All posts by jiali

Jee Young Lee

January 18, 2016 2016年1月18日

Jee Young Lee is a South Korean artist whose elaborate self-portraits look like fantastical paintings upon first impression. In her tiny 3x6m studio in Seoul, she creates everything from scratch, taking weeks, and sometimes months to form incredible sets which she then photographs with herself embedded within. The end result, which often looks like Photoshopped wizardry, is actually completely analog and handmade. We talked to Jee Young Lee to learn more about her work and the ideas behind it.

이지영은 한국인 예술가로서 그녀의 정교한 자화상들의 첫 인상은 환상적인 그림 처럼보입니다. 서울에　있는 그녀의 작은 3x6m 스튜디오에서, 그녀는 처음부터 모든 것을 창작하는데, 몇 주　때로는 몇 달을 걸쳐서 놀라운 세트를 만들고 자신의 사진을 찍어서　그 안에 사진을 넣는 작업을 합니다. 그 작업의 최종 결과물은 종종 포토샵의 마법에서 나온 것처럼 보이지만 실제로는 아날로그 식으로완전히 수작업으로 만든 것입니다. 우리는 그녀의 작품과 작품의 아이디어에 대해 자세히 알아보기 위해 지영과 이야기를 나누었습니다．

Neocha: How did you first get started with the idea to create sets based on your dreams, experiences, and thoughts?

Jee Young: I believe everyone is on a journey to discover their true self. Because we live in an environment that is constantly changing, I think it is very important that we keep asking ourselves who we are and what we are doing, in order to continually learn and grow. Unfortunately, looking at yourself from an objective point of view is almost impossible. I began thinking about my identity when I was a university student. Desperate for an answer I turned my attention to my inner psyche. That is how I started the series. I can say that the set also represents my personal experiences and childhood memories. It is my journal and reflection. I began studying fine art in graduate school, but I ended up with a major in design as an undergraduate.

Neocha: 처음에 어떻게 당신의 꿈, 경험과 생각을 기반으로 세트를 만들 생각을 했습니까?

지영: 저는 모든 사람들이 자신의 진정한 자아를 발견하기 위한　여행을 하고 있다고 생각합니다. 우리는 끊임없이 변화하는 환경에서 살고있기 때문에, 지속적으로　성장하고 배우기 위해, 우리가 누구인지 스스로 계속 묻고 무엇을　하고 있는지 스스로 묻는　것이　매우 중요하다고 생각합니다.  불행하게도 객관적인 관점에서　자신을 보는 것은 거의 불가능합니다.  저는 대학생 때 제 정체성에 대해 생각하기 시작했습니다.  그 생각에 대한 답을 얻기를 간절히 바라며, 제 자신 내면의 정신에 관심을 갖게 되었습니다. 그것이 바로 제가 이 시리즈를 시작하게 된 이유입니다. 세트도 제 개인적인 경험과 어린 시절의 추억을 나타낸다고 할 수 있습니다. 세트는 제 자신의 일기장이며 투영입니다. 저는 대학원 때 미술을 시작했지만 학부 때는 디자인을 전공했습니다.

Neocha: How did you first begin to understand what you wanted to do in your studio? How did you go from a 2D to 3D way of thinking?

Jee Young: I was always interested in recreating space and creating an imaginary world. If I hadn’t become an artist, I would have been a production designer or interior designer. When I was an undergraduate I was in the art team in our school movie club. I also worked short term for an ad agency. That’s when I realized I was drawn to creating imaginary landscapes. The beginning of my Stage of Mind series was the photography I took for my graduating exhibition. The scenes that I create exist only in my mind, so it is surreal. But it reflects my worldview and emotions so it is a reality for me. I wanted to create a tangible stage that would replicate the images that I see in my head. It made sense to create a set because we live in a three-dimensional world.

Neocha: 처음에 어떻게 당신의 스튜디오에서어떤 작업을 하기　원하는지 이해하게 되었습니까? 어떻게 2D 방식의 생각에서 3D 방식의　생각으로 전환하게 되었습니까?

지영: 저는 항상 공간을 재창조하고 가상 세계를 만드는 것에 관심을 가지고 있었습니다. 제가 만약 예술가가 되지 않았다면 프로덕션 디자이너나 인테리어 디자이너가 됐을 것입니다. 제가 대학생이었을 때 우리 학교의 영화 클럽 예술 팀에 있었습니다. 그런 후에 광고 회사에서 단기간　일했습니다. 그때 제가 상상의 풍경을 만드는 것에 끌린다는 것을 알게 되었습니다. 제 ‘생각의 무대 Stage of Mind‘ 시리즈의 시작은 제 졸업 전시회를 위해　찍었던 사진이었습니다.  제가 만드는 장면들은 제 생각에　존재하는 장면들이며, 그래서 그　장면들은 초현실적입니다.  그러나 그 장면들은 제 세계관과 감정을 반영하는 것이며, 그래서 제게는 현실적인 장면들입니다. 제 머릿속에존재하는 이미지를 복제한 가시적인 무대를 창조하기 원했습니다. 우리가 3 차원 세계에 살고 있기 때문에 세트로 만드는 것이 이치에　맞다고 생각했습니다.

Neocha: Tell us about your process. What happens to the setup of your studio after you’ve completed making the image? How do you dismantle it?

Jee Young: I must destroy the set that I have invested months of my life in. It is a complicated and difficult emotional experience every time. But building the set and tearing it down is all an integral part of my creative process. The large objects are broken down into smaller pieces and carried away in a hired waste truck. Once that is all over with, I am left with an empty set again. I believe that this process enables me to let go of my past.

Taking a photo of the set that I have created allows me to look at my recreated reality from a more objective point of view. When the set is abolished, the photo becomes a document of a past event. I often come to terms with the events that prompted me to create the set in the first place as I destroy it.

Neocha: 그 이미지를 만든 후에 스튜디오를 설치할 때는 어떤지 … 그 과정에 대해서　알려주시겠습니까? 어떻게 그것을 해체합니까?

지영: 수개월을 투자해서 만든 세트를 해체해야 합니다. 세트를 해체 할 때 마다　매우 복잡하고 어려운 감정적인 경험을 합니다. 세트를 구축하고 그 세트를 허무는 것 모두 제 창작 과정의 필수적인 부분입니다. 큰 물체들이 작은 조각으로 해체되고 고용한 폐기물 트럭에 실려가게 됩니다. 그 해체 작업이 모두 끝나면 전 다시 빈 세트에 남겨지게 됩니다. 저는 이 과정을 통해서 제 과거를 놓을 수 있게 된다고 생각합니다. 제가　만든 세트의 사진을 찍으면 좀더 객관적인 관점에서 저의 재창조된 현실을 볼 수 있게 됩니다. 세트가 해제 될 때, 그 사진은 과거 사건의 문서가 되는 겁니다. 저는 세트를 해체하면서 처음에 그 세트를 만들게 했던 사건들을 받아들이는 법을 종종 배우게 됩니다.

