All posts by yezi

FOTAN LAIKI

June 28, 2017 2017年6月28日

 

无法观看?前往秒拍

The recently released track “Fotan Laiki” by Hong Kong-based otaku rapper YoungQueenz enlists the help of FOTAN LAIKI, the subject of the song herself. Widely shared upon its release, the highly unorthodox music video makes use of a raw, DIY approach that defies aesthetic expectations for typical music videos. When asked about how this collaboration came about, YoungQueenz tells us, “We performed at Clockfenflap Festival last year, and Laiki asked me if I could hook it up with free tickets because Clockfenflap is pretty damn expensive – she ended up performing on stage.”


近日,YoungQueenz携手FOTAN LAIKI推出全新MV《火炭丽琪》。这支一反常规制作的MV一上线就被疯狂转发,如果你已经对细腻唯美的MV感到厌倦,那你应该会被这支魔性的视频吸引到。关于这次和FOTAN LAIKI的合作,YoungQueenz这样告诉我们:我在去年的Clockenflap音乐节有演出,没钱的丽琪问我有没有免费门票,Clockenflap的门票真的很贵,最后结果她在台上演出了。

The music video was directed and edited by YoungQueenz but done under the alias of Ozma. From start to finish, the creation process actually took a few months to complete. “We originally wanted to finish everything in a month, but we wanted more people in the video,” he says. “The people we wanted all had work or school so it was hard to set up a time when everyone was free. That’s why it took so long.” Besides Wildstyle Records’ official photographer and videographer Swing, other members of the Wildstyle crew took turns recording footage with a handheld DV camcorder; The unique look of the video can be partially credited to the deliberate use of dated equipment. From Mong Kok to Central, the music video shows YoungQueenz and his otaku squad mob through a trippy, surreal version of Hong Kong, which YoungQueenz created in post production by replacing skies and the urban backdrop of the city with galaxies, psychedelic color, and even scenes from Japanese anime.


这支MV的导演及后期剪辑是OZMA (其实也就是YoungQueenz本人)。拍摄及制作时间前后历经几个月。“MV原定在一个星期内完成,但由于需要大量人肉布景,在香港这个大家要上班上课,时间难约的社会,前后用了几个月才完成拍摄。”除了与Wildstyle Records的御用摄影师Swing的合作之外,这支MV的大量素材是大家轮流用DV机拍摄的,旧式DV机的画面质感也成就了这支MV的独特风格。影片中,YoungQueenz带着朋友们游走在旺角中环等地,并以他丰富的想象力将香港密集楼宇间的天空背景转换成幻彩天空、银河以及他迷恋的日本动漫,营造出迷幻游荡的氛围,这可花费了他大量的时间在影片的后期制作上。

YoungQueenz shared with us these additional fun facts on the making of the “Fotan Laiki” music video:

1. Some people might think that the security at Art Basel was one of the biggest challenges in making the video. Not the case. Even though they kept trying to stop us, we still kept doing our thing. The hard part was that only two of our friends had Art Basel VIP tickets, so the eight of us had to reuse the tickets to get everyone inside. It felt like one of those river crossing puzzles and we wasted a lot of time.

2. In the music video, there was only one frame that I knew I had to keep because it’s worth 500 HKD. It was when Noly was trying to act hip-hop and count money, but one of the bills flew away when we finished shooting. There are consequences when you try to pretend to be hip-hop.

3. There’s a story about someone putting down a pineapple in a museum. The pineapple drew huge crowds that mistook it for a work of art, commenting and taking pictures with it. When we started shooting the video in Art Basel, a lot of people got rowdy with us, thinking that it was an art performance. But when security showed up, their view quickly went from “I’m interacting with an art performance” to “This is a stupid prank.”


关于《火炭丽琪》,YoungQueenz还向我们透露了以下这些Fun Facts

1. 大家一定以为在Art Basel的保安是我们最大的阻滞,其实没有,虽然他们一边挡下我们,我们还是一边继续走着唱。反而由于我们只有两张从朋友借的Art Basel VIP 门票, 我们一行八个人要流轮人带人走入会场,过程很像智力过河游戏,而且很浪费时间。

2. Mv在剪接时有唯一一个镜头我是一定要有的,因为那一镜价值500港元。 那是一个noly 在装嘻哈数钱的镜头 ,拍完后有一张500元不翼而飞。装嘻哈是有报应的。

3. 听过有人在艺术馆放下菠萝,引来大批群众误认展品而驻足评论及拍照的新闻吗?我们开始拍摄时,Art Basel里面的人会跟着我们一起嗨起来,他们以为这是一场艺术表演。直到保安的出现,他们的眼神由欣赏这场“艺术”,变成厌恶这个“捣乱”。 

4. Shout out to YZ, BG8LOCC, and Jay Izaak. They’re actually in the music video. People can try and find them.

5. The Millenium Falcon is also in the video.

6. Fo Tan isn’t just Laiki’s home. It’s also where Wildstyle Records kicked off.

To find out more about Wildstyle Records and YoungQueenz, check out our previous interview here.


4. Shout out to YZ,蛋头和Jay izaak,其实他们在MV?面的,眼睛尖的朋友可以找一下。

5. 千年鹰号也在MV里。

6. 火炭不止是丽琪的家,还是撒野作风Wildstyle Records的发迹地。

想要了解更多,点击这里阅读我们对Wildstyle Records和YoungQueenz的专访。

Soundcloud: ~/youngqueenz
YouTube
~/WildstyleRec
Facebook~/youngqueenz
Instagram: @youngqueenz

 

Contributor: Ye Zi


Soundcloud: ~/youngqueenz
YouTube
~/WildstyleRec
脸书~/youngqueenz
Instagram: @youngqueenz

 

供稿人: Ye Zi

Puzzleman Leung

June 14, 2017 2017年6月14日

Despite frequent appearances on notable photography and art websites, little is actually known about Puzzleman Leung. In that regard, the Puzzleman moniker seems like a perfect fit, appropriately encapsulating the photographer’s mysterious nature. While the photographer’s Facebook and Instagram feature a girl’s portrait, it’s actually rather difficult to even ascertain Puzzleman’s gender. On websites that feature Puzzleman’s work, the pronouns of “he” and “she” are often interchangeable. Even on Puzzleman’s “About Me” page, little information is offered beyond age and geography, with one line stating “Born in Macao and living in Taipei.” But Puzzleman’s latest photo series doesn’t take place in either of those cities. Titled Tokyo Tokymeky, the new project sees Puzzleman roaming through the streets of Tokyo with frequent collaborator and model Bee Ke, snapping images that contrast her against the surrounding city scenes. With the recent release of this photo series, we were fortunate enough to catch up with this enigmatic photographer for a quick chat. In our conversation, it was easy to see that Puzzleman’s quirky images are simply an extension of the photographer’s own personality. Scroll down to check out more photos from the new photo series and read the highlights from our interview.


