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Dressed to Transgress 疯”服“多彩

April 24, 2020 2020年4月24日

It’s hard to miss someone dressed in Salad Day threads. The Filipino designer’s clothes are loud and maximalist, an overload of kawaii stitched together by sheer will. His pieces, which are almost entirely one-off and custom, involve dozens of colors and types of fabrics: pink fur sweatshirts, strawberry-pattern bathrobes, frilly aprons emblazoned with Hello Kitty, and makeup coupon ads instead of logos. They gleefully push limits.

“My clothes are party clothes,” says Willar Mateo, the designer behind Salad Day. “If you go to the right party, everyone is wearing my stuff. But it’s almost more fun wearing it out in public because everyone stares.”


菲律宾设计师品牌 Salad Day 拥有超高的辨识度。那些衣服上成堆的可爱元素,被设计师随心所欲地缝合在一起,不禁让人感叹品牌的大胆与鲜繁。缤纷的颜色和布料,令每一件作品看起来都是独一无二的定制品:运动外套上抹过的粉红皮草、草莓样式的浴袍、饰有 Hello Kitty 的褶边围裙,甚至连品牌的 Logo 也被替换成化妆品折扣券的广告。他们对此兴致勃勃,并不断尝试突破。

“我的衣服为派对而生”,Salad Day 的设计师 Willar Mateo 说,“如果你去了对的地方蹦迪,说不定会发现所有人都穿着我做的衣服。但我建议你在公众场合穿着,因为那样你会成为万众瞩目的焦点。”

On a normal day Mateo’s outfits are simple, but he enjoys dressing up, and especially loves to take public transportation to and from the parties. He tells of one night when he and his friends left at three a.m. to grab an early breakfast. All twelve of them climbed into a jeepney with full makeup and wigs. “We love how people stare at us, like we’re crazy. It’s fun!”


虽然 Willar 很喜欢盛装出行,乘搭公共交通参加各种派对活动,但他的日常穿搭却很普通。他说,有一次和朋友在凌晨三点结束派对去吃早饭,12 个人浓妆艳抹,戴着假发,坐上了一辆吉普尼车 (Jeepney),“我们享受人们盯着我们看的样子,在他们的眼里,我们是疯子。这实在太逗了!”

Sometimes it’s hard to get a jeep to stop for him when he’s fully dressed up, but Mateo says the Philippines is mostly tolerant, and he keeps his sexuality, like his clothes, out of the closet. “I identify as platinum-card gay,” he laughs. “Most of my clients are gay boys. Most of my family accepted me, and even though I didn’t tell them, they knew, because I’m a butterfly.” His father, a lieutenant colonel in the army, expected a very macho and conservative boy, so to escape that, his mother sent Mateo to live with his grandmother in the countryside towards the end of elementary school.


有时候因为浮夸的造型,也会遇到拒载的吉普尼车司机,但 Willar 说菲律宾大多数人的态度都比较宽容。在大众面前,他也毫不掩饰自己的性取向,就像他大胆展示自己的服装一样。他笑着说:“我是彻头彻尾的同性恋。我的大多数客户都是男同性恋。我的大部分家人都接受我的性取向,虽然我从来都没有告诉他们,但他们都知道,因为我就是一只花蝴蝶。”Willar 的父亲是陆军中校,他一直希望儿子是具有男子气概的传统男孩。为了避免父子之间的冲突,Willar 的母亲在小学时期的后几年里,把他送去乡下和祖母一起生活。

Mateo spent his adolescence in an isolated village surrounded by fishponds. School was a thirty-minute boat ride away. Needless to say, the move to Manila for college as a teen was liberating. “I met people there who understood me and liked my style,” he says

That joy in being himself, in being an individual, is central to Mateo’s clothing: “I don’t like mass-produced stuff. I want the clothes to be special,” he says. “You don’t toss it into the washing machine, you hand wash it. I like the drama of it. It’s custom-made for you.” Anime and the early 2000s are big inspirations, but he takes ideas from whatever catches his eye. “Right now I’m experimenting with combining high and low fashion. Like, ‘It’s expensive to look this cheap.’”


因此,Willar 的少年时期在一个鱼米之乡的偏僻村庄里度过,他每天都需要 30 分钟的船渡去上学。而当后来搬到马尼拉上大学时,他感觉自己才获得了真正的解放。他说:“那里的人理解我,他们喜欢我的风格。”

这种做出自己、忠于个性所带来的快乐正是 Willar 服装的设计核心,他说:“我不喜欢大批量生产的东西,我喜欢独一无二的。不是那种扔进洗衣机里的衣服,而是必须手洗的衣服。我喜欢这种戏剧性,这样的衣服才称得上为你的量身定制。”

2000 年早期的动漫和时尚为 Willar 的创作提供了许多灵感,但同时,任何让他感兴趣的事物都能激发创作,“目前,我正在尝试将高级与低级时尚相融合。就是要打造那种 ‘看起来便宜,穿起来贵’ 的感觉。”

Radical individualism turns out to be fairly sustainable, too, at least in a world where so much waste is just laying around. “I use a lot of deadstock fabric or manufacturing rejects, because they’ll never be produced again. I also use a lot of fabric scraps; nearly half of my clothes are upcycled, made from pre-used material and scraps.” Mateo’s making the planet a tiny bit more sustainable, and a whole lot more fun.


在这个铺张浪费的世界环境中,Willar 的设计不但讲究强烈的个人主义,同时也具有可持续发展性,他说:“近乎一半的作品都是用旧材料和废料制成的,创作中用的许多废弃面料和瑕疵废品,它们都是不能再复制生产的。同时,我还用到了许多零碎的布料。” Willar 的衣服在具有十足的趣味性同时,更为世界的可持续发展做出了贡献。

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

Tainted Innocence 谁动了那个少女?

April 20, 2020 2020年4月20日

In pastel hues, innocent looking girls engage in a series of transgressive, often morbid acts. In some, they burn, suffocate, and stab their stuffed animals. In others, they experiment with sexual or violent acts on each other, often both at the same time. This is the acrylic world of Kana Miyamoto, a Japanese painter testing boundaries and shedding inhibitions.


色调柔和的画面中,看似天真无邪的女孩做着一些近乎病态的越轨行为:她们用火烧、用手掐甚至用刀刺毛绒玩偶,或是互相进行性与暴力的实验。这些由日本画家宫本香那(Kana Miyamoto)用丙烯颜料勾勒的作品,像是要不断挑战底线,冲破压抑的世界。

Miyamoto’s pieces revolve explicitly around young girls, usually dressed in cute outfits that drift into the realm of naughty. “I’ve liked drawing girls since I was in elementary school,” she says. “I admired cute and fashionable girls, and that’s how I started drawing them.” As she grew older, she continued developing her skills while honing her artistic vision. The characters have become simple vehicles of expression, devoid of guilt or agency.


