All posts by admin

Breaking Down Walls 离开菲律宾，他让更多人看到菲律宾

September 7, 2018 2018年9月7日

Tucked off to the side of one of Metro Manila’s many massive superhighways is a small but lively creative hub and music venue where Jappy Lemon is painting a mural. The inhumane scale of the highway makes the location difficult to access by foot, but after a long stretch of car parks and chain restaurants, an overpass provides an entry point into the venue, Route 196.

The wall at Route 196, in the Katipunan neighborhood of Quezon City, was actually one of the first Jappy ever painted. “When I was getting my start, it was hard to convince anyone to give me a shot, but they were nice enough to let me paint here,” he recalls, glancing up at the overcast sky as he keeps an eye on the weather. Two years later, he’s returned to update the wall with his newer style. These days, he paints half a dozen walls a month.

Route 196 是一间小而热闹的创意据点和音乐场所，藏匿于马尼拉纵横交错的高速公路一侧，正是 Jappy Lemon 正在创作壁画作品的地方。非人性化的高速公路设计，使得人们难以步行到达此处，要穿越过漫长的停车场和连锁餐厅，和一座立交桥才能到达。

在位于奎松市 Katipunan 街区的 Route 196 外墙上，Jappy 画了自己的第一幅壁画作品。“刚开始的时候，很难说服别人给我机会。只有他们愿意让我在这里画。” 他回忆道，同时瞥了一眼阴云密布的天空，他必须时时刻刻注意天气的变化。两年后，他再次回到这面墙来，用自己全新的风格重新创作这幅壁画。最近以来他平均每个月都要画六面墙。

Raised in nearby Mandaluyong, Jappy has been interested in art all his life and originally planned to become a comic book artist. After a two-year stint at art school, he decided he’d learned what he needed and transferred to business school. But he continued making art on the side, experimenting with using both paint and digital means create his colorful, cartoony works.

Jappy 在附近的曼达卢永市（Mandaluyong）长大，他从小就对艺术感兴趣，原本的梦想是成为一名漫画家。在艺术学校读了两年后，他认为自己已经完成所需要学的东西，于是转学到了商学院。但他并没有放弃艺术，继续用颜料和数字媒介创作出洋溢着卡通风格的缤纷作品。

Jappy got his start with murals by chance. At business school, a student organization asked him to paint one in their office. “It was one of the hardest things I ever had to do, because I had never done it before. It took me weeks to finish a small mural,” he recalls, laughing. But after posting photos of the completed piece to Facebook, more mural requests came trickling in, and he’s kept on ever since. These days, on walls all around the city, you can spot his signature tigers and comic book characters, all striking acrobatic poses against a backdrop of brilliant, angular designs.

Jappy 的壁画创作开始于一次偶然的机会。在商学院的时候，一个学生组织邀请他在办公室里创作一幅壁画。“那是我做过最难的事情之一，因为我以前从来没画过壁画。我花了几个星期才完成那一小幅作品。” 他笑着回忆道。但是，当他将成品拍照上传到 Facebook 之后，吸引到越来越多人来找他创作，此后，他就一直画到了现在。如今在这座城市各个角落的外墙上，你常常能看到他的标志性老虎和漫画人物摆出生动的姿势，搭配着色彩明亮、棱角分明的背景设计。

Image Courtesy of Jappy Lemon

As Jappy works on a bright, animated skull character outside Route 196, the previous mural peeks out from underneath. The older piece, painted with brushes, is duller and lacks the energy of his newer creations. One year ago, he transitioned to using spray paint for his murals and hasn’t looked back.

Jappy 在 Route 196 外墙上重新画上一幅色彩鲜艳的骷髅骨头卡通形象，下方隐约还能看到之前的壁画痕迹。原来的壁画是他用画刷创作的，色彩比较暗淡，也缺少新作品那种蓬勃的能量。从一年前开始，他改用喷漆创作壁画，直到现在。

Despite a steady stream of commissioned projects, Jappy still often hits the streets in search of walls for personal projects. “I try and paint pieces for myself as regularly as possible. About three times per month,” he says. “With clients, it’s mostly their ideas I’m translating. The ultimate goal is to develop my style so that clients will come to me looking for that.”

He recently spent a month in New York, financing his trip to one of the world’s most expensive cities with his own art. “I feel a little isolated here in the Philippines because the rest of the world doesn’t notice us,” he says. “I want to prove that Filipino artists can be talented. Even within Asia, we struggle with our reputation: the light we’re shown in is so negative most of the time. All people know are the negative things and the beaches. But there’s a lot of talent here.”

尽管委托项目源源不断，但 Jappy 仍然经常跑遍街头去寻找创作个人项目的墙面。他说：“我想尽可能地多创作个人作品，每个月三次左右。至于客户委托项目，基本上我只是在帮客户传达他们的想法。但我的最终目标是发展出我个人的风格，让想要这种风格的客户来找我。”

Jappy 最近在纽约生活了一个月，运用自己的艺术来筹集生活在这座全球最贵的城市之一所需的费用。“在菲律宾，我觉得有点被孤立了，因为并没有世界上其他地方的人注意到我们。” 他说，“我想证明菲律宾也有才华横溢的艺术家。即使在亚洲，我们仍然在为自己的声誉奋斗。大多时候，我们展现给外界看到的都是消极的一面。其它国家的人只知道这个国家的负面消息，还有这里的沙滩。但是这里也充满蓬勃才华。”

Facebook: ~/jappyagoncilloart
Instagram: @jappylemon

Contributor: Mike Steyels
Photographer: Jilson Tiu

脸书: ~/jappyagoncilloart
Instagram: @jappylemon

供稿人: Mike Steyels
摄影师: Jilson Tiu

You Might Also Like你可能会喜欢

Girl’s Girl’s World 就想做一个“非主流”

September 5, 2018 2018年9月5日

无法观看？前往腾讯视频

In October 2017, Shanghai-based musician Shu Ying released her first full-length album Girl’s Girl’s World to critical acclaim—the ten-track record quickly making noise across China’s independent music scene. Formerly a keyboardist with the post-punk outfit Undress for Success and founding member of the electronic dance band Quadruple Cherry, Shu now inhabits her own radiantly untamed melodies amidst the loud, discordant, confused noise of twenty-first century Shanghai. A multitalented singer-songwriter who sings and writes both in Chinese and English, she also works as a digital content marketer and runs the Chinese-Dutch indie music label Waving Cat Records.

