MAY. 2020 ISSUE 36
Cover Story 賈靜雯
Master Interview 林炳存 暫停
蘇益良 滴答 紀實攝影
Column
郭志達
王偉忠
影像魔法師
只是暫停
暫 停
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1 0 4 台北市內湖區港墘路221巷39 -1號 No 39-1 Lane 221 Gangqian Road Taipei
T e l : (02 )2 657-1 666 Fa x: (02 )2 657-1 555
Em ail : in fo@ aboo We bs it e : ww w.ab
ok stud i o . co m ookmag a z i n e .c o m
發行 Publisher 意團隊有限公司 Abook Studio 總編輯 Chief Editor 林炳存 Joshua Lin 副執行長 Deputy Director 姜安妮 Annie Chiang 統籌 Production Supervisor 曾譯萱 Tonnie 創意總監 Creative Director 林炳存 Joshua Lin 視覺主編 Design Director 游晶涓 Jane 文字主編 Editor 曾譯萱 Tonnie 攝影編輯 Photography Editors A Yuan / Kuan / Ash / Tonnie 採訪編輯 Assistant Editor 曾譯萱 Tonnie 造型總監 Styling Director 林夢薇 Monfi Lin 翻譯編輯 Translation Editor Connie Chiang 行政管理 Administration 張騰元 A Yuan 英國特駐 Overseas Editor Linda Cooper 執行公關 Marketing / PR 星予公關 Starfish Concept
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Editor's note 123木頭人... 我們停在了上一秒的倉促。
靜止如冰封的畫面裡， 我們看清了彼此的關係， 我們看懂了彼此的姿態。
說地球終於自救也好， 說人類終有報應也罷， 文明在面對問題的當下， 著眼的通常不是解決問題。
有時候我們只是窮兇惡極地各取所需之 後，拿眼前的問題將我們的行為潤飾成 一副很優雅的樣子。
暫停？我等你！
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123 Wooden Man… We stopped at the last second Stillness like a frozen frame within a picture We see clearly the relationship between us We understand each other’s attitudes You can say the earth is self-recovering Or you can say this is retribution for mankind When civilization faces a problem Usually the focus is not on a solution Sometimes after we take what we need We use the problem to rationalize our behavior Pause? I’ll wait for you!
總編輯
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P.4
Editor’s Note 編輯的話
P.114
Interview 訪談
P.140
蘇益良
P.114
郭志達
Cover Story
P.8
封面故事 賈靜雯
CONT P.52 P.52 P.102
Column 專欄 只是暫停 _ 王偉忠
35 歲前，再死過一次 _ Nella
P.24
Joshua Lin Photography 林炳存 專欄
P.24 暫停在清醒與夢境之間 P.42 啟示錄
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P.18
Style 彩妝專欄 Monfi's Talk
P.32
ABOOK's Pick P.32 草字頭 P.160 自由之丘 P.182
From Reader
P.184
暫停 _ 罗卜
P.190 暫停 _ 王嘉元
TENTS P.54
Our Fashion Our Style 時尚攝影
P.120 滴答 _ 蘇益良 P.54 暫停 _ 江俊民 P.72 Rest: It’s time to hear me_ Tonnie P.86 [APNEA]]_ Ash P.106 Skin_ Jessie P.146 STOP_ Kuan P.170 失速罪人 _ A Yung Chang
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COVER STORY Photographer / Joshua Lin Stylist / Monfi Lin Stylist assistant / Melody Chan Hair / Ting@Flux Reel Hair assistant / Angel Makeup / Claire Cheng Videographer/ Film Editor / Tonnie Tseng
Caesura to me means time for reflection It’s unprecedented times One that we could have never imagined Where everything is put on pause...
