All posts by yezi

Ethereal Tones 吹万的雨夜梦境

July 9, 2018 2018年7月9日

 

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“Sheep’s Shadow,” a music video by Chui Wan, the Beijing-based experimental psych-rock group, features watercolor animation by Tu Qian, a talented Chinese artist who we’ve featured in the past. The article, “Watercolor in Motion,” was what first brought Tu’s work to the group’s attention. “They saw the story and really liked my style,” says Tu. “One of the band members, Yu Long, got in touch with me. A lot of my friends are fans of Chui Wan, so I was really excited to hear from them.” The track comes from their latest album, The Landscape the Tropics Never Had, which was released last year.


《羊的影子》是来自北京的四人实验迷幻摇滚乐队吹万的最新专辑《热带从未有过的风景》之中的一首单曲,MV 由艺术家涂迁以水彩定格动画的方式逐格绘制。而我们两年前对涂迁的一篇专访文章《Watercolor in Motion》间接促成了这次合作。涂迁告诉我们,“乐队的玉龙通过报道联系到了我。我的几个朋友都很迷吹万,所以收到邮件的时候还是很得意的。”

The Landscape the Tropics Never Had contains six long tracks, each lasting around seven minutes. Chui Wan’s poetic, psychedelic sound, neither rushed nor slow, leaves plenty of room for the listener’s imagination, while Tu’s watercolor GIFs can quickly set a mood. The artists’ shared creative outlook made this collaboration go especially smoothly. With its ethereal vocals and soft, overlapping colors, the video draws the viewer into a rain-streaked dreamland.


《热带从未有过的风景》里有六首时长超常的歌,平均长度在7分钟左右,他们的歌不紧不慢,带有诗意的迷幻音调为听众保留出足够的想象空间。而涂迁擅长创作的水彩 GIF 动画,也同样是以意境取胜。带给观众相同的从容感。这样创作上的共通之处,似乎也让这次合作来的更加顺畅。MV 中错落重叠的柔和色彩,加上歌曲中飘渺的人声,将观众轻轻一推,推进吹万的雨夜梦境中。

As you’d imagine for such unconventional artists, the collaboration was very free. Chui Wan hardly gave Tu any limitations—they just sent some images from a tour as inspiration. “Balloons become birds, clouds turn into girls, grays gradually shade into bright red-orange, and then into a deep-sea blue,” he says, describing the video. “The tabletop horizon gives way to vertical elevator doors, and the sea’s calm surface is the boundary between the horizontal and the vertical. I want to be clear in the mood and narrative rhythm, but not too clear. I think that pretty much sums it up.”


关于 MV 的绘制过程,如我们想象的一样,这样空灵的两位(组)艺术家的合作,应当无比自由的。吹万对涂迁的视觉呈现基本没什么限制,只发来一些乐队巡演时的画面作启发。涂迁告诉我们:“比如变成鸟的气球到幻化成女孩的羊,渐近的灰转向赤热的橘再到深海一般的蓝,横向的桌面水平线到纵向的电梯大门,平静的海面是横竖空间的间隙。不论是叙事节奏还是歌词意境,我很想把事情说清楚,又怕说的太清楚,就这样随随意意交待一下我觉得就差不多了。”

Cargocollective: ~/tuqian
Tumblr
: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
Facebook: ~/chuiwanband

 

Contributor: Ye Zi


Cargocollective: ~/tuqian
Tumblr: 12amto12pm.tumblr.com
Instagram
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
脸书: ~/chuiwanband

 

供稿人: Ye Zi

In Search of Home 你会把租的房子当作家吗?

January 26, 2018 2018年1月26日

Can you pinpoint the exact moment you left “home”? For some people, perhaps it was when they moved out of their parent’s houses and into their college dorms. For others, maybe the feeling didn’t hit until after graduation as they left behind their friends and took a leap of faith with a job in a new city. Either way, in the search for independence and opportunity, everyone eventually leaves behind a place they regard as home. And in this quest, they’re faced with the task of creating a brand new “home” for themselves.

More often than not, people are drawn to metropolises where opportunities are abundant. This migration in turns causes a constant demand for housing in major cities, where for most, renting is the norm due to the prohibitively expensive costs of buying property. But in China, as rent costs continue rising, it’s not uncommon for tenants to repeatedly move year after year. Curious about the effects of this constant displacement, we take a look at the lives of three Chinese youths living in Shanghai to explore how it affects their lifestyles, get their thoughts on living in a place that both belongs and doesn’t belong to them, and discuss what the idea of “home” truly means.


我们是从什么时候离开家的呢?大概是第一次兴奋地搬至学校宿舍,或者拿到大学通知书拖着不多的行李奔赴别的城市甚至国家吧。而对更多人来说,一切可能发生在毕业后,在陌生的城市拿到第一份工资,满怀信心决定打拼下去的那一刻。无论如何,在寻求独立和机遇的过程中,每个人最终都留在了他们认为是“家”的地方。

大城市机会充足,但人们租房的需求也会相应增加。随着租金成本的上升,租客年复一年地多次搬家的情况并不少见。如果下一年你仍旧不得不拖着行李箱,听着另一个中介喋喋不休的介绍,你会想要一个什么样的租住空间呢?

