All posts by jiali

The Short Films of Shen Jie

October 31, 2015 2015年10月31日

Shen Jie is a Shanghai-based award-winning animator whose short films include RUN!  (2012 – 2013), HORSE (2013), STAMMER (2013), among others. His work is hand-drawn on the computer, often very rhythmic and experimental.

沈杰是上海的获奖动画师，他的短片作品有《RUN!》(2012 – 2013), 《HORSE》 (2013), 《STAMMER》 (2013) 等等。他的作品俱由电脑手绘完成，常常充满节奏感和试验性。

Shen started drawing in junior high school and went on to study multimedia in college, dabbling in design, illustration, photography, animation, film and video. He discovered that he took easily to animation, and continued pursuing it as his main creative medium. He often likes to search for interesting, bizarre, and less popular narratives, and Georges Schwizgebel is a major influence.

沈杰初中开始画画，随后于大学主修多媒体专业，学习涉及设计、插画、摄影、动画及影视。他发现，做动画于他而言非常顺手，便一直持续将动画作为他的主要创作媒介。他常搜寻观看有趣、离奇、略小众的叙事动画，期间Georges Schwizgebel对他产生了巨大影响。

From beginning to end, his process is all achieved on the computer, painted frame-by-frame in Photoshop and AfterEffects in a spontaneous style. Shen Jie says, “Sometimes I think that ‘time’ itself is a great subject matter. You can use time to express an event, or use the event to express time. The advantage of animation over a static image is that time provides more room for expression.”

沈杰的创作由始至终全部在电脑上完成，每一帧画面都顺其自然地在Photoshop和AfterEffects中完成绘制。他说:“有时我认为，‘时间’本身是个很好的题材。可以用时间去表达事件，也可以用事件去表达时间。动画，相比单纯的绘画，它的时间维度提供了更大的表达空间。”

Shen Jie previously worked in the advertising industry, but he recently quit to work on his animations full-time. “I used to run for ten years, running as far as possible every day. Now my heart beats very slowly,” Shen says. “My inspiration these days comes from everyday life, reading novels, and watching Ozu and Edward Yang films. I also like to look at pretty girls.”

沈杰最近刚辞去广告业的工作，转而全职创作动画。“我跑了10年步，尽可能每天都跑。现在心脏跳得非常慢。沈杰说: “现在，我的灵感来自: 日常生活、小说、小津安二郎和杨德昌的电影。我也喜欢看漂亮姑娘。”

At 24 frames per second, often repeating in short loops, yet changing with every iteration, Shen Jie likes to use time in this fashion to push his story forward. His shortest project, 牛YA, took two weeks to complete, while Monkey, a five minute piece, took one year. His next project is a film about swings.

沈杰的作品，每秒24帧，画面反覆循环又不完全重复，以时间为技术将故事层层推进。他最短的片子《牛YA》花了一周完成；最长的作品《猴》，时长5分钟，则耗费了一年时间。他的下个作品将是个有关秋千的动画。

Vimeo: ~/user16760143

 

Contributor: Jia Li

Vimeo: ~/user16760143

 

供稿人：Jia Li

 

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In the Studio with aaajiao

October 29, 2015 2015年10月29日

aaajiao is a Shanghai-based new media artist known for his avant-garde mixture of computer science and art. His multidisciplinary approach uses data, algorithms, vectors, and coding to visualize and produce tangible objects out of highly abstract relationships.

aaajiao是上海的新媒体艺术家，知名于他计算机技术和艺术的前卫结合。他的综合学科研究法，应用数据、算法、矢量和编码，去视觉化和具象化抽象关系。

Born in 1984 in Xi’an, China, aaajiao’s trajectory from computer scientist to new media artist sees him constantly pushing into previously unexplored territories. From founding China’s very first co-working space Xindanwei to also starting the comprehensive Chinese new media blog we-need-money-not-art.com in 2006, aaajiao’s involvement in digital arts and culture in China has been very prolific.

1984年出生于中国西安的aaajiao，其从计算机科学家转变为新媒体艺术家的人生轨迹，见证了他对未探索领域不间断的挺进。 从创建中国首个联合办公空间——“新单位”，到2006年开办综合性的中国新媒体博客we-need-money-not-art.com，他在中国数码艺术和文化领域一直非常多产。

This year, aaajiao has moved to a new studio on the outskirts of Shanghai in an old abandoned woodworking factory. Taking over an entire floor which overlooks the Huangpu River, aaajiao and his collaborators now have their own dedicated space to experiment, create, and put the finishing touches on artwork.

今年，aaajiao搬到上海郊区一个废弃木工厂的新工作室。新工作室是可远眺黄浦江的一整个楼层。如今在这里，aaajiao和他的合作者们拥有了一个可以用来试验、创作和完成作品的独有空间。

Coming from a production process that relied solely on a factory’s manufacturing time, aaajiao says, “My work process is different from other artists because they tend to wait for the factories to make their ideas actualize in the very final step. I use the factory as a tool, and control the process every step of the way.”