Neocha: Your work is incredible and remarkable, especially without the use of Photoshop. How do you go about creating that surreal quality?

Jee Young: Once I decide on a theme and subject I make a rough draft of what I am going to create. Then I move on to research, preparation, and planning. I often test out different materials to find the right one. Once that is all settled, I then begin with the actual production. I have a wooden frame setup in my studio. I paint it, create objects that go into the set, and fill it one item at a time. When I am done, I choose an angle and lighting by taking test photos. The final photo is taken with a 4×5 large format film camera. It takes up to two months to create one set because it is immensely labor intensive.

 

Neocha: 당신의 작품은 믿을 수 없을 만큼 놀라운데, 특히 포토샵을 사용하지 않았다는 것이 놀랍습니다. 어떻게 그런 초현실적인 작품을 만들어 갑니까?

지영: 일단 테마와 주제를 결정하면, 제가 만들고자 하는 것의 대략적인 초안을 만듭니다. 그런 후에 연구하고, 준비하고, 계획을 세웁니다. 저는 종종 적합한 것을 찾기 위해 다른 재료들을 시도해 보곤 합니다. 일단 모든 것이 준비되면 이제 실제로 만들어내는 작업을 하게 됩니다. 제 스튜디오에 나무 프레임 구조가 있습니다.  저는 그 나무 구조에 색칠을 하고, 그 세트에 들어갈 물체를 만들고, 한 번에 하나씩 아이템을　그 안에 채웁니다. 그 작업을 마친 후에 테스트 사진을 촬영하여 각도와 조명을 선택합니다.  마지막 사진은 4ｘ5의 대형 필름 카메라로 촬영합니다. 한 세트를 만드는 작업은 매우 노동 집약적인 작업이기 때문에 최대 ２개월이 걸립니다.

Neocha: Apart from the installation and art direction itself, how do you setup your lights, camera and gear? Do you only shoot from one angle, one framing, or do you often do experiments?

Jee Young: I decide on lights and camera settings when I take test shots of the completed set. I need a volunteer to press the shutter while I model. For some sets, I have decided on the camera angle early on, but I usually take pictures from different angles and then pick the best looking one.

Neocha: 설치와 예술적인 방향 외에, 어떻게 조명, 카메라와 장비를 설치합니까? 한 각도, 한 프레임에서만 촬영 하나요 아니면 종종 실험도 합니까?

지영: 완성된 세트의 테스트 촬영을 할 때 조명과 카메라 설정을 결정합니다. 제가 모델로 서는 동안 셔터를 눌러줄 자원 봉사자가 필요합니다. 초기에 카메라 각도를 결정하지만, 일반적으로 다른 여러 각도에서 사진을 찍은 후에 가장 좋아보이는 것을 선택합니다.

Neocha: We live in an era of constant selfies. How is your work influenced by that? What has been the reaction of people who have seen it?

Jee Young: I am not very friendly with electronics and technology, so I am not up to date on media trends. I barely log on to Facebook or Instagram. The images that flood the social media today reflect the society we live in, but I personally believe it is too temporary and consumptive.

For me a self-portrait is a good way to project the artist’s ego into the artwork. In a way it is a performance. I can say the fact that I stand in as a model has attracted a lot of attention.

Neocha: 우리는 끊임없는 셀피의 시대에 살고 있습니다. 당신의 작품은 그것에 어떤 영향을 받았습니까?  작품을 본 사람들은 어떤 반응을 보였나요?

지영: 저는 전자 제품과 기술적인 부분에는 별로 익숙하지 않아서, 미디어에 있어서는 최신 유행을 따라가는 편은 아닙니다. 전 페이스북이나 인스타그램을 거의 사용하지 않습니다. 오늘날의 소셜 미디어를　가득 매운 이미지들은 우리가 살고 있는 사회를 반영하지만, 저는 개인적으로 너무 일시적이고 소모적이라고 생각합니다.

저에게 자기 초상화는 예술작품에 작가의 자아를 투영 할 수 있는 좋은 방법입니다. 한편으로 자기 초상화는 공연 같은 것입니다. 제 자신이 모델로 서 있다는 사실이 많은 관심을 끌었다고 할 수 있습니다.

Neocha: What are some themes you’re obsessed with? When you work, do you have any rituals that help you get focused?

Jee Young: I tend to lock on to negative experiences rather than the happy ones. Another obsession is my childhood memories. I have to look inside my heart to find elements of the set that I am creating. There is no set ritual but I always drink coffee before I start working and leave the radio on while I work.

 

Neocha: Who are your biggest influences? What’s been a recent influence?

Jee Young: It is hard to pin down one specific influence. I’m really interested in movie art, especially Tim Burton, Michel Gondry, and Stanley Kubrick. All my subjects come from introversion, I am easily influenced by small and big events that happen in my life.

Neocha: 집착하는 테마에는 어떤 것들이 있습니까? 작업 할 때, 집중하는 데 도움이 되는 어떤 의식 같은 것이 있습니까?

지영: 저는 행복한 경험보다는 부정적인 경험에 매이는 경향이 있습니다. 제 다른 집착은 제 어린 시절의 기억입니다. 제가 만드는 세트의 요소들를 찾기 위해 제 마음을 들여다 봐야 합니다. 정해진 의식은 없지만, 작업을 시작하기 전에 항상 커피를 마시고 작업하는 동안에는 라디오를 켜 놓습니다.

 

Neocha: 당신에게 가장 큰 영향은 준 사람은 누구입니까? 최근에 영향을 받은 것은 무엇입니까?

지영: 제가 영향을 받은 것의 특정한 한 가지를 지적하는　것은 어렵습니다. 제 관심은 영화예술, 특히 팀버튼 (Tim Burton), 미셀 곤드리 (Michel Gondry), 스탠리 큐브릭 (Stanley Kubrick)에 이르기 까지 다양합니다. 제 모든 주제들이 내면에서 오기　때문에, 제 삶에 일어나는 작고 큰 모든 사건들에 쉽게 영향을 받습니다.

Website: opiomgallery.com/jeeyoung-lee



Contributor: Jia Li 

웹 사이트: opiomgallery.com/jeeyoung-lee



기부자: Jia Li 

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Aristophanes

January 14, 2016 2016年1月14日

 

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Aristophanes is a 25-year-old Taiwanese rapper, who raps in Mandarin Chinese. Her recent collaboration with Grimes on the track “SCREAM” from Art Angels has brought her unique voice to the forefront of the international hip-hop scene. Her debut EP No Rush To Leave Dreams, which will soon be released, features genre-crossing, intercultural production.