出于对这种不断辗转的生活的好奇,我们去到几个居住在外的不同的年轻人家里探险,有的人喜欢习惯带来的安全感,有的人看看空荡的四周希望自己可以说走就走,但出于上海的房价或者一些别的原因,他们都居住在这个不属于他们却又完全属于他们的空间里。我们和他们聊了聊租房对生活方式产生的影响,并随之探讨了下“家”的真正含义是什么。


Ian / Shanghai, China

“I don’t eat lao gan ma chili sauce because it’s too spicy.”

 

Born in 1994, Ian recently moved back to China after his studies abroad in Japan. Despite being Shanghainese and having parents that live in the city, he’s rented for most of his life since their house is inconveniently located on the outskirts of the city. Having rented for so long, he’s still unsure what “home” is supposed to feel like, but he’s content with what he has now. Today, like many, he shares an apartment with a few close friends as roommates.

Ian is someone who’s difficult to define, but his house is somewhat telling of his personality. Despite the spacial limitations, a large potted plant occupies the corner of his bedroom. From a never-been-used stretching machine to strangely shaped light bulbs, items without any immediately identifiable practicality populate his room. “I like things that are too pretty to be used, like a piece of kitchenware that’s so beautiful you just can’t bear using it. This is far more interesting to me than something that’s designed to be beautiful but without any functionality in mind.”

While Ian might seem borderline obsessive with decorating the apartment, he tells us he isn’t a materialistic person. Everything in his place appears to be flawlessly organized, yet a jar of opened lao gan ma chili sauce left out on the dining room table seems to break this illusion of perfection (even though it turned out to be his roommates). While he’s adamant about living independently, he isn’t overly concerned about personal space. “I don’t really care,” he tells us, shrugging. “It’s something I stopped caring about when I’m fine with roommates. It doesn’t matter because I wouldn’t be living in an apartment with people I don’t like in the first place.”


“我不吃老干妈的原因是它太辣。”

 

94年的 Ian 今年刚刚从日本留学回来,他算是一个纯正上海本地人了,但因为家离市区较远所以他很早就开始了租房生涯,从小经历寄宿生活的Ian对家的概念没有那么在意。跟很多上海租房青年一样,他跟自己的好朋友合租在这里。

房间不大,但一走进他的卧室立刻看到一棵巨大的植物,然后你会发现一些功能模糊的东西占据着这个空间:一个也许从来没被使用过的拉伸器,或者各种不同形状的灯。Ian 说:好看到没有用处的东西非常好玩,比如一个锅子,因为太好看了导致你不想使用它,这比一开始就创造一个没有用的东西要更好玩。

Ian 也是个没法被轻松定义的人,他超迷恋物质,喜欢用他们装饰自己的空间,但如果真的不买也不会觉得怎么样;他的生活似乎很虚拟,可是餐桌上也放着瓶盖打开的老干妈(最后证明是室友的物品);需要自己住,但他对私人空间也有不同的看法,“(我)不太在乎这件事,觉得在选室友之前就决定了这件事。因为你不可能跟一个你不能认可的人住在一起。


Kim / Daegu, South Korea

“My friends climb in through the window.”

 

Kim moved from Korea to Shanghai four years ago for college, and after graduating with a major in business management, he began working as a part-time model.

When we met up with him at his apartment, he was groggy-eyed, having obviously just woken up but still greeted us enthusiastically alongside Boto, his dog. After a quick tour of his quaint space, he plops down crosslegged in the middle of the living room, telling us, “I feel like I don’t really need furniture or a bed. Since I was a kid, I’ve gotten used to sleeping on the floor.”

Eyeing his sofa, he quickly changes his mind, “Actually, I’ve grown pretty fond of sleeping on the couch lately.”

As we began to discuss what some of his favorite activities at home are, he reveals himself to be a major movie buff and tells us he’s infatuated with colors and how they can be used (showing us his sketchbook in the process). He says, at times, he’ll completely lose track of a movie’s plot but still find himself engrossed by the cinematography.

He explains that having the peace and quiet to get lost in activities he enjoys is what gives him the feeling of being home. But despite treasuring his time alone, Kim still often hosts small get-togethers at his place. “Even though I’m renting, I try to treat my apartment like my actual home and not just a place I sleep at. I like to smoke and drink here. I also like inviting friends over to smoke and drink together. I always end up making plenty of great memories no matter where I live, so whenever I move away out of an apartment, I feel quite sentimental about it.”