2017年10月，上海音乐人树樱发行首张个人全长专辑《Girl’s Girl’s World》，获得一致好评。这张共含十首曲目的专辑迅速在中国独立音乐界掀起波澜。树樱曾担任后朋克乐队 Undress For Success 的键盘手，也是电子舞蹈乐队四重樱（Quadruple Cherry）的创始成员之一。现在，树樱来到上海，在二十一世纪充满喧闹、混乱的上海音乐界中，创作着自己那无所拘束的独特旋律。她是一位多才多艺的创作歌手，用中文和英文演唱和写作，同时还是一名数字内容营销家，负责管理中荷独立音乐品牌 Waving Cat Records。

Listen to some of our favorite tracks from Shu Ying below / 点击即可试听树樱的几首歌曲

There’s a chameleon-like quality to her music, undoubtedly due to her diverse personal background. Of mixed Han and Kazakh descent, she spent her early years moving between Shaoxing, Urumqi, and Stockholm, and such youthful experiences proved formative for her music. “I remember taking a 60-hour train with my family to Urumqi as a kid. I encountered stories and different types of people when I was small and didn’t feel uncomfortable with it. Music is diverse—mixing cultures enables me to see things from a different angle.” Girl’s Girl’s World exemplifies Shu’s globally minded approach to music making: the Chinese singer’s album was recorded in the Netherlands and produced by Israeli Idan Altman.

多元的文化背景，使得她的音乐像变色龙一般变化多端。她是一名汉族和哈萨克族混血，从小在绍兴、乌鲁木齐和斯德哥尔摩三地生活，年轻时的经历塑造着她的音乐风格。“我记得小时候我和家人一起坐了 60 小时的火车去乌鲁木齐。那时候我遇见各式各样的人，听到各种故事，但从来不会觉得奇怪。音乐是多元化的，融合不同的文化能让我从不同的角度看待事物。”《Girl’s Girl’s World》体现了树樱音乐创作的全球性：这是一张中国歌手的专辑，在荷兰录制，并由以色列裔制作人 Idan Altman 操刀完成。

Despite its international imprint, Shu’s music bears faint echoes of the nightclubs and streets of Shanghai, or at least the beautiful chaos of the city’s recent past. Like most dynamic cities, Shanghai is a city in flux, its kaleidoscopic cultural landscape muted by ever-increasing levels of conspicuous consumption. “I used to go from club to club and street to street because I didn’t want to miss out on anything, but now Shanghai is a bit overwhelming, because of the pace of construction and consumerism,” she says. In a sense, her music has come to be defined less by place than by emotions and experiences: “I guess the emotion I get from my experiences is the most important part of my musical equation.”

尽管树樱的音乐充满全球性，但隐约之间仍然透露出道地上海街道和夜生活的气息。或者说，她的音乐映射出了这座城市近来共存的美丽与混乱。和大多数充满活力的城市一样，上海是一座变幻无穷的城市，万花筒般的文化景观却因为不断增加的炫耀性消费，变得无声无息。“我以前常常到各家夜店，逛遍所有街道，只为了不想错过任何东西。但是快速的城市建设和消费主义的快节奏，让人觉得上海似乎有点失控了。” 她说。从某种意义上说，与其以地理位置来理解她的音乐，不如从情感和体验来定义她的音乐，“在我看来，我从体验中获得的情感，是我音乐创作中最重要的部分。”

From its title to the female characters behind the lyrics, Girl’s Girl’s World is also a female-driven record. Many of the songs are sung from a woman’s perspective and drawn from the experiences of Shu’s female friends. Many of her influences are also female vocalists. Tracks such as “Brought by a Haze” and “Never Want That Talk Ever Again” (from her 2015 EP Are You Still A Teenager?) evoke the visceral grittiness of PJ Harvey, while “Leaving the City” contains the electro-pop DNA of late 1990s Madonna.

In a male-dominated society, it can be especially difficult to find your voice and have it heard. “We don’t have a mature, healthy music industry in China, despite the fact that numbers of streaming music users and concert goers are growing rapidly.” Undeterred by these challenges, she persists in search of that elusive and unique sound: “You have to be totally independent, mentally and physically strong to be a misfit.”

从标题到歌词背后的女性角色，《Girl’s Girl’s World》是一张饱受女性影响的专辑。当中许多曲目都是从女性的视角出发，创作灵感大多来自树樱身边女性朋友的经历。她的音乐创作也受到了许多女歌手的影响，譬如，在她2015年的EP《你还是青少年吗？》（Are You Still A Teenager? ）中有两首歌《Brought by a Haze》和《Never Want That Talk Ever Again》就回响着英国女子另类摇滚 PJ Harvey 那种坚韧的精神；而《Leaving the City》（离开这座城市）则指向了90年代末麦当娜代表的电子流行乐。

在男性主导的社会中，作为一名女性，要找到你自己的声音，并让人们听到你的声音，不是一件容易的事情。“在中国，虽然音乐串流媒体用户和会去现场看表演的观众，两者数量都在快速增长，但这还不是一个成熟、健康的音乐产业。” 树樱无惧于这些挑战，坚持寻找自己那难以捉摸的独特声音，“想要成为非主流，你必须完全独立，在精神和身体方面都要很强大。” 她说。

Incidentally, it was painting, and not music, that provided the first studio experiences. She studied traditional Chinese painting and oil painting in primary school, and later developed an interest in the shapes and costumes of Japanese animation. Her training in visual art is reflected in her lush sonic landscapes: “Music has as many aspects as there are colors in the world—intense, destructive, endearing, passionate.” In fact, the two—painting and music—are linked for Shu in a synesthetic way: “Music is flavorless without the imaginative stretch of colors.”

值得一提的是，她成立的第一间工作室并不是因为音乐，而是绘画。小学的时候，她学习中国传统绘画和油画，后来开始对日本动画中的设计与和服装产生兴趣。她在视觉艺术方面的训练反映在她丰富的音乐中。“音乐有着与颜色一样多彩的方面，可以激烈、可以震撼、可以惹人怜爱，也可以充满激情。” 事实上，绘画和音乐对树樱来说是相互连结的，“没有了充满色彩的想象，音乐也会索然无味。”

If her eclectic list of musical influences is any indication, Shu Ying’s new album, slated to be released later this year, carries high expectations. Her current playlist includes stalwarts such as Syd Barrett, Neu!, The Kills, and The Jesus and Mary Chain, as well as her recent obsession: garage and punk bands from San Francisco and Los Angeles such as Ty Segall, Thee Oh Sees, Fidlar, and Mystic Braves.