摄影师Puzzleman Lueng,正如Ta的名字一般,像一幅散落四处的拼图碎片般带有些神秘色彩。Ta的作品经常出现在各大摄影艺术网站,然而对于摄影师本人,你能从互联网上获得的资料甚少,只知道Ta是一位来自澳门,但居住在台北的摄影师。你甚至很难推测出Ta的性别,TaInstagram脸书账号被清一色的魔幻少女照片占领;而翻看各网站的报道,也会看到竟然有用“He”也有用“She”的称谓来形容这位神秘人士。最近,我们很开心联系到这位拼图男人本人,Ta刚带着自己的御用模特Bee Ke漫游东京,完成了这辑最新摄影作品《Tokyo Tokymeky》。和Puzzleman交流的过程中,发现Ta的文字和影像一样有趣,下面我们一起跟着Puzzleman的镜头去东京逛一圈,和拼凑一下这次聊天中Ta留给我们的拼图线索吧。

Not Interested

“Since I was little, I haven’t been interested in photography because of people who think they need to spend a lot of money on equipment to shoot photos  – I think it’s stupid. I feel nothing when I see these commercial shots or landscape shots of sunsets.”

Action

“For me, photography is just the action of pressing a button when I find something interesting.”


没兴趣

从小我对摄影并没什么兴趣,因为知道玩摄影的人要花大钱去买器材就觉得是一件很蠢的事,而且看到那些商业的照片或夕阳的风景照完全无感。

动作

目前摄影对我来说只是对自己有兴趣的画面去按下快门的一个动作而已。”

Sculpting

“When I’m creating an image, I feel like a sculptor. I’m turning my subject or my thoughts into my envisioned image.”

Girlfriend

“The subject I photograph the most is my girlfriend. When we work together, we find ways to push each other, to prepare for a shoot. I like this process of mutual agitation.”


雕塑

在创作那些画面的过程中,我觉得自己更像在做一个雕塑,把被摄物体或自己的思想弄成自己理想的样子。

女友

目前最常拍的人是我的女友,在和她合作的过程中,我俩会不断作出有趣的想法来刺激对方,去准备拍摄,很喜欢这样互相激荡的过程。

Accidents

I like spontaneous shoots, but I also like planning. I feel that the most interesting images happen somewhere in between the two, so I suppose those would be the ‘accidents.’ Sometimes when I nail a shot and it turns out just exactly as I envisioned it, I find it unbelievably boring. I’m always looking forward to making these ‘accidents’ whenever I’m shooting. I’m pretty infatuated with this idea of accidental shots, and I’m pretty stubborn, so I’ll do anything to try and make them happen.”


意外

“我喜欢随手拍,也喜欢先构思,但我觉得最有趣的画面通常出现在这两者之间,那就是‘意外’了。有时候当我把先构思好的画面可以完整呈现出来的时候我反而会觉得很无趣,所以我特别期待每次在拍摄过程中出现的意外画面了,我对它总是特别的着迷,甚至会执着到想尽办法去让它出现。”

Contradiction

“To me, Tokyo is a wonderful place, an amazing city filled beautiful sights and colors. I’ve always been quite infatuated with this place. But on the other hand, I feel that I try to distance myself between Tokyo’s inhabitants. I’m afraid of offending them, so I’ve always been terrified of any interactions with them. It’s pretty contradictory, loving a city but being afraid of its inhabitants. I’m always left scratching my head when I think about this. I suppose it’s because I don’t know them so I don’t fully understand them. The best thing for me to do is to probably go and learn Japanese.”


矛盾

“东京对我来说是一个很好的地方,很好的城市,充满了各种各样我喜爱的画面和颜色,我一直对这个地方充满好奇心。而相反东京人常让我觉得有点退避三舍,因为很怕会冒犯到他们所以一直很害怕和他们接触,其实在这样的关系下是挺矛盾的,喜欢一个地方却对当地人退避三舍,每次想到这都让我觉得很奇怪,可能是因为我不认识他们还不了解他们吧,所以只好去学日文了解。”

Time Machine

“A great photo should be an image that inspires others or one so powerful that it refuses to leave the minds of viewers. The most important part is the inspiration. The definition of a great photo now and what can be considered as a great photo in the past have drastically changed. Fifty or sixty years from now, I wonder if photos from modern times would be as intriguing as the older, classic photos that we look at in awe today. Sometimes I wish I had a time machine so I could go into the future and find out.”


时光机

“好照片应该是可以让人产生灵感或不断在观者里不断浮现的吧,最重要的还是那一道灵光。现在好照片的定义和以前已经不太一样了,我不知道这个时代的经典照片在五六十年后再看会不会和我们现在在看过去经典的照片一样有吸引力,这是我一直很想坐时光机去看看的事情之一。”

As we concluded our conversation, we asked if Puzzleman had any specific message that he wanted to communicate to viewers. Instead of answering, Puzzleman asked us: “What I want to know is, with the way that people mass consume photography nowadays, don’t they get tired of it? Have you thought of what happens if one day people get tired of photography?” If you have any thoughts to share on the matter, drop by any one of Puzzleman Leung’s social media pages and share your thoughts!


