All posts by Chen Yuan

Color and Verse 她的笔下,把诗句可视化了

August 20, 2018 2018年8月20日

Traditional Chinese images of love—wind, flowers, snow and the moon, or oaths sworn to the mountains and seas—come largely from the world created by Tang and Song dynasty poetry. And in Zhang Mengke‘s works, poetry is a source and drawing is the medium. Her pink, mist-shrouded illustrations convey a poetic simplicity.

Inspired by music, fragrance, and dreams, along with the verse, dialogue, and palace settings of historical dramas on television, Zhang “makes verse visible” with an understated, suggestive style.


风花雪月,海誓山盟,这样的景象,大抵多出现在唐诗宋词营造的世界里。而在张梦珂的笔下,诗词是源泉,笔触是媒介,粉色氤氲的画幅里,透着古朴的诗意。

从音乐、气味、梦境,古代清宫剧中的诗句、对白和建筑场景产生的灵感,融合了淡雅的色彩和意蕴,张梦珂的笔下,“把诗句可视化” 了。

For Zhang, “poetry is profound and demands careful thought and patient appreciation. But because it often uses a particular meter or diction, it relies on reason and insinuation. Drawing, on the other hand, is the most intuitively visual medium—as soon as you look at a picture, you immediately feel something. That’s what I’m able to achieve in my art.”

You can see more of Zhang Mengke’s works below.


对她来说,“诗词,需要将它拼凑起来思考,慢慢品味,非常博大精深。但因为它可能会有固定韵律和字词,在我认为它是相对理性的、隐忍的。但画,则是人最直观的视觉感受,你在看到它的第一眼就会有一定的感受,也是我更擅长可以尽情发挥的。”

更多张梦珂的作品,欢迎继续浏览。

Behance: ~/kk_Meng

 

Contributor: Chen Yuan


Behance: ~/kk_Meng

 

供稿人: Chen Yuan

Water and Ink 我有一幅画,可以慰风尘

August 15, 2018 2018年8月15日

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities. Traditional Chinese ink paintings usually leave empty space on the scroll, and Lost Mountain Main, fascinated by eastern aesthetics, uses a understated, gentle, pleasantly flowing technique to add a touch of the mystical.


沉浸在忘川山人的水墨世界,寥寥几笔勾勒的画卷里,却是文人墨客,流觞曲水,畅叙幽情。

对比色彩繁芜的插画或设计,忘川山人笔下那氤氲开的淡淡笔触,让传统水墨与现代审美交相融合。自中国古代传承而来的水墨画,则大多都会在卷幅上留白。忘川山人对这样的东方美学很是着迷,含蓄、温润,娓娓道来的手法,让他笔下那氤氲开的淡淡水墨,也仿佛带着些许仙气。

In most of his works, the artist conveys a certain feeling, one that arises from the dialogue between humans and nature and appears at both the individual and the monumental scale. Watercolor and ink compose and rearrange these subtle relationships, creating an intriguing effect. “Ink and watercolor both involve a play between pigment and water. With practice on the page, with long-term perseverance, you can achieve harmony, coordination, and control. All that remains is the emotion you want to give voice to.”

The landscapes in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”


在大部分的画作里,他阐述的是某种情感,在人与自然环境对话时产生,在微小的个体或宏伟的场景中普遍存在着。而水彩和水墨,则在对这些微妙关系的梳理与重构中,让画面的表达变得更为有趣。“其实水墨和水彩都是颜料与水的游戏,还是需要多做纸上练习,长期坚持,就会与之产生和谐的默契和把控力,剩下的,只有你想抒发的情感内容了。”

其实画中的世界,也正是他个人意趣的写照:我始终感觉自己身处巨大的孤独之中,时常念及世事无常,人若草芥,而头上的无边宇宙斗转星移,寂静仍然,我将这种渺小与浩大的事物之间的反差视如一种观照,照见谦卑,照见虔诚。

Douban~/忘川山人
Instagram: @lostmountainman


Contributor: Chen Yuan


Douban~/忘川山人
Instagram: @lostmountainman


供稿人: Chen Yuan

Korea’s Pastel Schoolhouses 原来我们从未毕业

August 14, 2018 2018年8月14日

Macaron-colored walls composed in tidy symmetry. An intoxicating, sugary dream where time seems to have stopped. These aren’t stills from a Wes Anderson film—they’re real shots of Korean schools taken by Spanish photographer Andrés Gallardo Albajar.

Gallardo, who now lives in Estonia, took these photos in Seoul and Busan while traveling. “It all started by accident, when I got a little lost in Seoul and ended up in the playground of a school. I was fascinated by their pastel colors, their trees, their symmetries, and the symbols like clocks, the national flag and the alphabet I didn’t understand,” he says. “But I never expected I’d do a series about Korean schools.”


马卡龙色的外墙,整洁对称的构图,时光仿佛静止于甜美梦境里,让人沉醉。而这一切,并非是韦斯·安德森的电影画面,这是 Andrés Gallardo Albajar 镜头里韩国校园内的真实景色。

生于西班牙、目前长居爱沙尼亚的摄影师 Andrés,在旅行途中拍下了首尔和釜山两地的校舍,这一切都出于偶然。当时我在首尔汉城迷了路,最后走到了一所学校的操场上。我被他们柔和的颜色、树木、钟表、国旗,还有它强烈的对称感和我不认识的字符给迷住了。” Andrés 说,但我从来没有想过,我最终会组成关于韩国学校的一系列作品。”

Gallardo’s experiences in Europe and Asia have given him diverse impressions and experiences. Korea and Spain have different styles of architecture, but they have a lot in common, he notes, since they both have centuries-old cultures. For him, the process of exploring and taking pictures in each one is equally fascinating.

Asked how Korea differs from Europe, he says, “the people in South Korea were extremely nice to me, and that made a great impression. One can tell that South Korea is doing well financially, since you can see plenty of modern architecture by some of the biggest contemporary architects. That doesn’t happen in Estonia, for instance, where everything is more local.”