从生产过程完全依靠于工厂加工的时代过来，aaajiao说: “我的工作过程不同于其他的艺术家。他们倾向于，在最后一步等待工厂来将他们的创意实现。我则当工厂是工具，我会控制生产过程的每一个步骤。”

Working with jewellery designer Shen Lei and longtime collaborator Xu Cong, aaajiao created a series of wearable interactive art pieces, called Ornaments. Edible, magnetic, transformative, and also functional, this work raises questions about how technology can integrate with everyday objects.

aaajiao与首饰设计师沈磊以及长期合作伙伴许聪一起，创作了一个可穿戴的互动艺术作品系列，见《事物》。他的作品，可食用、有磁性、能变形、具功能性，引发关于科技如何融入日常事物的问题。

Although his work starts on the computer using programming languages such as Processing, in his new studio it is translated into the physical realm using cotton, copper, LED displays, 3D printing, concrete, and even sugar.

尽管他的作品是用Processing编程语言，在计算机上开始创作，却在新工作室中，被他用棉、铜、LED显示屏、3D打印、水泥，甚至食糖转变到实体范畴。

Currently, aaajiao is working on a clothing series with a fashion designer which will also merge workwear uniforms with uniquely generated pattern designs. He says, “Working with different mediums and production methods is an amazing way to learn new things.”

最近，aaajiao正和一个时装设计师，在做一个在工作制服中融入特殊生成图纹的服装系列。他说: “用不同的媒介和生产方式工作是一个学习的绝佳方式。”

“A lot of people are now also doing new media, but what’s really important is how you use your medium and process to solve interesting problems.”  In addition to fashion, aaajiao also plans to experiment with furniture design in the future.

“很多人在做新媒体，但是现在真正重要的是，如何使用你的媒介和工序去解决有意思的问题。” 除了时装方面，aaajiao也打算在未来体验一下家具设计。

Website: eventstructure.com
Instagram: @aaajiao

 

Contributor & Photographer: Jia Li

网站：eventstructure.com
Instagram: @aaajiao

 

供稿人&摄影师：Jia Li

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Blackbridge Motorcycles

October 28, 2015 2015年10月28日

 

无法观看？前往优酷

Blackbridge Motorcycles is the custom motorcycle workshop of Adrien Macera which focuses on racing and building bespoke motorcycles for China’s budding scene. Named after the artist colony of Blackbridge on the outskirts of Beijing, the shop is a real wonderland for motorcycle aficionados. Every detail is a reflection of Adrien’s passions and interests.

黑桥摩托车是Adrien Macera的定制摩托车工作室，它专注于赛车和为中国正在萌芽的摩托车界打造定制车。这个以北京郊区黑桥这块艺术家聚居地命名的店，是摩托车死忠粉们的仙境。这里的每个细节都是Adrien的激情与爱好的映射。

Born in Egypt and raised in Italy and France, Adrien considers Beijing his home of the past 20 years. After art school in Beijing, Adrien had a number of office jobs before his interest in motorcycles took over. Four years ago he started his private workshop in the Blackbridge area, a self-sufficient creative community where spaces like the shop can exist.

出生于埃及、成长于意大利和法国的Adrien，在过去的20年里，一直将北京视为自己的家。从北京的艺术学校毕业之后，Adrien做过几份办公室工作，直到他全心投入到自己的兴趣中。四年前，他在北京黑桥开办了自己的私人工作室，在这片自给自足的创意社区中，他工作室这样的空间才得以存在。

His dogs and pet pig roam the grounds where racing bikes, vintage bikes, and custom builds are worked on by his three-person team. Besides crafting custom builds, Adrien also leads track races in Ordos, Inner Mongolia, and in Zhuhai, Guangdong for his friends and customers.

在他赛车、赛复古车、三人小团队打造定制车的场地上，他的狗和宠物猪也自由漫步着。除了制作定制车，Adrien也在鄂尔多斯、内蒙古和广东珠海，为他的朋友和客户们引导赛道赛车。

“If you really like motorcycles and it is going to be your form of transportation, you’re going to want to have more than one,” Adrien says, “which is OK, because they don’t get jealous of each other. You can have different motorcycles for different purposes.”

“如果你喜欢摩托车，并且它会成为你的交通工具的话，你将想拥有不仅一辆的车。” 他说，“也没事就是，因为它们之间不会互相妒忌。你可以为不同的用途配置不同的车辆。”

China is quickly catching up to the global trend of more and more custom shops. “In Beijing, I know 200, maybe 300, people who spend a lot of time customizing and building their motorcycles,” he says.

中国正在快速赶上全球的定制大潮。他说: “在北京，我就认识了两三百个这样的人，他们花大量的时间个性化和铸造自己的摩托车。”

These days, motorcycles are still considered dangerous and somewhat unsavory in public opinion, but that is an attitude which is shifting as more and more people are influenced by BMW and Harley culture seeing it as a sign of wealth. While custom builds can take years and become very expensive, Adrien says some of his favorite bikes are passion projects that are more about taste and self-expression than luxury.