With songs full of attitude and vulnerability, disclosure and distance, Shu Ying’s music is an exciting presence on the Chinese indie music scene. Longevity almost seems beside the point. As she sings in “To Know Less,” the final track of the EP Are You A Teenager?, “Without short moments of clinking glasses / There won’t be everlasting memories.” Cheers to that.

各种多样的风格都影响、进而形塑了她的音乐，大家对她在今年即将发行的新专辑也寄予厚望。最近她常听的音乐有 Syd Barrett、Neu！、The Kills、The Jesus and Mary Chain，除此之外，她还迷上了旧金山和洛杉矶的车库和朋克乐队，如 Ty Segall、Thee Oh Sees、Fidlar 和 Mystic Braves。

树樱的音乐充满态度和脆弱性，既袒露赤裸却又保持距离，是中国独立音乐界中令人期待的力量。至于自己的音乐生涯能走多久，对她而言，这一点无关紧要。正如她在《你还是青少年吗？》EP 的最后一首歌《To Know Less》中所唱：“Without short moments of clinking glasses / There won’t be everlasting memories.”（没有玻璃叮当作响的瞬间，就不会有值得永驻的记忆。）真是说得太棒了！

Bandcamp: shuying.bandcamp.com
Xiami: ~/shuying

Contributor: Brian Haman
Videographer: Anaïs Siab, Damien Louise
Photographer: David Yen

Bandcamp: shuying.bandcamp.com
Xiami: ~/shuying

供稿人: Brian Haman
视频摄影师: Anaïs Siab, Damien Louise
图片摄影师: David Yen

You Might Also Like你可能会喜欢

Taclob Carries Its Weight 一家贩卖理想的公司

September 4, 2018 2018年9月4日

The Philippines is at the top of many lists: It’s one of the largest producers of plastic waste in the ocean, its capital is one of the cities most severely threatened by climate change in Southeast Asia, and in 2013 it took the record—still unbroken—for the world’s longest blackout. Of course, it takes government planning and international action to address these issues, but people can always start at home by changing how they consume personally. Use less, recycle more, buy locally. It’s a motto that should be a part of everyday decisions.

One company that takes this sort of philosophy to heart is Taclob, a Mandaluyong-based backpack maker. The business employs disaster survivors and disabled individuals to create stylish, upcycled bags made from repurposed vintage clothing.

菲律宾在很多排行榜上都是名列前茅：产生了最多海洋塑料废料的国家之一，首都城市是东南亚地区受到气候变化威胁最严重的城市之一。2013 年，菲律宾还发生过世界上时间最长的一次停电，这个记录仍然未被打破。当然，这些问题的解决需要政府规划和国际行动的共同努力，但人们也可以通过改变自己消费习惯，从自身做起。消耗更少，回收更多，坚持本地消费——把这几点变成日常决策的原则。

Taclob 正是以此为核心理念的一家公司。这家位于菲律宾曼达卢永（Mandaluyong）的手袋品牌雇用灾难幸存者和残疾人为员工，重新设计回收而来的废旧衣物，制作出时尚的手袋。

Taclob got its start in the southeastern city of Tacloban in the aftermath of Typhoon Haiyan in 2013. Founder Jourdan Sebastian witnessed the destruction firsthand through his involvement with Operation Airdrop, which used crowdfunding to deliver relief goods via helicopters and airplanes. He personally joined on some of those flights, and seeing the scale of devastation from above was a sobering experience. The typhoon had wiped out the entire city.

“It’s was like Transformers-type destruction,” he recalls, struggling to find words to describe what he saw.

在 2013 年台风海燕过后的东南部城市塔克洛本（Tacloban），Taclob 创立了。台风期间，创始人 Jourdan Sebastian 加入 Operation Airdrop，通过众筹利用直升机和飞机运送救灾物资，他参与了其中几次的飞行，亲眼目睹了这次台风所造成的灾难性后果。这次的台风彻底摧毁了整个城市，也警醒了 Jourdan。

“整座城市简直满目疮痍。”他回忆道，努力思索词语来形容他所目睹的灾难。

“When I went down and talked to the people, they thanked me for the goods and relief and money, but asked for help finding jobs,” Sebastian says. So he brought in a bagmaker who designed their first bag, the Compassion, and they trained local survivors to make bags and brought in equipment for them to do so.

“当我下飞机和人们交谈时，他们除了感谢我们带来的物资、救济和捐款之外，还希望我们能帮助他们找工作。”Jourdan 回忆道。为此，他找到一位手袋工匠，设计了他们的第一款手袋“Compassion”（意为怜悯、同情），同时训练当地幸存者制作手袋，为他们提供设备进行生产。

The Compassion bag was made from tarpaulin with a denim lining. “Disaster response creates a lot of garbage,” he says, explaining how he came upon the process of upcycling. “People give relief goods that are useless. One big container was full of winter clothes, wedding dresses, jeans that were too big for Filipinos. People don’t really put much thought into it, it’s like cleaning house for them. A lot of containers were just pure garbage. Since I couldn’t bring in materials because it was a broken city, I thought we should just use these materials. We went around to the survivors and were buying this stuff off them, which created added income.”

这款 Compassion 手袋采用防水布和丹宁布内衬制成。“救援活动也会带来垃圾。”Jourdan 讲述了他们开始升级回收的过程，“许多带来的救援物品都是没用的，譬如一大堆冬天的衣服、婚纱和牛仔裤，而且这些衣物的尺寸是对菲律宾人来说太大了。人们在捐助的时候未能认真思考一下，感觉他们更像是在清掉家里不需要的东西一样。很多运来的物资只是纯粹的垃圾。这已经是一座支离破碎的城市，我也没办法把物资再运进来，于是，我们就想不如就好好利用这些捐来的物料。我们找到幸存者，从他们那里买来这些物料，这样他们还能创造额外的收入。”

The facility ran for three years, until the city started to recover and their rent doubled. Sebastian was forced to shut production down, although he left behind their industrial sewing machines for the local bag makers.

工厂运行了三年，这座城市开始恢复，他们的租金涨了一倍。Jourdan 被迫关闭了工厂，但留下了工厂里的缝纫机给当地的手袋工匠使用。

He brought one of the Tacloban bag makers, Jimalyn Comandante, back to Manila, where they opened a new studio in a space owned by Sebastian’s mother-in-law. It’s a nondescript second-story loft with a big window overlooking a commercial strip full of small eateries. The entrance is in the back, which also leads to a motel-style apartment complex.