Andrés 在欧亚两地的经历,给他留下了不同的印象与感触。首尔与西班牙的建筑虽然风格不同,但区别并不大——它们都留有古代文化的印记。对他来说,探索和拍摄的过程都一样迷人。要说到比较,Andrés 说:韩国的人民对我非常好,这给我留下了深刻的印象。另外你可以看出,韩国在财政上做得很好,因为你可以看到很多当代最伟大的建筑师的现代建筑,而在爱沙尼亚,情况并非如此,那里的一切都更有本土气息。

“As a matter of fact, visiting all these schools had a big nostalgia effect on me. As a child my only purpose in going to school was to see my friends and play football or other games during breaks,” he explains. “When doing this series, I often had to wait until the break was over so I could take photos freely. While waiting I could observe the kids playing on the playground, and I could see how, even though thousands of kilometers and around 30 years separated them from my experience, kids will always be kids.”


事实上,参观所有这些学校,让我产生了很大的怀旧感。孩童时代,我上学的唯一目的就是去见好朋友,在课间休息时我们可以一起踢足球或者玩别的运动。但在拍这些照片的时候,我不得不等到休息时间结束,才可以自由拍照。在等待的时候,我可以看到孩子们在操场上自由自在地玩耍嬉戏。即使我的童年和他们隔着几千公里,也隔着大约 30 年的时光,但孩子永远都是孩子啊。” Andrés 如此感慨道。

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The East Was Red 东方红

August 10, 2018 2018年8月10日

“The east is red, the sun is rising. From China comes Mao Zedong.” So goes China’s most famous propaganda song, “The East is Red.”

China in the 1960s and 1970s was indeed red. From the propaganda posters covering the streets and alleyways, to the copies of the little red book in everyone’s hands, to the Mao badges on their chests, red—symbolizing leftism, communism, socialism, and revolution—filled every aspect of people’s lives and thoughts.

In a new project entitled The East Was Red, artist Sheila Zhao finds old photographs from that time and retouches them, highlighting the political atmosphere of the time.


就像歌里唱的那样:“东方红,太阳升,中国出了个毛泽东。”

六七十年代的中国,确实是红色的。从大街小巷遍布的宣传画,到人手一份的 “毛主席语录” 或毛主席勋章——象征着左派、革命、社会主义和共产主义的政治红色,充斥着人们生活和思想的方方面面。

而这个系列名取自红歌《东方红》(The East Was Red),Sheila Zhao 找到当时的老照片,并进行了再度创作以突出那个时期的政治气氛。

Born in Beijing in the 1980s, at age seven Zhao moved to the US, where she grew up and studied. Of course, without the benefit of personal experience, Zhao is a stranger to those times, so hard for outsiders to grasp or comprehend.

But Zhao’s love of documentary photography, especially historical images, transports her back in time. “I’m not a historian or an expert in the Cultural Revolution, by any means,” she says. “I look at that time in history from the point of view of someone interested in the images it created, and in what that says about the country’s collective identity at the time.”


Sheila Zhao 其实是 80 后,在北京出生,七岁时搬到美国,并在那里完成了学业。照理说,Sheila 对那个时代是陌生的,没有亲身经历的加持,也很难理解和感受。

但对纪实摄影尤其是老照片的热忱,把 Sheila 带到了这段历史面前。“我不是一个历史学家,也不是一个研究当时运动的专家。我从一个对所创造的形象感兴趣的人的角度来看待历史上的那段时期,以及这个国家当时普遍存在的集体认同感。”

All of the images in The East Was Red, and all her other archival images, were acquired from second-hand antique markets near Beijing and Shanghai. As the majority of the photos were taken in the 1960s and 1970s, a common theme stood out:  “I noticed the photographer and those being photographed from this period, whether consciously or not, brought politics into the shot,” she says. Clearly, people in that time lived entirely under its shroud.

Fascinated by this, Zhao began retouching select photos from her collection, coloring over the posters, images, Mao badges, and books of quotations with a cherry red, using the color to stand in for these thoroughly political objects. On the one hand, this alludes to the color’s political significance, and on the other, it lets the viewer, who can see how prominent the red is, understand just how widespread Communist ideology and the cult of personality had become throughout China. 


《东方红》系列的所有照片,Sheila 档案中的其他照片一样,都是在北京和上海附近的古董二手市场淘到的。这个系列则大多选取于上世纪六七十年代间所拍摄的照片,几相比较,有个异常明显的特征浮现出来:“有趣的是,我注意到在这个时期,摄影者和被拍摄者都有意无意地把代表政治的东西包括进来。” 可见,那时期的人们完全生活在其笼罩之下。

于是,Sheila 在再度创作的过程中涂红了标语、照片、勋章和 “红宝书”。鲜艳的大红色被用以代替这些照片中这些充满政治意味的 “物件”,一来对应 “红” 的隐喻,二来,观者只消参见照片里红色有多么壮观,就能发现当时的共产主义思想和个人崇拜情结,在全中国是有多普及。

“China underwent a very unique socioeconomic movement at the time, which coincided with the rise of photography. It happened to be when cameras became more accessible, leading to more people using them as a means of self-expression,” Zhao says. “In the early 20th century, photography was still something that was reserved for the privileged. By the mid-20th century, cameras became even more common. Although they were still considered a luxury, there wasn’t that sense of exoticism of being imported anymore. Looking at photos from that era, it’s quite interesting to see how political doctrines influenced people’s lives.”


“中国当时所经历的是一场非常独特的社会经济运动,也恰巧发生在摄影史上,当时越来越多的人开始有机会通过摄影媒介表达自己的观点。” Sheila 说,“在 20 世纪初期,摄影仍然是特权阶层的活动。但到了中期,相机的使用开始变得越来越平民化,尽管还稍显奢侈,但它已不再那么具有‘舶来品’的异国气质。所以在照片中,我发现当时的政治辞令是如何影响人们描述和记录自己生活的方式,这是非常有趣的。”

Websitesheila-zhao.com

 

Contributor: Chen Yuan


网站sheila-zhao.com

 

供稿人: Chen Yuan

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The Lighter Side 如果星星没电了怎么办?