尽管如此，摩托车在公众眼里，还是被认为是危险的，甚至某种程度上是令人憎恶的。但是因为宝马和哈雷文化的影响，越来越多的人开始转变观念，将摩托车看做是财富的一种象征。虽然定制车会相当耗时耗财，Adrien说，某些他最喜欢的车子，更多还是关乎品味和自我表现，而非奢侈。

Facebook: ~/BlackBridgeMotorcycles

供稿人、视频与照片摄影师：Jia Li

脸书: ~/BlackBridgeMotorcycles

Contributor, Videographer & Photographer: Jia Li

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LOST Magazine

October 23, 2015 2015年10月23日

LOST is a magazine founded by Nelson Ng, a Singaporean art director who is currently based in Shanghai. Featuring personal stories and photo essays from contributors traveling the world over, the thick bilingual magazine is both stunning and meditative. The stories draw from a talented community of writers, designers, photographers, and artists whose travel experiences are not typically covered by the glossy editorial spreads of other travel magazines. Instead, Nelson curates the stories to be more about travel as a state of mind.

《LOST》是一本由定居上海的新加坡籍艺术总监Nelson Ng创立的独立杂志，它主要刊载一些周游各地的旅行爱好者所投稿的个人和照片故事，厚厚一本双语杂志，内容精彩，让人回味无穷。杂志中会有来自作家、设计师、摄影师和艺术家们的旅途故事，而这些并非我们在传统旅行杂志上所看到由编辑撰写的文章，相反的，Nelson挑选这些投稿时都会尽量让这些故事以旅行心情的角度去呈现。

Travel can be inspiring, foreign, fun, extremely uncomfortable or ugly. “I called it LOST after a trip where I took a ship from China to Japan all alone and realized that travel could be an entirely different experience. I realized that travel wasn’t really about sightseeing at all, but about what goes on in your mind when you’re traveling,” Nelson says, “It was actually quite an uncomfortable trip, because I didn’t know the place and didn’t know the language. But after I came back from the trip I felt that I had learned and grown so much, and I realized this is the true value of travel, and it was a great feeling,”

旅行可以是启发人心的、异域风情的、愉悦的、超不爽抑或是惨烈的。“在一次乘船从中国到日本的独自旅程后，我将这本杂志取名《LOST》，因为我意识到旅行可以是完全不一样的体验。旅行的意义不在于去名胜观光，而在于这场体验是你内心领悟的过程。”Nelson说，“那次其实是一场不怎么顺心的旅途，因为我路不熟又语言不通，但回来后我发觉到自身的成长和得到的收获，于是意识到这才是旅行的真正价值，这种感觉很棒。”

The first issue of LOST came about as the result of an experiment when Nelson tapped into his network of friends in the creative industry for interesting stories about their trips around the world. “Each person came back with a very different interpretation of travel. One person wrote about the language barriers when traveling in a foreign land such as Japan, another person wrote only about the people she met during her trip in Yunnan, and someone else merged his writing with his photography to create a visual poetry of his feelings when he climbed mountains. It was all very personal and just people sharing what they saw and felt during their trip.”

《LOST》 创刊号是Nelson的首次尝试，他在自己的创意友人圈中征集大家在世界各地的旅途故事。“每个人回来后都会有各自对旅行截然不同的诠释。有人会在行至异国比如日本时遭遇语言障碍问题，也有人只是单纯分享她在云南旅行时遇见的人，还有人结合自己的文字与图片给大家呈现一场视觉诗篇来表达自己的登山体验。都是些非常个人的东西，就真的是与大家分享自己的旅途见闻。”

As one of the only few bilingual magazines coming out of China, LOST has rapidly picked up distribution outside of Shanghai and Singapore to Taiwan, London, Berlin, Amsterdam and New York. Mainly carried in small independent cafés and lifestyle shops, it remains at heart a self-published magazine that connects both Asian and Western audiences.

作为创刊在中国的几本双语杂志之一，《LOST》迅速扩展到上海以外的地方，大家同样可以在新加坡、台湾、伦敦、柏林、阿姆斯特丹和纽约购买到它。售卖点通常在一些小型独立咖啡馆或家居小铺里，它本质上还是一个让东西方互相了解彼此的独立杂志。

“The reception has surpassed my expectations,” Nelson says, “submissions are already in up to the fourth issue, and I think the stories will only get better and better.” Apart from LOST, he’s also working on another small zine focusing on stories about farmers and craftsmen.

Nelson说，“它受欢迎的程度远远超过我的预期” ，“目前已经增订到第四期，并且我相信我们将给读者带来越来越好的故事。”除了《LOST》，他同时还在筹备一个关于农民和手艺人的小型电子杂志。

Website: lostmagazine.org
Facebook ~/lostmagazine.org

 

 

Contributor: Jia Li

网站： lostmagazine.org
Facebook ~/lostmagazine.org

 

 

供稿人：Jia Li

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Seung Yul Oh

October 22, 2015 2015年10月22日

Seung Yul Oh is a Korean artist based in Auckland who creates life-like, hyperreal sculptures of Korean noodle dishes out of resin. Using epoxy resin, silicone, steel, and aluminium, his strands of noodles can stretch up to 12 feet above their bowls, dangling from chopsticks.