I met Comandante inside the workshop, a space filled with Taclob bags and a line of sewing machines. Before the storm hit, she worked at a factory in Tacloban making sports bags, and with her know-how, she was brought on board to train the hired survivors. “I was homeless from the typhoon when I first met Sir Jourdan, she says.

Now she lives behind the Mandaluyong studio in Manila with her husband and daughter, and is currently the company’s sole full-time employee. “I built this around Jimalyn,” Sebastian says. “We take corporate orders too, making bags for NGOs. She trained three hearing-impaired employees who we bring on when we get big orders.”

Jourdan 带着塔克洛本的手袋工匠 Jimalyn Comandante 来到马尼拉，并在他岳母所拥有的大楼里开设了一间新工作室。那是一幢不起眼的二层阁楼，有一扇大窗户，在上面可以俯瞰楼下布满小餐馆的商业街。入口在后面，也通往一幢汽车旅馆式的公寓大楼。

我在工作室内和 Jimalyn 见面。这间工作室里面摆满了 Taclob 手袋和一排的缝纫机。在那场台风之前，她一直在塔克洛本当地一家工厂里制作运动包，因为技艺出色，她还被邀请去培训雇佣的幸存者。她说：“刚见到 Jourdan 的时候，我正因台风过境而流离失所。”

现在，她与丈夫和女儿一起住在马尼拉曼达卢永工作室后面，目前是该公司唯一的全职员工。Sebastian 说：“这个工作室是我以 Jimalyn 为核心设立的。我们也接受公司订单，为 NGO 组织制作包袋。她培训了三名听力受损的员工，收到大订单时，我们就会找他们帮忙。”

When Sebastian started the brand, he did so as a form of direct action, a way provide stability for those impacted by the storm. In its current, scaled-back capacity, it’s less a company than a philosophy. “I’m not selling bags anymore, I’m selling the system,” he says. Of course, Taclob does still sell bags—you can even order a customized bag made from your own materials—the goal now is to spread the message of upcycling.

One of the main hurdles to the spread of upcycling he sees is a stigma towards the products since they come from old clothes: “Vintage is big in Europe, where I get a lot of orders, but not really here. Here you buy thrift clothes mainly because you’re poor.”

Jourdan 创立这个品牌后，躬亲践行，来帮助受台风影响的人们恢复稳定的生活。然而，以工作室目前的规模来说，与其说它是一家公司，不如说它是一个实践理念。“我不再是出售手袋，而是出售这个系统。”他说。当然，Taclob 仍然会卖手袋，你甚至可以用你自己的衣物预订一款定制手袋，但工作室现在的目标是宣传升级回收利用的信息。

在 Jourdan 看来，升级回收的主要障碍之一，是人们对这些用旧衣物打造的产品持有偏见，“购买二手物品的文化在欧洲很盛行，所以我们也收到了很多来自欧洲的订单。但这里却不同。在这，只有穷人才会买二手衣物。”

Unfortunately, he says, people don’t see a link between garbage and the severe storms brought on by climate change. “They see storm damage as an outcome of corruption, poor administration, illegal logging, and a lack of flood prevention structures. And that’s true. But there’s a carbon footprint when bags are made, there’s a carbon footprint when they’re thrown away. What if we kept all our bags, all our clothes, the plastic campaign tarpaulins politicians use? We could reuse all of that.”

可惜，人们并没有看到废弃垃圾与气候变化导致风暴之间的联系。“他们认为风暴造成灾害的原因是腐败、管理不善、非法采伐以及缺乏防洪结构。”

确实，这些都是一部分的原因。但人们也应该意识到，每制作一只手袋都会留下碳足迹，当它们被丢弃时又会产生碳足迹。如果我们将旧的袋子、衣服，还有政客们用过的塑料防水油布收集起来呢？我们就重复利用所有这些东西了啊。”

Facebook: ~/taclob.ph

Contributor: Mike Steyels
Photographer: Jilson Tiu

脸书: ~/taclob.ph

供稿人: Mike Steyels
摄影师: Jilson Tiu

You Might Also Like你可能会喜欢

A World of Monsters & Plants 抚慰人心的怪诞

August 30, 2018 2018年8月30日

In one illustration, a slime-covered shark with jet engines on its fins swims through a tangle of video game cables and old brick cell phones. In another, flowers with fanged petals wrap their stems around a pair of faded blue jeans. One more features floating ketchup and mustard bottles, Chuck Norris as a merman with hair dryers in both hands, plus an array of other surreal elements, all of which are sandwiched between two giant hamburger buns.

在一幅插画中，一只涂满粘液、鳍上装着喷气发动机的鲨鱼正游走于一堆视频游戏电缆和旧式的砖手机中；在另一幅插画里，褪色的蓝色牛仔裤上，画着露出尖牙的花朵；还有一幅，番茄酱和芥末酱的瓶子成为了主角，动作片演员查克·诺里斯（Chuck Norris）变成一条手拿吹风机的人鱼，和其它超现实元素一起，夹在两块巨大的汉堡面包之间，变成了一个巨型汉堡包。

These are the imaginings of Singaporean artist Adeline Tan. Her work—a mixture of illustration, commissioned murals, and personal painting—take on various roles and purposes. “Art is comforting, it helps me manage negative emotions,” she explains. “As a Singaporean child growing up in the ‘80s, there was a lot of pressure to perform academically. Children find ways to cope, and for me, it was drawing. My parents quickly discouraged me, of course.”

这些插画来自于新加坡艺术家 Adeline Tan 的想象世界。她的作品包括插画、委托创作的涂鸦作品和个人绘画作品等等，类型和用途都十分丰富。“艺术有抚慰人心的作用，它可以帮我控制一些负面的情绪。”她解释道，“作为一个生活在 80 年代新加坡的小孩，在学业上常常要承受很大的压力。每个小孩都有自己的排压方法，对我而言，画画就是我排压的方式。当然，我的父母很快泼我冷水了。”

What began as a creative outlet quickly grew to become her passion. She worked for years as a graphic designer, during which she struggled to find time for creating personal works. 2013, when Tan gave birth to her little boy, was a pivotal year for her. “I quit my day job to become a mother and focused more on painting and drawing as it had more flexibility than the long hours of a designer,” she says. “From there, I created a lot more personal work and self-initiated projects.”