August 8, 2018 2018年8月8日

A white cloud brought to tears by a barbecue’s smoke, a star that needs a recharge, a planet with a moon that keeps blocking its sight: breaking down the barrier between reality and fantasy, these images can’t help but bring a smile to your face.

The Beijing-based artist who created them, John Johnny, describes himself as “a decently indecent person.” His comes up with bold, creative animations featuring everyday objects. That’s because, as he puts it, he “likes anything that’s fun, and likes to make life fun.”


被熏哭的白云、需要充电的星星、卫星障目的小行星……这种打破现实和幻想之间界限的作品,让看到的人不得不为之莞尔。

作者是约翰强尼,来自北京,喜欢用 “一个正经的不正经人” 来形容自己。他以日常物品为主体结合脑海里的各种奇思妙想,创造出天马行空的动图。用他自己的话来说,这是因为“喜欢一切有趣的东西,喜欢把生活变得有趣”。

《大自然的烦恼》系列 云
《大自然的烦恼》系列 星星
《大自然的烦恼》系列 沙漠
《大自然的烦恼》系列 火山

We say “everyday life” to mean something ordinary, but perhaps each day is an underappreciated miracle. “As I was doodling one day, I drew a character with a cute round head, and I thought it’d be fun to turn it into a GIF. Then I decided to make the round head into a sun instead.” Once you’ve got a sun, then you need a moon, and that’s how, with one idea after another, the Natural Exasperation series was born.

“What I like most is a mellow, simple style, something that’s relaxing to look at,” says John Johnny. “I think that’s what these times call for.”


我们每天称之为日常的生活,或许每个都是被忽视的奇迹。“有一天我在纸上涂抹,然后觉得一个圆脑袋挺可爱就想做个 GIF,就把圆脑袋变成了太阳……” 有了太阳,就有了月亮,也就有了他个人最喜欢系列《大自然的烦恼》。

约翰强尼说,“我个人要是做最喜欢那应该是轻松简单放松的风格。看了能让人放松,我觉得这个时代需要这些。”

《大自然的烦恼》系列 行星
《大自然的烦恼》系列 月亮
《大自然的烦恼》系列 太阳
《大自然的烦恼》系列 冰山
《大自然的烦恼》系列 大海
《大自然的烦恼》系列 小山
《让我治愈你》系列
《让我治愈你》系列
《让我治愈你》系列
《玉米兄的日常》系列
《玉米兄的日常》系列

Weibo: ~/约翰强尼

 

Contributor: Chen Yuan


微博: ~/约翰强尼

 

供稿人: Chen Yuan

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Please Mind the Gap 拍照请当心,注意脚下空隙

August 2, 2018 2018年8月2日

“Please mind the gap.”

It’s an announcement every urban commuter is surely familiar with. This phrase is also what inspired photographer Weilun Chong to create his eponymous photo series, Please Mind the Gap.

After attending university in Singapore, the Malaysian photographer decided to stay, and it’s there, in his adoptive city where he now works full-time as an advertising art director. A few years back, a serendipitous accident that happened on his way to work was what led to the project. “I nearly lost my phone through the gap between the train and the station platform one day,” he recalls. “That was when I glanced through the gaps towards the next carriage and came up with the idea.”

“The best part about the project was that it was something I could work on during my daily commute,” he adds. “It wouldn’t take up time I can spend with my wife outside of work.” At the time, Chong’s wife was close to delivering their firstborn, and so, working on a project that could fulfill his creative thirst while not intruding into family time was a heaven-send.

A month after inspiration struck, Chong took the first picture in the series. Ever since then he’s continued taking photos in Singapore and Hong Kong.


“请注意脚下空隙!”

这句话,大概常坐地铁和公交通勤的人们,丝毫不会陌生。而 Weilun Chong 创作的同名摄影系列,也正是受到这句话启发而来。

生于马来西亚,在新加坡念完大学的 Weilun,如今已是全职广告艺术总监。这个个人项目始于好几年前,契机来得很巧——“有一天,我的手机差点掉进地铁站台的空隙,然后我就扫到了一眼车厢的空隙,拍摄车厢间隙的想法就形成了:‘我可以在每天上下班上下班的路上做这件事,也可以陪我妻子一起。’”当时,Weilun 即将和他的妻子迎来第一个孩子,而这个摄影主题,恰好可以让他兼顾家庭与摄影创作,“这可能是命中注定的。”

于是,这个系列的第一张照片就始于此后一个月,从香港拍到新加坡,持续至今。

“Sometimes I spot an interesting character or anticipate a possible interesting scene. When I do, I approach the subject fast and inconspicuously, waiting to take the shot at the right moment,” he says. “Other times, if I have a bit more time, I’ll just take random snaps.” In the platform gap, as the doors are closing, with everyone calm or in a rush, fatigued or full of excitement, a moment is captured in time.

After all, each time we step onto the train platform, we begin a new journey. In his photography, Chong celebrates this, rightfully recognizing each of his subjects as the protagonists of their own stories.


“有时候我会看到一个有趣的角色,或者可以预料到一个有趣的场景,我会迅速且不引人注意地接近它,然后我就等着拍下那个瞬间。还有一些时候,如果我有更多的时间,我就会随机去拍。” Weilun 说。站台间隙中,车厢闭合时,每个人或紧张或从容、或疲惫或振作的神态,从此定格。

毕竟,每一次我们登上候车月台的时候,也正是每一趟行程故事也即将开启的时刻,而每一个人,也正是那一分钟的主角。

Websiteweilunchongphotography.com


Contributor: Chen Yuan


From Darkness Comes Light “想画好光,必须理解影”

July 17, 2018 2018年7月17日

“To paint light, first you have to understand the dark,” says Lee Wai Yam.