오 성열 접착제를 이용하여 한국의 국수요리 조각상등을 극사실주의로 살아있는 듯하게 창안해 낸 오클랜드에 기반을 두고 있는 예술가입니다. 에폭시 접착제, 씰리콘, 강철과 알류미늄을 이용한 그의 국수가닥들은 접시 위에 약365cm 높이로 젓가락 끝에 매달린 채로 흔들리고 있습니다.

Experimenting with materials and appearances, Seung Yul Oh defies gravity with his work. The noodle dishes featured are traditional Korean Ramyun, Naeng Myun, Jab Chae, Jja Jang, and others, floating out of perfectly sculpted soup broth, eggs, vegetables, and beef. His idea is to show the food in action but without having the person present.

물질과 현상을 실험하면서 오 성열은 그의 작품에서 중력을 무시하고 있습니다. 그 국수 요리들은 흐르는 국물, 알류, 채소류, 쇠고기등과 함께 완벽하게 조각된 한국의 전통적인 라면, 냉면, 잡채, 자장면과 같은 것들입니다. 그의 아이디어는 사람의 간섭 없이 음식들이 움직이는 것을 보여 줍니다.

Seung Yul Oh’s work often redefines and challenges ordinary objects and spaces in a whimsical way. Working across painting, installation art, sculpture, video, and performance art, he likens his creative process to cooking, even when it comes to deep-frying his paintings. His autobiographical approach is inspired by moving from Korea to New Zealand as a teenager and being thrust into a completely new environment and culture.

오 성열의 작품은 가끔 기발하고 종잡을 수 없는 방식으로 평범한 사물과 공간을 도전적으로 재해석 합니다. 그는 회화, 설치, 조각, 영상, 행위예술을 종합한 작품활동으로 그의 회화에서 튀김에 이르기까지 요리를 창조적 과정으로 비유하고 있습니다. 그의 접근방식은 그가 십대 때에 한국에서 뉴 질랜드라는 완전히 낯선 환경과 문화에 던져짐으로써 영감을 받은 것입니다.

Seung Yul Oh has exhibited at Art Basel HK, Auckland Art Gallery, The Museum of New Zealand, The National Gallery of Victoria, among others.

오 성열은 Art Basel HK(아트 바젤 HK), Auckland Art Gallery(오클랜드 아트 겔러리), The Museum of New Zealand(뉴 질랜드 박물관), The National Gallery of Victoria(빅토리아 국제 겔러리)와 그 밖의 여러 곳에서 전시회를 가졌습니다.

Website: ohseungyul.com

 

Contributor: Jia Li

웹싸이트: ohseungyul.com

 

글쓴이: Jia Li

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Both Music

October 20, 2015 2015年10月20日

Both Music is a café nestled in Shanghai’s Red Town creative district. Combining an eclectic mix of music, art, and photography, it’s a hidden haven for beat-makers and audiophiles in Shanghai who want to relax to a curated selection of funk, soul, jazz, and hip-hop.

Both Music，坐落于上海红坊创意园，是集合了音乐、艺术和摄影为一体的咖啡店。在上海，对于想在放克乐、灵魂乐、爵士乐和嘻哈乐中放松的节奏音乐人或者音乐发烧友来说，这里无疑是水泥森林中隐藏的避风港。

The space is rather compact and is beautifully designed by Prism Design architect Tomohiro Katsuki. During the day, café-goers can browse the books upstairs, or preview records on in-store turntables.

Both Music由Prism Design公司的建筑师胜木知宽操刀设计，空间虽紧凑却惊艳无比。在白天，咖啡客可以在楼上看看书，或者自己将唱片放在便携式唱片机的转盘上播放欣赏。

The shop’s music selection is curated by Kobayashi Yoshiharu, a Nagoya native whose passion for obscure records is evident when browsing the walls. Kobayashi travels to Japan and the U.S. regularly to bring records back to the café.

这里的音乐全部由小林 芳春甄选。小林是热衷收藏各种冷门唱片的名古屋人，其激情你大可在店内墙上一览无余。他还定期前往日本和美国把唱片带回咖啡店。

At night, Both Music becomes a venue that hosts weekly DJ workshops, discussion forums with musicians, and film screenings.

到夜间，Both Music变身为每周举行一次的DJ工作坊，音乐人论坛和电影播放室。

As a collector with thousands of records back in Japan, Kobayashi wants people who come to the shop to be engaged and exposed to all kinds of music, old and new. Both Music also holds a weekly salon series which invites music groups of all genres to Q&A sessions with the public. Be sure to give it a visit the next time you are in Red Town!