这种最初用来排解压力的爱好很快变成为了她的热情。在担任平面设计师的多年期间，她总是想办法抽出时间创作个人作品。2013年，Adeline 生下儿子，对她来说，这是关键的一年。她说：“我辞去了全职工作，成为全职妈妈，也因此可以更专注于画画，比起当全职设计师那种长时间工作，现在我在时间上可以更加灵活。从那时起，我就创作了越来越多的个人作品和项目。”

While Tan’s output is diverse, having a child definitely had an impact on the subject matters she works with. “After my son was born, I began exploring themes like an imagined future of our natural environment, family history, and nightmares,” things that her family deals with and that her son may have to as an adult. “I’ve also taken up more children- and education-related projects. One collaborator I especially love is EYEYAH Magazine.” An example of the work she does with them is her piece on mutant E-waste, and how toxic products end up in the ocean and other places.

虽然 Adeline 的作品类型多样，但是小孩的出生肯定会对她的作品主题有所影响。“儿子出生后，我开始探索一些新的主题，譬如是构想自然环境的未来、家族历史和梦魇等等。”大多是以她的家人以及她的儿子将来成年后不得不面对的问题为主题。“我还开始创作更多与儿童和教育有关的项目。我特别喜欢和 EYEYAH Magazine 杂志合作。”他们曾合作一个关于突变电子废物，以及有毒产品污染海洋和其它地方的项目。

While she does lots of digital work, her favorite medium is painting. Often, that includes watercolors of plants with copious stems entangled in her trademark style. Tan also does a lot of mural work, something the artist began exploring a couple years ago. “I find that the difficulty faced when trying out a new format or medium or size is also exciting in the sense that I get to learn something new,” she says. “You are forced to look at the work in a different way, forced to use different brushes or tools from those you are comfortable with.”

虽然她创作了大量的数码作品，但她最喜欢的媒介依然是绘画。水彩绘画的花卉与相互缠绕的花茎是她的标志性元素。除此之外，从几年前起，她开始探索创作壁画作品。她说：“我发现，在尝试新的形式、媒介或创作不同大小尺寸的作品时，我会遇到的困难，同时也会感到兴奋，因为这意味着我可以学到新的东西。我必须要以不同的方式看待这项工作，抛掉过去用习惯的工具，去尝试不同的画刷或工具。”

The most recent mural she worked on was a collaboration with 32 other artists. Organized by artist Skl0, their work was printed on a replica of the HBD government subsidized housing blocks that the majority of Singaporeans live in. Tan’s work included a three-story unit consisting of a monster floral pattern on the outside wall, with a yeti-like couple dancing inside the windows. She also worked with artist Tiffany Lovage to create a life-sized mural of a tiger in X-ray view, leaping among tiger lilies, with the stripes on its body formed by a pattern of mutant tiger orchids.

最近，她与其他 32 位艺术家合作创作一个壁画项目。这个项目由艺术家 Skl0 策划，他们在大多数新加坡人所居住的组屋（HDB，政府补贴的住宅区）的复制品上创作壁画。Adeline 的作品包括一个三层楼的单元，她在外墙上画了一个怪物花卉图案，又画了一对像大脚野人（Yeti）一样的情侣在窗户里跳舞的情景；她还与艺术家 Tiffany Lovage 画了一只X射线图的老虎。这只与原物一样大小小的老虎正从虎百合花丛中一跃而出，身上的条纹也突变成老虎兰花。

Her characteristically dense and comical works, with multiple objects thickly entangled with one another, lend themselves to a variety of outlets. But no matter how her work is presented—whether it be a stamp collection, an animated GIF, the painted fabric of a pair of pants and sneakers, or a children’s illustration—Tan’s style always feels like a perfect fit.

密集而有趣的画面，繁复的物体彼此纠缠在一起，这是她作品的标志性风格，这样的插画适合制作成各种各样的创意作品。无论是邮票、视频投影 GIF、裤子和运动鞋上的彩绘，还是儿童插画，Adeline 的作品总会让人有一种亲切感。

Website: www.mightyellow.com
Instagram: @yell0w

Contributor: Mike Steyels

网站: www.mightyellow.com
Instagram: @yell0w

供稿人: Mike Steyels

You Might Also Like你可能会喜欢

Sounds from the Far East 来自远东的声音

August 29, 2018 2018年8月29日

Japan’s seminal electronic music label, Far East Recordings, is finally getting its due—almost two decades after producing some of Japan’s most infectious deep house and jungle tracks of the late 80s and 90s.

Far East Recordings founder Soichi Terada and his fellow pioneering producer, Shinichiro Yokota, made tracks that destroyed dance floors in obscure corners of the house music world. Yet even in their native Japan, Far East Recordings seldom garnered the appreciation that its impressive discography commanded.

日本的开创性电子音乐唱片公司 Far East Recordings 曾经制作了日本 80 年代末和 90 年代最热门的 House 和 Jungle 音乐。二十年后的今天，他们的成就才最终获得应得的肯定。

Far East Recordings 的创始人 Soichi Terada 和著名制作人横田信一郎（Shinichiro Yokota）合力制作的曲目曾经震撼了 House 音乐这个不起眼的角落；然而，即使在他们的家乡日本，Far East Recordings 唱片公司的出色音乐制作却一直未被获得恰当的赏识。

Yet thanks to a compilation released in 2015 by the Netherlands-based label, Rush Hour Records—aptly titled Sounds from the Far East— the prime selections of Far East’s discography are sending crowds of partygoers into sweat-ensconced frenzies on dance floors and under festival tents the world over.

Neocha contributor Bejan Siavoshy sat down with one-half of Far East’s driving force—Soichi Terada—in Tokyo to discuss, among other things, his early influences, Far East’s inception, and what it is like to be a touring musician years after the music you’re being celebrated for was made.

Listen to our audio interview with Terada in full here.

转机出现在 2015 年荷兰厂牌 Rush Hour Records 推出的一张选辑。这张选辑恰如其分地命名为《Sounds from the Far East》（《来自远东的声音》），当中所挑选的曲目再一次点燃世界各地派对动物在舞池和音乐节中被汗水笼罩的狂热。

Neocha 供稿人 Bejan Siavoshy 与 Far East Recordings 创始人之一 Soichi Terada 在东京见面，一起坐下来聊了聊关于他们的早期影响、Far East Recording 的成立，以及他们创作的音乐在多年后终于得以巡演的感受。

点击此处，可以收听音频访谈。

Website: fareastrecording.com
Facebook: ~/SoichiTeradaMusic

Contributor, Interviewer, & Photographer: Bejan Siavoshy

网站: fareastrecording.com
脸书: ~/SoichiTeradaMusic

供稿人、采访人与摄影师: Bejan Siavoshy

You Might Also Like你可能会喜欢

Quiet Moments in Osaka 那天在日本的那个僻静角落

August 28, 2018 2018年8月28日

One cannot help but feel a hush of serenity when looking at the work of Krys Authier, who takes photographs of quiet corners in Japan. Authier is originally from Montreal and has lived in Osaka for four years, documenting her daily life in snapshots she takes on film.