最后,当我们问起关于摄影有什么想和读者分享的时候,Puzzleman反而回赠我们一个疑问:“其实我反而想问大家,每天看那么多照片,你们会腻吗?有想过如果有一天大家对影像已经没感觉的时候怎么办?”。如果你对于这个问题有任何想法,或者想更了解这位有趣的摄影师,不妨去他的社交网络页面给他留言解答吧。

Websitepuzzlemanleung.com
Facebook: ~/Plzmanleung
Instagram:  @puzzleung
Flickr: ~/puzzlemanleung

 

Contributor: Ye Zi


网站puzzlemanleung.com
脸书: ~/Plzmanleung
Instagram@puzzleung
Flickr~/puzzlemanleung

 

供稿人:  Ye Zi

Unfolding the Saree

June 7, 2017 2017年6月7日

Creatively concocted by Mira Malholtra of India-based design atelier Studio Kohl, Unfolding the Saree is a zine created to resemble sarees, a garment commonly worn by women in India. Traditional sarees are long cuts of fabric, averaging six meters in length and 1.5 meters in width. From the waist to the heel, sarees are designed to wrap around the wearer’s body into a skirt while the upper portion of the saree is intended to be draped over the shoulder. To complete this homage to the saree, the content of the zine is even printed on a one-meter long strip of paper that’s meant to evoke imagery of the long cut of fabric. The opposing side of the paper is printed with patterns that are commonly seen on classic sarees. To form the palm-sized zine, the paper is folded over twelve times.


《Unfolding the Saree》是由印度设计工作室Studio Kohl出版的一辑zine(独立小杂志)。它的外形是一件袖珍版本的纱丽。纱丽是印度最常见的女性传统服饰,传统的纱丽实际上就是一块长型的布料,通常长约6米,宽约1.5米,从腰部围到脚跟成筒裙状,然后再将末端下摆搭在左肩或右肩上。在印度,各个年龄层的女性都会要穿着纱丽,《Unfolding the Saree》的创作者Mira Malhotra,用一种创意有趣的方式制作了这本zine,她模仿纱丽的样式,将杂志的内容设计印刷在长约1米的长条形纸张上,并在背面印上纱丽布料的经典图案,再通过12次折叠,变成了一本手掌大小的迷你杂志。

To bring the design concept to life, Malhotra had to experiment and invest a considerable amount of time in finding the right paper. In real life, it usually requires ten folds to completely fold up a saree. Thus, to replicate how real sarees are folded, finding the right type of paper was crucial. After repeated attempts with different types of paper, Malhotra finally landed on a suitable choice: a type of recycled paper used for a locally printed newspaper. The paper is soft enough for the repeated folds that she envisioned, but also durable enough to allow dual-sided color printing. The softness of the paper coincides with her original design concept, which is to make a zine that could resemble real sarees. To complete her vision, Malhotra even custom ordered mini clothes hangers to ship with the zine.


为了实现这个想法,Malhotra做了不少尝试,光在挑选印刷的纸张问题上就花了不少心思。生活中,要收纳长达6米的纱丽布料,通常要折叠10次以上,要达到同样的折叠效果,必须要找到合适的材质。经过不断的尝试,她找了现在使用的这种纸张,这是一种当地印刷报纸使用的再生纸张,既足够柔软可供折叠,也够坚韧可以承载到双面彩色印刷。另外,它柔软的手感也吻合了最初的设计理念——尽可能接近真实纱丽的外形和触感。Malhotra甚至还为其特地定制了迷你版衣架,把杂志整个挂了起来。

With the flip of each page, Unfolding the Saree unravels the story of how sarees came to be. Through this zine, Malhotra wants to introduce the cultural and historical aspects of this traditional garment to a larger audience in an approachable manner. More importantly, she intends to incite discussion on the contradictory views on women who wear sarees. Malhotra explains, “The saree is a very versatile garment. It is mostly considered to be modest and decent. It’s also often considered as some sort of eternally feminine, traditional and dignified dress. Some colleges in India enforce it as a uniform so as to not ‘tempt’ haplessly hormonal young boys. But I found that funny. In Bollywood productions, which makes up a large chunk of what India watches and listens to, they use the saree as a sexy dress. And my guy friends have often referred to the saree as the ‘sexiest thing a woman can wear.’ The is exactly the Madonna-whore complex. On one end, the women is a goddess, dignified and extraordinary, almost divine, and on the other end, she is the whore, the slut, as pictured in raunchy songs where the ‘heroine’ is clad in a white wet saree, a common trope in Bollywood films.”


当你在一层层展开这本迷你杂志的时候,你也揭开了纱丽这种印度传统服饰背后的故事。借由这个作品,Malhotra希望向大家介绍纱丽这种服饰的历史文化,更重要的是,Malhotra想和读者一起探讨印度社会对于女性穿着纱丽服装的矛盾看法。Malhotra解释说:传统定义上,纱丽是一种多功能性服饰,穿着者通常典雅优美,被定义为淑女的服装,印度一些学校也要求女学生穿纱丽作为制服,因为这对青春期发育中的男孩子们来说显得最无害。而可笑的是,在流行的宝莱坞电影中,纱丽又几乎可以和性感或性诱诱惑划上等号,我身边的男性朋友也常说纱丽是女人们最性感的衣服。我很想借此作品来探索印度社会对于女性的这种圣母妓女情节(Madonna-whore complex)。” 

With a history of sexism lingering over Indian society, Malholtra’s ultimate goal for creating this zine was to help speak up on these injustices that women have faced in the country. “Even if there might be a lot of crime against women – as there always has been – at least we are standing against it. It feels hopeful.”


一直以来,女性受到不公平待遇的事件在印度时有发生,创作这本zine,是Malhotra选择为女性发声的一种方式。即使有些恶性事件还在发生,但至少我们勇敢地站出来反抗了,这就是充满希望的。

Unfolding the Saree is now available in the Neocha Shop in limited supply.