作为上千张唱片的收藏者，小林希望来Both的人们可以欣赏到各种音乐：新的也好，老的也罢。Both Music每周举办系列沙龙，邀请各种流派的音乐组合来参加公众的问答活动。下次到红坊记得一定来这里看看。

Address:
B106, Redtown Creative Center
570 Huaihai West Road
Xuhui District, Shanghai
People’s Republic of China

Website: both.com

 

Contributor & Photographer: Jia Li

地址：
中国上海市
淮海西路570号
红坊雕塑中心B106

网站: both.com

 

拱稿人与摄影师： Jia Li

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daddy_lee

October 14, 2015 2015年10月14日

Born in San Francisco, Sean Marc Lee is a Taipei-based American photographer who captures his loved ones with analog photography. A film school graduate, Sean started taking photos for fun and then transitioned to full-time professional photography. His works shows playful, special moments in everyday life frozen in a cinematic frame. His love of photography and cinema he attributes to his father, whose Minolta camera was his first introduction to photography.

李子仁是一名生于旧金山而定居于台北的美籍摄影师，他钟爱用胶片来拍摄自己所爱的人们。从摄影学校毕业后，子仁就开始拍摄些有趣的东西，不久后他就成为全职摄影师。他将日常生活的玩乐场景或特别的时刻用摄影的方式一一定格。他觉得自己喜欢摄影和电影完全要归结于他的父亲，因为带他入门摄影的第一台相机正是他爸爸的一部美能达。

Currently, Sean is working on a photography project about his father titled daddy_lee. Sean says of his father, “Although he is ethnic Chinese, he was born in Japan in 1947, and immigrated to the U.S. late 1950 to early 1951 and has never traveled outside the U.S. since. Basically, I want him to meet his extended family that still resides in Japan and just take quirky fun photos. He’s been a cab driver in San Francisco for more than 40 years and is full of stories and has a child-like view of the world in terms of his energy and his love for Disneyland.”

目前，子仁正在做一个关于他父亲的名为《daddy_lee》的摄影项目。谈起父亲，子仁说“虽然他是华裔，但他其实是1947年出生在日本，然后于1950年底到1951年初移居美国，在那之后再也没离开过美国。基本上，我想让他和尚在日本的亲戚们见上面，并拍摄一些搞怪好玩的照片。他在旧金山开了40多年的出租车，而他骨子里其实充满了童真并且对迪士尼乐园满是热情，这种心态和经历让他整个人生都好比是一本故事书。”

“Film is love, digital is work,” Sean says. His peculiar taste in special moments are captured using a medium format and small compact film camera.  “It’s all about something silly someone does, or something semi-provocative in some quirky way. Many times, it’s that half moment in between gestures someone does while posing or being ready to have their photograph taken. The biggest obsession that I have is mostly of my loved ones, whether it be my father, my girlfriend, or my cats. They are always the constant source of inspiration.”

“胶片是爱，数码是工作，“子仁说。他平时就用一个中画幅胶片机和一个小型简易胶片机来捕捉他眼中的特别时刻。“其实拍的都是人们做的一些傻里傻气的事，或是一些略显突兀的搞怪东西。许多时候我定格下的画面正好介于他们正在摆造型和完全摆好之间。我最着迷的是那些我爱的人，比如我的父亲、我的女朋友，还有我的猫，他们一直是我永无止尽的灵感来源。”

Often featuring his girlfriend and friends, his cat, or moments of life in Asia, his body of work has a sense of humor and a storytelling aspect to it that is framed as if it were part of a movie scene. Sean says, “The simple approach of influences lies heavily in cinematic story telling, from Japanese films to the explosion of Asian New Wave cinema in the late 90s to early 2000s.”

他时常用相机拍摄自己女友、朋友、他的猫，或是在亚洲生活的点点滴滴，子仁的作品如同来自电影中的某个场景，总带有一种幽默感和故事性。他说“这种简简单单的氛围渲染很大程度上受了叙事性电影的影响，起初是日本电影，再到90年代末至2000年初那段时间爆发的亚洲新浪潮电影。”

Apart from daddy_lee, Sean is a full-time lifestyle and editorial photographer who has shot for clients such as Monocle, Hypebeast, VSCO and The New York Times, as well as on many film sets.

除了上面说到的《daddy_lee》，子仁还是全职的生活类刊物摄影师，他为《Monocle》、《Hypebeast》、VSCO和《纽约时报》等出版物提供照片，同时也做剧照摄影。

Website: seanmarclee.com
Facebook: ~/sean-marc-lee
Instagram: @seanmarclee

 

Contributor: Jia Li

网站: seanmarclee.com
脸书: ~/sean-marc-lee
Instagram: @seanmarclee

 

供稿人：Jia Li

 

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Wang Zhijun

October 12, 2015 2015年10月12日

 

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Wang Zhijun is a designer and artist from Beijing whose main medium is sneakers. A self-professed sneakerhead, Zhijun remembers his biggest dream as a kid was to create his own pair of beautiful sneakers. Since then, he started designing and modifying his favorite styles in his spare time. He has created custom editions of Nike Air Force 1’s, New Balances, Pumas, Asics, among many others, and works from time to time with brands to create unique sneaker designs.