“朋友从窗子爬进来。”

 

Kim 是四年前来到上海念大学的金牛座韩国男生,学的是工商管理,但同时也是一个时装模特。他大概是我们拍到的最真实的租客了,睡眼惺忪地为我们开门,迎接我们的还有完全不怕生的小狗 Boto,在客厅里席地而坐,每个地方看起来都可以随时舒服躺下,我无所谓有没有床,在床上跟地上都可以睡,小时候习惯睡在地上,最近特别喜欢睡沙发上。

聊到喜欢的电影,Kim 表示自己对色彩非常敏感,有时甚至可以不那么注重剧情内容去喜欢一个电影作品,他非常热衷于王家卫的《重庆森林》,也喜欢看法国电影,但唯一不看的是恐怖片。看电影、听音乐、创作……Kim 说,他享受一个人安稳又平静的独处时间,这让他有种家的感觉。但他也喜欢在家里和朋友小聚,我会把租住的空间当成一个家而不止是一个房子,我喜欢在这里抽烟,喝酒,也喜欢请朋友到家里一起喝酒抽烟吃东西,在那个空间会有很多记忆,每次我搬离原本居住的地方,会非常不舍。


Dimola / Hangzhou, China

“Having alcohol at the house is mandatory.”

 

“To be honest, I don’t really care that I don’t own the house,” Dimola says, laughing. “Of course, if I did own it, it’d even better.”

Even though she’s moved six times since being in Shanghai, she doesn’t seem to mind. Her room is filled with an assortment of souvenirs from her travels. Although none of them have any practical use, she still feels like they’re an important part of her life. This strong sense of attachment has been a defining part of her personality since she was young. When she was a child, she read a book with a character named Dimola and loved it so much she decided to adopt it as her English nickname. It’s stuck with her ever since.

Dimola tells us that she prefers the inviting glow of incandescent lights over the sterile feel of white fluorescent lights – she feels that this warm light and her collection of toys and souvenirs go together perfectly, lending her space a welcoming and comforting feel. However, she often feels conflicted when she visits the clean and neatly organized apartments of friends.

With a tinge of jealousy, she would think to herself: How is possible for them to keep their place so tidy?

But often times, this envy is replaced with pity: It must feel quite lonely here.

In the past, Dimola has worked as a choreographer and event planner. She now works full-time as a new media editor but dreams of being a pastry chef. Her ever-changing career choices have taken her from Shanghai to Beijing (albeit only for three months) and back again.

Having lived alone for so long, she admits that the idea of a place being “home” is becoming less and less clear to her. “Sometimes I guess I don’t regard my rented apartment as home per say. I’d say my true ‘home’ is still where my parents live. But, whenever I’m having a bad day, or if the weather is terrible, or if I’m having relationship troubles, whenever I get back to my apartment, it feels like everything will be OK.”


“家里一定要有酒。”

 

其实我不太在意这是不是我的房子,当然是我的房子就更好啦。已经搬过六次家的 Dimola 非常洒脱的看待租房这件事,她的房间里充满大大小小的旅行纪念品,但即使洒脱如她,也会在每次搬家时尽量保留这些看似无用的物品,就像 Dimola 这个来源于她小时候看的一本书里人物的名字一样,用了很久她都没有改。

因为不喜欢白炽灯的冷光,Dimola 屋里只亮着那盏暖黄色的台灯,温暖地包裹着整个屋子的繁杂,这也导致她去到那些家里空无一物的朋友家时,都会一边羡慕一边感叹这个人未免也太冷酷了吧。

在上海的几年之间她也试过去北京发展,但只在那里待了三个月就回来了。长期一个人在外生活,似乎对家的概念越来越模糊,有时候也会想我可能没有把租的房子真正当成一个家,因为真正的家还是在父母那里。但很多时候,比如天气特别冷,或者工作非常不顺或者失恋,只要一回到这里就会觉得其实也没什么大不了的。

Contributor: Shou Xing
Photographer: Ye Zi


供稿人: Shou Xing
摄影师: Ye Zi

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RadianceScape Live!

December 25, 2017 2017年12月25日

Hong Kong new media collective XCEED recently brought their RadianceScape Live! project to Poland’s PatchLab Festival. RadianceScape Live! is an audiovisual performance that builds on XCEED’s original RadianceScape installation piece. Conceptualized by XCEED founder Zhang Hanqian (a.k.a. h0nh1m), the project is a live audiovisual display of radiation levels from major cities across the world, which uses data sourced from Safecast.org, a website that aggregates global radioactivity data. By comparing the radiation levels of major cities, such as New York, Tokyo, Hong Kong, Berlin, and Paris, to the nuclear disaster zones of Chernobyl and Fukushima, the project hopes to bring greater awareness to the issue of global radiation pollution.


不久前,香港新媒体团队XCEED带着新作《辐射界现场!》去到PatchLab Festival 波兰站。《辐射界现场!》是他们之前的装置艺术作品《辐射界》全新衍生出的现场表演版本。XCEED创作主脑张瀚谦(又名h0nh1m)将无形的辐射线可视化,他从Safecast.org(一个收集与共享全球核辐射数据的传感器网络)搜集全球各大城市的核辐射数据,再把他们变成光线和声音,进行实时的视觉影像创作。通过激光勒出纽约、东京、香港、柏林等大城市的辐射样貌,并和核辐射重灾区切尔诺贝利及福岛做对比,希望提高大众对于核灾的认知与关注度,审视遍布全球的辐射问题。

RadianceScape started as a digital visualization of radiation levels and city contours. According to Zhang, the project was initially inspired by the 2011 Fukushima earthquake and tsunami. In 2014, Zhang spent half a year doing an artist residency in Japan, and during that time, he spoke with local residents to understand their reactions to the disaster and subsequent radiation pollution. After the 2011 earthquake, dire amounts of nuclear runoff from Fukushima flooded into the Pacific Ocean, contaminating ocean life and creating an environmental crisis. To this day, Japan has been unable to come up with an effective cleanup resolution. During the bid for the upcoming Olympic Games, the Japanese government’s official stance was that they had resolved the crisis. In an effort to appease local residents, the government implemented tests and measurement centers across Fukushima to collect data on radiation levels. However, data from the official measurements would differ from data collected by international media and environmental agencies, causing widespread allegations of a government coverup.