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


Unfolding the Saree 现已于Neocha商店限量发售。

如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店

Details:

  • Year of Publication: 2016
  • Number of Pages: One unfolding sheet
  • Size: 3 × 4 × 0.5 inche
  • Print Quantity300
  • Printing Method: Silk screen
  • Price: $12 USD

详情

  • 出版年份:2016
  • 页数:一张长型折叠纸
  • 尺寸: 10.5 × 13厘米
  • 出版数量:300
  • 印刷方式:网版印刷
  • 价格: ¥80 RMB

/**/


《Unfolding the Saree》

¥80

立刻购买

Website: studiokohl.com
Behance~/studiokohl

 

Contributor: Ye Zi
Images Courtesy of Studio Kohl


网站: studiokohl.com
Behance: ~/studiokohl

 

供稿人: Ye Zi
图片由Studio Kohl提供

“King” by Grades

June 6, 2017 2017年6月6日

 

无法观看?前往优酷

The music video for London-based musician Grades’ “King” was created by the award-winning Japanese director Taichi Kimura. The video features a young Japanese student with giant pigtails and a highly active imagination. While she is head down, buried with school work, her mind begins to wander from her studies at hand, into a world of make-believe where her school becomes a cartoon battlefield and she plays the role of an adorable heroine.


《King》是居住在英国的日本导演Taichi Kimura为伦敦音乐人Grades制作的音乐录影带。影片中,顶着两个巨大的双丸子的头的日本小学生,突发奇想把学校变成了卡通片里的战场,将自己从沉闷的课业里暂时解救出来,化身正义王子,和故事里的怪兽们展开大战。

From the music video’s storyline, the audience can catch glimpses of Kimura’s own child-like sense of creativity. Growing up, he was infatuated by video games. So, the idea of incorporating video game-like elements into this music video came quite naturally to him; his goal was to make a video with mass appeal. “As a child, I always dreamed of delving into an interactive world where I could defeat the bad guys and become a hero for a day. I assumed that many others have this same dream,” says Kimura. This nostalgia became the starting point for his video, which he thought would stir up memories of simpler times as a child for many viewers.


说起这支MV的故事构想,我们看到了导演Kimura纯真任性的一面。在日本长大的他从小就是一个电子游戏迷,所以就自然想到以游戏作为切入点,去制作一条能串联大众的影片。“我一直有这种幻想,自己成为了游戏世界里头和敌人对战的那个英雄,所以我也假定这个世界上很多人也会和我有同样的想法吧。” 拍摄这支童真的MV,Kimura想带着观众一起回到那个单纯勇敢极具创意的儿童时代。

Kimura had hoped to shoot the video in a traditional school constructed with wood, envisioning a location with warm tones, a location that wouldn’t look out of place in a Hayao Miyazaki film. In the end, they found the ideal filming location in a mountainous area a few hours away from Tokyo. As this school was in such a remote location and situated on a mountainside, it was difficult to transport the entire crew and all of the equipment. But in the end, Kimura felt that the result was truly worth the hassle.


在选景的时候,Kimura想拍摄一个木结构学校,就像宫崎骏电影里的场景一样,是暖色调的。最后他们在离东京几小时路程的一个偏远山区找到了这间学校。这个场地位于半山腰,要带整个拍摄团队以及大量的拍摄器材过去实在不是一件容易的事情,好在拍摄出来的效果达到了他们预先的期盼。

The young star of this music video, Lyka, was discovered by Kimura on YouTube. “Honestly, I usually hate music videos with dancers. But when I randomly came across her on YouTube. I thought that she was absolutely gangster. She was super cute but had such a strong attitude and crazy skills. The video treatment was actually written based on her.”


影片中的小演员Lyka是Kimura在YouTube上找到的。”坦白来说,我原来还蛮讨厌有舞者的MV的。但我意外地在一条YouTube视频中发现了她,我觉得她很可爱,但也带有一种邪恶又疯狂的气质,有自己强烈的个性和态度。这正是我故事中的主人公,我按照她的形象设计了整个故事。”

This being Kimura’s first-ever attempt at adding animated elements into his video, he enlisted the help of animator Rapparu to bring his vision to life. The animation process for Kings was extremely intense, requiring five animators who worked between 15 to 18 hours a day, on rotation, to achieve the final result. Laughing, Kimura says, “During the creation process, I was very harsh. I remember Rapparu called to say that he couldn’t take anymore and wanted to kill himself. I told him that’s fine, but kill yourself after you finish. Since then, he calls me a demon, which is fair play I guess.”


这次与Kimura合作的动画师是Rapparu,这也是Kimura第一次尝试有动画元素的影片。他笑说,合作的过程中,我非常严苛,我还记得有一次他电话过来,和我说无法承受下去了想要自杀,我只回复说,那就等到做完影片后再自杀吧。自此之后,他便称我为魔鬼了。这部影片的动画制作过程非常紧张,5个动画师每天工作15-18小时连轴转,才达到了最终想要的效果。

Website: taichikimura.com
Vimeo: ~/taichikimura

 

Contributor: Ye Zi


网站taichikimura.com
Vimeo:~/taichikimura

 

供稿人: Ye Zi

Losing Identity

June 2, 2017 2017年6月2日

After reading the book Street Photography Now back in 2014, Pushkar Raj Sharma was inspired to pursue photography. Equipped with a camera in hand, he began spending all of his free time roaming the streets of New Delhi. “I searched the streets for certain moments,” he says. “I wanted to capture special moments that would accurately illustrate life in India. In my photos, I want to show the country’s richness, its frustrations, and most important of all, the spirit of its people.”


Pushkar Raj Sharma对街头摄影的爱好起始于2014年,那时他看了一本名为《Street Photography Now》的摄影书,之后他拿起相机,开始了对街头摄影的摸索。Pushkar喜欢将工作以外的时间花在街上,游走在这个城市里。我一直在街上寻找一些特别的瞬间,让它们塑造出一个活生生的印度,你能在照片里看到它的生命,它的丰盛,它的烦恼和忧郁,当然最重要的是,看到生活在这里的人们的精神。

Working a full-time job in IT, Sharma rarely had time to travel. As a result, his hometown of New Delhi became the focal point of his photography. His Losing Identity photo series consists of candid street snaps of the city’s inhabitants, all depicted as anonymous individuals with obscured faces. From a man with a pink facial mask to strangers carrying cardboard boxes and women conversing through the fabric of their saree, the series masterfully uses this anonymity, this deletion of their personalities and identities through Sharma’s attentively composed frame, to form a narrative that explores a common thread that connects these individuals from different walks of life.