 

Aristophanes是一位來自臺灣的25歲國語嘻哈歌手。她近來在Grimes的《Art Angels》專輯中與其在《SCREAM》一曲中的合作，將她獨特的嗓音推向了國際嘻哈樂界的最前沿。她即將發行的首張EP《No Rush To Leave Dreams》是一次跨界及跨文化的製作。

Listen to the exclusive premiere on Neocha of “I Am Not A Metaphor”, a new track taken from her forthcoming EP No Rush To Leave Dreams:

Aristophanes – I Am Not A Metaphor

 

Listen to Aristophane’s collaboration with Grimes, “SCREAM” off of Art Angels

Grimes – SCREAM ft. Aristophanes

“I Am Not A Metaphor”，來自她的新EP《No Rush To Leave Dreams》。現由Neocha獨家首播，歡迎試聽:

Aristophanes – I Am Not A Metaphor

 

以下是Aristophanes和Grimes合作的”SCREAM”來自《Art Angels》

Grimes – SCREAM ft. Aristophanes

Growing up in Taiwan, she had little exposure to pop culture, not even owning a TV at home. After high school, she started to slowly get into music. Five years ago, Aristophanes, whose real name is Pan Weiju, started making her own music after discovering artists such as Taiwanese rapper Dan Bao, and American rappers Jean Grae, Talib Kweli, and Bahamadia.

 

成長於臺灣，她自小並沒有受到多少流行文化的影響，家裡甚至一臺電視機也沒有。讀高中後，她才開始慢慢對音樂產生了興趣。五年前，Aristophanes（真名為潘韋儒）在得知了如臺灣說唱歌手蛋堡，美國說唱歌手Jean Grae、Talib Kweli和Bahamadia之後，便開始嘗試創作自己的音樂。

Recently, she quit her job as a creative writing teacher to focus all of her time on music. Aristophanes’ songs are full of literary references, and she often cites the novels of Gabriel García Márquez and philosophy as her influences. In describing her singing style, she admits, “It is hard to say what kind of style I have, it always changes. Every artist has a different style. My own style is not anti-commercial or anti-pop. It’s just what I like and what I’m comfortable with. Trying to describe it as a certain style is dangerous. Usually it’s only after I start something do I have an idea what specific style of music I want to do.”

最近，她辭去了創意寫作老師的工作，專心投入到自己的音樂創作上。Aristophanes的歌詞中充滿了文學典故，她常引用作家Gabriel García Márquez的小說橋段，和哲學。描述自己的說唱風格時，她坦言: “其實很難講我是哪種風格，它常常在變。每個藝術家都有不同的風格。我自己的風格並不是反商業或反流行，它只是我喜歡並且感覺舒服的這樣。把它說成是一種特定風格是危險的。通常我只會在開始著手之後才知道我要做具體什麽風格的音樂。”

“Some rappers first write the words,” she says, “then they work out the melody, and how it will come together. However many artists I work with are foreigners, and they don’t know what I’m singing about in Chinese, so they tend to focus on just the melody and the sound first. I focus more on that part too.” Grimes first discovered Aristophanes through her Soundcloud page, where Aristophanes sings exclusively in Mandarin. “People must have listened to it, thought it sounded very interesting and became obsessed with it.” She continues, “At first I wasn’t very confident, but then I realized the power of sound and language. Everyone thinks it’s quite interesting. A lot of engineers and producers don’t understand Mandarin, but they can still hear the meaning and visualize what the contents of the music – this is because of their understanding of both sound and music.”

“一些說唱歌手先是寫詞，”她說，“再編曲，然後看看組合起來的效果如何。但很多我合作過的藝術家大多都是外國人，他們不知道我唱的中文歌詞是什麼意思，所以他們會先專註於編曲和聲音上，而我也是如此。” 知名音樂人Grimes通過Aristophanes僅有中文歌的Soundcloud頁面找到了她。“人們必定是聽了這首歌，覺得特別有意思，變得十分著迷。”她說，“壹開始我也不是很有自信，但後來我意識到了聲音和語言的力量。每個人都覺得它蠻有意思的。很多音效師和製作人不懂中文，但他們依然可以聽出或想像出歌詞的含義，因為他們聽得懂聲音和曲調。”

Writing music is like “discovering something deep in the sea, it is unreachable now, but one day you can eventually reach it.” She tells us, “the work process is always changing. I have a very specific aesthetic with my own music, and I use my voice like an instrument.” Influenced by experimental vocal styles, her biggest inspiration comes from Erykah Badu, and she started paying a lot more attention to special ways to produce sounds. As one of the few female rappers in the male-dominated industry in Taiwan, Aristophanes says, “It is only natural that there will be females, and it will only become more common, as more and more women develop an interest in doing this.”

寫歌如同“找到深海中的某洋東西，當下妳無法得到，但終有壹天妳會得到它。”她告訴我們，“創作過程中變數很多，我對自己的音樂有明確的審美，然後用自己的嗓音作為樂器去把它演繹出來。”受實驗性演唱影響的她，最大的靈感來源是歌手Erykah Badu，她會花大量精力研究各種特殊的發聲方式。在以男性嘻哈歌手為主流的臺灣市場中，作為少有的女性，Aristophanes說: “女性音樂人自然是有的，在將來只會是越來越普遍，因為越來越多的女性開始對做這壹行感興趣了。”

Facebook: ~/aristophanesmusic
Soundcloud: ~/aristophanesmusic

 

Contributor: Jia Li 
Photographer: Etang Chen
Video Courtesy of Aristophanes

臉書: ~/aristophanesmusic
Soundcloud: ~/aristophanesmusic

 

供稿人: Jia Li
摄影师: Etang Chen
视频由Aristophanes提供

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The Cambodian Space Project

January 11, 2016 2016年1月11日

 

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The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.

 

គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។

 

Neocha: Why did you choose the name “The Cambodian Space Project”?

Poulson: Having the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.

Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

Poulson: The band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.

 

 

Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់​យើងខ្ញុំ​មួយចំនួន​ពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

Neocha: How did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

Poulson: I was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Roll, and Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.

Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.

Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.

Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Website: cambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud: @thecambodianspaceproject

 

Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter

Website: cambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud: @thecambodianspaceproject

 

អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter

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The Analog World of Yan Jun

December 25, 2015 2015年12月25日

 

无法观看？前往优酷

Yan Jun is a ten-year veteran producer of Chinese contemporary music, as well as an electronic music producer with a penchant for vintage synthesizers. For Yan Jun, the synthesizer isn’t a passing trend – it transcends time as well as musical genre. Much like photographic cameras, synthesizers can also come in both analog and digital. While analog synthesizers require more maintenance, they are capable of producing rawer textures of sound that are very difficult to imitate with digital or software synthesizers.

严俊是一位从业十多年的流行音乐制作人，也创作独立电子乐作品，有别于他人的是他始终对于vintage模拟合成器的迷恋。合成器的声音不仅仅是时髦与新奇的代言，它有力、尖锐甚至饱含哲学意味。无论是灼热的solo、饱满的铜管乐还是迷幻的太空之音，那些模拟合成器与数字合成器有着本质的不同，有时好比手动胶片机与数码相机，他们其实很不稳定，甚至会随机器内部与外部温度变化而产生音准上的偏移，但其厚实、温暖、有力量的声音气质是数字技术无法复制和取代的。

“I believe that electronic music is a serious discipline, just like classical music. It’s not just there to be produced and consumed for instant gratification.”