Lee, a Hong Kong-based artist who goes by the name Lee Lee, paints works suffused with a hazy light that seems to surround the viewer, drawing them into a perfect, half-lit moment: a cat staring into space, a blazing sparkler, a lone carousel horse on the side of the road.

You might expect the person behind such paintings herself to be warm and gentle. But when Lee hears people say as much, even with no ill will, “it makes me feel guilty, as though I’m giving someone a false impression,” she says.


“想画好光,必须理解影。”

来自香港的插画师盐李李(李玮钦)如是说。她的画里透着朦胧的光晕,仿佛可以将人包裹,回到褪色的美好时光——发呆的猫咪、燃烧的仙女棒、停驻的旋转木马……

画且如此,那么画布背后的人,也一定温柔恬静吧。但盐李李说自己每次收到这样善意评价时,“简直良心不安,像是编造了一种错觉。”

The warmth in Lee’s paintings is real, and that makes her feel especially anguished that she’s stubborn or inconsiderate outside the canvas. For a time she lay down her brush and stopped painting, seeking peace from the reproaches of her conscience.

“There was one painting in particular that people described as peaceful and calming. I still remember the sunny afternoon on which I painted it: it was the day my father was diagnosed with cancer. On the way back from the hospital, he went out of his way just to pick up my favorite food. He said nothing when he got home, and I didn’t know how to offer any words of comfort. I turned my back to him and painted. The silence in the room was broken only by the sound of my brush on canvas, humming like cicadas in the summertime. Continuing to work was wrong—it was clearly distressing, even violent.”


画中温柔是真实,画外的执拗与莽撞,才更让人揪心。因而盐李李也一度掷笔不画,在这种苛责中寻求平静。

我记得有张画,人们说温柔又宁静。我记得那天下午,阳光明媚。父亲确诊癌症,从医院回家,拖着疲惫身躯,依然绕了远路,买我喜欢吃的菜餸。他沉默凝重,而我半句话都没说,背着他,一室死寂,唯有那画笔落在纸上的声音如夏日蝉鸣— —我那不合时宜的孜孜不倦,明明是多么的嘈吵且暴力。

Sobering life experiences like these fill Lee’s works: the surface is full of light and warmth, yet the gloom is never far behind, and it sooner or later pays a visit.

After her self-imposed exile from painting, eventually the clouds parted, and Lee became reconciled to herself. “I want to accept my headstrong, immature nature, to accept that there are no fresh starts,” she says. “The road is long, so there’s nothing wrong with taking your time.”


那“饱满的生命经验”,盐李李曾竭力填塞到创作之中,光明和温柔是表象,生命中如影随形的阴霾,随着历练的增叠,也如期造访。

但所幸,云开雾散之后,盐李李终于还是与自己达成和解:“我想接受难以成长的顽劣本性,接受没有重新的开始,路途本就悠长,我想,无所谓缓慢。”

 

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Website: leewaiyam.com
Weibo: ~/鹽李李
Vimeo~/leewaiyam


Contributor: Chen Yuan


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Vimeo~/leewaiyam


供稿人: Chen Yuan

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Au Naturel 一虫一世界

July 12, 2018 2018年7月12日

“To see a World in a Grain of Sand / and a Heaven in a Wild Flower”: the plant art of Raku Inoue calls to mind William Blake’s “Auguries of Innocence,” finding countless worlds in each meticulously arranged insect.

Born in Japan and based in Canada, Raku Inoue, one of the founders of Reikan Apparel, is a multimedia artist who uses materials scavenged from the great outdoors to create elaborate works of art. He collects flowers, twigs, and leaves—which are then trimmed and layered—to arrange colorful 3-D sculptures of familiar insect forms. Each lifelike piece showcases his masterful artisanal skills. Yet more than a vessel of self-expression, his work is a way of paying homage to the intricacies of Mother Nature and sharing that with every attentive viewer.


如果说一花一世界,那么在 Raku Inoue 井上罗来 的手中,一虫能代表着大千世界。

目前为品牌 Reikan Apparel 的主创者之一的 Raku Inoue,生于日本,长于加拿大,他惯以大自然随处可得的花草枝桠作为媒介,再把这些细枝末节拼接成昆虫的模样,堆叠的叶片让昆虫的身体变得饱满、立体且五彩斑斓,既显得良工巧匠,又浑然天成。这不仅仅是创意的表达,Raku Inoue 的作品更包含着对自然万物的细腻感受,并传递给每一个悉心的观者。

Behance: ~/RakuInoue
Instagram: @reikan_creations


Contributor:  Chen Yuan


Behance: ~/RakuInoue
Instagram: @reikan_creations

 

供稿人:  Chen Yuan

Out of the Closet 出柜后,然后呢

July 4, 2018 2018年7月4日
我们采访者其一的纹身,意为“生来如此”。/ One of our interviewees' tattoos.

The second season of Qipa Shuo, a popular Chinese talk show, featured an episode on the issue of whether gays and lesbians should come out to their parents. It brought tens of millions of clicks to the online video platform iQiyi and quickly became a hot topic of conversation. Then the episode was taken down by censors, on the grounds that it dealt with “sensitive issues.”

In LGBTQ circles, coming out is a dividing line. Most of those who cross it have made up their minds to be themselves, or to free themselves from a long-held mental burden.

But what happens once you’re out?

Chinese society is becoming more and more tolerant, and online programs can now discuss issues like coming out. But tolerance isn’t the same as equality. You can talk about coming out, but you can’t openly embrace your identity.

According to the “Third Annual China LGBTQ Community Survey,” published by Work for LGBT in late 2016, in mainland China only very few LGBTQ people, around 5%, are fully out of the closet (to their families, friends, and coworkers). Around 20% have come out to some family members, 56% have come out to their friends, and 30% are entirely closeted.

We interviewed seven members of the younger generation who have already come out to at least one of their parents. While none of the seven were rejected by their families, that doesn’t mean that everything’s out in the open.