Pushkar的正职其实是IT行业的从业人员,因为工作的关系他很少有机会外出旅行,所以他的家乡——德里,成了他照片中不变的主题。这几年中,Pushkar在德里街头拍摄了不少照片,他将其中的一些整理为一个摄影系列,名为“Losing Identity”。照片里有敷着粉面膜纸的男人,搬运着纸皮箱的工人,透过面纱谈话的女人们等等,他们的面部都被各种物件遮挡住了,你看不见他们的真实样貌,也好像抹去了他们的性格或身份。但有趣的是,通过这种方式,不同的陌生人也能被一种相同的元素串联起来了。

The series led Sharma to confront an identity crisis of his own. In today’s world, with the ubiquity of smartphones and digital cameras, almost everyone can become a self-proclaimed photographer. With photography now easily accessible to many people, the art of photography has been, unfortunately, devalued. The internet is flooded with a deluge of photos processed using similar filters, leading to a few certain styles being cemented in the minds of the masses as aesthetically pleasing. This shaping of what is considered “good” has led to people being afraid of creating and experimental with unique, unconventional styles. Musing on his own identity as a photographer, Sharma often ponders, “Have I lost my identity on the streets while trying to establish one?”


这系列作品让Pushka思考起身份认同危机(identity crisis),在相机和手机高度普及的今天,每一个人都可以成为摄影师,但也正因为摄影变的简单了,摄影艺术的独特性也仿佛在同步被腐蚀,网络上每天生产着大量相同风格相同美学的照片,这让人们的审美变的趋向统一,丢失了原本每个个体该有的独特个性。当我站在街头按下快门制造一张照片的时候,我是否也在慢慢丢失我自己的独特身份?

Websitepushkarrajsharma.com
Instagram: @pushkarrajsharma

 

Contributor: Ye Zi 


网站pushkarrajsharma.com
Instagram: @pushkarrajsharma

 

供稿人: Ye Zi 

You Might Also Like你可能会喜欢

Rediscovering the Colors of Life

May 12, 2017 2017年5月12日

 

无法观看?前往优酷

I met Ellen Zhao as early as a year ago, but we only really got to know each other in recent months. Life is strangely serendipitous sometimes – it feels as if you meet people that you need to meet at certain points in your life. The two of us turned out to be quite similar minded. Zhao once told me that “the stomach carries the heart,” and I thought it was a cute saying but meaningless jibberish. Nowadays, I’ve begun to understand the tightly knit relationship between humans and food. It’s both a physical and psychological experience. The relationship between us and the world is interconnected as well, an internal and external exchange. Recently, I met up with her again to better understand her thoughts on the connection between us humans and food, and some of the concepts behind her private kitchen, Yue Shi.


见过Ellen Zhao其实早在一年多前,认识Zhao是几个月前,而打开关系大概就那几周。人跟人之间就是很妙,该到什么时候你遇到什么人,所谓气味相投,也就是在那个当下你知道你们有共通的部分。她以前也说过,让爱经过你的胃,那时候我听着温暖,心里头想扯着吧。到这会儿,方知食物与人更密的关系,它从口入,化为身体的虚实,从物理上、心理上无不息息相应。人与天地之间,不过是内外往来,且在这俗世里头,我们来聊聊人间烟火那些事儿

Neocha: You say that everyone has memories that are some way or another tied with food. Can you tell us about a certain taste that is locked in your own memory?

Ellen: It’s definitely Chinese-style cabbage and tofu stew. It reminds me of when I was a child and still living with my grandparents. My grandfather was a diligent and pragmatic craftsman who rose with the sun and rested when it set. My grandmother would pick a cabbage from the garden and boil it together with grandfather’s homemade tofu. Occasionally my grandmother would cook this dish with meat (because it was my grandfather’s favorite), and occasionally, my grandfather would add shrimp (because that’s what my grandmother enjoyed). It was the perfect meal, gathering over a bubbling stove, the air heavy with sorghum wine and the smell of fresh homemade cabbage and tofu stew wafting in the air.


Neocha: 你常说起每个人记忆里的食物,那你记忆中的味道又是什么?

Ellen: 记忆深处的那道是白菜炖豆腐。在幼时与外公外婆一起生活,外公是个勤恳务实的匠人,每天日出而作日落而息。外婆在田间拔一颗白菜,用外公做的卤水豆腐熬一大锅白菜豆腐,偶尔会放些肉进去(因为外公喜欢吃),而外公做这道菜时就会丢一些虾进去(因为外婆喜欢吃)。灶火咕嘟嘟,微黄的白炽灯,浓香醇厚的高粱酒再配上白菜鲜和豆腐香,你浓我浓,至冷方休。

Neocha: What does the process of preparing a meal mean to you?

Ellen: Cooking for me is like having a conversation with the world around me. There are so many possibilities and I’m inspired from the very moment that I start to buy my ingredients. The preparation process allows me to get in touch with my ingredients. With every stroke of my knife, we fall into a deeper understanding. When bringing a dish together, there are endless possibilities: sautéing, frying, steaming, and stewing. The whole process is a test of skill and endurance. A minute too long on the flame could be the difference between a dish being over overcooked. The moment when everything comes together in the pan isn’t actually the most exciting moment. Instead, it’s the waiting that excites me. For me, the defining moment is when each flavor comes together to create a complete dish; it’s an honest and sincere moment. When the meal is over, even the clean up is like meditation; it’s a time to reflect on the meal and consider whether it was cooked to its fullest potential. This allows me to add layers and emotions into my flavors.


Neocha: 做食物的过程,对你来说意味着什么?