Cover Story
賈靜雯 Alyssa Chia
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Column
暫停對我來講， 我覺得會是反思跟休息， 這是一個還滿特別的時空更迭，
View Video
一個你沒有想到在現在的生活， 大家都已經按下了暫停鍵。
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此次與林炳存攝影師合作的拍攝過程，感覺如何？ 這次跟炳存大哥合作，我覺得非常開心，因為我們倆是認識了很久很久的朋 友，在這期間因為很多因素，所以都沒有合作成，這次大哥的邀約，我就立 刻答應，對於拍攝這件事，我非常的信任他，在合作的過程中又快又準，我 覺得是一種很棒的合作經驗。
如果你有一把可以暫停時間的遙控器，妳最想停留在哪時候？ 我想停留在現在的時光耶。我覺得現在對我來講非常美好，也非常的安定跟 穩定，就是所有的一切，自己個人的生活狀態是讓我感到舒適的溫度。
本期雜誌的主題為『暫停』，它也許是未完成、靜止、剎時的狀態，對此你 有什麼想法？ 因為這世界的暫停，大家才有機會、有空間、有時間去面對自我，才可以重 整與自我的對話，我覺得看似因為疫情的關係，大家有些恐懼、有些恐慌， 但是也因禍得福，可以讓大家得到許多，在暫停鍵當中自我反思的空間。
這次的拍攝素材都很簡單，白色的服裝，簡單乾淨的藍背景，是希望您能恣 意的去發展這些畫面，您認為身體本身是有表情的嗎？您都是怎麼進入當下 的狀態？ 這次拍攝以白色的服裝為主，我非常喜歡，因為我覺得白色是最單純、最乾 淨，然後也是最原始、感覺零汙染的狀態。身體當然有表情，我覺得當你感 到緊繃，當你放鬆身體，肢體的直覺表現是騙不了人的。你說拍攝時我怎麼 進入當下的狀態？因為炳存大哥給我很好的帶領，然後當你穿上這些服裝， 畫上這個妝容，也就很容易進入塑形出的角色，因為我自己本身是演員，這 些年的累積，我能蠻快速的進入這些角色裡。
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我們的人生是自己所有選擇的總和，你認為
在忙碌的工作中，平常是以什麼樣的方式紓
自己這個角色，是由什麼組成的？
壓呢？
我覺得我自己啊，是由大家，也就是所謂的
我最舒壓的方式就是找好朋友一起運動，去
家庭、愛、人、不同的人生階段，把這些東
嘗試一些我平常沒有做的運動，比如以前我
西內化之後再自我反芻，很像蠶寶寶一直吃
有斷掉瑜珈，最近又重回這個運動，想要去
桑葉，因為你一直在吸收養分，這些養分可
爬山，也可能開始騎單車。然後到了晚上，
能就像桑葉一樣，有好的、有不好的，你有
身體感到疲倦，讓自己泡個澡、喝一杯睡前
時候也會拉肚子，但到最後，你還是會變成
的紅酒，然後抱抱我的小孩，親親他們，有
繭，破繭而出，所以我認為那是我不停的尋
肌膚之親，這就是我最舒壓的方式了。
找我自己需要的養分，而組成現在的自我。 What was it like working with photographer 價值觀的建立上，影響您最深的人是誰？
Joshua Lin?
我覺得是環境，是事件，是經歷的總和。我
I had an amazing time working with
認為不是一個人，是當你經歷了一些事件之
Joshua. We’ve been friends for a very long
後，你就會去判斷，怎麼樣的價值觀是你最
time, but for some reason we haven’t had
舒適、最能夠認同，然後照著你自己認同的價
the opportunity to work together in the
值觀，而在這條道路上開心的跟自在的行走。
past few years. He invited me to shoot the cover, and I immediately said yes, because I trust him a lot. During the shoot, it’s
您最近比較關注的議題或事物是什麼？
always fast and precise. I had a great time.
當然除了每天觀看疫情的消息之外，我覺得 那個關注已經從緊繃，到接受，到如何去面
If you had a remote control and could
對，跟自我防禦與保護，用一個正面的觀念
press “pause” to stop life in a particular
去影響身邊的人與自己。 還有我身邊的孩子，以及關注自我，我常和 朋友說，我現在的身分，除了女孩、女人、 女兒、媽媽、太太，有好多的責任在身上， 所以我就會更讓自己健康。所以健康及運 動、養身都是我很關注的事物。
point in time, where would you pause? I would press pause right now; I’m very happy at this stage in my life. There’s stability, and everything happening right now is comfortable and balanced.
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What does “Caesura” mean to you? It could be something unfinished, paused, or put on hold? Because the world around us seems to be on hold right now, we now have the time and space to really look within ourselves, and to re-start a dialogue with our inner voices. There’s a lot of fear and apprehension right now, but there’s also a lot of positivity. The pause button has allowed time for reflection. The mood for the shoot is very simple this time around because we hope to put the focus on you. How do you get in to character for a shoot? Does the body play an important role in expressing emotion? I really like the white outfit I’m wearing because white to me is the purest and cleanest color of all. To me, ofcourse the body portrays emotion. When you are anxious or when you are relaxed, it is reflected in your body. Your body in this sense cannot lie. I’m an actress so I’m able to get into character pretty quickly and the photographer also gave me a lot of direction. Once you put on the right makeup and wardrobe, it’s pretty easy to be sculpted into a certain character.