《奇葩说》有一期议题是同性恋该不该向父母出柜,仅在爱奇艺平台上就引来了好几千万的点击量,之后更是引起超乎往期的热议。随后,这期节目因涉及话题敏感而被迫下架。

出柜,也就是你身边人知道你是同性恋吗?,在 LGBTQ (同性恋、双性恋、跨性别者和酷儿)的圈子里是一条线。跨过这条线的时候,大多数人是抱着我要做我自己的决心,或者是卸下自己心理上积累的负担。

然后呢?

社会变得比以往宽容了,至少网络节目可以讨论出柜;但它并没有宽容到足以平等的程度,可以讨论,但不能堂而皇之。

根据 2016 年底由“同志商务”统计的“第三届年度中国 LGBTQ 群体生活消费调查报告”显示,在中国大陆 LGBTQ 人群中,完全出柜(包括亲属、朋友和同事)的人群甚少,仅占5%。有 20% 对一些家人出柜; 56% 对好友出柜;还有 30% 的 LGBTQ 完全没有出柜。

我们采访了已经对父母(或其一)公开出柜的年轻一代,幸运的是,在我们采访的七个人中,都没有因此与父母反目的。但一切也并没有走到阳光底下。


Keep It to Yourself

 

“Over Chinese New Year I told my parents I wanted to meet them for dinner,” says Songbanniu, who’s in his thirties. “They were talking about who had gotten married, so I took the opportunity to say, ‘I’m not going to get married to a woman. But I’ll still get married, so don’t worry about me ending up alone.’ The mood turned serious. My mom cried out, ‘Are you trying to kill us?’ But my father said, ‘I always knew.'”

Even though he’d prepared, Songbanniu says he still broke out in a cold sweat at the table that day.

That dinner was, in essence, a way for Songbanniu to fulfill what he saw as his duty to be open with his parents. It was a roundabout but powerful way of saying, “Don’t worry, I’ve found love.” “I think they can probably accept it themselves, but they’re worried about other people. They don’t want me to tell anyone else—they’re afraid I could lose my job.”

Since dinner that evening, Songbanniu says, “my family has never mentioned it again.”


秘而不宣

 

80 后的松阪牛说,“我是过年的时候跟我父母说要找他们吃顿饭,他们在聊谁谁谁结婚的话题,我就顺势说:我就不准备找女朋友了,我也会结婚的,你们也不用担心会没有人跟我在一起。然后气氛就变得比较严肃。我妈听到这句话后说了一句:乃么要西了。但我爸当时就说,我早就知道了。’”

松阪牛回想起当天的场景,尽管事先有所准备,但饭桌上自己还是一身冷汗。

这一场饭局,本质上说来,就是对父母一种义务上的告知,是以一种婉转却有力的方式向父母传达我有所爱,不必担心我觉得可能他们自己可以接受,可是他们担心周围的人,让我不要跟别人说,担心我工作上会被排挤。

下了饭桌,松阪牛说,我们家之后就没有再提这件事。

松坂牛 / Songbanniu

Sitting next to Songbanniu is his boyfriend, Daxiong. “I think that in China most people who face pressure choose not to come out,” he says. “That’s the case with almost all of my friends.”

Pressure often comes from parents’ worries about their children—especially in a country like China, where family occupies such an important place. In families that aren’t as close, by contrast, there’s naturally less pressure.


在松阪牛一旁的伴侣大雄说:我觉得中国的社会,有压力的人都会选择不出柜,我身边的朋友几乎都是这样。

压力,来自于父母的关切,特别是对于中国这个尤其重视家庭的国度来说。而倘若关系疏远,就会自然导致压力的减轻。

大雄 / Daxiong
松坂牛和大雄 / Songbanniu and Daxiong

In his first year of university, Daxiong bought a DVD copy of the gay comedy Formula 17 and hid it in his backpack. It was soon discovered by his mother, who had a habit of going through his things. Yet mother and son tacitly agreed not to bring it up.

“Then one evening much later, when we were lying in bed together, back to back. Out of the blue, she asked me, ‘You like boys, don’t you?’ I began to sweat! I said, ‘I’m still not sure what I like.’ A year later, when she asked me again, I said ‘Yes, I do.'”

Today Daxiong and his mother, who’s divorced, still have a good relationship. “At home, I never encountered anything negative because of my sexuality. My mom practically raised me as a girl. When I was a kid she had me wear dresses—I guess she thought it was fun. Now the only thing she’s worried about is that I’ll get sick,” Daxiong laughs.

But Daxiong’s father, who’s not really involved in his life, is still unaware of his son’s sexuality. “Actually, when my parents got divorced, I went to live with my dad. I think he definitely knows, we just haven’t come out and said it.”


在大雄大一的时候,他买了《17 岁的天空》的“同志喜剧” DVD,放在包里没有拿出来,当时就被爱翻包的妈妈发现了,但母子二人都默契地选择了不提。

到后来有一天晚上,我跟我妈背对着睡在床上,我妈就默默地来了一句:‘你是不是喜欢男孩子?’当时我汗就下来了!我回答说:‘我可能还不知道自己想干嘛。’第二年她再问我这个问题的时候,我就说:‘嗯,对。’

如今,大雄和离异的母亲就这么相安无事地保持着联系,“关于性取向,我在家里没遇到什么负面的事。我妈从小把我当女孩子养,从小就给我穿裙子,她大概觉得好玩。现在我妈唯一担心的是我会生病。”大雄笑着说。

但在大雄生活里缺席的父亲,至今还是不知道的状态。“其实我妈跟我爸离婚的时候,我跟的是我爸。我觉得我爸肯定清楚,但只是没有说破过。”大雄说。

乐老师 / Le
乐老师 / Le

Having open-minded parents isn’t necessarily a precondition for coming out. In fact, there’s a certain correlation between how distant family relationships are and how easy it is to come out.