Ellen: 做菜的过程于我来说像是和这个世界对话,然后用自己的方式来进行创作,买菜的时候发现当下不一样的食材便会诱发出灵感;清洗的过程像是还原食物在创作前的最佳状态;切配改刀则是对食物的剖析且更深层的了解,此时也是创作前的高潮,每个食材怎么搭配、怎样排列、如何调味,似乎有上万种可能;而煎、炸、蒸、焖的过程则是考验功力和耐力,差一分火候便可能成糟糠之味,而出锅前静候一分钟开盖也会成就上乘佳肴的美味。但出锅的那刻始终不是最兴奋的,倒是等待的过程,烹煮的是食物,调味的却是不同的人生,这才是食物给予我最真实动人、最赤裸的坦诚。在最后的清洗和收拾时,像是禅修,静心感受食物转换成另一种存在,回顾这过程是否尽美。这需要时常拿来反省和思考,出来的味道才会呈现更多层次和情感,像人在自我整理后,也是为了远行。

Neocha: Once you started cooking from your private kitchen, how has your understanding of food changed?

Ellen: Everything that I make is seasonal – there is no fixed menu. My dishes are also dependent on the tastes, preferences and dietary needs of guests. I believe that my customers also have to respect food. I used to think that food was a very personal thing but then I realized that without the right company to share it with, it becomes much less meaningful. Whenever I see diners enjoy the entire experience with their friends, it moves me. No matter how hard I work in the kitchen, whenever I witness this moment, I feel that it is worth it.


Neocha: 在做了更多的私厨之后,你对食物的理解会有什么微妙的变化?

Ellen: 做餐食我基本遵从四季的变化,也没有固定菜单,会根据客人的需求来制定,来的人也要尊重食物本身。原以为吃是件很私人的事情,但慢慢发现,再无与伦比的美食如果没有合适的人一同分享,那份愉悦感和幸福感会成倍的减少。所以每当眼见食客和他们的朋友们相聚尽欢、同吃共乐的场面,都会莫名的感动,无论再辛苦也会觉得值得这一餐。

Neocha: How would you describe the relationship between people and food?

Ellen: I believe the relationship between people and food is like a mirror; you truly are what you eat.


Neocha: 怎么理解人和食物间的关系?

Ellen: 人和食物的关系也像一面镜子,你怎么选择它,它则会成就怎样的你。

Neocha: How does your restaurant name, Yue Shi, tie in with your food philosophy?

Ellen: Many people think that Yue Shi has something to do with Vietnamese cuisine because the Chinese word yue is similar to the Chinese word meaning Vietnamese. But it is more to do with the fact that my Chinese name has the character yue in it. My father had decided on this name even before I was born in hopes that I would be able to overcome any setbacks and difficulties in life. When you dismantle the Chinese characters for Yue Shi, the individual strokes carry the meaning of being people-orientated and coming from the heart. Making food should not be a hastily rushed process; it should be done with diligence and care in order to create your own unique flavor.


Neocha: 越食这个名字的来由是不是也与你想做的食物有关?

Ellen: 很多人会以为“越食”与越南菜有关,然则当初决定用这两个字也是忠于自己的初心,忠于自己对食物的爱,就像我的名字中带“越”字,这个名字在我未出生前,父亲就已帮我取好了,他希冀我可以在之后的生命里不断跨越人生的挫折和困难,最终超越自己。而“越食”两个字拆解后又都带有人字,以人为本,以心为出发点;“走”意味着做食物不能操之过急,用心慢慢做,走的慢看的多,收获也多,最终成全的是自己的独一味。

Neocha: In life, people are sure to encounter moments that make them rethink their perspective on life. What have you come across?

Ellen: You encounters high and lows in life, and it’ll come at you with unexpected surprises. Some people say that theater imitates life, but I find that it’s more accurate to say life imitates theater. The pressure and inevitabilities of life come like torrential rain at times. I recall one week when I barely got any sleep. One night during this week, around four or five in the morning, I still couldn’t fall sleep; I went running by the river instead. As the sun rose, I noticed, to my surprise, that everything looked monochromatic – I lost my ability to see color. The world was replaced by an unsettling black and white. All the colors turned to gray. Becoming colorblind, I learned to see things from a completely different perspective, and I realized how beautiful the world could be. But as time passed, I realized that the world is just the way it is and the only true change is just a matter of personal perspective.


Neocha: 每个人在生命里多少会遇到对人生有重新认识的时候,你有吗?

Ellen人生中总会遇见或大或小的挫折或困难,但有时上天也会给你一个特别的黑色礼物,都说戏如人生,但有时也是人生如戏。生活中的各种甩不掉的压力和突发情况如暴雨般骤然袭来,大概有一个星期,几乎完全没有合眼,某一天,凌晨四五点钟,仍旧睡不着,于是去江边跑步。随着天色渐亮,我意外的却发现,我的世界一下子变成了黑白灰,整个世界失去了颜色,只剩下让人觉得惶恐不安的黑白,而那些不一样的色彩像黑白电影一般都转成了灰色。看不见颜色的那段时间学会了用不一样的角度看世界,发现原来如此美好。可再后来经历一些事情后,我发现,世界始终是那个世界,不曾改变,变的只不过是自己的立场和角度。

Neocha: What do you see happening in the future for you?

Ellen: Regardless of where and when, I want to always stay true to my passion for food and food culture.  Even though I am just one person, I just hope to always stay true to this.


Neocha: 对于往后有什么样的设想?

Ellen: 无论何时何地,以何种形式,我都会坚持把对食物和饮食文化的理解一直传播出去,其实是多么渺小的我,但既然都那么渺小了那更要做啦。

Neocha: In this moment, what do you feel like eating?

Ellen: A red bean ice pop.


Neocha: 就这会儿,你想吃什么?