Better known on social media as Mocsow, Authier has gained a sizable following on Instagram since moving to Japan. “This country always has so much to offer. There’s an infinite number of places to explore, and there’s always something to see, do, and most importantly, shoot.”

一种淡然的、平和宁静的感觉，从看到 Krys Authier 作品的那一刻起，就油然而生——来自蒙特利尔的她，拍下了在日本各处的安静角落。殊不知，Authier 如今已经在大阪生活了四年了，她用胶卷快照不断记录着自己的日常生活。

在社交媒体上，她更为人熟知的是名字是Mocsow，移居日本后的她在 Instagram 上慢慢积累了大量的粉丝。“日本是一个惊喜不断的国度，这里有数不清的地方值得去探索，总有一些东西可以去看、去做，更重要的是，有很多值得拍摄的事物。”

Her Instagram is filled with close-ups of traditional Japanese architecture, details of shrines, and nature at its finest—the shore at dusk or bright cherry blossoms in full bloom. “I always have the same questions in mind while taking photos: am I doing any of these scenes or subjects justice? Why do I want to shoot these things that are usually overlooked?”

在她的 Instagram 上，你能看到各种传统日本建筑的特写和神社的细节，还有最美丽的自然景观——暮晓的河堤或盛开的粉樱。“拍摄的时候，我总是会想一个问题：我能充分表现出这些场景的面貌吗？为什么我要拍这些经常被人们所忽视的事物呢？”

Authier’s photographs are never cluttered or busy. She focuses on small details and picks out just a few main elements to capture in the frame. Followers enjoy her muted, unsaturated colors and her carefully angled shots, which offer a small window onto the world around her. “There’s one photo I took of an elderly man fishing,” she recalls. “He’s sitting on a stack of tetrapods, and all you can really see is his back and the horizon, but the scene exudes a sense of peace. These are the kinds of scenes that I enjoy shooting the most.”

在 Krys 的镜头中，你不会看到过于热闹或复杂的画面，她喜欢将镜头聚焦于细节，从中捕捉至为重要的元素。淡雅的不饱和色调，和她精心设计的角度镜头，开启了一扇小窗口，令人得以一窥她四周的世界。“我曾经拍过一张老人垂钓的照片，”她回忆道，“当时他坐在一堆四脚防波石上，基本上你只能看到的他的背影和地平线，但整个场面却散发出一种宁静的感觉。这是我最喜欢拍摄的场景。”

Asked why she doesn’t shoot digitally, she cites the affordability and accessibility of analog cameras. “If you’re interested in shooting film, you can pick up an old fifteen-dollar Minolta SLR, or even shoot with a disposable camera, and you’ll end up with some pretty amazing results. A good DSLR, on the other hand, doesn’t come cheap,” she explains.

当被问及为什么不用数码相机拍摄时，她说主要原因在于胶卷相机低廉的价格。“如果你喜欢胶卷摄影，你哪怕是买一台 15 美元的美能达单反相机，或是用一次性相机拍摄，你都可以得到非常不错的照片效果。但是，一台比较好的数码单反相机价格可就不便宜了。”她解释道。

She first learned how to use a manual camera and develop film in a college. “While it was a fun and addictive process, I didn’t actually stick with shooting 35mm once the course ended,” Authier says. Her passion for analog was rekindled after she moved to Osaka and discovered Japan’s film community. “There are a lot of great used camera shops all over the country. And there are a lot of talented and inspiring film photographers, as well as some pretty impressive camera nerds.”

大学的时候，她第一次学会用手动相机和冲洗胶卷。“虽然用 35mm 相机拍摄很有趣，甚至可以说令人上瘾，但在课程结束后，我当时就没有继续用胶卷相机拍摄了。”Krys 说。直到她搬到大阪，发现了日本人对胶卷拍摄的热衷后，才重新点燃她对胶卷拍摄的热情。“日本全国各地都有很多很棒的相机商店，有很多才华横溢、充满启发的胶卷摄影师，还有一些非常令人印象深刻的相机发烧友。”

Authier offers simple advice to those looking to hone their skills: “Get out there and shoot as much as you can, as often as you can!” Constant practice and experimentation are key. “Try carrying a film camera and a few rolls of film with you at all times,” she adds. “And don’t wait too long to get your film developed. Those results will ultimately inspire you to keep shooting more.”

对于有志于胶卷拍摄的人，Krys 分享了她的建议：“多走出去拍摄，尽可能多地拍，越多越好！”不断的练习和试验是关键。她补充道：“随时随地都带着胶片机和几卷胶卷。而且不要等太久才去冲胶卷，因为看到冲洗出来的照片能给你动力去继续拍更多照片。”

Recently Authier has been making prints of her photos on traditional Japanese washi paper. “Getting the tones right can be frustrating, but it’s always a very fulfilling experience,” she says. “I use a thick washi paper made of mulberry and hemp fibers. It’s nice to the touch and gives the photographs a soft, dated quality.”

“I’ve actually just released a new set of 35mm prints shot entirely on expired Kodak Ektachrome color-positive film,” she goes on. “It’s called Stay Positive, and it’s now up on my shop.”

Her prints are available for purchase here.

最近，Krys 在尝试用传统日本和纸（washi）来印制照片。她说：“要调出正确的色调不容易，这个过程挺让人挫败的，但也是非常有成就感的体验。我用的是由桑椹和大麻纤维制成的厚质和纸。这种和纸的触感很好，能给照片带来一种柔和、复古的感觉。”

她说：“事实上，我最近刚刚推出了一系列的胶卷照片作品，全部都是我用过期的柯达 Ektachrome彩色正片拍摄的。这个系列名为《Stay Positive》（《保持乐观》），现在已经在我的个人商店上发售。”

点击此处，即可购买 Krys Authier 的作品。

Instagram: @mocsow

Contributor: Megan Cattel

Instagram: @mocsow

供稿人: Megan Cattel

You Might Also Like你可能会喜欢

Bawal Clan, Outlaws by Nature 这是被禁止的喔！

August 22, 2018 2018年8月22日

Left to right / 从左到右: Rjay Ty, Funkatalyst, OJ River, Ankhten Brown, Yung Bawal, DZ SVG

After a brief, torrential downpour, the sun has come out in force and a few members of Bawal Clan linger in a convenience store parking lot in Metro Manila. They’re waiting for some friends to join them for a skateboarding session before the release party later tonight for their debut album, Paid in Bawal. The clan is a rap group, but they embrace the breadth of their city’s sprawling creative scene, actively recruiting members from overlapping subcultures, including visual artists and skaters who don’t make music. Of the 13 or so members on the roster, eight are rappers and five make beats.