《辐射界》是一个以伽玛射线勾勒出城市轮廓的虚拟空间,张瀚谦告诉我们,作品的创作契机来自于2011年于日本福岛所发生的311地震。2014年的时候,他花了半年住在日本做艺术家交换项目。在那期间,他感受到当地居民对地震的看法,尤其是对辐射的恐惧。地震后,高放射性的核废水大量流入太平洋,不断污染整个海洋生态,更破坏了整个食物链。在日本申奥期间,政府不断发布新闻,强调已解决辐射问题,并在福岛公共区域设立一些检测并显示辐射数据的装置,试图借此来安抚市民。然而,这些数据和一些外国传媒或环保机构发布的数据却有着相当大的差异,核污染是否真正被处理妥当,政府是否掩盖了真实的污染情况,许多人仍对此充满疑问。

After returning to Hong Kong, Zhang began work on RadianceScape project. The Safecast system, which was created by a group of volunteers after the Fukushima crisis, would provide the data that would be used for the project. Retranslating the data to laser and sounds, Zhang and his team created a new and stimulating way to present information that would bring attention to the current state of radiation pollution across the world. The RadianceScape installation featured red and green laser lights scanning across visualizations of Chernobyl and Fukushima, two of the world’s most infamous nuclear disaster zones. The visuals would be accompanied by sound design that included tonal drone ambiance and noises that correspond to the different levels of radioactivity.


回到香港后,张瀚谦和他的团队开始着手创作《辐射界》,他们通过SAFECAST仪器侦测各地的辐射指数,(SAFECAST是全球网络侦测与分享辐射数据的平台,由一群义工自「311」大地震后成立,旨在能快速收集并公开各地的辐射数据。)再将数据转化为激光装置和声音装置,打破沉闷的数据表现形式。作品中,红绿色的扫描激光快速地在切尔诺贝利与福岛——两个曾发生过重大核灾难的地区景观图上来回切割,并发出滋滋滋的焦虑噪音。

张瀚谦带着safecast仪器收集当地的辐射数据
Radiation data uploaded to Safecast.org by volunteers 志愿者们将收集到的辐射数据上传到Safecast.org
Radiation data uploaded to Safecast.org by volunteers 志愿者们将收集到的辐射数据上传到Safecast.org

“The ‘-scape’ in RadianceScape refers to landscapes. To visualize radiation in these cities, we first used electronic landscapes to display the structures of the cities. The higher the radiation levels became, the harder it would be to see the underlying structures of the cities,” Zhang explains. Ultimately, he hopes this project can raise awareness and allow people to better understand the issue of radiation pollution. “The issues with nuclear energy have always existed. We should begin a discussion on whether or not this source of energy is even necessary. We have a lot of options aside from nuclear energy.”

See below for a snippet of their live performance.


《辐射界》的英文名字是 Radiance Scapescape即是代表landscape 我们希望以辐射勾勒城市景貌,所以背景以电子地图中的立体街景方式呈现。作品内辐射率愈高,就愈难看见城市原来的面貌 ” 视觉呈现的背后,张瀚谦希望启发观众更深入关注核污染问题,“核能问题一直衍生。我们需讨论核能是否必要之需?人类仍有很多选择,不一定需要核能源。”

进一步了解《辐射界现场!》,点击下方视频观看吧。

 

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Website:
xceed.hk
h0nh1m.com
Facebook:
~/xceed.hk
~/h0nh1m
Instagram@h0nh1m

 

Contributor: Ye Zi
Images Courtesy of XCEED


网站:
xceed.hk
h0nh1m.com
脸书:
~/xceed.hk
~/h0nh1m
Instagram@h0nh1m

 

供稿人: Ye Zi
图片由提供 XCEED 提供

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Photosynthesis 光合作用

December 17, 2017 2017年12月17日

To what extent do a city’s artificial lights affect our lives? That’s the question posed by Macau-based photographer and visual artist TKH. Since 2014, he’s ardently observed and documented the different ways a city transforms after the sun goes down. This insatiable curiosity led to his Photosynthesis project, a photo essay that investigates the role of man-made light sources in our day-to-day lives. “Through my photos of these cold, nocturnal sceneries, I tried to find out how our society uses light to guide an individual at night and how our days don’t have to end after the sun sets,” he describes of the project. “It also shows that, with the help of artificial lights, a city continues to function through the night. By observing and documenting these basic constructs of civilization, I’ve found appreciation in how we, as urban dwellers, are able to use these lights to explore the darkness. The invention of artificial light is one of the biggest things separating humans and animals, and what’s buried beneath these seemingly serene night scenes is a chance for us to re-discover and re-familiarize ourselves with the invisible cogs that keep a city running.”