生活在北京的王志钧，是一位以运动鞋为主要创作媒介的设计师、艺术家。自诩运动鞋狂热者的他，仍记得小时候最大的梦想就是能拥有一双自己设计的漂亮运动鞋。自那以后，志钧开始利用闲暇时间不停设计完善自己最喜欢的鞋款。他已经完成了Nike Air Force 1、New Balance、Puma、Asics等的定制鞋，也时常和品牌合作设计特别款。

His creations often look and feel as if they’ve just come straight out of the factory, even though they are 100% handmade by Zhijun. Working out of his apartment, he deconstructs, sews, paints, and assembles every piece by hand. The level of detail reveals the painstaking process of Wang’s craft that has been refined over the years, which involved learning how to sew and gaining a sense of intuition about materials and design.

他的作品看起来似乎是工厂直出产品，但事实上，它们全部由志钧全手工制作完成。拆卸、缝接、上色、组装，每一个步骤都是在他的住处手工完成。各种细节真实体现出他多年来手艺上的磨练、缝纫技术上的积累已经让他对选材和设计有了敏锐的直觉。

Growing up in Beijing as a child of the 80s, Zhijun is nostalgic for the memories of his youth in the capital city. With the rapid pace of city life today, he feels that “a lot of young Chinese people no longer have a sense of identity or have any idea of how generations before them used to live.” With this in mind, he often integrates Chinese elements and references to Beijing in his work. “I don’t want just to copy something that is Western, I want to express my own culture and where I’m from.” Using traditional sewing techniques and materials, his designs mix themes of pop culture and consumerism with Chinese cultural elements and motifs.

作为土生土长的北京80后，志钧深深怀念他儿时记忆中的那个首都。如今快节奏的城市生活，让他觉得“很多中国年轻人不再有身份认同感，也不知道他们的先辈们曾是如何生活”。于是他把中国和北京元素融合进他的作品。“我不想只是照搬西方的东西，我想表达自己的文化，自己的城市。通过传统的缝纫技巧和材料，他的运动鞋作品融合了流行文化和中国特色的消费主义。

In 2014, Zhijun stopped running, as pollution in the city got worse and worse. In thinking about how to express his frustration and reflect on these issues, however, he started disassembling sneakers and making face masks from them. The face masks have military-grade filters and are crafted from new, unworn sneakers.

2014年，随着北京的污染情况日渐恶化，志钧停止了跑步。他开始将运动鞋拆卸做成面罩，想着如何表达他对这些问题的沮丧和思考。这些面罩全都具有军事级别的滤器，由全新未穿着过的运动鞋改造而成。

Zhijun says, “A lot of people think, why would you waste a pair of expensive, highly sought-after sneakers and turn them into a mask? But I wanted to change the way that they are perceived, and give them more life and meaning rather than just as objects to buy and put on a shelf at home. I’m also someone who likes to go out and buy new things, but I still want to try to highlight these problems so that more young people think about them.”

志钧说，“很多人会觉得，你为什么要浪费一双昂贵又抢手的运动鞋，把它们变成面罩？但是我想改变人们对它们的看法，我要给它们更多的生命和意义，而不让它们只是一种买来摆放家中的物件。我绝对也算是有物质欲望的现代人，但是我仍然想要把这些问题体现出来，让更多的年轻人思考。”

Website: zhijunwang.com
Facebook: ~/zhijunwang
Instagram: @zhijunwang

 

Contributor, Videographer & Photographer: Jia Li

网站: zhijunwang.com
Facebook: ~/zhijunwang
Instagram: @zhijunwang

 

供稿人、视频与照片摄影师：Jia Li

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North Koreans in 3D

October 9, 2015 2015年10月9日

Photographer Matjaž Tančič recently held the first foreign photography exhibition in one of the world’s most inaccessible cities: Pyongyang, North Korea. The show featured his portraits of everyday North Koreans – but in 3D. It was a unique experience for those in attendance, who mostly didn’t have any greater context of photography from the internet and literature to draw from. “North Korea is special – it’s like traveling back in time. Everything was retro, funny lights and colors, like a Wes Anderson film. It was so raw, so different seeing things you will remember forever, meeting people who’ll probably never have a chance to be seen again.”

最近摄影师Matjaž Tančič成为第一个在世界上最难接近的城市之一朝鲜平壤举办个人摄影展的外国人。该展览以3D效果呈现他在朝鲜每天所遇见的人物肖像。对于从没有通过网络和书本了解过摄影的人来说，这是一场独特的体验。“朝鲜这个地方很特别，像是穿越时光一样。一切都很复古，有趣的灯光和颜色，就像Wes Anderson的电影一样。所有东西都那么原生，这种画面你会难以忘记，相遇的人可能从此不会再见。”

An accomplished photographer who studied at the London College of Fashion for Photography, Matjaž grew up in Slovenia, formerly Yugoslavia. Images of political leaders, working brigades, and propaganda have always been familiar. In his trip to North Korea, Matjaž focused on showing ordinary people as much as possible. With the help of North Korean specialists Koryo Studio he spent ten days driving through the entire country, shooting more than 100 portraits.