豆蔻年华的少女、可爱动人的服装、大胆撩人的气息,这呈现着宫本香那作品的核心。这些她说:“我从上小学开始就喜欢画女孩。我倾慕那些可爱又时尚的女孩,这也是我落笔画画的原因。”随着年龄的增长,她不断提高自己的绘画技巧,同时塑造自己的艺术视野。她笔下的角色成为了一种简单的表达工具,不带任何负罪感或主观情感

Originally, her work was an exploration of youth and the savagery of kids. “I was strongly attracted to the reckless cruelty of children and how they’re never blamed, no matter how crazy things get,” Miyamoto says. But eventually, it became a study of cruelty in general. “Humans are so ambivalent towards one another and inconsistent with their values.” 


最开始的时候,宫本香那的作品侧重于探讨少女的青春与残暴。她说:“我对孩子那种不顾后果的残酷很着迷,无论她们做的事多疯狂,都不会受到责备。”

这种着迷最终演变成了对残忍暴行的整体性探讨, “人类彼此之间如此矛盾,他们的行为与价值观往往是不一致的。”

Miyamoto’s work is a pressure valve of sorts. “I think I am releasing myself by drawing pictures of these free girls,” she says. “I’m a very emotional person.” The sexual themes and violence depicted in her work is a comment on the way an inhibited atmosphere tends to create its own backlash. “Sex becomes a punching bag in a repressed society.” 


宫本香那的作品类似于一个压力阀。她说:“我觉得自己在画这些无所顾忌的女孩时,也是在释放自己的压力,我是一个比较多愁善感的人。”她在作品中描绘的性主题和暴力行为说明了一种压抑的环境对人产生的反效果,“在一个压抑的社会,性这个话题成为了一个宣泄口。”

The sapphic nature of her work fits neatly into a long tradition of erotic art in Japan that goes as far back as ancient shunga art and continuing through the hentai of contemporary manga. But Miyamoto says it’s not directly influenced by either; her art is about her personal feelings and experiences, and, much of her work is based on childhood memories. In one case, she cites the sexual bullying of a classmate as something that stuck with her for years.

“I was very embarrassed to publish the sexual works at first,” she says, “but now I don’t care much. If people don’t like it, that’s fine. As long as they feel something.”


画面中所描绘的女同性恋元素,其实与日本的色情艺术文化相当吻合。从日本古代的春宫图到当代的情色漫画,色情文化在这个国度源远流长。但是宫本香那说,这并非是自己创作的直接影响。她的作品主要还是源于个人的感受和经历,其中大部分作品都是根据她童年的经历而创作的,其中一幅作品取材于自己遭同学性欺凌的往事,那次的经历成为了困扰她多年的阴影。

她说:“一开始,我对发表这些充满情色元素的内容会觉得很不好意思,但现在我没那么在意了。只要人们感受到了一些东西就可以,哪怕不喜欢也没关系。”

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

Stranger than Fashion 当脑海中的景象成为现实

April 17, 2020 2020年4月17日

Fashion editorials often strive to escape the bounds of reality to pursue a vision of pure fantasy. Photography, though central, is simply one tool among many. The worlds gleefully built by photographer Wei Huan abound with humanoid characters inhabiting blinding, colorful alien landscapes. Models pose in dystopian wastelands or sit in pools of industrial waste as tire fires burn in the background. Others curl up in a warm bedroom, encased in a creamy, dripping bubble.


杂志时尚摄影往往渴望摆脱现实的束缚,并尝试着追寻一种纯粹的幻想境地。摄影本身固然很重要,但也只是众多媒介中的一种。在韋欢的作品中,模特打扮成类人形的角色,置身于炫目多彩的异域世界。模特在反乌托邦式的荒原中摆出各种姿势,或是坐在疮痍满目的工业废墟之中,任凭身后轮胎上的火焰熊熊燃烧。而在另一些作品中,人物蜷缩在温暖的卧室,被乳白色的水滴状泡沫包裹着。

“The role of photography in fashion editorials,” says Wei, who lives in Guangzhou, “is to stand out like the most beautifully dressed person in the crowd, to quickly attract people’s attention.” To achieve that aim, she dispenses with the rules of any single genre. “I don’t really care if my work is classified as photography. The camera is just a medium, not the ultimate goal.”


现居广州的韋欢说:“摄影在时尚杂志中的角色,就好比人群中装扮最华丽的那一个,这样才能一下子抓住别人的眼球。”为此,她拒绝服从单一的创作风格,“我不在乎我的作品是否被视为摄影作品。相机对我来说只是一种媒介,而不是最终的目的。”

Wei started out studying graphic design but switched to photography, which she found more interesting. Working as a creative director after college, she honed her personal style and accumulated enough knowledge of photography and fashion to realize her visions. 

“I don’t need to depend on anybody else to bring my ideas to life. No one knows better what the picture in my mind is than I do,” Wei says. She creates the core vision for each project, yet she still works with a team of trusted and valued collaborators. “A fixed team knows much more clearly what the other person wants, saving a lot of communication costs.”


韋欢最初学习的专业是平面设计,学习途中她发现拍摄更有意思,于是转投摄影领域。大学毕业后,韋欢有过一段担任创意总监的经历,期间她积累了丰富的摄影和时尚经验,磨练并掌握了自己独有的风格,打造出个人的创意理念。

她说:“我不需要依靠其他人实现我的想法。没有人比我更清楚我自己脑海中的图景。”每个项目她都亲自构建主视角,但同时,她依然与一群值得信赖的团队和宝藏合作人共同完成项目。“固定的团队会更清楚对方想要什么,这样可以节省大量的沟通成本。”

In post-production is where Wei’s team often dials up the surrealism, digitally adding tentacles or reptilian appendages to her models. But she’s begun moving away from software-assisted image manipulation. In recent years, she increasingly works with stage designers and makeup artists to physically bring these dreamlike elements to life.


在后期制作的环节中,韋欢的团队通常会为作品的画面增添超现实主义元素,通过电脑技术给照片中的模特画上触手或爬行动物的四肢等等。除了通过软件的图像处理外,韋欢近期开始与舞台设计师和化妆师合作,那些虚拟的科幻元素马上会成为现实。

Wei enjoys working on fashion editorials because they allow for radical creativity. “I like the constant creativity in fashion,” she says. Still, there are strings behind that funding. “It’s a service, and you work for a client.”


正是因为那些时尚机构不加掩饰的包容心,韋欢十分享受为杂志拍摄的过程。她说:“时尚行业里源源不断的创意令我入迷。” 不过,这种创作背后也有着一定的限制,“毕竟这是一项服务,你终究还是要为客户着想的。”

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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供稿人: Mike Steyels
英译中: Olivia Li

Set in Stone 是时候用石头许愿了

April 15, 2020 2020年4月15日

In the mountains of South Korea, it’s common to find doltaps—or stone stacks—all along the trails. The closer you get to a temple, the more you find. Some think these piles of stones can ward off bad fortune; for others, they’re makeshift altars of prayer; still others believe that building a doltap can make a wish come true.


