey Mouse; a fictional love story printed on A4 paper and held by a pair of robotic hands protruding from the wall; a cluster of grapes with human facial features, seemingly lost in blissful ecstacy; and more.

上海的没顶画廊带来了一组充满趣味的当代艺术作品：一个呈现米老鼠标志性轮廓的雕塑；地球上最后两个人类之间虚构的爱情故事；一组有着人类面部特征的葡萄，似乎迷失在喜悦的狂喜之中；以及更多。

Gajah Gallery

象画廊

Attending West Bund Art & Design for the first time, Gajah Gallery has brought along a sizeable collection of works by artists from all over Southeast Asia, including never-before-seen artworks from Singaporean sculptor Suzann Victor, Indonesian painter Erizal As, and much more.

作为首次参加西岸艺术与设计博览会的象画廊，本次带来了来自东南亚各地艺术家的大量作品，包括新加坡雕塑家 Suzann Victor 的作品和印度尼西亚画家 Erizal As 的作品等。

West Bund Art & Design is happening between now and November 10th. Tickets are available at the door and online via Zoqi and Maoyan.

Address:

West Bund Art Center
2555 Long Teng Avenue,
Xuhui District, Shanghai
China

Hours:

Friday, November 8th, 12pm ~ 7pm
Saturday, November 9th, 10am ~ 7pm
Sunday, November 10th, 10am ~ 7pm

西岸艺术与设计博览会正在进行，即日起到11月10日，可以登陆“走起”和“猫眼”进行购票。

地址:

西岸艺术中心
龙腾大道2555号
上海徐汇区
中国

参观时间:

周五，11 月 8 日，中午十二点至晚上七点
周六，11 月 9 日，早上十点至晚上七点
周日，11 月 10 日，早上十点至晚上七点

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Website: www.westbundshanghai.com
Instagram: @westbundartfair

 

Contributor: Chen Yuan, David Yen
Photographer: David Yen
Chinese Translation: Pete Zhang

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供稿人: Chen Yuan, David Yen
摄影师: David Yen
英译中: Pete Zhang

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