夜晚环境中,灯光对人类的日常行为究竟带来多少影响?这是来自澳门的艺术家/摄影师TKH向观众抛出的问题。2014年开始,TKH通过观察和记录城市夜晚场景,创作了《光合作用》系列作品,这是他一个持续进行中的实验性摄影项目,也是他社会观察项目的其中一项。当太阳落去,城市失去自然光线之后,人类借助多样的人造光线继续开展活动。“借由画面中冷滟的夜间景观发掘出当今的社会是如何以灯光引导着个体在夜间继续拓展其生活经验,以及晚上的灯光在公共场域中赋予城市看得见的运作模式。透过观看及纪录这些文明建设,我们看见城市人正以自己创造的光源继续对黑暗的探索,黑夜中的灯光将人类从动物社会体系中分割出来,然而埋藏在静态景致中的是重新认知和阐述凡常表像都市运转的感觉。”

Website: tkhmacau.com
Instagram: @tkh0917

 

Contributor: Ye Zi


网站: tkhmacau.com
Instagram: @tkh0917

 

供稿人: Ye Zi

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Blue & White Porcelain 一副打不碎的青花瓷

December 13, 2017 2017年12月13日

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.


Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.


《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于Neocha商店限量发售。

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Website: shannlarsson.com
Facebook: ~/shannlarssonsart
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ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

Skating w/ Tony Gao & Simon Sun

November 17, 2017 2017年11月17日


 

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At a recent skateboarding competition in Shanghai, we met up with Tony Gao and Simon Sun, two young, up-and-coming skateboarders in the Chinese skate scene. Tony, now 15-years-old, first became interested in the sport at the mere age of five; he saw someone playing around on a skateboard near his house and was immediately captivated. He pled with his father to buy him a skateboard. Fast forward one year, Simon, his older cousin, saw Tony on his skateboard and was inspired to follow in his footsteps, picking up the sport himself. This was at a time when not many skateboarding resources were readily available online in China, so Tony’s father became their de-facto coach. He took the two to the local bookstore and found an instructional book on skateboarding. Meticulously studying the book, he used to verbally coach both Tony and Simon as they practiced. Tony smiles as he recalls these memories: “My dad, he doesn’t know how to skate, but he can teach. If I’m doing something incorrectly, he can see it right away. He instructed us as we skated.”


在前不久的一次滑板比赛上,我们遇见了来自西安的滑板兄弟高群翔孙坤坤,两位正在滑板届崭露头角的中国年轻滑手。今年15岁的高群翔,已经和滑板打了十年交道。五岁的时候,因为看见家门前有人在滑板,高群翔缠着爸爸给他买了第一块板。接下来的一年里,表哥孙坤坤也受到弟弟的影响跟着一起练习。最初,高爸爸就是他们的启蒙教练。那时候网上的滑板视频还不多,高爸就带着兄弟俩去当地的书店,被他找到了一本滑板教科书。你没看错,正是纸质教科书。在自己细心研究后,高爸以口头教学的方式带着兄弟俩一起练习。说起这段经历,高群翔也觉得很好笑。 “我爸爸虽然不会滑,但他会说啊。我哪里滑的不对,他一眼就能看出来。我们在一旁滑,他就用嘴巴教我们。

Simon Sun 孙坤坤
Tony Gao 高群翔

A decade later, Tony would become a national skateboarding champion. At the finals of this year’s G-SHOCK CHINA BEST AM competition, Tony took first place, finally realizing a dream that he’s hung onto for all these years. Shortly after, he took the championship title at the Huzhou Extreme Sports Competition, again showcasing his world-class potential. Tony shares of his competitive experience and how he feeds off the crowd’s energy, saying: “I love the atmosphere of a competition. When I see other skaters land new moves, it makes me want to get even better. When there are more people watching, I get more hyped up. Being around really talented skaters makes me want to push myself even harder.”

 


十年过去,当时的滑板小子已成长为现在的全国冠军。在今年的G-SHOCK 硬碰硬 CHINA BEST AM总决赛上,高群翔便把这个他期盼已久的全国冠军头衔收入囊中,并且又在不久后举办的湖州极限运动大赛上迅速再摘一个冠军,充分证明自己的实力。作为一名人来疯式选手,高群翔向我们分享了他轻松拿下比赛的秘籍:我特别喜欢比赛的氛围,看到别人成了新动作,我就有加倍的动力想要去学。人越多,我滑得越兴奋,和厉害的人一起玩,他们能带动着我一起进步。

But behind Tony’s victories are the countless hours of practice and innumerable challenges he’s had to overcome. Recalling one of his most memorable injuries, he taps on his two front teeth and says, “These are fake. I’m lucky that my family is supportive. When I knocked these out they took me to the hospital right away. But do you really want me to share more about my injuries? I don’t remember most of them that clearly. It’s mostly the positive times that stick out in my mind.”