在韩国的山区小径上,常常能看到一片片碎石堆叠而成的“石塔”,离寺庙越近,这样的石塔就越多。当地人或相信这些石塔可以抵御不幸;或把石塔当作临时的神坛;还有人认为,垒砌这样的石塔可以使人愿望成真。

In 2016, on a visit to a Buddhist temple in the mountains of Yangsan, Seoul-based artist Ok Kim saw doltaps for the first time. She marveled at their beautiful simplicity and found herself fascinated by the spirituality behind the practice. “People pile up each piece of stone with a wish or prayer in mind,” she says. “They have to pay close attention when balancing them so the stack doesn’t collapse.” These fragile pillars led her to create Merge, an ongoing series of works designed in their likeness.


2016 年,首尔艺术家 Ok Kim 前往梁山区一座佛教寺庙参观时,第一次看到了这些石塔。她折服于这些石塔的简单之美,也对其背后的精神意义十分着迷。她说:“人们在堆砌石头时,内心都会许愿或祈祷,每放一块石头,他们都得专心致志,小心维持石头的平衡,否则整个石堆就会崩塌。”这些小心翼翼保持平衡的石堆,启发了她目前还在创作中的《Merge》项目,这是一系列参照石塔造型打造的雕塑作品。

Merge was originally envisioned to be more expressive than functional, but given Kim’s background in furniture design, practicality was never far from her mind. Her steel sculptures aren’t simply meant to be gazed at—the majority of them are designed to be used as tables and side stools.


最初创作《Merge》时,她主要注重其表现力而非功能性,但因为 Ok Kim 家具设计方面的背景,所以不由自主就会在设计中融入实用性的考量——这些钢材雕塑不纯粹是供人欣赏的艺术品,大多数还能用作桌子和凳子。

Like doltaps, Kim’s sculptures are lopsided, staggered arrangements, but instead of a lifeless gray, she coats hers in a palette of radiant colors. In one sculpture, earthen yellows melt into a swath of pine green, calling to mind the changing leaves of autumn; in another, shades of teal swirl with darker blues on a rippled finish, conjuring imagery of a lake’s shimmering surface on a warm summer day. The colors and textures she incorporates on her sculptures are all inspired by South Korea’s idyllic mountains, where she first came across doltaps. It’s also Kim’s way of paying tribute to the painterly charm of the outdoors.


正如叠石塔那样,Ok Kim 的雕塑有着倾斜的外形,参差交错,但在她作品上,石塔原本的沉闷灰色被鲜艳的色彩涂覆。一件雕塑中,土黄与松绿相交融,让人联想到秋日岑林尽染之景;另一件雕塑,蓝绿与墨兰交织成漩涡般的波纹状,仿佛温暖夏日里波光粼粼的湖面。这些雕塑的色彩设计灵感源自韩国的田园山间风景,那里也是她第一次看到叠石塔的地方,因此这样的用色,也是 Ok Kim 对大自然绝妙配色的致敬。

These colorful sculptures are all varnished by layer after layer of ott-chil, a lacquer made from the sap of ott trees. It’s a traditional technique that’s become increasingly obsolete in modern times. Only a handful of Korean artisans still work with the material, and for good reason: aside from the amount of time required when working with ott-chil, skin contact with the liquid sap can result in severe rashes.

Kim insists on the painstaking technique, even though it can take her up to five months to finish a sculpture. In fact, she’s grown to cherish the difficulty, viewing meaningful parallels between the challenging creation process of each piece and her own struggles in life. “When I was in my late 20s, I didn’t like the way I lived,” she recalls. “I felt like a failure, but looking back, those years were formative. It helped me find my identity and purpose. I’ve had to go through the bad to get to the good. That process is like how I make art now—there are different stages to go through before a new sculpture can become polished and refined.”


这些色彩缤纷的雕塑表面涂着一层层的生漆,一种由漆树汁制成的涂漆。在韩国,这种传统工艺在韩国已逐渐被人们遗忘,只有少数手工工匠仍在使用这种材料。但这不是没原因的,毕竟使用生漆创作十分费时,而且皮肤接触到漆树汁会产生严重的皮疹。

虽然每一个雕塑往往要花上五个月的时间,但 Ok Kim 一向坚持使用这种繁复的工艺。事实上,极富挑战的创作过程、与她个人生活的挣扎困厄有着不少相似之处,Ok Kim 已经学着把这样的挑战当做一种财富。她回忆说:“20 多岁的时候,我很不喜欢自己的生活,总觉得自己像一个失败者。但回看过去,那几年我真的成长了很多,也找到了自己的身份和生命的意义。一个人必须经历过不幸才能变得更好。这个过程就像我现在的艺术创作一样,要成就一件精妙绝伦的雕塑,必先要经历几个不同的阶段。”

Just like when building doltaps, Kim makes a wish with the completion of each sculpture. “My wishes have been broad, but they’re things people usually wish for: things related to love, happiness, and family,” she laughs. “My favorite wishes were about achieving my dream of creating art, to be myself no matter what, and to stand firm even in the most difficult of situations. I think they’ve all come true.”


就像在叠石塔时一样,Ok Kim 每完成一件雕塑都会默默许下愿望。她笑着说:“我的愿望很多,但都是很普通的愿望,和爱情、幸福和家庭有关的愿望。我许过最有意义的愿望就是实现艺术创作的梦想,坚持做自己,哪怕在最困难的情况下也要坚定不移,我觉得这些愿望都实现了。”

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Website: www.okkimstudio.com
Instagram: @okkim_studio

 

Contributor: David Yen
Photographer: Chris da Canha

Chinese Translation: Olivia Li
Additional Images Courtesy of Ok Kim


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

Website: www.okkimstudio.com
Instagram: @okkim_studio

 

供稿人: David Yen
摄影师: Chris da Canha

英译中: Olivia Li
附加图片由 Ok Kim 提高

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Sci-fi Lookbook 平行世界中的复古潮

April 13, 2020 2020年4月13日

Sci-fi illustrations with characters dipped in streetwear is a bonafide subculture on Instagram, and the combination is a surefire way for artists to get fans. Standing out among that sprawling crowd takes work, and Taiwanese artist Chien-An Chou is levels above the rest.


科幻题材加上街头时尚打扮的角色,兼具这两种元素的插画成为了 Instagram 上的一种热门亚文化,也是一部分艺术家在 Instagram 上的吸粉秘诀。但是,要在众多同类型的艺术家中脱颖而出并非易事,而台湾艺术家周建安显然具备了比他人更胜一筹的本事。

In one image a bun-haired skater girl with bashed-up shins races a train, whipping up a frenetic cloud of dust around her. In another, a girl in baggy gear posts up against a cop car with a cyborg officer glancing out the window. A model in a blue tracksuit and chunky sneakers poses with a grin amidst towering red buildings and floating boom boxes. Racing uniforms, ‘90s polo shirts, souvenir jackets, high socks, and skate shoes pop up repeatedly.