Parents who are distant from their children often lead very independent lives. Whether or not their children are queer is like whether or not they have a tattoo, or which city they live in: it’s their life.

Le, a teacher in his thirties, says, “When I came out I didn’t feel any pressure. Now my parents know. After I told them, nothing changed, because I was never very close to them . . . My parents are the kind of people who don’t want trouble. They’re open-minded in the sense that they don’t want to be bothered.”


其实,出柜的前提未必是一对开明的父母,家庭关系疏离和出柜的难易程度存在一定关联。

与孩子关系疏离的父母,大多都拥有自己独立的世界,至于孩子是不是同性恋,和他们要去哪个城市生活、有没有纹身一样,是他们自己的世界。

已出柜的乐老师也这样跟我们说,出柜一点都没压力,他们就这样知道了。后来也没什么不一样,因为我原来和爸妈也不是很近……因为我爸妈本质上是怕麻烦的人吧。他们的开放,是基于不给他们添麻烦。


Acceptance

 

In China, who decide to come out to their family often think their parents will eventually come around since they love them so much. And most parents of LGBTQ children do in fact accept them. Yet such acceptance comes qualified with a request: keep it quiet. It’s as though they don’t want the family’s dirty laundry to be aired in public.

Almost every young person in China today is an only child, and most parents have poured all their love and energy into them. No matter what their child does, they’re forgiving, tolerant, and accepting. But even though parents can find a way to accept their children, once they face the outside world, they’re again beset by worries: “This isn’t good,” they think. “This isn’t natural.”


接受

 

选择出柜的人心里会抱着这样的期许:父母那么爱我,最终会理解我的吧。事实上,出柜后被父母接受的人并不在少数,但这种接受要加一种形容——“默默地 。仿佛是,家丑不可外扬。

在中国,当下的年轻人大多是独生子女,大多数父母对自己的孩子倾注了所有的爱和精力。无论孩子做了什么事情,选择包容、接受、承担是为人父母的天性所致,也是因为特殊的社会环境,让这唯一的孩子变得不可失去。所以面对孩子,他们会千方百计地调整自己去接受;但是一旦面对外界,他们的内心依然残留着这不是件好事”“这不正常的暗示。

小锤子 / Chuizi

Unlike the men above, Chuizi has always been close to her parents. When she was growing up, there was nothing they couldn’t talk about.

“When I was in middle school, I told my teacher to make my parents take me to a psychologist,” recalls Chuizi.

She was in boarding school when she first realized she was different. “I confessed to my parents that I liked girls. I was really sad . . . I don’t know what prompted it, probably a kind of middle-school terror.”

A visit to the doctor didn’t reveal any medical problems, of course. “In the hallway of the clinic, waiting for the so-called doctor to talk to me, it suddenly made sense: I liked girls, so what?”

“But back then I was still young. Maybe my parents thought I was joking—they didn’t take it very seriously,” she says. “But they must have known. I wasn’t like other kids, I gave them more than a few headaches . . . Actually I planted a seed, and they began to worry.”

Chuizi’s parents really came to understand her sexual orientation when she was in college because she’d often talk to them about her romantic problems. “I used to take walks with my mom, and I’d talk about which girls I liked, that sort of thing. I wanted to share it with them. That’s also why I came out: I wanted to be closer to them,” she recalls.

Her whole coming out process, and her parents’ process of acceptance, took a long time, but eventually, they came around.

“Now, at family gatherings during Chinese New Year, when my relatives ask questions like when I’m planning to get married, they’ll deflect them for me, and say ‘she’s still young, she still needs to work,’ that sort of thing,” says Chuizi. “Though even that’s really great.”


不同于上面几位男士,小锤子和父母的关系一直很亲密,在成长过程中,可说是无话不谈。

我是初二的时候,直接跟老师说,让爸妈带我去看心理医生的。小锤子说。

在寄宿制初中的时候,她就认识到了自己的不同,我那时候就和爸妈很坦白地说,我喜欢小姑娘,我很痛苦……我不知道是什么触发了我,大概初中时候那种悸动吧。

当然,看医生没看出什么病症,其实在医院的走廊上,等所谓的医生跟我讲话的时候,我就想通了,我就是喜欢女生,又怎么了?

但那时候年纪还小,但父母会觉得是玩玩,他们没有把它认作一个很认真的事情。可他们应该知道,我和一般的小朋友不太一样,就是有点不省心’……我其实给他们埋下了一个种子,他们开始不安了。

小锤子的父母真正明白她性向的时候,是大学时她因为感情问题反复和父母说过好几次。我以前和我妈散步的时候,会跟她讲,喜欢哪个女生啦,之类的。我想跟他们分享。出柜,也是因为我想和他们更亲近。小锤子说。

她整个出柜的过程,父母认同的过程,路漫漫,终于看到了光亮。

现在过年的时候,亲戚吃饭总会问到什么时候结婚这类的,爸妈就会帮我挡一挡,说她还小,还要工作这类的。小锤子说,虽然这样已经很好了。

Crown
Crown 家中与女友的拍立得合照 / A polaroid of Crown and her girlfriend at their home

Crown had a very different experience. Her mother took the news very calmly, in an ordinary moment over a meal. “She just asked me point-blank—’Are you?’ She said my grandmother wanted to know. I said I was. Then she replied, ‘Oh,’ and went on eating her noodles.”

It was Crown who didn’t take it calmly. The next day, she excitedly told her friends. It just seemed so rare: not every mother can ask such a question and calmly accept the answer. Crown says her mother has a very Western way of thinking. “She really respects my private life. She rarely stops by, and even when she does, she politely waits at the door. She’s not like other parents, who just intrude. I think my mom is unusually open-minded—she’s really awesome.”