一场短暂的倾盆大雨过后，热辣辣的太阳再次出现。在马尼拉一个停车场里，Bawal Clan 乐队的几位成员正在等朋友。在今晚的专辑发布派对之前，他们要先和朋友玩一下滑板。Bawal Clan 是一支说唱团体，他们对这座城市里的各种创意文化都张开手臂欢迎，甚至还会从各种亚文化圈中招募乐队成员，包括并不做音乐的视觉艺术家和滑板玩家。在目前团队的十几名成员中，有 8 名说唱歌手和 5 名 beatmaker（节奏师）。现在，他们推出了团队的首张专辑《Paid in Bawal》。

Listen to select tracks from Bawal Clan below / 点击即可试听 Bawal Clan 的几首歌曲

The convenience store we’re standing in front of is in Poblacion, a red-light district that’s the latest destination for creatives and night owls. Streetwalkers proposition passersby and dealers offer fake Viagra just outside the city’s liveliest bars. Tonight the party’s at Boogie, a new venue opened by the owners of the forward-looking clubs Black Market, 20:20, and B-Side. It’s a smaller space, covered in graffiti by a local artist named Chase and plastered with classic photos of old-school markers and 1990s-era rap albums.

他们正在一家便利店前聊天。酒吧关门后，他们就会来到这里继续喝酒。这里是当地的红灯区Poblacion，但也已成为了创意文化和夜生活的中心。站街女不断挑逗着过往的男人，小贩兜售着假伟哥，而旁边就是几家马尼拉最热闹的俱乐部，Boogie。今晚的专辑发布派对正在这里举办。

新开的 Boogie 是由马尼拉的 Black Market、20:20 和 B-Side 等最前卫的俱乐部老板共同创办的。这家新俱乐部的空间不大，里面有许多由当地艺术家 Chase 创作的涂鸦作品，贴满了各种 old-school markers 的经典照片标志，以及上世纪 90 年代时期的说唱专辑。

Left to right / 从左到右: Ankhten Brown, Babarn, Solo Pogi

Ankhten Brown, a Filipino-Jamaican member of the Bawal Clan who grew up between New York and Manila, skates around the parking lot. He jumps onto an aircon box and tries to stall on a window ledge, much to the annoyance of the employees watching from the steps. “You gotta be creative as a skater here, because there’s just no space. Make use of every little thing possible,” he explains with a wide grin on his tattooed face.

Bawal Clan 中的菲律宾裔牙买加成员 Ankhten Brown，从小在纽约和马尼拉两地长大，他在停车场四周玩滑板，跳上空调盒，又试图在窗台上练习 Stall 的动作，这很大程度上惹来停车场工作人员的不满，他们一直徘徊在台阶上，紧盯着我们。“在这里，要玩滑板就得发挥创意，因为根本没有空间给你滑。所以，你要去充分利用每一件小物件。” 他解释道，有着刺青的脸上露出大大的笑容。

无法观看？前往优酷

Once it’s clear none of the other members of the group will show up this early, they give up on the lazy skate session and drift over to a Japanese-inspired food stall hidden down a nearby side street. Apparently the staff are friends of theirs, and the new album can be heard blaring from the kitchen. The team order some shots of lambanog, a strong local spirit, and before downing them everyone yells, “Bawal!”

当他们发现其他的成员都不会这么早出现后，他们就结束了短暂的滑板练习，去到附近巷子里一间充满日本风格的小食摊位。显然，员工是他们的朋友，因为他们的新专辑正在厨房大声地播放着。他们点了几杯菲律宾椰酒（Lambanog），这是当地的一种烈酒。所有人一起喊道： “Bawal!”，然后将酒一饮而尽。

Left to right / 从左到右: Solo Pogi, Babarn RJ Moscardon

Nearly the entire crew is Filipino, but many of them have spent a long time in the US. They gravitated to each other a few years ago, while they were each working on their own projects, and eventually they decided to form a group. Their name started out as an inside joke: the word bawal means “taboo,” and they’d often call out the phrase yung bawal—“that’s forbidden”—when hanging out together. Then their main beatmaker, playing on the “Young” prefix that rappers often add to their names, adopted Yung Bawal as his moniker. When they formally became a collective two years ago, they chose Bawal Clan to make the casual breaking of taboos their ethos.

而这个 “Bawal” 的意思，是“禁忌”。这其实是源于他们的一个内部笑话——在一起玩的时候，他们会经常大声喊 “Yung bawal!”（意为“这是被禁止的喔！”）。虽然团体里几乎所有成员都是菲律宾人，但很多人其实都曾在美国生活过很长一段时间。过去几年里，他们开始互相合作，越走越近，最终决定组成一支说唱团体。随后，团体的主要 beatmaker 将说唱歌手很喜欢拿来做名字前缀的 “Young”，变成了自己的名字 “Yung Bawal”。两年前，团队正式成立，他们选择了 Bawal Clan 这个名字，旨在将“打破禁忌”作为他们的理念。

无法观看？前往优酷

Even now, two years on, the crew still inserts “bawal” references whenever possible, and every time, it boosts their energy up a notch. “People like our music because we say whatever we want to say,” says MNL$ (pronounced Manila Money), one of the crew’s rappers who grew up in California and had a successful music career in Korea before moving here. “We’re all really rebellious. We stand by our individuality.”