“我觉得电子乐应该纳入严肃音乐的范畴，它和传统古典音乐一样，是严谨的，不是快餐。”

“I’m not a collector of vintage instruments. Whatever I buy, I use for production, and I’ll get rid of instruments that are no longer of use to me. There’s no need for me to keep old junk laying around. Some of these instruments come in handy for producing contemporary music, but there’s a catch. A lot of these old instruments, they’re like senior citizens who are prone to illness at the end of their lives. They need extra care, but in return, they can tell you stories of the past. It’s a rewarding dialogue. When these instruments are completely worn out, I will take apart the components and put them into a box, like a symbolic burial ritual. But these old parts are sometimes given a second life when they’re needed as spare parts.”

“对于老乐器，我没有收藏癖，如果买了就是为了使用它，要根据自己的需要。一般我用不到的乐器也不会留着，摆一件废物在面前，看着也闹心，没有意思。喜欢的乐器有时在做流行乐的时候也一样会用，大量用。但不能避免的是，老乐器经常会出问题，如同疾病或者死亡，它们有时就像老人一样，需要被用心照料。同时，它们也会告诉你很多往事，这种交流挺舒服的，也会很有收获。要是乐器彻底坏了，不能再使用的话，我会将它的核心主板元件拆下来弄干净，放入盒子里，有点像骨灰盒…… 一来可以做个纪念，二来以后如果有相同型号的乐器出问题了，可以作为备用替换零件，也算是一种延续。”

From the end of last year, Yan Jun started looking into modular synthesizers.

“Many of the early synthesizers were modular synthesizers. At the time, they were bulky and could often take up the space of an entire wall. As technology improved and after microcircuits were invented sometime in the 1970s, synthesizers became small enough to carry around to live shows. The modern Eurorack modular synths is much more compact than earlier synths, and is easier to use. In China, not many people know how to use synthesizers. They are also fairly expensive, and there is a lack of information about them. I had to do all of my research on foreign websites and forums – it wasn’t easy.”

到去年底开始，严俊开始研究模块合成器。

“其实最早的合成器就是模块化的，当时体积很大，一个音色得一面墙那么大型的机器，后来科技进步了，70年代初人们发明了微型电路，才让合成器变的小巧，可以携带演出。现在的Eurorack模块比当年的体积小很多，使用起来也更稳定，也便于携带了。这东西国内玩的人不多，价格比较昂贵，可以交流的人就更少了，大多也都是一知半解。我也大多是通过国外网站、论坛获得一些资讯，不太容易。”

“The idea behind modular synthesizers is based on analog synthesizers, but allows for more customization. Individual modules can be connected with patch cords or a matrix patching system to produce some different textures of sound (a bit like electric guitar distortion pedals). The music sequencer also created new methods of making music and eliminated the need to rely on keyboards. It’s a great tool for creating electronic music. Recently these years, the Eurorack modular has become popular all over the world, it’s just that most musicians in China haven’t tried it out yet. I’ve spent a lot of time researching synthesizers, and I plan on completing my own system sometime next year.”

“模块合成器的概念和一般模拟合成器类同，但是它的方式更加自由多变，以一个个独立模块出现，你可以选择不同厂牌不同功能的模块，用跳线自由连接（有点像吉他单块），形成更丰富更复杂的调制方式，让音色多变，生动。然而模块音序器的运用也彻底改变了以往用键盘弹奏音乐的思维模式，特别适合电子音乐的概念。这些年Eurorack modular在全世界悄悄风靡，只是国内很多音乐人还不知道，也没有尝试。我花了很多时间在这个东西的研究上，争取到明年可以组建成一套比较完善的大型系统。”

Soundcloud: @offthenote

 

Contributors: Chan Qu, Jia Li 
Photographer: Chan Qu
Videographer: Jia Li

 

微博: @offthenote

 

供稿人: Chan Qu, Jia Li
图片摄影: Chan Qu
视频摄影: Jia Li

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An Interview with James Jean

December 9, 2015 2015年12月9日

As a part of the GEISAI∞infinity project curated by Takashi Murakami, James Jean recently held a solo show at Kaikai Kiki’s Hidari Zingaro in Tokyo. His new collection of work, titled Zugzwang, is a series of fantastical imagery rendered in blue, red, and pink, filled with demigods and cross-cultural characters. We spoke to James about his new work, living in Asia, and recent inspirations.

作为村上隆GEISAI∞infinity项目的一部分，James Jean近期在东京的Kaikai Kiki’s Hidari Zingaro画廊举办了一场个展。他的全新系列作品名为“Zugzwang”，该系列是一个以蓝、红、粉为基调的奇幻异想，其中充斥着半仙以及跨文化人物。我们跟James探讨了他的新作品、亚洲生活、以及近期的创作灵感。

Neocha: Being born in Taiwan and growing up in the U.S., do you identify strongly with this part of the world? What’s different about having a show in Japan, or in other parts of Asia?

James: I’m an alien wherever I go. Though I grew up in the U.S., I’ve never truly felt at home there, and since my ability to read and speak Chinese is non-existent, I’ll never truly feel at home in Asia either. Perhaps it’s this sense of isolation that has driven me into making art in the first place. I actually spent most of this past year living in Japan, and I love the attention to detail and the shokunin spirit that’s pervasive throughout many aspects of society. But sometimes I think I’m re-enacting the trauma of my youth by living in places where I’ll always be an outsider and an observer.

Neocha: 你生在台湾、长在美国，你对这种的背景有强烈的认同感吗？而在日本或亚洲其它地区办展又有什么不同的感觉？

James: 无论去到哪里我都是个异乡客。虽然我在美国长大，但我从没在那里得到过家的归属感。而亚洲也无法给我归属感，因为我即看不懂也说不了中文。或许正是这种孤立感成为我最初开始艺术创作的原动力。事实上去年大部分时间我都在日本生活，我喜欢他们那种在社会日常中贯穿始终的考究细节以及职人精神。但有时我也会想这是在让我以局外人和观察者的身份重蹈覆辙，体验自己年少时所经历的隔离感。

Neocha: Where do you like to go when you travel? What were some of your favorite places or experiences during the process of putting up this particular show in Tokyo?

James: The most inspiring places I’ve been to of late have been in the hot, undeveloped regions of Asia. I lived in Southeast Asia for a year in 2013, and I recently returned from a week in Cambodia courtesy of the Igloo Hong Foundation. The lack of resources forces the people to improvise and assemble their lives in a way that creates a landscape full of texture and chaos. In contrast, Tokyo is a city of amazing infrastructure and thoughtful planning. My show was treated with great attention and care by Takashi Murakami’s staff, which allowed me the freedom to create a large triptych on-site in only couple of days before the show opened.