相比之下,Crown 的妈妈却是在一个很寻常的吃饭时刻,很坦然地接受了这个事实,她就问我是不是,说我外婆想知道。我就说是的,妈妈就了一声,继续吃面条了。

真正不淡定的反而是 Crown,她隔天就告诉了好友妈妈开口问她性取向的事,因为这太难得了,不是所有母亲都有问出这个问题并坦然接受的能力。Crown 说妈妈的思想一直很西化,她很尊重我的私人生活。她很少造访我家,即使要来,也会先礼貌地站在家门口,不会像其他家长那样主动侵入。我觉得我妈妈特别开明,特别牛。

Crown

Like Chuizi, Crown feels she’s had a closer relationship with her mom since she opened up about her sexuality. A lot of things she couldn’t say in the past she can now gradually start to talk about. “But sometimes my mom thinks she did something wrong, or wonders whether I turned out a lesbian because of something she did,” she says. “Whenever she says that, I always object, and say, ‘No, it’s not! I was born this way.'”


和小锤子一样,和妈妈坦诚了性向之后,Crown 觉得母女之间的关系更近了,很多以前不会讲的话,现在也慢慢打开了话题。只是妈妈有时候还是会觉得是自己的错,是不是因为自己的原因,让我变成了同性恋?碰到这种情况,我就会很激烈地反对说,不是的!妈妈,这是生来如此的。她说。


Side by Side

 

For LGBTQ groups, the challenge is to overcome society’s prejudice and injustice, and to speak out for themselves—for ourselves—and for the community.

For the parents of LGBTQ people, the question is how to accept something that doesn’t fit with—or is even at odds with—their values, how to accept being forced to mentally change sides.

It’s hard to reexamine an entire value system and overturn long-held beliefs. In this sense, it’s not LGBTQ people themselves who face the biggest challenge in coming out—it’s their parents.


并肩


对于 
LGBTQ 群体来说,他们的挑战在于战胜社会的不公和偏见,为自己、为这个群体发声。

对于 LGBTQ 的父母们来说,他们面临的问题是如何让自己接受已有价值观里不存在的,或者是反感的存在,如何被迫接受这一场内心的倒戈

推翻已有的,建立新的——并且是从整个价值观上重新来过。这一点上,面临出柜最大难题的不是他们本身,而是他们的父母。

Bon

Bon’s mother learned of her sexual orientation when she eloped with her college girlfriend.

“I was with my girlfriend at the time, and her parents were opposed to us being together, so we eloped. After that, both sets of parents met and made a scene—it was really ugly,” she recalls. “But my parents actually didn’t put up any opposition. They’re very open-minded, so there was no struggle. Looking back on it now, I think the way I acted was really not right. Later on, my mother met other girlfriends of mine.”

Now that Bon has a stable girlfriend, her mother often comes to eat with them,  and she treats them as a couple.

At breakfast one day, her mother said, “I accept you. Unlike other parents, I accept you. I just want you to be happy. For me, it’s like I have two daughters now—I’m pretty lucky.”

“I just want you to be happy”: often parents say this for their own sake. But wanting their children to be happy is reason enough for them to stand by their side—and to stand up to the world’s prejudices.


Bon 的妈妈,则是在她与大学时期的女友私奔时,知道她的性向的。

我和当时的女友在一起,她家里人不同意,我们就私奔了。然后双方父母都见了面,闹得很难看。” Bon 说,但其实我父母没什么不同意的,他们是很开明的父母,没有什么斗争吧。现在想起来,觉得当时自己的做法欠妥。后来我妈妈也见过我的一些历任女友。

而现在的 Bon 和女友维持着稳定的感情,她的妈妈也常会来一起吃饭,见到她俩成双入对。

在一次早餐时,Bon 的妈妈对她们说道:我接受你们,不像其他父母,我接受你们。只要你们开心就好。对我来说,我就像养了两个女儿,挺好的。

只要你开心就好,很多时候,这句话是父母说给自己听。但这一条理由也足够让他们和自己的孩子站在一起,共同抵抗外界的偏见。

Bon
Bon 与她女友 / Bon and her girlfriend

Of all the people we interviewed, only Kiya had experience with a sham marriage.

The marriage was mainly her family’s idea. They didn’t pressure Kiya herself but targeted her mother, who was in poor health. “Look what you did to your daughter!” they’d say. “At her age, she’ll never get married.” Such comments had their effect. “My mom’s the kind of person who cares about appearances,” Kiya says. “So she also wanted me to get married. She said that if I didn’t, she would never be able to look them in the eye.”


Kiya 是我们这次采访中,唯一有过形婚经验的人。

她的形婚,很大程度上因为亲戚的压力。他们并不施压于 Kiya 本人,转而对准 Kiya 身体抱恙的母亲。他们跟 Kiya 的母亲说,你看都是因为你影响了你女儿到那么大了还嫁不出去,这样的话,听上去简直像针似的扎人。我妈妈一开始还算是个比较要面子的人吧。”Kiya 说,所以她也希望我结婚,觉得我不这么做的话,会让她在亲戚面前有点抬不起头来。

Kiya

She decided to get married when she was 33. “The pressure from my mother was too great,” she says.

“I found a gay man, and we started planning a sham marriage. At first, everything was very clear. I said I wasn’t going to have children, so we’d split everything split down the middle. Then everything would be handled normally. We did a lot of preparatory work,” she says.

She also talked to a lawyer friend about many of the issues involved. Almost everything was ready. But then something inside snapped.


33 岁的时候,Kiya 决定踏出这一步,因为妈妈压力太大了

我找了个 Gay,准备形婚。一开始都说得很清楚,我说我不生孩子,所有东西都 AA 制。然后所有东西都按照正常程序处理,做很多准备工作吧。

Kiya 也找了个律师朋友,咨询了很多相关的内容。

万事俱备只欠东风的时候,Kiya 爆发了。

Kiya

“My lawyer friend said, ‘an agreement is just an agreement. If you go ahead and get legally married, everything is subject to the law.’ When I got home that day, I’m not sure why, I suddenly broke down. I went back to my mom and said, ‘Mom! I’m not getting married, okay?’ I remember I spent the whole day crying. I just can’t lie. I thought, if I get married, how many excuses will I have to come up with to fill out that lie? What’s the point in putting on this show?”