在他的一张插画中,梳着发髻、腿上伤痕累累的滑板女孩正与一旁的火车赛跑,四周扬起阵阵灰尘;在另一张中,一个穿着宽松服装的女孩正靠着一辆警车,坐在里面的机器人警察探出来扫视着。还有一个身穿蓝色运动服和厚底运动鞋的女孩,在高耸的红色建筑和漂浮的立体音箱中,正笑着摆姿势。在他的插画中,赛车服、90 年代的 polo 衫、刺绣夹克、高筒袜和滑板鞋是最常见的元素。

His illustrations aren’t particularly meaningful—they’re pure aesthetics. But it’s work that oozes talent. Every movement pulsates with energy, every pose overflows with moodiness. The characters imagined by Chien-An Chou, always fashionably outfitted, inhabit a parallel-universe version of Taipei. Each vibrantly detailed frame takes three to four weeks to complete, he says, emphasizing the level of commitment behind his work.


周建安的插画并不追求深刻的意义,而是纯粹的美学至上。但不可否认,这些作品体现了他的出色绘画功底,人物的每一个动作都劲头十足,每一个姿势都透露出饱满的情绪。他笔下的人物总是打扮时尚,像是在另一个平行宇宙里的台北中生活。他透露,这些生动的插画作品,每张都需要三到四周的时间来成。由此可见他在每一张作品背后投入的心血。

Chou has been drawing almost his entire life. Although his parents were supportive, they worried he wouldn’t have a stable future. “Now that I have a certain level of success, their thinking towards painting has changed,” the Taiwanese artist says. He studied at an art school in Taipei and worked in advertising until two years ago, when he made the leap into full-time illustration. “Taiwan is not very friendly to artistic creation,” Chou laments. “Painting is considered a kind of hobby and not a career. I hope to change that perception.”


周建安从小到大一直在画画。虽然父母很是支持,但同时也会担心他将来生活是否足够稳定。“现在我算有所成就了,他们对我画插画的想法也改变了。”他说道。之前周建安在台北一所艺术学校读书,毕业后从事广告工作,直到两年前,他才辞职成为全职插画师。他感慨道:“台湾整个社会对艺术创作的态度不算友好,人们常常认为绘画只是一种爱好,而不是事业。我希望能改变这种观念。”

He’s on the right path so far. All of his characters wear intricately tailored clothes and accessories—originally just pieces he wanted to collect for his wardrobe. But now he’s gone from drawing clothes to putting his illustrations on his own streetwear band, C.A. CHOU.

Chou says that Taiwan still has a way to go in terms of fashion. He hopes that through his clothing label and artwork, he can encourage people to be more expressive and experimental with what they wear. “Few people here dress like this,” Chou says of his characters’ styles. “In the real world, everyone dresses more conservative. This style is simply a small subculture, for now. I’m looking forward to when people can become bolder and more courageous about wearing their own unique styles.”


目前来看,他选择走这条路没有错。他笔下的角色穿着样式各异、细节复杂的衣服和配饰。这些服饰都是他按照自己的喜好来画的。而现在,他更将画中设计的衣服,变成了他的个人街头潮牌 C.A. CHOU

周建安认为,当地时尚行业还有很长的路要走。他希望通过自己的服装品牌和艺术作品,鼓励人们在自己的穿着打扮上大胆表现和尝试。提到插画中的服装风格,他说:“在台湾,很少有人这样穿。在现实生活中,每个人的穿衣风格都比较保守。插画里的着装风格目前还只是一种小众的亚文化。我期待人们在服装造型方面能更大胆,更敢于穿出自己的个性风格。”

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Website: www.cachou.art
Facebook: ~/cachouart
Instagram: @c.a.chou

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

网站: www.cachou.art
脸书: ~/cachouart
Instagram: @c.a.chou

 

供稿人: Mike Steyels
英译中: Olivia Li

Run ZNC 请你出门左拐,别在这涂鸦!

April 10, 2020 2020年4月10日

When people talk about the best cities for graffiti, Singapore, with its draconian anti-vandalism laws, isn’t usually high on the list. Yet it’s home to one of Asia’s most prominent graffiti artists Slac Satu—who co-founded the Zinc Nite Crew and became famous in a high-profile criminal graffiti case.

Slac got his start when graffiti in Asia was still young. Back in 1998, when neither he nor Singapore knew what graffiti was yet, Slac and his friend Monk began running around the city catching tags by night. They didn’t know anyone doing anything like this, though later they learned that another group called OAC had also been writing.


提到最适合涂鸦的城市,新加坡通常都是榜上无名,毕竟这里的反破坏公物法律极其严酷。然而,亚洲最出色的涂鸦艺术家之一:Slac Satu 正是来自新加坡。他是 Zinc Nite Crew 的共同创始人,因为一起广受关注的涂鸦刑事案件而为人熟知。

涂鸦在亚洲刚兴起时,Slac 就开始参与涂鸦创作。1998 年,他和当时的大多数新加坡人一样,对于涂鸦这个概念还很懵懂。那时候,他常常和朋友 Monk 趁着夜色,奔走于这座城市的不同角落创作 tag(签名)。刚开始,他们以为只有自己在做这样的事情,直到后来他们发现另一个名为 OAC 的团队也在玩涂鸦。

Though he was most inspired by American graffiti, Slac was thirsty for any scrap of knowledge he could find. “Skateboarding magazines had a lot of graffiti in them, so we’d spend hours studying the small pictures,” he recalls. Although they started out bombing—working illegally, getting their work up in highly visible spots—they were also fine-tuning their artsy skills in hidden spots along Singapore’s canals.


美式涂鸦对 Slac 的创作影响最深,他如饥似渴地搜集一切找到的资料学习。他回忆说:“滑板杂志上有很多涂鸦,所以我们常常花很多时间去研究里面的图片。”尽管他们已经开始到街上去“非法”涂鸦——为提升被看见的几率,他们都尽可能地在人流量大的地方画,但同时也一直在沿着运河旁的隐蔽角落,不断磨炼自己的技巧。

The public had no idea what to think in those early days. “At first it was quite chill,” Slac recalls. “A lot of times we’d just paint right out in the open in front of other people. They just watched in silence.” The honeymoon didn’t last long. Vandalism was on everyone’s radar, especially after an American had been sentenced to jail and caning for wrecking some automobiles a few years earlier. But Slac considered himself an artist. “I truly believed I was being creative and putting free art on the streets.” The police didn’t see it that way.