光环背后,练习的过程中自然吃过不少苦头,问起受伤的经历,高群翔却只是轻松地敲了敲自己的门牙:中间这两颗牙都是假的。好在家人都很支持我,牙掉了就带我去医院看呗。  真要说受伤的事情吗?我都记不太清了,我只能记得滑板特别开心的事了。

As long as it’s not raining, Tony says he’ll be out skating, and as we chatted, it was evident how much skateboarding truly meant to him – he clung onto his board the entire time we spoke. “I used to be a good-for-nothing kind of kid. I was bullied since I was young and didn’t have too much confidence. Skateboarding is basically my whole life now. I’ve made a lot of friends because of it, and it’s given me much more self-confidence.”


只要不下雨,高群翔便会天天带着他的滑板出门。聊天的过程中,他也时刻抓着自己的板子,能感受到他对滑板那种十分简单纯粹的热情。我以前是个性格特别孬的人,从小被人欺负着长大,也没什么自信。滑板现在几乎是我的全部吧,带给我很多朋友,也带给我很多自信。

Photographer: Wang Chenwei / 摄影师: 王晨玮
Photographer: Wang Chenwei / 摄影师: 王晨玮

The two cousins have differing opinions about skateboarding becoming an official part of the Tokyo 2020 Olympic Games. Tony finds it a bit ironic when he recalls his experiences of skating in public. “I guess it’s a good thing, now the way that people look at us on the street is different. It used to be unfriendly, like we were hooligans or something, but now people generally have a more positive towards us.” He continues, “Now that it’s an Olympic sport, a lot of different regions are in a rush to put together teams to compete, so it’s a chaotic period. But for me, I’m still just focused on my own skating.” Likewise, Simon also intends to concentrate on bettering his own skating. “We only care about making ourselves better, and as long as we continue to enjoy skating, that’s all that matters.” The simplicity and purity that these cousins hold towards the sport is a shining example to those who want to become successful in any endeavor. To find out more about Tony and Simon’s stories, check out our video at the top.


对于滑板运动即将在2020年成为东京奥运会官方比赛项目,兄弟俩有自己的态度。算是好事吧,现在街上人的目光变了,以前是很不友善的,觉得你是小混混,现在偶尔有点欣赏的目光了。说起在街上练习,高群翔有点苦中作乐的感觉。滑板现在进奥运会了,很多地方都在匆忙组建自己的省队,这算是个比较混乱的时期吧。但是对于我来说,我只管滑我自己的就好了。对哥哥孙坤坤来说,他的热情同样也只放在自己脚下的这块板上,我们只管提高自己的水平,滑的开心就可以了。这样简单又积极的心态,也正是成为一个成功的职业滑手的必备要素吧。关于兄弟俩更多的滑板故事,点击上方视频观看。

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Contributor: Ye Zi
Videographers: Ye Zi, Damien LouiseYang Bingying
Photographer: David Yen
Additional Footage Courtesy of Liu Maomao

Additional Images Courtesy of Wang Chenwei


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供稿人: Ye Zi
视频摄影师: Ye Zi, Damien Louise, Yang Bingying
图片摄影师: David Yen
附加素材由刘毛毛提供
附加图片由王晨玮提供

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✧*。(Single KTV)✧*

October 20, 2017 2017年10月20日

“Hi~~I’m*٩(Guo Pinjun*aka*٩(Σ>-(Pin Jun★Future))♡→*aka*。Pin Pin Future*。” – this is Taiwanese artist Guo Pinjun’s self-introduction. Through her preferred mediums of installation art, video, photos, and performing arts, Guo transforms Asian pop culture into a visual language of her very own. Her style is self-described as a blend of “infinite narcissism and an obsessive, cult-like sense of self-adoration.”


~我是*٩郭品君*)و*aka*٩(Σ>-(品君★未來)♡→)و*aka*٩( ピンピン未來)و*这是一段来自台湾艺术家郭品君的自我介绍。装置、视觉、行为艺术是她创作的主要形式。她将大众流行文化做为视觉语言,呈现“无敌自恋自溺自爱的邪教教主风格 ”来自品君自己的描述)。

✧*。(Single KTV)✧* is Guo’s recent art piece, combining installation art with performing art. “People don’t need a reason to go sing karaoke in Taiwan. It doesn’t matter if you’re in a good mood or a bad mood. It doesn’t matter if you’re a good singer or a bad singer. You can just go out and sing,” she says. “One night, I went to sing with my friends, and I sang a bunch of sad, lovesick songs in a row, such as SHE’s ‘Not Yet Lovers’ and Twins’ ‘Jian Xi Ai Shen.’ I was getting really into it and dancing around when I noticed one of my friends was staring at me in a pitiful way. She asked me, ‘Pinjun, are you desperate to meet a boyfriend?’ It was then that this idea came to me. Does singing love songs, after seven years of being single, look really sad in front of people? Does being single mean I can’t sing love songs?” For this art piece, she set up a unique KTV booth in a public space, inviting strangers to join her or watch her sing karaoke. By doing this, Guo hopes to initiate a conversation on the subject of loneliness with her audience and explore how society views “single” people.