Ellen红豆冰棒。

Weibo: ~/JK-Ellen
WeChat: Yuefood
Tel: +86 187-2122-9342

 

Contributor: Chan Qu
Photographer: Chan Qu, Echo Yang
Videographer: Ye Zi


微博~/JK-Ellen
微信: Yuefood
联系电话: +86 187-2122-9342

 

供稿人: Chan Qu
图片摄影师: Chan Qu, Echo Yang
视频摄影师: Ye Zi

An Experiment with Alchemy

April 21, 2017 2017年4月21日

 

无法观看?前往腾讯视频

Each year, China-born and Japan-based fashion designer Leonard Wong releases a new short film for his self-titled label during fashion week. Created in collaboration with the creative duo INSIDE FLESH, Wong’s latest film, Alchemy, accompanies an experimental clothing line of the same name. The garments depicted in the film aren’t available to the public but acutely convey Wong’s affinity for bold lines, one of the most vital aspects in all of his designs.


《ALCHEMY》是由居住在日本的华裔时装设计师Leonard Wong为他的同名服装品牌所创作的的艺术短片,由INSIDE FLESH执行拍摄。每年的时装周发布会上,Wong会在发布时装设计作品的同时,也发布一支关于他品牌的艺术短片。那些出现在短片里的试验线服装,虽然不是生产后投入市场的成衣,但这些短片呈现出了Leonard Wong品牌试验线的意识形态,也是他设计作品中不可或缺的一部分。

Wong brought in Poland-based performance artist Sylvia Lajbig and Japanese dance duo AyaBambi to create this experimental film. The choreography for Alchemy is characterized by raw, explosive power, an energy that’s infused with feminine grace and surreal tension. Moving in a new artistic direction, the film appropriately conveys Wong’s ongoing mission of breaking out of conformity in order to create something new and exciting. “I’m good friends with AyaBambi in my personal life. We’ve collaborated many times in the past in all sorts of different ways. I feel like our auras are quite similar. And because of our like-mindedness, the video shoot went quite smoothly.”


在这支短片中,Wong邀请到日本双人舞蹈组合AyaBambi与形为艺术家Sylvia Lajbig合作。她们所创作的舞蹈以爆发力为特点,编舞具有女性的阴柔之美,但同时又以诡异的张力著称,其中也不乏夸张的艺术手法,这种打破传统的表现方式和Leonard Wong一直追求的品牌理念——“颠覆传统,特异独行”契合度很高,性格中的相似性让他们不谋而合。Wong和我们分享道:“私底下我与AyaBambi就是好朋友,有过几次不同形式的合作,我感觉我们的气场很合很投缘,在拍摄的过程中一切都进行得非常顺利,因为我们的想法也都很接近。”

Inspired by the actual protoscience of alchemy, Wong describes creating this experimental fashion line as his discovery of the Philosopher’s Stone, which is a legendary alchemical substance that’s known as being able to bestow immortality and give access to an unbridled energy, one that can transmute rocks into precious metals and merge humans with animals to unpredictable results. Watch the entirety of Leonard Wong’s magnum opus above.


这支短片的创作灵感来自于炼金术 (alchemy),并以此命名。炼金术象征永垂不朽,一种肆无忌惮的能量使石头变为金属,也融合了人类和动物,带来的结果无法预料。点开上方视频,看看Leonard Wong营造的实验性世界吧。

Websites:
leonardwong.jp
ayabambi.net

Instagram:
@leonardwong_official
@ayasato_official

Vimeo~/leonardwong

 

Contributor: Ye Zi
Video & Images Courtesy of Leonard Wong


网站:
leonardwong.jp
ayabambi.net

Instagram:
@leonardwong_official
@ayasato_official

Vimeo~/leonardwong

 

供稿人: Ye Zi
视频与图片由Leonard Wong提供

Behind the Shoulders of Saigon

April 5, 2017 2017年4月5日

Students in uniform heading home after a day of classes, riding on the back of their parent’s motorcycles; a cyclist delivering takeout, masterfully steering with one hand and balancing a tray of steaming hot food on the other; and a pickup truck loaded with furniture heading to their third destination of the day. These are all-too-common scenes in the busy streets of Ho Chi Minh City, and graphic designer Maxk Nguyen revels in this frenetic energy. Finding inspiration in this hustle and bustle, Nguyen and his team created the Sài Gòn sau vai, which presents unconventional portraits of the city’s busy inhabitants as a series of beautiful illustrations. “Here in Saigon, every time I step out into the street, I see someone’s back. Even though I do not see their faces, they all bring me endless inspirations.”


放学后跨上摩托车顺路回家的同班同学,一手把着方向盘一手举着托盘穿梭在人群里的“外卖高手”,满载家具的小货车一脚油门赶往今天的第三个目的地。这座城市到处都是匆匆而过的人,还没留意看清楚,就已经从你旁边擦身而过了。居住在越南胡志明市的设计师Maxk Nguyen,钟情于这些匆忙的背影,他选择了这个与容易被人忽略的角度,和他的团队一起创作了这个名为《Sài Gòn sau vai》插画作品。“在西贡,我每次走上街,眼前仿佛都是一个个或匆忙或优雅的背影,虽然我不曾看清他们的正脸,但这些背影也给我带来了无限的想象。”

Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

Facebook:~/ Maxknguyen91

 

Contributor: Ye Zi 


Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

脸书~/ Maxknguyen91

 

供稿人: Ye Zi

Being Censitive

March 30, 2017 2017年3月30日

What comes to mind when you think about the temples and religious practices of India? For those familiar with the region, concepts like purity and piety would most likely top the list. However, visual designer Akshita Chandra shows this isn’t always the case in Being Censitive, an interactive illustration project based on the Khajuraho temples of India, or more specifically, the temple’s erotic sculptures. Through this project, Chandra aims to incite discussion around the topic of Indian’s system of censorship and moral policing.


提到印度的宗教和寺庙,也许多数人会将它与虔诚与纯洁等词语挂钩。而艺术家Akshita Chandra却做了件破格的事。她借鉴印度克久拉霍寺庙中的性爱雕塑,大胆创作了一系列“尺度颇大”的插画互动作品,名为《Being Censitive》。借此讨论印度社会对于“性”的审查制度,以及大众心中对性这个话题的审判标准。

Regarded by many to be India’s mecca of sexuality, Khajuraho is a small village located southeast of New Delhi. The nickname comes from the erotic carvings of the Khajuraho Group of Monuments, a cluster of well-known Hindu and Jain temples. These sculptures left behind speak of an open-minded outlook on sexuality, an outlook that’s quite different from the conservative viewpoint of modern-day India. Today, the sculptures seen in the Khajuraho temples would most likely be unacceptable and would be subject to censorship. It’s exactly this juxtaposition between the past and the present that intrigued Chandra.