In 2000, the police arrested Slac and three other teammates. “They were already investigating us, but we didn’t know it,” he says. “We were ambushed one night and caught in the act putting our names up. I got away but had to surrender myself the next day.” He faced jail time, but after fighting the case for close to three years, he got off with one year of probation, a 9 p.m. curfew, one hundred hours of community service, and some hefty fines. He was also blacklisted for the next ten years. “When that happens, you end up on a ‘naughty list.’ If you’re looking for work, employers know it and getting a good job becomes a challenge.”

“ZNC was done for,” Slac says. “I was about to quit graffiti.” Luckily a friend signed him up for a graffiti competition, one of the country’s first. “I was stressed about the case, which was still ongoing. But we were just getting started.” So he went—and won.


刚开始,公众对涂鸦的态度还不太明确。“大家的反应都挺平静的。”Slac 回忆道,“很多时候,我们就是这样在大庭广众下涂鸦,旁边的路人也只是默默地看着。”但这种和平没有持续多久,涂鸦开始被视为一种蓄意破坏公物的行为而备受关注。尤其是在几年前,一个美国少年因为涂鸦多辆汽车而被判入狱和鞭刑的案件发生之后,这种情况愈演愈烈。但是 Slac 认为自己只是一位艺术家。“我只不过在进行创意创作,在街上创作免费的艺术品。”但警察却不这么认为。

2000 年,警察逮捕了 Slac 和他的三个队友。他说:“警察原来一早就在调查我们,但我们完全蒙在鼓里。某天晚上我们在涂鸦的时候,警察早就埋伏好,当场逮捕我们。我成功逃跑了,但是第二天还是去自首了。”他面临入狱处罚,在打了近三年的官司之后,他最终获一年缓刑,加上晚上 9 点的宵禁、一百小时的社区服务以及高额罚款。在接下来的十年中,他被列入了黑名单。“发生这种情况后,你就会被加入一个黑名单。如果你要找工作,雇主就会知道这一点,那么想找一份好工作就比较难了。”

Slac 说:“我当时觉得 ZNC 要解散了,也打算不再涂鸦了。”幸运的是,一位朋友帮他报名参加了一场涂鸦比赛,这场比赛也是新加坡国内的首次涂鸦比赛。“我当时压力很大,还在打官司,但我们才刚刚开始。”所以他去参加了比赛,并胜利凯旋。

The victory was a clear turning point for Slac. It led to his first commission and made him reevaluate the possibilities of graffiti. “All of a sudden everybody knew who we were,” he recalls. “The case made the regional news. They were calling us the most wanted crew in the country. The other crews didn’t like that though, and it led to a lot of beef.”

By then the crew consisted only of him and his friend Monk. To keep ZNC going, they needed younger blood, so they started recruiting beyond the borders of Singapore. Soon, Phobia and his crew from Malaysia joined. Shake and his team from Indonesia were next. “We didn’t plan for it to become international; it just took its own course. A graffiti crew from Singapore with its strict laws, starting a worldwide crew? It didn’t seem doable. But I stood my ground for the team. They’re family.” A flame that was about to be extinguished eventually grew to a worldwide collective with 100 members at the time of this writing.


这次比赛获胜对 Slac 来说是一个转折点,也为他带来了第一份工作,他也因此重新评估了自己的涂鸦事业。他回忆说:“突然之间,所有人都认识你,这件案件也成为了当地的新闻。人们称我们是新加坡最受欢迎的涂鸦团队。但这也惹到了其他涂鸦团队,所以也导致了很多争吵。”

当时他们团队里只有两个人:他和朋友 Monk。为了让 ZNC 进一步发展,他们需要吸纳年轻的血液,于是他们开始在新加坡以外的地区招募新人。很快,来自马来西亚的 Phobia 和他的团队加入了 ZNC。紧接着,来自印度尼西亚的 Shake 和团队也加入进来。“我们一开始也没打算走向国际;只是自然而然地就成了这个样子。在新加坡这个严刑峻法的国家组建一支国际化的涂鸦团队?听上去就很不现实。但是我一直为团队坚守立场,我们是一家人。”谁能想到这一枚摇曳的火苗,最终燃烧蔓延成一支拥有 100 名成员的全球化团队。

Around 2002, Singapore unveiled its first legal wall at a skatepark. Two years later it added another, and this became home to Slac and other local writers. Eventually new management started demanding to review mockups of anything that would be painted, stifling their work. He boycotted the space and began hunting for a new one. An art collective offered him another home, and eventually, Slac took that space over, turning it into the country’s new hub for graffiti, The Blackbook.

“I want to keep the crew and the scene tight, but we couldn’t do that without our own space,” he says. “With a studio, we can do so much more, focus so much more. It’s a work hard, play hard kind of mentality.” Blackbook proved to be the final missing piece for the country’s scene. The space has a graffiti shop that carries a wide assortment of paint and tools. There are walls people can paint freely. And people are always there, just hanging out, building bonds, and sharing secrets of the trade. “Our role is simple: keep the scene alive,” Slac says. “The next generation of writers won’t be left to figure it all out on their own like me and most of the pioneers.”


大约在 2002 年,新加坡在一个滑板公园推出了第一面合法的涂鸦墙。两年后,又新增了一面,这里成为了 Slac 和其他当地涂鸦艺术家的创作乐园。后来,新的管理层开始要求审查所有涂鸦的图案,这扼杀了他们的创作自由。于是,他放弃了这个空间,开始另觅新的空间。一个艺术团体为他提供了另一个创作的地方,最终 Slac 接管了这个空间,将其改造成新加坡新的涂鸦中心“The Blackbook”。

他说:“我想让团队和涂鸦界有更紧密的联系,所以我们必须要有属于自己的空间。有了工作室,我们可以做更多的事情,更专注于创作。努力工作,努力玩。”Blackbook 已经成为新加坡涂鸦界不可或缺的一部分。工作室设有一间涂鸦用品店,出售各种各样的喷漆和工具。里面也有一些墙面,让人们自由涂鸦。大家都喜欢到工作室里,聚会闲聊,结识朋友,交流创作的技巧。Slac 说:“我们的角色很简单,那就是让涂鸦界保持活力。让新一代的涂鸦艺术家不需要像我和大多数前辈那样自力更生,自己解决所有问题。”

The authorities haven’t forgotten Slac, though. “There’s no more illegal graffiti in Singapore, that era is dead,” he says. “Whenever there are any new vandalism cases, the cops come knocking on our door. You want to go bombing? Sure, I understand. Just leave Singapore to do it.” 