*(单身KTV)*》是郭品君最近创作的装置行为艺术作品。关于如何萌生创作这件作品的想法,品君这样告诉我们:在台湾去唱卡拉ok是不需要理由的,不管你心情好或心情不好、唱的好或不好,只要找到机会就可以开唱,有一次和朋友约唱歌,我一连唱了好几首恋爱情歌,例如SHE的《恋人未满》、Twins的《见习爱神》等等,当我唱的超投入跳超嗨的时候转头看到我朋友竟然用一个很悲悯的眼神看着我,然后问我说,品君,你是不是很想要交男朋友阿?,这时我脑中闪过的是,难道单身已经7年的我唱起情歌来的样子在别人眼中原来是很可悲的?难道单身就不能唱情歌吗?” 因此,她创作了这件装置作品,在公众地方建立了这个粉色主题的开放式KTV包厢,邀请陌生人和她一起唱K。品君希望通过与观众的互动和交流,测试大众对于单身这个身分的反应。

Taiwanese pop culture at the turn of the millennium is one of the most prevalent influences in Guo’s art. In the early 2000s, as Guo sought to figure out her own identity as a teenager, a Japanese craze was sweeping through Taiwan, introducing things like Ganguro fashion, old school Decora style, anime, and sticker photo booths. “The interesting thing is that I absorbed these elements of Japanese pop culture after Taiwan had localized it,” she says. “So in a way, my work is a fusion of Taiwanese and Japanese styles.”


千禧时期的台湾流行文化对品君创作影像风格带来很深的影响。2000年开始,她渐渐进入脱离爸妈全权掌握,有点想要自己决定喜欢什么、爱追随流行的青少年时期,而当时台湾正在风靡一股非常强烈的哈日风潮。109辣妹、old school Decora视觉系、动漫、拍贴机等等的这些日本流行文化,影响着她的成长。有趣的点在于,我所吸收的都是台湾‘在地化’过后的日本流行文化,因此从我的影像中可以看到的是一种台日混血的风格呈现。

Aside from her own artworks, Guo was eager to share with us a list of some of her favorite modern creatives, including Japan’s Magma, Taiwanese designer JennyFax, British filmmaker Nadia Lee Cohen, Japan’s creative collective ChimPom, and French conceptual artist Sophie Calle. “My favorite art is art that’s very decorative, with aesthetics that people might consider kitsch. I also enjoy the inclusion of some dark humor, a little playfulness, and a bit of craziness. My own work is also moving in this direction.”


品君还和我们分享了一些她最近注目的艺术家,有日本的Magma,台湾的旅日设计师JennyFax,英国的Nadia Lee Cohen,日本的艺术家团体ChimPom 和观念艺术家Sophie Calle。“我喜欢非常装饰性、媚俗、黑色幽默、有趣、带点疯狂行为的作品,我自己的作品也是朝这样的方向前进的。

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Contributor: Ye Zi
Images Courtesy of pin_chun7


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Flickr~/pin_chun7

 

供稿人: Ye Zi
图片由 pin_chun7提供

The Chaos of Hong Kong

October 11, 2017 2017年10月11日

Duran Levinson is a filmmaker originally from Cape Town, South Africa. Aside from filmmaking, he’s an avid globetrotter and photographer whose travels have taken him throughout Asia. He admits the massive metropolises of Asia fascinate him way more than his hometown. Out of his travels, one of his favorite locations to capture is Hong Kong, a place he frequently visits every year for weeks at a time.


Duran Levinson是一名来自南非开普敦的影片制作人,但在拍摄影片之外的时间,他也喜欢带着他的相机去四处拍照。除了他的家乡南非之外,他更情迷亚洲的城市,香港就是其中一个他特别钟情的拍摄地点。Duran每年会去香港旅行几次,每次待上半个月左右的时间。

“The Kowloon side of Hong Kong appeals to me the most because of the chaos and beauty,” Levinson fondly describes. “I love that it’s so messy, so busy, and so cluttered. For photography I would say it is one of the most interesting places in the world I have ever photographed in.”


“我喜欢九龙地区的杂乱,这里就像是整个世界被浓缩在一小块区域里。这种混乱嘈杂和忙碌正是九龙最吸引我的地方。这里有最有趣的建筑,但走几条街又有自然风景。对于一个摄影师来说,我可以说这是全世界我拍过最有意思的地方了。”

Beyond the chaotic beauty of Hong Kong, Levinson’s love of the city can also be attributed to the people he’s met there. “I have so many great friends in Hong Kong. I always enjoy spending time there working and shooting with new and old friends. I believe people in Hong Kong are more exposed to creativity than a lot of other Asians, and this can help with planning and organizing shoots. I find that my friends in Hong Kong are always down for adventure and spontaneous photo missions.” See more of Hong Kong through his eyes below.


另一个喜欢香港的原因,Duran说是因为那里的人。“我有很多好朋友在香港,我很享受拍摄时和老朋友叙旧,也喜欢通过拍摄认识新的朋友。比起亚洲其他地方,这里的人更多受到西方文化的影响,他们更大胆。拍摄时我有什么新奇大胆的想法,他们都很愿意去尝试去冒险,这也是我喜欢在这拍照的原因。”下面一起随Duran的镜头看看他眼中的香港吧。

Websiteduranlevinson.com
Instagram: @duranite

 

Contributor: Ye Zi


网站duranlevinson.com
Instagram@duranite

 

供稿人: Ye Zi

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Prismverse by XEX

September 22, 2017 2017年9月22日

 

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Recently, multimedia artist Chris Cheung (aka h0nh1m) and his team at XEX debuted Prismverse, a brand new art installation, in Shanghai. Blending futuristic elements with traditional concepts, Cheung’s stunning installation is his personal reinterpretation of Chinese philosophy.