Neocha: 你通常喜欢去哪里旅行 ？你这次在东京办展的过程中自己最喜欢的地方和经历是什么？

James: 近期最能激发我灵感的地方是在亚洲那些气候炎热且不发达的地区。2013年时，我在东南亚生活了一年，最近我也承蒙Igloo Hong Foundation之邀再次回到柬埔寨待了一周时间 。资源的短缺迫使这里的人们为了生存而临时打造或组装出一些建筑与融合在交错凌乱的周身环境中 。相比之下，东京则是一个经过深思熟虑且规划缜密的神奇之地。在村上隆团队的大力帮助下，让我可以自由地在展前的几天现场完成了一个巨大的三联画作品。

Neocha: What is Zugzwang? There’s a lot of animals, birds, fantasy, and almost deity-like figures in the work – what are some of the themes in these pieces from the show?

James: Zugzwang began as a series of drawings in my sketchbook. I had no preconceived notions of what I was doing, but the imagery began to resemble demigods and characters that contained elements and narratives from many disparate sources –mutants of culture. The series culminates in a piece called Pagoda II, which depicts a creature of ultimate decadence and doom.

Neocha: Zugzwang表示什么？这次的作品中许多动物、鸟，幻想中的和几近神化的人物， 这个展中有许多这类的主题究竟是想要传达什么？

James: Zugzwang起初只是我在素描本上的一个系列画作。之前我也没有设想过自己要准备拿它干嘛，但脑内已有了各种半仙和神秘符号及故事的臆想——变异的文化。这个系列的巅峰之作是一幅名为Pagoda II的作品，它描绘了终极末日的生灵。

Neocha: Tell us about your work process. Do you plan meticulously when you draw, or is your process more freeform? Why did you choose to only use a very selective number of colors for these pieces?

James: I was looking for a way to keep the series consistent, as if they all breathed and lived in the same atmosphere. I tend to go into work without forethought and decipher meaning afterwards. As soon as I combine imagery, a narrative is formed. Narrative is a mysterious force that occurs spontaneously between distinct elements, as one idea sparks a series of ideas that eventually resolve in a final image. It’s very difficult, if not impossible, for me to conceive of something all at once before starting. And it always changes along the way.

Neocha: 关于你的创作流程，你在创作时是否会精心计划 ，还是说你通常都自由发挥？为何你的作品中只选择使用几种固定的颜色？

James: 我试图找寻一种能统一整个系列的方式，让它们看似在同一氛围存在且相互关联着。我不喜欢在创作前预先设想或在完成后再诠释其含义，一旦我将这些画面完成 ，故事也就成型了。故事是由截然不同的元素之间自然而然所产生的神秘力量贯穿，因一个灵感激发了一系列的创意最终将其呈现在完稿之中。如果要我在开始创作前就将所有一切构思好也是几乎不可能的，而且很多东西都会在过程中逐渐浮现的。

Neocha: How has your work process changed from now back to when you were doing comic covers and more commercial work?

James: When I was doing commercial work, I was still making personal work at the same time. So the process hasn’t changed that much. If anything, working on the computer so much instilled a sense of fear when I painted. There’s no commitment in working digitally, which is a curse. So it did take a little while before I could regain my original confidence after retiring from commercial work.

Neocha: 你的创作流程是如何从创作漫画封面及更多商业作品中转变的？

James: 之前我在做商业创作时，其实也是在做自己的个人作品。所以整个流程并没有太多改变。如果说有的话，那么就是太过依赖电脑创作会让我对纸上绘画产生畏惧。我没法仰赖数码创作，这好像是一个诅咒。于是我放弃商业创作后用了很长一段时间才恢复自己最初的信心。

Neocha: Is there a particular image or idea you’re obsessed with?

James: There are motifs that recur frequently, such as foliage, spaghetti, veins, wedges of stratified land / cake. These elements form the landscape of my subconscious and constantly assert themselves in my compositions.

Neocha: What ideas are you really into currently?

James: There’s this one writer I’ve been listening to who speaks about resume virtues versus eulogy virtues, and the changing values among the generations. It mirrors the changes I face as I get older and navigate the world – living in L.A., the resume virtues of accomplishment and ambition reign supreme, but the eulogy virtues of humility, self-sacrifice, and compassion are set aside as everyone struggles for survival in an extremely competitive world.

Neocha: 有没有一个具体的图像或想法是你所痴迷的？

James: 有一些主题在作品里是有反复出现的，比如叶子、意大利面、脉络、岩层或糕点横切层的纹理。这些元素时常回荡在我的创意构思中，也将我的潜意识景象打造成型。

Neocha: 你目前投入的灵感构思是什么？

James: 我曾听这么一位作家谈论简历技能和悼词美德，以及每一代人价值观的转变。行走于世，随着年岁渐长，他所说的也正映射着我所面对的世界变化: 在洛杉矶，所谓简历技能，那些满纸成就和抱负，往往至高无上；而悼词美德，那些人性中的谦恭虚己、自我牺牲与同情怜悯，却被搁置一旁，只因人人在这个不是鱼死就是网破的世界中为生存苦苦挣扎。

Neocha: Physically and mentally, how does the process of painting and drawing / illustration differ for you? Can you hole up for an entire day, or days just painting? Is it a full-body experience? Do you listen to music or do anything else ritualistically to enable your work?

James: I can very easily isolate myself for days working on a piece. I usually listen to podcasts or have documentaries playing. I’m addicted to new information, even though I retain very little. The voices allow me to become less self aware about what it is I’m doing, which makes for a better picture and allows the process to surprise me along the way.

Neocha: 手绘和电脑插画，从身心角度出发，对你来说有什么不同？你会埋头在家画一整天甚至好几天吗？这是一个全身心投入的体验吗？你会在创作时听音乐或是做些其它惯例性的事情吗？

James: 我很容易为了完成一幅作品而将自己隔离起来。我通常会听线上音乐或将纪录片 播放在那。我对新资讯很着迷，尽管记在心里的甚少。这些声音会减少我对自己在做的事情的关注，这样反而能促成一幅更好的画作，并能让我在创作过程中不断遇到惊喜。

Neocha: What’s next on the horizon for you?

James: I’m working on another show for late 2016 and also more publications. I’m also building a new studio and we hope to finish it in a few months.

Neocha: If your superpower was that anything you draw can instantly become a 3D living breathing piece of reality, what would you create?

James: A pegasus.

Neocha: 接下来你有什么计划？

James: 我正在筹备2016年下半年的一个展览以及更多的出版物。我也在筹化新的工作室，希望可以在接下去的几个月内完成。

Neocha: 如果你有种超能力能将你画出的任何东西立即变成3D活物，你会画什么？

James: 一只飞马。

Website: jamesjean.com
Instagram: @jamesjeanart

 

Contributor: Jia Li

网站: jamesjean.com
Instagram: @jamesjeanart

 

供稿人：Jia Li

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Hitachi Seaside Park

December 3, 2015 2015年12月3日

One hour north of Tokyo along the coastline of Japan’s largest island Honshu, the subtly named Hitachi Seaside Park is notable for its year-long displays of surreal nature scenes. The landscape changes psychedelic hues with the season changes. In the springtime, baby-blue flowers called Nemophila bloom all over the park in a phenomenon called “Nemophila Harmony”, for which Hitachi is famed. Later in the fall, small cotton-shaped shrubs called Kochia bloom, making for an even more bizarre landscape.