不过,政府当局并没有忘记 Slac。他说:“新加坡不再存在非法涂鸦了,这样的时代已经过去了。每当出现新的破坏公物事件,警察就会找上门来。’你想上街涂鸦?我当然理解。但请你出门左拐,到新加坡外面去涂。’”

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Website: slacsatu.carbonmade.com
Instagram: @slacsatu | @zincnitecrew

 

Contributor: Mike Steyels
Photographer: Gabe Tan
Chinese Translation: Olivia Li
Additional Images Courtesy of Slac Satu


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

网站: slacsatu.carbonmade.com
Instagram: @slacsatu | @zincnitecrew

 

供稿人: Mike Steyels
摄影师: Gabe Tan
英译中: Olivia Li
附加图片由 Slac Satu 提供

“Flower” 当我们在谈论一种不能说的植物

March 1, 2018 2018年3月1日

Ever since China overcame its rampant opium problem of the 19th and early 20th century, the country has held an antagonistic stance towards mind-altering substances of all types. This aversion is even reflected in the language; In Chinese, “drug” translates to du ping, which literally means “poison,” a term that harbors a much more sinister connotation when compared to its linguistic counterpart in English. Anyone who grew up in a traditional Chinese household can likely attest to how they’re raised with the notion of all drugs being extremely addictive and inherently bad, with marijuana being no exception. Considering that such a negative outlook on drugs is rooted in the public consciousness, it’s no surprise that cannabis remains as stigmatized and illegal as ever in China and nearby regions. However, in the West, ganja has steadily been gaining social and legal acceptance in recent years.

Born in Korea, raised in the States, and now living in Hong Kong, photographer Alex Maeland has experienced first hand how divided Eastern and Western opinions can be when it comes to the subject of cannabis. His new photo series, “Flower”, which will be debuting at the McNamara Art Projects in Hong Kong this weekend, ultimately stems from a personal curiosity towards the cultural differences when it comes to the topic of ganja. By highlighting the beauty of cannabis plants through his photos, Maeland hopes to shed the stereotypes associated with the substance and invite people in the region to reexamine the taboo topic in a new light.


摄影师 Alex Maeland 在生于韩国、长于美国、现居香港,这样的生活经历让他亲身体会到了东西方国家的人们,对于大麻持有截然不同的看法。本周末,他将在香港的 McNamara Art Projects 展出其全新摄影系列《“Flower》(),而这个系列的创作动机正是出于他对世界各地大麻文化差异的好奇。Maeland 通过镜头,呈现出大麻植物的美感,希望借此改变人们对这种植物的一些偏见,并重新审视对这个禁忌话题的认识。

An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一

“Spending enough time in places like Los Angeles, the stigma around weed has been dissolved by the micro interactions that normalize it into the everyday lifestyle of the average citizen,” Maeland shares. “Meaning, it is no longer relegated to the stereotypes that have plagued it in media and entertainment for a while. […] I thought it would be interesting to do a small photo show to re-position the dialogue around weed through still-life, botanical-photo-style art in a city like Hong Kong.”


Maeland 说:在洛杉矶这样的地方长时间生活后, 对于大麻的不好的印象也已经被冲淡,现在会觉得它只是普通人的一种生活方式。这意味着,在媒体和娱乐界的影响下,大麻一度被人们所误解,但现在人们对它的看法已经改变……所以,我想,在香港这样的城市里举办一个小型的摄影展,通过静物植物摄影艺术,让人们围绕大麻进行新的对话,应该会挺有趣的。

Harvested buds being hung out to dry. An unreleased image shot by Maeland at a Stateside grow-op / Maeland 未发布的摄影作品之一
Marijuana buds being air dried. An unreleased image shot by Maeland at a Stateside grow-op. / Maeland 未发布的摄影作品之一
A close-up image of trimmed marijuana buds shot by Maeland. / Maeland 大麻的特写摄影

Maeland views the opportunity to do a show on the topic of cannabis in Hong Kong to be much more impactful than doing something similar in the States, and rightfully so. In a region that still hasn’t accepted marijuana, in either a recreational or medical capacity, his aim is to encourage a candid discussion on the matter. “It is more relevant by doing it in a region that still doesn’t have any kind of relationship to weed in a legal sense,” he explains. “[…] The goal being to bring people together around a topic and push the conversation forward.”


Maeland 认为,在香港举办有关大麻的摄影展览比在美国做类似的事情影响力更大。事实也确实如此。他的初衷是,在一个无论是娱乐还是医疗方面都尚未接受大麻的地区,鼓励人们对这个话题进行坦诚的讨论。在一个仍未在法律层面上对大麻进行讨论的地区,做这件事件会更有意义。他解释道,“……我的目标是让更多人参与进来,一起推动有关这个话题的对话。

An unreleased image of a Stateside grow-op by Maeland. / Maeland 未发布的摄影作品之一
An unreleased image of a Stateside grow-op from Maeland, shot through a ventilation fan. / Maeland 未发布的摄影作品之一
An unreleased image of cannabis plants inside a Stateside grow-up shot by Alex Maeland. / Maeland 未发布的摄影作品之一

Cannabis aside, Maeland has found an interest in photographing flora of all types in recent years. From creating diptychs that pair flower bouquets with portraits to capturing the life cycle of store-bought roses, Maeland uses flowers to invoke specific moods and feelings in his photography. However, beyond their superficial qualities and narrative uses, perhaps more significant is what flowers represent to him. For Maeland, flowers symbolize growth and change, qualities that not only mirror his own aspirations as a creative but also share parallels with his ambitious goals for the upcoming exhibition.

Alex Maeland’s “Flower” will be debuting at Hong Kong’s McNamara Art Projects on March 3rd, 2018 and run until March 16th, 2018.


除了大麻之外,近年来 Maeland 特别热衷于拍摄各种植物。虽然花卉的确让他的照片更具视觉吸引力,但 Maeland 对花卉的迷恋不仅来自于它们的外表。他以双联画的形式,将肖像摄影与花卉的照片并列在一起,以捕捉一束玫瑰的短暂生命周期,他的作品常常会通过花卉来唤起观众特定的情绪和感情。但是,对 Maeland 来说,花卉不仅是一种叙事手段,更是成长和变幻的象征,而这也是他渴望在即将到来的展览中所探讨的主题。

Alex Maeland 的“花”(”Flower”)摄影展将于 2018 年 3 月 3 日至 3 月 16 日期间在香港的 McNamara Art Projects 亮相。

Event“Flower”
Opening: Saturday, March 3, 2018, 6 ~ 9 pm
Exhibition Dates: March 3, 2018 ~ March 16, 2018

 

Address:
McNamara Art Projects
202, The Factory
1 Yip Fat Street
Wong Chuk Hang, Hong Kong

 

Website: www.alexmaeland.com
Instagram: @alexmaeland

 

Contributor: David Yen


活动名称: “Flower”
开幕时间: 星期六,2018年3月3日,下午6点至9点
展览日期: 2018年3月3日——2018年3月16日

 

地址:
McNamara Art Projects
香港黄竹坑
业发街 1 号
The Factory, 202室

 

网站: www.alexmaeland.com
Instagram: @alexmaeland

 

供稿人: David Yen

Facades “墙壁部门”

February 7, 2018 2018年2月7日

In both graphic design and photography, attention to composition and color are crucial in creating a visually engaging image. With these overlaps, it was only natural for Tokyo-based graphic designer Ka_nai to begin dabbling with photography. While he doesn’t consider himself a photographer, he’s created an ongoing photo series dedicated to the random walls and building facades that’s grabbed his attention over the years. His ever-growing image collection, uploaded on Instagram under the hashtag #ザ壁部 (meaning “The Wall Department” in English), is a fun showcase of how his two skill sets feed off one another. Since the idea’s inception in 2012, his photos have inspired many others to contribute to the hashtag, which now boasts over 75,000 posts from users all over the world.