克久拉霍是位于新德里东南方的一座小镇,这里的寺庙内有大量性爱主题的雕塑,所以也被称为印度的“性都”。从这些古人留下的雕塑可以看出当时的印度社会对于性的开放度还是很高的。然而,以现今社会的审核制度来看,这些艺术品恐怕是不合格的,甚至说是应该被屏蔽或加上马赛克。这个矛盾点引发了艺术家Chandra的兴趣。

The idea to borrow from the aesthetics of the Khajuraho sculptures in her illustrations is to allow viewers a look at the religious temple art through the lens of censorship. “I’m also referencing a few recent examples of censorship to create a subdued dialogue between the past and the present,” Chandra elaborates. The project consists of eight interactive illustrations with movable elements that allow viewers to physically engage with the work and reveal or cover up the characters. As Chandra describes, the goal of the project is for people to think critically themselves about the issue of censorship. “I’m interested in exploring the line between what might be considered obscene and what might be considered acceptable.”


“我想制作一些插画,人物的风格直接借用克久拉霍寺庙雕塑的美学,而每幅插画引用一件社会上有关审核制度的时事,创造一个古今对话的平台。”她制作了8件插画互动装置,这些装置包含了一些小机关,让观众在“解开”与“隐藏”的过程中自发性地思考问题。“我希望通过这个作品来开启讨论,究竟“淫荡”和“正常“的边界在哪里。

One illustration looks at when Indian law enforcement arrested over 40 couples from their private hotel rooms, accusing them of public indecency. One of the arrested individuals said, “I am not a prostitute. I am an adult who was out with my fiancé, who I am supposed to marry next month, to find some privacy. I had entered my name in the hotel register with my identity proof and also handed over the relevant documents when asked by the cops. But, when I tried to tell a female constable all of this, she slapped me.”


印度警方从酒店的私人房间中逮捕了超过40对男女,他们被指控公众地方行为不检,而被带去警局审问。一位被捕男士告诉记者:“我并不是在从事色情活动,我只是和我的未婚妻开了一间房,我们下个月就要结婚了。而当我向一名女警官解释这些的时候,她给了我一巴掌。” Chandra以这则荒谬的新闻内容,制作了上面这幅插画装置。

Another illustration is based on a quote by right-wing educational activist Dinanath Batra where she stated, “Sex education will pollute young minds and hence must not find space in the improved and ‘Indianised’ education system that the government wants to introduce.”


这幅插画的题材来自印度右翼教育激进分子Dinanath Batra的言论:“性教育会为未成年人带来不良的影响,因此在我们改革的‘印度化’教育体系中,性教育一定要被撇除。”

The censorship practices of India’s TV Channel Romedy Now also became one of the topics in the eight-part series – the network censors any appearance of clothed cleavage, considering it to be highly obscene.


这幅插画则取材于一则有关印度电视台“Romedy Now”的时事:官方规定要给演员露出的乳沟打上马赛克,因为它们太过淫秽了。

This project was Chandra’s way of bringing attention to the issue of censorship, a topic she’d long been intrigued by. After four months of research and revisions, Being Censitive was debuted to highly positive reception on both a local and global level. “I feel extremely grateful for the kind of exposure I got through this project. I got to interact and converse with so many people from all across the globe. It feels wonderful to know the kind of audiences this project has been able to reach. It’s something I never imagined when I initially started.”


Chandra花了前后4个月去做这个作品,通过了一连串的资料搜集和重新组装,出来的成果终于接近了她最初的理念。“这个作品为我带来了很大的曝光率,来自不同地区的观众都对它感兴趣,在制作的时候,并没有想过这个项目可以带我去到那么远,我很感恩。”

website: akshitachandra.com
Instagram: @akshitachandra
Behance~/akshitachandra

 

Contributor: Ye Zi


网站: akshitachandra.com
Instagram: @akshitachandra
Behance~/akshitachandra

 

供稿人: Ye Zi

Rala Choi’s Faceless Portraits 是画,还是照片?

March 16, 2017 2017年3月16日

Rala Choi is a Seoul-based photographer who’s best known for his use of rich, saturated colors. The colors and textures of his images often make viewers question whether they’re looking at a photograph or an oil painting. Beyond Choi’s bold use of colors, the unconventional manner in which he poses his subjects has become another trademark of his work: they’re often photographed with their eyes covered up or with their backs completely turned to the camera. Despite his unorthodox approach to shooting portraits, Choi is a purist, in terms of his resolve in using analog film over digital cameras. To him, post production taints the image; he believes that the crux of the creation process is the moment when the shutter button is pressed. Recently, Choi’s portraits of his long-time friend, the famous South Korean singer Zion. T, was published in Dazed Korea. Scroll down and check out more of Rala Choi’s work below.


Rala Choi是一位居住在首尔的韩国摄影师。在他的照片中,你常能看到鲜明的色彩组合,类似油画般的照片质感,他镜头下的人物总是含羞的背对镜头或遮起眼睛,这些标志性特征都使Choi的摄影作品辨识度极高。他喜欢用胶片为媒介来创作,原因是这样产出的照片更忠于按下快门的时刻,而不会受到后期的干扰。与其说是照片,Choi的作品更像是游走在绘画和摄影边界的艺术品。最近,他为好友韩国歌手Zion.T拍摄的系列照片,登上韩国版《Dazed&Confused》,也延续了他一贯的个人风格,下面跟我们一起来看看Rala Choi更多的作品吧。

Websiteralachoi.com
Instagram@ralachoi

 

Contributor: Ye Zi


网站ralachoi.com
Instagram@ralachoi

 

供稿人: Ye Zi