東京北部から1時間、日本最大の島、本州の海岸線沿いにそっけない名前のひたち海浜公園はあり、この世のものとは思えない自然の風景を一年中眺められることで有名です。風景は季節ごとにサイケデリックな色彩で変化します。春には、ネモフィラと呼ばれる小さな青い花が公園全体に咲き乱れ、「ネモフィラハーモニー」と呼ばれる幻想的な光景でひたちは有名です。しかし、秋には綿花のような低木のコキアが紅葉し、さらに風変わりな光景になります。

The Kochia, also known as the bassia scoparia, is a knee-high bush that is usually green most of the year. However, in October every year it changes from green to flaming gradients of crimson for a few weeks, peaking in mid-October and fading out by November. Photos taken in the Kochia fields during peak season look as if they were shot with infrared film.

コキアは「ホウキギ」としても知られていて、膝くらいの高さの低木で、通常一年の大半は緑色です。それが毎年10月になると、緑から燃えるような真紅のグラデーションに数週間で変化し、10月半ばにピークを迎え、11月までに消えてしまいます。ピークシーズンに撮られたコキアの写真は、まるで赤外線フィルムで撮影したように見えます。

The park itself is 470 acres and contains a wide range of different plant species. There are about 4.5 million blue Nemophila plants, one million daffodils and 170 different varieties of tulips. Fields of buckwheat, from which the region’s famed soba is made, curve alongside flowering fields.

公園自体の広さは470エーカーで、多種多様な種の植物があります。450万本のブルーネモフィラ、100万本のラッパスイセンと170種類のチューリップがあります。花畑沿いにカーブしたそば畑からは、地方特産のそばが作られています。

Every year, the phenomenon of koyo (trees changing colors) attracts city-dwellers to head north to Hitachi to enjoy the amazing intensity of the surrounding hills.

毎年紅葉の季節には、都市生活者達がひたちへやって来て、周囲の丘の驚くような色彩を楽しんでいます。

Address:
605-4 Onuma, Mawatari, Hitachinaka 312-0012, Ibaraki Prefecture
Japan

 

Phone: +81 29-265-9001
Website: hitachikaihin.jp

住所:
日本国〒312-0012馬渡字大沼605-4

 

電話番号: +81 29-265-9001
ウェブサイト: hitachikaihin.jp

Contributor & Photographer: Jia Li

記事と写真: Jia Li

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The Drawings of Calvin Ho

December 2, 2015 2015年12月2日

Calvin Ho is an artist, illustrator, and graphic designer based in Hong Kong. Since 1996, he’s been the one-man studio AtomicAttack!, working for a variety of clients such as Nike, Adidas, GAP, and more.

Calvin Ho是一位香港藝術家、插畫師和平面設計師。從1996年起，他便開設了自己的獨立工作室AtomicAttack!，並爲Nike、Adidas、GAP等各種客戶提供服務。

Calvin’s work has two distinctive styles: digital illustrative work with textured layers, and hand drawn pen and ink illustrations. While his digital work is quite well-known, his hand drawn illustrations have been a new development over the past few years. He tells us about how his work process has evolved.

他的作品有著兩種獨特的風格：數碼紋理和筆墨手繪。他的數碼作品已然十分知名，而其手繪的表現風格則是他近幾年來新拓展出來的。他爲我們講述了他創作流程的演進。

Neocha: How has your work process changed?

Calvin: I mainly use pen and ink in my hand drawn illustrations and artwork. I have been cautious in experimenting with digital coloring, and have found this to be more practical when it is for commercial commissions. There always seems to be the need for small adjustments and producing the work digitally is very helpful for editing. I still prefer to be working directly on paper or canvas rather than digitally though. I love trying to retain a certain rawness and imperfection by hand that you cannot replicate on the computer.  

Neocha: 妳的創作進程是如何改變的？

Calvin: 我在大部分手繪作品、藝術類插畫或畫廊參展作品裏，主要用筆和墨完成。在實驗數碼上色方面，我是一直持謹慎態度的，後來發現它在商業項目中更爲實用。它可修改性高，並且數碼化制作對後期編輯來說很有幫助。但相比數碼化實現，我仍更傾嚮直接在紙或畫布上作畫。我愛手繪那種特定的原生和不完美，那是電腦永遠無法模擬的獨特質感。

Neocha: What are some themes and ideas you’re currently obsessed with? What’s something you could draw over and over again?

Calvin: I guess I keep revisiting the themes of night and day, the sun and the moon. I just like it as a metaphor for our personalities, and how we as humans have this tendency to dichotomize – like the fleeting emotions of love and hate, introverted and extroverted characters, and our nature to view things as black or white. I have this affinity to express issues with dualities of past and present. Coincidentally my Chinese name is Ming, which is also comprised of the Chinese characters for Sun and Moon.

Neocha: 妳最近著迷于哪些主題和靈感？妳會反複畫的東西是什麽？

Calvin: 我想我會反複探尋日與夜、日與月的主題。我正是喜歡以此象征我們人類喜歡用二分法看待事物的個性。正如愛與恨，內嚮與外嚮、以及我們生來好用來定性事物的黑與白。我執著于以過去和現在的二元性來展現問題……巧的是，我的中文名是“明”，正是“日”與“月”的結合。

Neocha: What are you currently inspired by, and what inspired you to become a designer or illustrator in the first place? 

Calvin: I keep comparing my work to music and this is usually what inspires me the most. It’s a bit hard for me to explain. Just like a musical score, it is a melting pot of different instruments, varied notes and compositions, and it can take a person on a short journey somewhere. I am also inspired by meditation and where this can take me for that day. I can shut the voice of my ego and it helps me to stay calm in times of stress and daily obstacles. I read a lot and I love good stories. I guess I can say I am not too good with words and respect writers who can make me fall into their world. I am very much a musical and visual person and find it amazing how writers can do the same with words, especially when they combine them together with pictures. That is why I love manga so much, especially classics like Osamu Tezuka’s Buddha, Yoshihiro Tatsumi’s A Drifting Life, and some darker stories from Suehiro Maruo and Junji Ito.

Neocha: 最近激發妳靈感的是什麽？最初又是什麽啓發妳成爲一名設計師或插畫師的？

Calvin: 我總是將我的作品比作音樂，而這也是最爲啓發我的地方。這很難解釋，就像樂譜，它是一個將不同樂器、各種音符、曲調混合的熔爐。我被冥想和當天它引領我抵達的境界所啓發。我得以屏蔽掉內心自負的聲音，幫助自己在遭遇壓力和日常問題時冷靜下來。我大量閱讀，熱愛好故事，但我對用文字表達並不在行，因此我敬重那些能讓我沈迷其書中的作家。我是個相當音樂或視覺型的人，然而我發現作家們可以用文字替代音樂和視覺帶來同樣效果，特別是圖文並茂的那種。這就是爲何我很喜歡看漫畫，從經典系，比如手塚治蟲的《佛陀》、辰巳喜弘的《漂流人生》，到丸尾末広和伊藤潤二的暗黑系故事。

Neocha: Stylistically how have you changed? 