即使是几年后的今天，他们依然会在音乐中尽可能引用 “Bawal”，每一次，它都能提升团队的士气。“人们喜欢我们的音乐，因为我们在音乐中可以畅所欲言。” MNL$（读作 “Manila Money”）说道。他自小在加州长大，搬到这里之前还曾在韩国有着成功的音乐事业。“我们都很叛逆，坚守自己的个性。”

Funkatalyst, Yung Bawal

By now we’re standing in front of the Boogie, waiting for the party to start. Someone blasts the album from a parked truck, offering a taste of the music that will be played later that night. The tracks range from angry and abrasive mosh pit music to sleek, thoughtful expressions of love to classic boom bap. On the Street Fighter-inspired “Yoga Flame,” cartoony bleeps are paired with a “Shabba“-type hook that works as playful club music. The gothic trap of “GTFO” is grounded by distorted bass and chamber music keys and even features a verse in Spanish by Ankhten. “My mom is Spanish-Filipina, but I also picked up a lot of Spanish in New York,” he explains. Despite the variety of moods the tracks capture, it’s a solidly rap and R&B album.

现在，我们正站在 Boogie 前，等待派对开始。旁边一辆停着的卡车里大声播放着他们的专辑，预告着当天晚上要推出的音乐。专辑里的音乐有愤怒、粗放的 Mosh pit 音乐，也有表达爱情的流畅曲调和经典 Boom bap。以《街头霸王》游戏为灵感创作的《Yoga Flame》用游戏中的哔哔声声效，搭配 Shabba 式俱乐部音乐风格的副歌。哥特式风格的 trap《GTFO》在扭曲的低音和室内乐（chamber music）之上，加入了 Ankhten 的一段西班牙语说唱。“我妈妈是西班牙裔菲律宾人，但我后来在纽约的时候也学了不少西班牙语。” 他解释说。专辑里所传递出的情绪十分丰富，但它确实是一张不折不扣的说唱和 R＆B 专辑。

With the diversity of their members and styles, it’s hard to pin down what Bawal Clan is about entirely. On one track someone will be rapping about violence, and another artist will be talking about burning sage to ward off negative energy. With such a large roster, they cover a lot of ground. Occasionally, seven rappers will make it onto one track, but the average is more like five or six per song.

因有着多元化的成员与曲风，很难简单地来定义 Bawal Clan。在同一首歌中，有人在说唱关于暴力的问题，有人则可能会在谈论燃烧鼠尾草来抵御负能量。有了这样风格多元的成员，他们的音乐自然能够涵盖更丰富的内容。偶尔，7 位说唱成员会一起来创作一首音乐，但更多时候，可能一首歌只是由其中 5、6 名说唱成员完成。

Rjay Ty

Bawal Clan’s members come from a variety of creative backgrounds, some with careers outside of music. DZ SVG (pronounced “Dizzy Savage”) is a screen actor who’s bounced back and forth between Manila and Las Vegas for half of his life. A few of the members have even spent years living in Europe. “I think our international outlook gives us an advantage,” says DZ. There’s also Lex Luthoor, who’s Nigerian and grew up in Spain before moving to the Philippines in high school. “We consider Alex just as Filipino as everyone else in the crew,” MNL$ chimes in. “My boys have my back,” agrees Lex, who speaks fluent Tagalog. While Filipinos themselves can be very diverse, there aren’t many white or black people in the country so they stand out, and Lex has faced a lot of discrimination. “But these guys are like my family,” he says without pause. “I wouldn’t want to be anywhere else.”

Bawal Clan 的成员来自不同的创意背景，其中一些成员甚至做着与音乐无关的职业。DZ SVG（发音为 “Dizzy Savage”）是一位演员，大部分时间，他就生活在马尼拉和拉斯维加斯两地。另外还有一些成员在欧洲生活了几年时间。DZ 说：“我们的国际视野是我们的优势。”成员中还有尼日利亚裔的 Lex Luthoor，他自小在西班牙长大，高中时候才移民到菲律宾。“在我们眼中，Alex 和我们所有人一样，都是菲律宾人。” MNL$说道。

“这些家伙像都是我坚实的后盾。” Lex 操着一口流利的菲律宾语说道。虽然菲律宾本身就是一个多元的国家，但在这里，你不会看到太多白人或黑人，所以他们在人群中格外引人注目，Lex 在生活中也遇到过诸多歧视。“但这些家伙就像我的家人一样。我只想跟他们待在一起。”

Left to right / 从左到右: Funkatalyst, MNL$, DZ SVG, Yung Bawal

Left to right / 从左到右: MNL$, DZ SVG, Yung Bawal, OJ RIver, Ankhten Brown, Funkatalyst, Rjay Ty

Their different views jostle side-by-side within their verses. Whatever comes to mind, if they like it, they go for it. They don’t let anyone tell them what to do. One word they regularly use to describe themselves and their story—in addition to “bawal”—is “organic.” It’s how they came together as a team, how they create music, how they learn. It’s about going with the flow and seizing opportunities as they come. They don’t just rhyme in freestyle, they freestyle their lives. They’ll get to where they’re going however they see fit. Just don’t stand in their way.

他们的不同想法往往在说唱中一起出现。不管想到什么，只要他们喜欢，就直接做了。他们不让任何人告诉他们该怎么做。除了 “Bawal”，他们经常用来描述自己和团队故事的词是 “Organic”（自然的、有机的）。这是他们团队最初成立的方式，也是他们创作音乐、学习的方式。顺其自然，在机会出现时抓紧机会。他们既在音乐中 freestyle，也让自己的生活 freestyle。无论是哪里，只要感觉合适，他们就会去那里，没有人能阻挡他们。

Facebook: ~/BawalClan
Instagram: @bawalclan

Contributor: Mike Steyels
Photographer: Iya Forbes

脸书: ~/BawalClan
Instagram: @bawalclan

供稿人: Mike Steyels
摄影师: Iya Forbes

You Might Also Like你可能会喜欢

Concrete Stories 世界尽头，爬楼相会

August 13, 2018 2018年8月13日

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

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

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

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

Sun-dried

Young Reporter

Job Done

Morning Fix

Toddler on Bike

Concrete Canyon

Pushing Up

Altitude Nap

Bonsai Master

Collecting Laundry

Badminton Lesson

Life in Grey and Pink

Carjacking

Website: romainjl.com
Instagram: @romainjacquetlagreze

Contributor: David Yen

网站: romainjl.com
Instagram: @romainjacquetlagreze

供稿人: David Yen

You Might Also Like你可能会喜欢

The Boys of Sangkhla Buri 那些纵身跳入水中的少年

August 9, 2018 2018年8月9日

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Contributor & Photographer: Will Wiangchai

供稿人与摄影师: Will Wiangchai

You Might Also Like你可能会喜欢

City Fragments 明日世界

August 7, 2018 2018年8月7日

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

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

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

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

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

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

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

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

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

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

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

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