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Our life is a combination of all the
What are you into or concerned about
choices we’ve made. What kind of
lately?
person do you think you have become
Ofcourse I follow the news on a daily
from these choices?
basis; my view on the pandemic has
I think that me as a person is a
gone from anxiety to acceptance, to
combination of those around me and
now a self-defence and protection
the different stages in my life. It’s an
mode. I try to face it with positivity and
accumulation and reflection of all these
hope those around me can do so as
things. It’s kind of like a caterpillar; all
well.
the nutrients it takes in from eating
I carry many roles in life; I’m a girl, a
things around it can help it grow, but
woman, a mom, a wife…there’s so
it can also cause an upset stomach.
many responsibilities that come with
However, in the end it can still cocoon
each and every one of these roles, so I
and become a butterfly. I believe
need to make myself healthier so that
that throughout the journey in finding
I can live up to them. Staying healthy
yourself, as a person, is the never-
and exercising is something I’m very
ending search for the nutrients that you
focused on right now.
need. How do you rewind when work gets Who has affected you the most in
busy?
shaping the values you hold dear?
I find that the best way to relax and
I think it’s not really a person who
rewind is to go exercising with your
has affected me the most, but rather
friends. I try to push myself to do sports
the environment and experiences I’ve
I’ve never done before. I stopped doing
faced in my life. Once you go through
yoga a while ago but I recently picked
certain events in your life, you learn to
it up again. I want to go mountain
determine which values are important
climbing and maybe bike riding. At
to you. Once you know what these
night when I’m really tired I like to take
values are, you are then able to live
a bath, treat myself to a glass of wine,
more freely and be true to yourself.
and just hold my kids and be with them. Time with my family is the best stressreliever.
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Mon Ta
所有的妝感來自
Makeup: All Sta
Style 彩妝專欄
nfi's alk
自於影像的開始
arts With an Image Special thanks to HAIRMOSA
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化 妝 像 畫 畫 一 樣， 沒 有 什 麼 標 準 答
Makeup is like drawing; there’s no perfect way to do
案，也像一場夢境般的遊戲，別把它
it. It’s like a game, so don’t over think it and lose the
想的太難，而失去了樂趣。
fun in it all.
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1910 Makeup 試著想像二十世紀初期，黑白電影 ( 默劇 ) 的興起 , 開始有了化妝的需求 , 從大 面積的暈染眼妝 , 開始練習，大膽的將黑色水墨 ( 水性 ) 畫在上眼皮，只要選擇 一支尺寸對的筆 ( 約 1.2-2cm) 沾足夠的顏料，就一次可以完成暗面 ( 黑色水墨 )， 再快速在暗面的 1/3 處疊上艷紅色眼影往眉毛暈染上去就完成了。 下眼線的部分也用一樣的方式，不過在筆的尺寸 (0.3-0.6cm) 之間，下眼瞼 ( 內 眼缐 ) 建議找一支軟硬適中畫起來舒服的眼線筆，加深眼睛暗面而唇色的部分， 從唇的中間往 360 度的擴散暈染，注意唇紋是有方向性的，先順著方向，再反 方向畫。當時還未發展出修飾眉毛的部分，所以保留了原本的眉型，就是當下 的流行。
Think back to the beginning of the 20th century, when black and white films were becoming popular and there was a need for makeup artists ... You start with a large area on the eye lid. Use black boldly; you only have to choose the right brush and dip it in the right amount of color. Then quickly add some bright red eye shadow, starting from 1/3 of the way up, and blend upwards. For the bottom eye liner, find a softer pencil to define the eyes. For the lips, start from the center and blend 360 degrees outwards. Notice that the lines on our lips have certain direction. Work towards the lines and then against it. At the time not much were done to retouch the eyebrows, so we leave the original contours. This was what was popular back then.