才华横溢的摄影师Matjaž曾经就读于伦敦时装学院时尚摄影专业，他从小在斯洛文尼亚长大，亦即前南斯拉夫。政治领袖、流水线工作以及政治宣传相关题材是他的摄影作品常见的主题。此次朝鲜之行中，Matjaž想要尽可能多地展现普通人的面貌。在位于朝鲜的专业艺廊Koryo Studio的帮助下，他花了十天穿越这个国家，拍摄了超过100张的人像照片。

“It was a very intense, by-the-minute schedule. With limited time, you have to think fast, find the location, make sure the light is good, make sure the feeling is right, and stay friendly and curious on top of it all. It was intense and hard, but super rewarding to see something no one has shot before.”

“由于时间紧迫，整个行程基本都在争分夺秒。在有限的时间内，你必须快速思考，快速定位，确认光线，确保整个感觉都对，在这之上还要保持友好和好奇。虽然很赶很艰辛，但能呈现之前从没有人拍过的东西就是最好的回报。”

Students, waitresses, doctors, farmers, athletes, and factory workers all stood as still as possible for the 3D portraits. Using his experience in 3D photography and technique, Matjaž only had 5 – 10 minutes per portrait to nail the shot with one camera. 3D photography is achieved by combining two frames (one for the left eye, and one for the right eye) with two identical cameras or with a slider. It is very exacting and can be difficult to compose in this way, especially under challenging conditions and situations.

在拍摄3D肖像时，学生、服务员、医生、农民、运动员以及工厂工人都要尽可能站稳不动。以Matjaž的3D拍摄经验和技术，他只需一台相机、花上5到10分钟就能完成一幅肖像。3D摄影是两张画面的结合——一张给左眼看一张给右眼看——你可以用两个相同的相机也可以用一个滑轨完成。这是一次严谨且艰巨的创作任务，特别是在这种极具挑战性的环境下。

Shooting in 3D is often seen as a gimmick, Matjaž says – but it can also add more value to your subject. It depends on the selection and the craft of the story. Matjaž, who is based in Beijing, previously shot a photo series in Yixian, Anhui Province in China entitled Timekeepers. Using 3D photography, he made diptychs of villagers in their remote, traditional homes. In one frame is a portrait of the villagers in their living room. In the other is a still-life of their possessions, which included a clock in every home, leading to the title Timekeepers. In 3D, the sense of personal life, personal space, and personal objects is heightened. Every object and detail is greatly emphasized.

Matjaž说，3D摄影可以被看成是一个噱头，但是它也可以向你的作品注入更多价值，这完全取决于你对故事的筛选以及制作的精良程度。目前定居北京的Matjaž之前在中国安徽省黟县拍摄过一个名为“时间纪录者”的系列作品，他用3D技术拍摄了当地村民偏僻且传统的家。他在每个村民家拍摄2张照片，一张是村民在自家客厅中的肖像照，另一张是在房子里的静物照，照片中每户人家的客厅条桉上都有一个钟，这也是他将这个拍摄项目命名为“时间纪录者”的由来。在3D效果下，个人生活、私人空间以及个体的感官都被加强了，每个物体和细节都被凸显出来。

Timekeepers was published by Jiazazhi Press in May 2015, disguised as an old Chinese photo album in a box. Matjaž is now working on a book featuring his North Korean portraits as well as other documentary photography projects.

“时间纪录者”于2015年5月由假杂志出版发行，它的包装看起来就像是一本放在相册盒里的中国老相簿。Matjaž目前正在筹备他的朝鲜肖像摄影集以及其它纪实摄影项目。

Facebook: facebook.com/matjaztancic

Website: matjaztancic.com

Jiazazhi: ~/timekeepers

Facebook: facebook.com/matjaztancic

网站: matjaztancic.com

Jiazazhi: ~/timekeepers

Contributor: Jia Li

供稿人：Jia Li

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Fan Popo

September 27, 2015 2015年9月27日

29 year old Fan Popo is a young LGBT filmmaker and gay activist who is based in Beijing. After graduating from the Beijing Film Academy, he made a number of documentaries including: New Beijing, New Marriage (2009), Be a Woman (2011), Mama Rainbow (2012) and The VaChina Monologues (2013). His work has been shown in film festivals around the world, and he is currently in production for his next film Papa Rainbow.

29岁的范坡坡是一位居住在中国北京的年轻同性恋题材电影导演和活动家。自北京电影学院毕业后，他制作了多部纪录片，包括：《新前门大街》(2009)，《舞娘》 (2011)，《彩虹伴我心》(2012)，《来自阴道》 (2013)。他的作品也多次在世界各地的电影节上展映，目前他正在筹划自己的下一部影片Papa Rainbow (中文名待定)。

Papa Rainbow focuses on fathers in mainland China and how they interact with their children who have come out. His previous film Mama Rainbow followed six mothers in China and their relationships with their LGBT children. Fan’s Be A Woman (2011) followed local drag queens who worked in a bar in the southern city of Nanning, Guangxi province. Of all of his work so far, his time spent on Be A Woman made the deepest impression on him. Returning again and again to Nanning, he immersed himself in the daily lives of his subjects, gaining their trust and confidence.