Calvin: I have two very different styles. One is produced digitally and the other is hand drawn. I guess the medium does influence how I create an idea or how the work is born. For digital, my approach is more like painting as I use ready-made existing images and textures from random photos and I build up the work as paint. It’s never planned and I trust that something will develop from that. It is a scarier process but having the luxury in digital platform the paint never dries so I can craft and fine tune as I please. I have been developing this digital style for over 12 to 15 years now and it has had the most exposure and recognition.

A few years ago, I started to explore hand drawing again. For me, drawing is so much more personal and closer to my heart. I don’t think I’ve completely dropped the digital work but I am just following what inspires me right now and to create work and try to be push myself to new ways of expression. 

Neocha: 風格上妳是如何轉變的？

Calvin: 我有兩種不同的風格。一種是數碼創作，另一種是手繪。我想介質確實對我的創作靈感或作品誕生産生了影響。在數碼創作中，我的方式更像是繪畫，我從隨機的照片裏找現成的圖片和紋理素材，再像繪畫一樣將作品構建起來。這些創作就是這樣順其自然地發生了，並沒有預先的計劃，我相信它仍能形成不錯的東西。它是個刺激的過程，但數碼的好處就是畫作永遠不會幹掉，我可以任意添加或微調。我發展這種數碼風格已有超過12到15年之多，因此它已經得到了最大程度的曝光和認可。

幾年前，我開始重新探索手繪。手繪可以說是十分個人且更貼近我內心的東西。我並不認爲自己徹底放棄了數碼創作，我只是在追隨一種當下所産生的靈感並進行創作，試圖促使自己找到新的表達方式。

Neocha: What would be your fantasy project?

Calvin: I have been quite lucky, as a kid I’ve always wanted to have a record shop and produce my own magazine, both of which have come true in my lifetime. As most designers who are also into music would agree, working on a record label is a dream come true. Most of my own goals for professional or personal projects have come true. What now? Maybe a bigger exhibition of my new works would be nice. I also want to work on a game with my illustrations and to make characters into toys both of which I am working on right now. I have also wanted to make my own music.

Neocha: 對妳來說什麽是夢想項目？

Calvin: 我嚮來還算走運。小時候我一直想擁有一家唱片店、做自己的雜志，而這兩者此生都已經實現了。正如多數喜歡音樂的設計師都會贊同的，能與唱片廠牌合作簡直是美夢成真。我自己的職業或者個人目標其實大多都實現了。現在呢？一場更大型的作品展會不錯吧。我還想要用自己的插畫做成一個遊戲，把遊戲中的人物做成公仔，這兩樣我目前都正在嘗試中。除此之外，我還想創作自己的音樂。

Neocha: What are you looking forward to?

Calvin: I have just completed a commission for a private collector and have a few others lined up which will keep me busy. Also building slowly towards a collection of small sized drawings that hopefully will run as a series towards my upcoming exhibition and want to also focus on a series of larger works. I’m looking forward to moving into a bigger studio space so I can create more diverse work.

Neocha: 妳接下來有什麽期待和計劃？

Calvin: 我剛剛完成了來自一個私人收藏家的項目，接下來我的時間表還被其它一些項目填充著。同時我也在逐步完成一批小幅手繪作品，希望這些作品可以作爲一個系列在我即將到來的展覽中展出。我也想要集中精力創作一個稍大幅的作品系列。但願可以搬到一個大點的工作室，這樣我就可以創作更多的多樣性作品。

Website: atomicattack.com
Instagram: @atomicattack

 

Contributor: Jia Li

網站: atomicattack.com
Instagram: @atomicattack

 

供稿人：Jia Li

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Early Morning at Tsukiji Market

November 30, 2015 2015年11月30日

 

无法观看？前往优酷

For gourmands and seafood enthusiasts, staying awake until dawn to catch the opening of Tsukiji Market in Tokyo is a necessary hardship to see and taste the world’s freshest sashimi. Opening its doors at 3am almost every night, people come from all over the world to queue in the market and wait patiently to watch the tuna auctions, which then begin at 5am.

美食家と筋金入りのシーフード好きにとって、世界一新鮮な刺身を見て食すために明け方まで寝ずに東京の築地市場を見物することは、きついけれど不可欠なことです。ほぼ毎日午前3時に営業を開始する市場では、世界各国からの人達が並び、午前5時から始まるマグロの競りを見るために辛抱強く待ちます。

In the sleepy pre-dawn hours of eastern Tokyo, the frenetic pace of loading and unloading, carting, and prepping never stops at Tsukiji Market. First and foremost a business, Tsukiji is one of the world’s largest wholesale seafood markets, and it handles around 2000 tons of seafood transactions per day. The tuna auctions start at 5am and end at 7am every morning, while the seafood market itself is open to the general public afterwards at around 9am. In 2013, the world’s most expensive tuna was sold here, for $1.8 million dollars.

東京の東にある築地では、眠い夜明け前の時間帯に慌しい積み込み、積み下ろし、運搬、準備作業が絶え間なく続きます。何よりもビジネスである築地は、世界最大の水産物の卸売市場であり、1日に2000トンもの水産物の取引が行われます。マグロの競りは、午前5時から始まり午前7時に終わりますが、競りの後も午前９時頃まで市場は一般客に開いています。 2013年には、世界で最も高価なマグロが築地で売却され、その価格は$1800万ドルでした。

Lining the perimeter of the fish market outside are some of the best seafood restaurants in Tokyo. The most famous ones also have their queues start at 3am, opening at 5am to the first customers who are eager to try the freshest seafood for breakfast.

築地市場の周辺には、東京で最高レベルの魚介類専門レストランが軒を連ねています。最も有名なレストランでは、最も新鮮な魚介類を朝ごはんに味わうためにその日一番に来店する熱心な客に午前5時から営業を始め、ここでも午前3時から行列ができます。

The Tsukiji Market’s inner market is set to be relocated in 2016 to a newer, bigger space in Toyosu. Although the outer ring of shops and restaurants will still remain, many worry that the heart and soul of the market will be gone, so the spectacle of the tuna auction is one to savor while it still lasts.