近日,香港跨媒体艺术家張瀚謙(又名 h0nh1m)带着他的团队XEX的最近装置作品——《Prismverse》来到上海。张瀚谦的美学观反映他对中国哲学的铨译,其艺术作品融合传统和未来的概念。

The concept of Prismverse originates from brilliant-cut diamonds, or more specifically, the way that light is maximized through brilliant cuts. In the installation, the use of prisms reveals the polychromatic nature of white light, showering the space in a spectrum of rainbow colors. To create complete sensory immersion, Cheung and his team used omnidirectional speakers, LED floor panels, and tessellated mirror walls. Prismverse is an impressive audiovisual experience where visitors can appreciate and marvel at the many miracles of mother nature through invoking images of galaxies, distant stars, rare gemstones, and different forms of light.


《Prismverse》体验馆的创作概念源自一种名为“明亮切割”的钻石切割法,此切割法将钻石面所能反射出的光最大化,制作出富优质亮度的成品。白光中蕴含着无穷的色彩,棱镜则将光谱中的各种色温分折重现。《Prismverse》集合了大自然中夺目的银河星光、晶石珍光、细水粼光及棱镜折射的炫光,为观众展示不同光束的美学与力量。场内设置了直径十米的LED地板屏及多边形镜墙,加上独特的十二面立体扬声器,让体验者置身于全方位的视听氛围中,勾画出对钻石切割面内光线反射与折射的想像。

Website:
h0nh1m.com
xex.com.hk

Facebook:
~/h0nh1m
~/xex.com.hk

 

Videographer & Contributor: Ye Zi
Images and additional footages Courtesy of XEX


网站:
h0nh1m.com
xex.com.hk

Facebook:
~/h0nh1m
~/xex.com.hk

 

视频摄影师与供稿人: Ye Zi
图片及部分视频素材由XEX提供

Strawberries Will Save the World

September 18, 2017 2017年9月18日

 

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Japanese director Yoko Okumura’s Strawberries Will Save the World is a short and whimsical documentary that takes viewers into the life of Yuko Okumura, an avid strawberry enthusiast and the director’s own mother. Yoko’s main instruction to her production team was to make the film “Make it cute. Make it really really cute! ” Strawberry mugs, strawberry socks, strawberry glasses, strawberry spatula, and even a strawberry-related chatroom – Yuko’s life and home is filled to the brim with anything and everything strawberry related. In Japanese, the word for strawberry is ichigo, which can be dissected into ichi (meaning one) and go (meaning five). As a result, the number 15 is considered to be related to the fruit. And whether it’s checking the time or driving around, Yuko feels like the number 15 shows up everywhere she goes even though she’s not looking for it. This became affirmation that, all along, it wasn’t her searching for strawberries – strawberries are naturally drawn to her.


居住在美国的日本影片制作人 Yoko Okumura拍摄了一部记录短片,讲述了一个草莓疯狂痴恋者的故事,而影片的主人公 ——Yuko Okumura,正是她的妈妈。短片以一种轻松可爱的手法讲述了Yuko女士对草莓的痴狂。拍摄的时候,导演Yoko Okumura给团队的要求就是:“拍得可爱一些,拍的非常非常可爱。” 草莓杯、草莓袜、草莓眼镜和草莓锅铲甚至是草莓聊天室,Yuko女士家中塞满了和草莓相关的一切,或者说,她的生命也是和草莓紧紧关联在一起的。在日语中,草莓的发音与数字“15”的发音一致, Yuko女士说每当她拿起手机或开车的时候,总能自然地看到”15“这个数字,仿佛不是她在找草莓,而是草莓进入了她的生活。

The internet has allowed Yuko to connect with other like-minded strawberry lovers and share her impressive collection with them. She’s now a member of a Japanese association of strawberry enthusiasts and is even brainstorming on how to shoot an entire movie about strawberries. As this simple fruit has brought so much joy to her own life, Yuko feels compelled to spread this same happiness to more people around the world. Watch the documentary above to see how Yuko plans to channel more positivity into the world with the power of strawberries.


现在,Yuko女士是日本一个草莓爱好者协会的成员,她通过网络向和她一样喜欢草莓的朋友们分享她的收藏,甚至还在筹备着一部和草莓相关的电影。Yuko女士一直坚信着一件事——草莓可以拯救世界。草莓为她的生活带来了太多的欢乐,而她正尝试着将这些欢乐传递出去,影响更多的人。观看上方的影片,感受这对母女用草莓向世界传递的童趣和正能量。

Website: yokofilm.com
Vimeo: ~/yokookumura

 

Contributor: Ye Zi


网站yokofilm.com
Vimeo~/yokookumura

 

供稿人: Ye Zi

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