Seeing her daughter burst into sobs, Kiya’s mother also began crying.

Through tears, mother and daughter finally saw eye to eye.


朋友跟我说,协议只是协议,如果真的办了结婚证,都是法律来控制的。然后那天回来,不知道什么原因,我就忽然崩溃了。回来就和我妈说,妈,我不结婚了,行吗!?我记得我那天就一直哭,一直哭。我不是个会说谎的人啊,我想着要是结完婚之后,我要编多少借口去圆这个谎呢?要骗一辈子吗?去做这一场秀,有什么意义呢?

Kiya 压抑已久的痛哭声中,妈妈也泪流满面。

这场母女间的理解在眼泪中达成。

Kiya

The day we stopped by Kiya’s home, her mother happened to be there too, and she knew why we’d come. She greeted us with excitement, then quietly closed the door behind her and went to cook dinner for her daughter. As dinner time approached, she opened the door again and asked if we’d like to eat with them.

Her mother’s accepting attitude had gradually formed a protective cover around Kiya, providing a source of strength and motivation. She’ll no longer have to fight alone. When neighbors see Kiya and her girlfriend nearby and start to ask nosy questions, her mother makes a point of saying, “That’s my adopted daughter!” and Kiya beams with delight.


我们到访 Kiya 家里的那天,她的母亲正好也在,也了解我们究竟缘何而来。一阵热闹寒暄后,她悄悄带上门去为女儿烧晚饭。临近饭点时,Kiya 的妈妈还热情地推开门来,问我们要不要一起留下吃个便饭。

母亲的接受态度,慢慢在她周围形成了保护罩,给她勇气,也给她动力。她不再会像从前那样一个人孤军奋战,Kiya 说,现在还有些街坊邻居会看到 Kiya 和女友在附近活动,转而来问东问西的时候,她妈妈就会主动和别人说:啊,那是我干女儿! Kiya 向我们形容的语气里,满是幸福。


How Much Further?

 

Many LGBTQ people in China encounter incomprehension, coldness, or verbal abuse when they come out to their parents. Sometimes parents even break off contact. The seven people we interviewed happen to all be fortunate, but their good fortune is a far cry from widespread acceptance.

The parents of the people we interviewed mostly had the following reactions:

“I see.”

“I still love you.”

“Your happiness is all that’s important.”

Yet even the most accepting parents are seldom willing to say, “Gays and lesbians are regular people. I’ll come out with you.” They accept their children, but ultimately what they’re accepting is how their children are different, not how they’re the same as everybody else. Their acceptance comes most often out of love.

This shows that there’s hope, but also that progress in society at large still has a long way to go.


还有多远?

 
我们身边也有很多人,和父母出柜后遭遇各种不解、冷漠、恶言相加,甚而断绝关系。只是采访的这七个人,恰巧都是幸运者而已——但这幸运背后,离彻底的接受又存在着距离。

这些父母的态度大多数是:

我知道了。

我依然爱你。

你开心最重要。

但哪怕是这些幸运者,也没有出现同性恋本来就是正常人,我来和你一起走出去这样的父母。他们只是接受自己的孩子,但究其实质,是接受孩子的不一样,而非和大家一样。他们的接受,更多是出于爱。

这让我们看到希望,也看到了社会大环境的进步依然缓慢。

Kiya

Our last interviewee, Kiya, told us, “Just two months ago, I accidentally hurt my foot and had to get surgery. At the time I really wanted my girlfriend to sign some consent forms for me at the hospital, but they wouldn’t let her. I can’t help but think, when I’m older, if something really serious happens, my girlfriend will have no way to sign in my place, since she’s not my ‘family.’ Maybe they won’t even let her in the operating room. What do I do then?”

After coming out, there’s still a long road ahead.

On this long road, hopefully the people you love and who love you will walk alongside you, lighting your way.


在采访的最后,Kiya 和我们说,就在前两个月,我的脚意外受伤,不得不住院手术了。当时手术我特别希望是我女朋友给我签字,但是没办法。我会忍不住去想,但以后我年纪大了,老了,真要有什么事,我的女朋友根本没办法替我签字,她不是我的亲属,可能连手术室也进不去。怎么办呢?

出柜之后,路还很长。

在这很长的路上,希望爱你们和你们爱的人会在左右,掌着你心里的灯。

Contributor: Chen Yuan
Interviewer: Shou Xing,  Chen Yuan

Photographers: David YenCrown Wang


供稿人: Chen Yuan
采访人: Shou Xing,  Chen Yuan

图片摄影师: David YenCrown Wang

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Fantasizing in Shades of Blue 蓝色的奇思妙想

June 20, 2018 2018年6月20日

Seoul-based artist Jungho Lee creates surreal illustrations that bring the observations of his mind’s eye to life. Chock-full of symbolism, the imaginary settings he’s conjured are populated with an array of peculiarities. From strange books of varying shapes and sizes to cloudy dreamscapes and glowing cabins, his drawings exude a tranquility that’s tinged with a sense of loneliness.

Lee says, “Everyone experiences loneliness deep in their hearts. To be composed and face it head on is something that can make you more mature . . . Ultimately, I hope people can use their personal experiences to interpret my works in their own way and be more attuned to their own inner voice.”


插画艺术家 Jungho Lee 长居韩国首尔,在那里,他画下许多超现实的插画作品。他的作品展现着许多奇谲的视觉隐喻,画作和脑海中现实重叠:微启的书册、迷雾的夜晚、透着光亮的房子……透着安宁的意味,却也让人感到沉寂的孤独。

“每个人都有自己内心深处的孤独,坦然面对它会让自己的内心更加成熟。我希望我的画能根据大家各自的经历自由解读,可以倾听自己内心的声音。”Jungho 说。

Website: leejungho.com
Instagram: @jungho.el


Contributor: Chen Yuan


网站: leejungho.com
Instagram: @jungho.el


供稿人: Chen Yuan

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