无论是摄影还是平面设计, 构图和色彩都是决定视觉效果是否有吸引力的关键因素。而东京平面设计师 Ka_nai 正是出色运用这两种因素,以墙壁和建筑立面为素材,创作出一系列令人惊艳的摄影作品。这是他的一个长期项目,他将这一系列的摄影作品发表在Instagram 上,统一贴上了标签 #ザ壁部(意为“墙壁部门”)。多年来,许多人也受到了这个概念的灵感启发,一起来丰富这个标签。现在,Instagram 上一共有超过 7 万个标签为 #ザ壁部 的帖子,发帖用户遍布世界各地。

Ka_nai describes his foray into photography almost as if it were an accident. He tells us, “Soon after Instagram launched, I saw one of my friends using it and was inspired to try it out myself. At the time, it was just about following my close friends and them following me back. Many of them had beautifully curated feeds that focused on certain themes, such as landscape or pets, so I started thinking about if I could do something similar. I happened to have a photo of this interesting, but dilapidated, wall sitting on my camera roll so I decided to throw an Instagram filter on it and post it. When I saw that it started receiving positive feedback, I thought ‘This is it!'”


Ka_nai 从不以摄影师自称,他说自己开始接触摄影也是纯属意外。“Instagram 出现后不久,我看到一位朋友在玩,就想着也去玩玩。那时候,我的关注者都是一些好朋友。但是我的很多朋友都会精心按照特定主题来管理自己的账号,所以我开始考虑自己是不是也可以做类似的事情。我在自己拍的照片堆里偶然看到了一张照片,上面是一幢残旧的墙壁,我用 Instagram 滤镜处理了一下,就发上面去了。结果发现大家都挺喜欢这张照片的,我当时就想,‘这正是我要找的主题’!然后从那时候起,我就开始专注拍摄墙壁和建筑立面了。”

While many of Ka_nai’s images are simple snapshots of mundane settings, his keen sense of observation offers a refreshing perspective on the ordinary. Similar to his own work flow, he urges creatives to think outside of the box and explore concepts from different angles, no matter what medium or discipline they might be working in. “For me, I find that when looking for good shots, I might have to walk around and examine a building from different sides,” he says. “Usually, the most interesting ideas aren’t immediately obvious.”


虽然 Ka_nai 作品大多都是平凡日常的场景,但他以敏锐的观察,呈现出令人耳目一新的视角。他鼓励创意人跳出思维定式,无论是以什么媒介或在哪个领域创作,都应该从不同的角度去探索各种概念。“我发现,在拍摄的时候,最有趣的墙壁往往不是一眼就能看到的。有时候,在一幢建筑的背面,你会找到更有趣的画面。”

Instagram: @ka_nai

 

Contributor: David Yen


Instagram: @ka_nai

 

供稿人: David Yen

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Alpha Go 我们的“接班人”

February 6, 2018 2018年2月6日

 

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Sun Yunfan and Dave Liang of the Shanghai Restoration Project ponder what a world where robots have replaced humans might look (or rather sound) like on their latest album, R.U.R. The 13-track album pictures a world where our robot successors are attempting to understand the events that led to the human extinction as they dissect the sum of all human knowledge. Building on the narrative of technology reigning supreme over man, the lead single from R.U.R., “Alpha Go,” pays tribute to Google’s DeepMind AI that recently defeated the world’s top Go champions, a reminder that the album’s imagined world could very well one day become a reality.


未来,机器人取代人类的世界是什么样子的呢?来自上海复兴方案乐队孙云帆Dave Liang,就在他们的最新专辑中《R.U.R.》描绘了(或者说,以声音绘述了)这样的图景。这张包含了 13 首歌的专辑,绘述了我们的“接班人”机器人在剖析人类所有知识的总和时,也正在试图了解导致人类灭绝的事件。来自本专辑中的头号单曲《Alpha Go》,正是对谷歌的 DeepMind 人工智能的致敬,它在前不久击败了世界顶级的围棋冠军,提示着人们这张专辑的想象世界很有可能在未来的某天成为现实。

For the new “Alpha Go” music video, Sun taps into her talents as a visual artist to conjure a surreal landscape filled with psychedelic shapes and colors. The animated video comments on the implications of our technological advancements while also giving nod to the history of the game of Go. In it, floating plants are used to reference traditional Chinese paintings that often depict individuals playing the game in a garden or other outdoor settings; swirling yin-yang symbols are a call out to Go’s monochromatic game pieces as well as the importance of understanding duality for those looking to master the game; and binary code – written in Mandarin Chinese rather than numeric digits – alludes to the ancient Go theory books that sequence moves in Chinese numerals.


对《Alpha Go》这支新单曲的 MV,孙云帆运用了身为视觉艺术家的才华,打造了一幅迷幻形状与颜色营造出的超现实景观。MV 动画在暗示技术进步的后果的同时,也向围棋悠久的历史致敬。在 MV 中,浮动的植物源自于中国传统国画中通常描绘的棋手在花园里或自然户外环境中下棋的景象;旋转的阴阳符号代表围棋黑白二色的棋子,也是对古代围棋理论中平衡阴阳两极这一要义的强调。而用汉语书写的二进制代码,则引用了古代棋谱里用中文数字来标示落子步骤的格式。

The music video encapsulates a frenetic yet cheerful energy that feels like both a warning and a celebration of an inevitable future. It captures the paradoxical feelings toward the fast-evolving technology of modern times – people appreciate the benefits that technology can bring to their lives, but at the same time, there exists an underlying sense of apprehension about our expendability as humans and how AI may one day replace us.


这支 MV 传递出一种狂热又欢快的能量,令人感觉既像是对不可避免的未来的预警,却也像是对此的欢庆。它抓住了人们对如今快速发展的科技所存有的矛盾心态——既感谢科技带来的便利,又对可能被人工智能取代的结局心存焦虑。

While most of today’s artificial intelligence is designed to execute complex and formulaic tasks set around specific guidelines, in the future, experts speculate that AI will have more autonomy and possess the potential to work in every job sector. Sun thinks that AI could one day be capable of creating original works of art that are as good as, if not superior to, our own.