築地の場内市場は、2016年に豊洲の新しく、広い敷地に移転することが決まっています。場外市場にある店舗やレストランは築地に留まりますが、市場の核心がなくなってしまうのではという懸念の声が多く、マグロの競りは、存続するうちに堪能しておくべきアトラクションです。

Address:
5-2 Tsukiji, Chuo-ku, Tokyo,
Japan

Phone：+81 3-3542-1111
Website: tsukiji-market.or.jp

住所：
日本国东京都中央区筑地5-2-1

電話番号：+81 3-3542-1111
ウェブサイト：tsukiji-market.or.jp

Contributor, Videographer & Photographer: Jia Li

寄稿者、カメラマン&ビデオ撮影：Jia Li

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On Girls and Beauty

November 24, 2015 2015年11月24日

Luo Yang is a photographer from Liaoning, China whose beautiful, disarming portraits of Chinese youth and femininity are all shot on film. In 2007, she picked up a camera and started photographing girls around her. Eventually that led to her ongoing series Girls, which focused on a subject which resonated especially with her as a female photographer.

罗洋是来自中国辽宁的摄影师，她的那些柔美中国少女人像作品全部使用胶卷拍摄。从2007年开始她就拿上相机拍摄身边的女孩。而“女孩”也最终成为了她的持久主题，作为一位女摄影师，她对此有太多共鸣。

“Film is more expensive and precious, the texture is more realistic, and film is something you can keep,” says Luo Yang, “I started photographing as a way to express my emotions. Shooting in film is a way for me to slow down time and think more.”

“胶片更昂贵也更珍贵，质感也更为真实，它是你可以实实在在保存的东西。” 罗洋说，“我开始摄影是将其作为一种情感表达方式。用胶片拍摄能让我慢下来，让我思考更多。”

The girls that Luo Yang photographs are natural, youthful, edgy and at times awkward. There’s a certain serenity throughout her work, and it’s obvious the subjects are at peace with the person behind the camera, often staring directly into the lens, carrying on in the nude, caught in staged and unstaged shots.

罗洋拍摄的女孩自然、年轻、前卫，时而略显尴尬。她的作品总有某种安详感贯穿其中。显然，被摄对象能平静面对相机镜头后的摄影师，她们时常毫无遮掩地直视镜头，在摆拍或者抓拍之间被定格。

She tells us, “The girls I’ve photographed help me express my own feelings and problems. Some of them are my friends, some of them are strangers, and some are just contacts from the internet. The way that they live and their lifestyles are what attracted me to them.”

罗洋告诉我们: “我拍摄的那些女孩们帮我表达了自己的情绪和问题。她们有些是我的朋友，有些是陌生人，还有一些是网络上的人。她们的生活是吸引我的地方。”

Being obsessed with girls and the fairer sex is an ongoing preoccupation for Luo Yang. “Most of my photo shoots are very natural, and set in shooting locations that I chose without too much preparation or orchestration. I want to be able to express my subject’s unique characteristics and let that show through,” she says.

罗洋对女孩和女性的着迷一直持续着。“大部分拍摄都非常自然，场地的选择和布置没有经过太多的深思熟虑。我希望展现其自身独有的特质。”她说道。

“It’s hard to say what kind of influence growing up in Northern China has had on me. It’s something that is definitely a part of my personality and my DNA now. I am quite straightforward and direct, which might be related to being from the North.” Based in Beijing now, Luo Yang says, “Besides the awful transportation and environment, Beijing is really great for photography. Northern girls are more open and carefree.”

“很难说成长于中国北方给我带来了什么影响，但确已经融入我的血液和性格。我性格中的直接、直达本质的这个特征应该和北方有关。”目前定居北京的罗洋说，“除了糟糕的交通和环境，北京是极佳的摄影地。北方女孩也更大气，更放的开。”

In the future, Luo Yang says she will continue to work on her Girls series adding new ideas and trying different directions. She is looking forward to collaborating with other artists that could lead to interesting results.

罗洋说在未来她还是会继续寻找新灵感来延续她的“女孩”系列。同时她也期待更多合作。她认为这样也许可以擦出别样火花。

Facebook: ～/luoyangart
Flickr: ~/yangzi

 

Contributor: Jia Li

Facebook: ～/luoyangart
Flickr: ~/yangzi

 

供稿人: Jia Li

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In the Studio with Needleman

November 20, 2015 2015年11月20日

 

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Needleman is a Beijing-based tattoo shop started by two friends, Man and Xing. Man tattoos, and Xing designs calligraphy. As collaborators, they both have a common appreciation not just for the art of tattooing, but for all traditional arts and painting.

满针人是由满涛和星这两位好友共同创立于北京的文身工作室。满是文身师，星负责字体设计。作为合伙人，他们除了喜欢文身艺术之外也都对传统艺术和绘画十分热爱。

A former ice carver from the northern city of Harbin, Man later moved to Beijing to attend the China Central Academy of Fine Arts. It was there that he met Xing, who studied Chinese calligraphy and traditional Chinese painting. Last year, Man and Xing co-founded the Needleman tattoo workshop which combines both aspects of their talents into one concept.

来自北方城市哈尔滨的前冰雕师满涛，在移居北京就读中央美术学院时认识了星， 星主攻书法和传统国画。去年，满涛和星将各自所长融合成为一个概念，共同创建了满针人文身工作室。

“China has a lot of really great folk art and traditional arts – for example, Shaanxi leather-cut designs and papercut art,” Man explains, “a lot of that actually already resembles the Western old-school style of tattooing. We want to use tattoo art to translate some of these traditional concepts into modern ideas that young people can also appreciate.”

“中国有许多优秀的民间艺术和传统艺术——比如陕西的皮影和剪纸艺术” 满涛说，“许多东西其实都和西方old-school的文身风格很像。我们希望通过文身艺术将这些将被遗忘的传统概念转化成能被当代年轻人接受的现代东西。”

“As a calligrapher, it’s important to design characters for tattoos which look good on all the contours of the body,” Xing says,” but they also need to be quite refined and sophisticated based on Chinese calligraphy traditions.”

“作为一名书法家，对我来说设计文身字体最重要的是如何让它能在人体的线条上最好地呈现出来” 星说，“但还是要基于传统书法的水准去完善和细化。”

Their combined approach can spark interesting ideas in China, where there are many tattoo stereotypes and clichés. Needleman’s tattooing style is actually much more adaptable and fluid, often taking inspiration from old-school, Japanese, traditional, and new modern styles.

在中国，有太多关于文身的刻板印象和陈词滥调，而他们这种融合的模式在这样一个环境下是个相当有趣的亮点。满针人的文身从old-school、日式、传统和新摩登风格中摄取灵感，他们的风格也更容易被人接受得多。

Outside of the tattoo workshop, they also illustrate books, paint larger works, and make art prints. “We complement each other as artists,” says Man. Their classical training as fine artists is evident in the illustrative quality of their tattoo work.

除了文身，他们也创作图书插画、大型绘画及艺术版画。满涛说: “从艺术角度上来说，我们正好互补。”二位接受过的正统纯艺术学习，在他们的文身作品绘制中展露无余。

Weibo: @满针人
WeChat: needle-man

 

Contributor, Videographer & Photographer: Jia Li

微博: @满针人
微信: needle-man

 

供稿人、视频与照片摄影师：Jia Li

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