影片Papa Rainbow将会讲述中国父亲如何与他们出柜的儿子互动交流的故事。他在之前的影片《彩虹伴我心》中跟拍了六位中国母亲与她们的同性恋孩子的日常关系。2011年的《舞娘》则记录了一群在广西南宁这样的南方城市中，以在酒吧伴“变装皇后”为业的同性恋者的生活。在他所有已完成的影片中，《舞娘》对他的触动最大。拍摄期间，他一次次的往返南宁，他将自己完全置身于那里的场景，也真正地走进了他们内心。

After his film was released, the drag queen bar became well known, picking up coverage from multiple media outlets and documentary groups. Fan says, “After watching my film, they all went and produced different stories on the drag queens, with different angles and interpretations, showing them in a different light and making it more interesting. In this way, it was as if my film continued to live on after I finished it, instead of ending the story and just sitting on the shelf.”

这部影片的播出，让那些变装酒吧声名大噪，各大媒体及纪录片小组对此争相报道。范自己说到：“看了我的影片之后，他们都开始用不同角度去诠释变装皇后的故事，让它变得更有意思。这样，就好像是我影片的延续，而不是一个已经被搁置在货架上完结的作品。”

As a kid, Fan preferred to spend his days reading and daydreaming. Growing up in rural Jiangsu province in southern China, his parents were often absent working long days farming and fishing for his family of five. Having no previous experience in filmmaking, he says he got into the Beijing Film Academy because he couldn’t get into other schools with poor math grades. His love of film came later as he started collecting a large number of LGBT movies in film school.

从小在江苏省的农村长大的他，父母每天都忙于耕作和捕鱼。小时候的他就只爱整天看看书做做白日梦。家里也没有任何人与电影行业有关，他自嘲去北京电影学院完全是因为他的数学成绩太差考不上其它学校。而他对电影的真正热爱则始于在校期间收集的大量同性恋电影。

“Watching these films had the power to change people’s minds,” he says after homophobic classmates eventually became supporters of LGBT culture. Before graduating, Fan published the book Happy Together: Complete Record of 100 Queer Films. To date, Fan has made six documentaries, authored one book, and serves as the director of the Beijing Queer Film Festival.

他在自己的恐同症同学最终成为同性恋文化支持者之后说：“这些电影有着改变人们观念的力量。”毕业前，他出版了一本名为《春光乍泄：百部同志电影全纪录》的书。迄今为止，范一共拍摄了六部纪录片，出版了一本书，并成为北京酷儿影像展的总导演。

“Films are just films, they’re not as important as living. Film shouldn’t interrupt life.  Film lives as a part of life, but life doesn’t live in a film.” – Fan Popo“电影仅仅只是电影，它不像生存那样重要，电影不应该妨碍生活。电影存在于生活的一部分，但生活并不是电影。” – 范坡坡

As a full-time filmmaker, Fan is a one-man band of director, cinematographer, and editor. In his early days in low-budget filmmaking, Fan carried his gear in a giant backpack traveling great distances on public transportation. Funding has always been an issue. Every project is self-funded and driven out of his bedroom in a working-class compound near Beijing’s Third Ring Road.

作为一个全职的电影人，范一个人包揽了导演，摄影和剪辑的工作。在早期预算极低的情况下，他会一个人背着装有沉重拍摄器材的旅行包，使用各种公共交通工具完成长距离的拍摄工作。资金始终都是一个问题，每一个项目他都要自掏腰包，后期工作也是在他自住的北京三环外的普通居民楼里完成。

The Beijing Queer Film Festival is similarly guerilla-style. Established in 2001, the festival has survived 13 years of raids, arrests, venue changes, warnings and threats. Despite the difficulties he faces, Fan continues to be prolific and optimistic. “As the LGBT community in China becomes more visible in art and culture, we are slowly leaving the fringes and creating our own space in society.”

北京酷儿影像展也是处于打游击的状态。影像展于2001年发起，在过去的13年中经历了突袭，抓捕，更改场地，警告甚至威胁。尽管这个这个展面临重重困难，但范依旧抱着积极乐观的心态。“随着同性恋群体在中国艺术及文化圈的渐渐发声，我们逐渐摆脱边缘文化，开始创造出属于我们自己的空间。”

“I love the German director Fassbinder. His stories were always changing and his personality was very theatrical. All of these traits and false layers added together is actually what reveals his true self. This is what is interesting about film to me. You have to watch a lot of films to be able to understand a person or a world.”

“我很喜欢德国导演Fassbinder。他的故事总是很多变，他的个性也非常富有戏剧性。所有这些特质层层叠加揭示出一个真正的他。这就是电影吸引我的地方，你必须要去看大量的电影才能看懂一个人或一个世界。”

Facebook: facebook.com/popofan1985

 

Contributor: Jia Li
Photography: Jia Li

Facebook: facebook.com/popofan1985

 

供稿人：Jia Li
摄影师：Jia Li

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