“Will AI-produced art satisfy human aesthetics? I think the answer is yes,” Sun muses. “Human aesthetics are increasingly shaped by technology. For a lot of people, to be moved by something does not require the knowledge of a consciousness, or a soul, behind its creation. When we say we’re moved by a work of art, often times we’re projecting our own emotions onto our experience of that work. That being said, what would still be missing in AI produced art is the dimension of art that connects us with a shared history of human experiences, which I believe is what moves us when we see a cave painting or an ancient Go theory book.”


尽管今天的人工智能所能执行的复杂而程式化的任务只限于一定范围内,但在很多人眼里人工智能在未来的潜力远不止于此。孙云帆认为有一天人工智能也可能会创造出媲美甚至优于人类创造的艺术作品。

“人工智能产出的艺术能否满足人类的审美需求?我想答案是肯定的。”孙云帆设想道,“人类的审美趣味日益被科技所塑造。对很多人来说,被某种事物所感动,并不需要了解它是否是由某个意识或者灵魂所创造的。当我们说自己被一件艺术作品所感动时,我们常常是将自己的情感投射到对于作品的体验中。尽管如此,人工智能所创作的艺术仍然缺少一个向度——即人的艺术有帮助我们与某个共有的人类经验的历史建立联系的功能。我想那正是打动我们的东西,就像当我们看见原始的洞穴岩画或是一本古代的围棋理论书时那样。”

To listen to the album in full, please visit Spotify, iTunes, QQ Music, Xiami, or NetEase Music.


想要收听整张专辑,可移步至 SpotifyiTunes、 QQ 音乐、 虾米音乐、或者网易云音乐收听。

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Jennifer Bin’s Recipes 你收到一封来自 Jennifer Bin 的调色方案

February 2, 2018 2018年2月2日

With the new VSCO Recipes tool, you can now save your favorite combination of edits to recreate looks that feel consistently you. Everyone using VSCO can start by saving one recipe. To save up to ten recipes, you can begin your VSCO X trial and gain access to the complete preset library, newest editing tools, and inspiring educational content.

Jennifer Bin is a Shanghai-based designer and photographer who offers a different perspective of our modern world through her lens. Her unique editing approach transforms familiar cityscapes into surreal scenes that often more closely resemble stills from a cyberpunk blockbuster than real life. Recently, we had her share one of her VSCO Recipes with us.

Recently, Bin has opted for a fairly minimal editing process and prefers to adjust color temperatures even prior to taking the shot. This allows her to do fairly minimal work once the images are imported into VSCO. For this Recipe, she uses the C5 preset (at a strength of 4.0) and applies the finishing touches with minor adjustments to temperature (-2.7), fade (+1.4), and sharpening (+0.8).


通过VSCO新出的配方工具,你现在就可以保存下你喜欢的配色套设,以展现你独特且一贯的风格。每个 VSCO 的用户都可以免费保存 1 款调色配方。若想保存 10 款调色配方,请开启你的 VSCO X 免费试用,以获取整套滤镜库、最新编辑工具和教程内容。

 

来自上海的设计师和摄影师 Jennifer Bin 透过镜头,以独特的视角定格当今的世界。她独特的编辑方式,将人们熟悉的城市景观变幻成超现实的场景,明明是来自日常的场面,看上去却像是赛博朋克风(Cyberpunk)电影中的剧照。近期,她和我们分享了一款她使用 VSCO 时的私人调色配方。

最近,Jennifer 挑选了一个相当轻简的“配方”步骤来编辑图片,在拍摄之前就可以调色完毕,图像导入 VSCO 后只要做很少的改动即可。Bin 在这款配方中使用了 C5 预设(强度为4.0),并以温度(-2.7)、褪色(+1.4)和锐化(+0.8)作出轻微调整。

Bin cites the likes of author William Gibson’s Neuromancer, director Scott Ridley’s Blade Runner, and animator Katsuhiro Otomo’s Akira as inspirations, but she doesn’t see her images as fictional portrayals of our world – she believes the future envisioned by these past works of science-fiction have already snuck up on us and her images are proof. “The world that we’re living in now is a heterotopia,” Bin tells us. “We can see both the utopian and dystopian elements of sci-fi from yesteryears. There are promising technologies and breakthroughs that can be seen as utopian, but at the same time, they can easily have dark applications or result in unwanted, unforeseen consequences.”


Jennifer 的创作灵感包括威廉·吉布森(William Gibson)的科幻小说《神经浪游者》, 雷德利·斯科特(Ridley Scott)导演的电影《银翼杀手》和动画大师大友克洋(Katsuhiro Ôtomo)的《阿基拉》,但她并不认为自己照片是对这个世界虚构式的写照,她相信,这些早期科幻作品所设想的未来已经悄然出现在我们的生活中,而她的照片正是证据。“我们现在生活的世界就是一个‘异托邦’(Heterotopias)。”她解释道,“我们可以看到在早期科幻作品中所呈现的乌托邦和反乌托邦元素。先进的科技和突破可以看作是‘乌托邦’,但与此同时,它们也很可能会被用于不道德的用途上,或是导致不必要、不可预见的后果。”

Bin regards editing as an essential part of her creative process as a photographer. While composition and framing are important factors, editing is another way for her to direct the viewer’s attention towards certain elements in each frame. “When you manipulate the colors of an image, it changes its overall mood as well,” she adds. “The use of color is key to invoking the right emotions.”


作为一名摄影师,Jennifer 认为图片编辑是创作过程中的一个关键部分。虽然构图和取景也很重要,但后期编辑可以让她用另一种方式,将观众的注意力转向照片中某些特定的元素。“当你调整照片的颜色时,同时也会改变照片整体的情绪氛围。色彩的运用是调用情绪的关键。”她补充道。

While a cohesive aesthetic is observable throughout her photography, Bin isn’t afraid to experiment. She often tinkers with her editing tools or cycles through different VSCO Recipes. From minimal edits where much of the work is already done in-camera to a complete reimagining of an image’s original colors, Bin repeatedly demonstrates a daringness to expand her creative boundaries and defy expectations.

 

Find your own unique style with the VSCO Recipes tool. Start your free 7-day trial for VSCO X today.


Jennifer的摄影作品体现了一种统一的审美风格,但她从不害怕充满实验精神的创作。她喜欢通过不同VSCO配方来摆弄各种编辑工具。有时,她会基本保留住相机原图,只是对照片做微调;有时候,她又会彻底地改变照片原本的色彩,总之,她不断向人们展示了自己大胆的创作风格,不断突破自己的创作界限。

 

 

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VSCO: ~/jenniferbin
Instagram: @jenniferbin

 

Contributor: David Yen


VSCO: ~/jenniferbin
Instagram: @jenniferbin

 

供稿人: David Yen

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