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Tips 畫唇的顏料，每次一定要沾 滿，這樣可以很快就可以達 到想要的飽和度。
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1950's
Make up
充滿歡樂而富足的家庭生活
Marilyn Monroe 是當時代表的女性，她的妝容是當時所流行的圓潤的眉型，性感 的嘴形和充滿誘惑的向上揚眼線非常風靡。 來練習怎麼畫眼線，先在腦中想像眼缐的形狀和上揚的角度，眼缐筆直接從尾端 往前畫，找到適合的樣子，再從眼睛最前端往後畫，將二個連接起來，再睜開眼 睛，看看是否對稱，( 通常眼睛往下看畫妝，而眼睛睜開之後，因為肌理視覺上是 不同的 )，再修飾一下，眼睛即完全。 嘴巴的部分，一樣要找一支自己手感握起來順手的唇筆（唇筆通常使用人造合成 纖維），上唇二筆往內的“
”再從嘴角的往上將缐接起，下唇的部分從二邊嘴角
往中間畫，再將中間接起來，就完成了。 Marilyn Monroe was the icon of the era. Her makeup style was what was trending. Arched eyebrows, sexy lips and winged eyeliner was very popular. To begin, you need to have an idea of what kind of shape and curve you want your eyeliner to have. Start at the end of your eyes and draw forward, then fill it in from front to back and connect the lines. Open your eyes and see if it’s what you want. For the lips, find a lipliner that ” starting from your outer lip. you are comfortable using, and for the upper lips draw an “ For the bottom lip start from the outer corners moving in as well. Tip: Always make sure you get as much color on your brush as possible. This will give you the bold and full color that you want on your lips.
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細胞病毒 昏睡之中 暫停在清醒與夢境之間 PHOTOGRAPHER / Joshua Lin CREATIVE STYLIST / Monfi Lin ASSISTANT / Melody Chan MODEL / Ning
View Video Joshua Lin’s Photography
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The Virus Dormant and asleep Paused between reality and a dream
s
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Double-Grass is: romantic knowledge and rational art. classical meets rock. honey butter toast after a sip of black coffee. brain and soul in a strong dance. me and you and inspiration
2019_ 混水釣蝦場
姜 秉 汎 Double-Grass＆Cookies Text by Tonnie
Photo by Kuan
草字頭 Double-Grass
ABOOK’s Picks
草字頭合夥人姜秉汎求學於挪威 卑 爾 根 建 築 學 校（Bergen Arkitekt Skole） 和 荷 蘭 埃 因 霍 芬 設 計 學 院 （Design Academy Eindhoven)，訪 談過程給人一種獨特幽默感的他，將 海外經驗與開放的想法，融入自身對 環境的敏銳與人文的關懷，呈現出獨 一無二的特質。
從分享藝術資訊到少少原始感覺研究室的藝術
法，分享彼此曾看到的一些有意思的展覽和
展，各式展覽、活動、工作坊的策劃，草字頭已
店家，還有一些公私立美術館定期舉辦的藝
經是目前國內舉足輕重的當代藝術場域策展單
術書展，想說如果可以發生在台灣應該會很
位，其中從 2016 年開始舉辦的草率季更是年年
不錯吧。2016 年他就聚集了一些身邊的設計
爆滿，充滿話題性，不論是在視覺，想法與創意
師及藝術家朋友舉辦了第一次的草率季 ART
規劃上，總是讓人耳目一新，話題不斷。
BOOK FAIR。隔年的第二屆草率季場地換到 松菸，我也正式搬回台灣了一陣子了，就開
與草率季結緣
啟了比較深的合作關係。開始接連做了每年
2011 年結束歐洲的學業，開始在國外工作，
的草率季的展場規劃和設計。我們也培養出
期間定時會回台灣，那時還是女友的 Jamie
蠻好的默契，所以就開始合作了一些不同的
已 經 和 朋 友 在 民 生 社 區 經 營「 場 外 OFF-
事情。
SITE」，是做年輕藝術家的展覽空間一邊賣 咖啡，有時會和參加討論一些展覽，主要是
關於草率季和進擊建築
和藝術、建築、設計、表演、城市策展相關
進擊建築算是一個平台，起初的核心成員有
的嘗試，Frank 那時也剛搬家到富錦街，準
三位挪威的 Jørgen Stavseng、季鐵男老師、
備開始做事，他常去店裡，我們是在那邊認
和我，後來陸續加入曾韋翔和還在挪威求學
識的。
的呂武隆。我們舉辦了一系列密集的工作
之後我開始有回台灣定居的打算，應該是
坊，由 Jørgen 當主要講師，帶領參與學員
2014-15 年 左 右 吧， 和 Frank 開 始 有 比 較
實踐一套完整的視覺與空間訓練方法。這套
多接觸。記得剛開始我們提了很多有趣的想
方法起源於波蘭建築師 Oskar Hansen 及其
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2019_ 草率季
學生 Svein Hatloy（BAS 創辦人）延續，
東西都會掉下去 ! 其中有些國家的攤商把
除了著重於建築本體與環境的關係，希望
桌子拆掉擺回水平，有些則順應這樣的設
作品能驅動或邀請個別使用者延續創作，
計佈置，也有一些攤商會需要我們協助，
來 表 達 自 身 不 同 的 特 色， 稱 為 開 放 形 式
這之間有很多有意思的觀察和互動，是一
(Open Form)。
般的設計過程中比較不會遇到的，自己感
這個訓練方法應用在第二屆的草率季
覺像是人類學家在做田野調查。
上，由我們三人透過設定好的方法（1 : 1 sketch）來引導參加者討論，希望找出空
「進擊建築」與「open form」的趣味
間的品質，再藉由工作坊的延續，一起把
這種創作方式在剛開始會有一定的難度，
展場做起來，和以往展場設計比較不同的
所以挪威的建築學院有一套訓練方式，這
是，著重在共同設計和建造的過程，希望
門課程稱為 Visual Structure，一開始從平
可以發現一些看不見（原本習以為常）的
面開始訓練，然後再逐漸延伸到立體創作，
東西。有時作品中的某部分看似不規則的
接著才是到空間，過程中學員的相互討論
擺放，其實都有著某種討論或邏輯存在。
很重要，說出自己對他人作品的感受，藉
例如在草率季中的陳設書籍或商品展示方
著具體的表達自己進而找到彼此的相同或
法，我們把桌面做成不是平的，來參展的
者不同處。
攤商看到都嚇一跳：桌子斜的是要怎麼擺 ?
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創意發想的來源與啟發
大家的經驗與累積，當然遇到優秀的創作
2018 年華文朗讀節，我才正式以草字頭在
者，能有一些新的火花或想法，會想要一起
台灣創作，那年的主題是八零年代巴黎街頭
試試看。我自己比較喜歡挑戰不同的媒材，
學運，一開始會聯想到塗鴉當時有聯想到一
對於材質的想法是覺得，通常展覽的時間都
些畫面，其中一個是塗鴉。由於場地限制，
只有一兩週，所以想儘量找已經被使用過的，
無法直接在牆面上做創作，勢必要有個載體
或者可以留到日後再次使用的，當作挑選的目
來被塗鴉，然而塗鴉有很多種表現方法，最
標，所以不會特別侷限於美的特定表現。
終是邀請在草率季看過很多次，印象很深刻 的創作者「今晚我是手」小禎，為華文朗讀
目前的工作狀態
節在生鏽浪板上創作，她是第一次寫這麼大
今年草字頭終於找到了理想的工作室，和固
字，又是寫在這樣凹凸不平的表面上，對我
定的成員。場地原本是洗車廠，下貨方便有
們雙方來說，都是很新的嘗試。那時夏天，
挑高，用之前做完展場之後回收來的材料，
每天下午太陽比較不大的時候，我和 Frank
把工作室作簡單的改造，材料和設備都從之
要一片片把金屬浪板搬到空地方便她書寫，
前的倉庫運過來，希望可以更有生產力，我
到半夜等顏料乾了再一片片編號收起來，是
的工作方式是比較要動手的那種，透過操
很身體勞動的過程，最後的成品，再由我們
作，材料的特色，身體的感受，環境的掌控，
把一片一片吊掛到牆上，整個視覺呈現希望
希望可以呈現出真實的感覺，也會有比較不
是有點暴力又可以有點詩意。
一樣的設計結果。
很多佈展的想法與創意看似即興，其實都是
2019_ 混水釣蝦場
36
對未來的想像與規劃
去年很榮幸可以協助柏林的建築團體
2019 年的文博時也做了台東館的設計和施
Raumlabor 在空總做一個展覽，對展覽應該
工，那時幾乎每個禮拜都去台東的部落待幾
的樣貌又開闊了很多，因為之前我們在文博
天，尋找合適的材料，拜訪可能的工班研究
辦的釣蝦場也是跟海洋永續有關，目前想繼
一些工法，後來大部分展場的材料都從台東
續延續這個方向。在發想上，除了可以面對
運來，協助搭建的工班也是當地的原住民，
客戶並解決客戶的需求，我希望我們還是能
幾個部落的老老少少來台北住了幾個禮拜。
多保有創意的主導權而不是照著對方走。當
展場完成的時候，看到大家一起努力的結
然收入還是比較重要。
果，加上 Suming 蘇米恩策劃的表演，每個 人都很感動。結束了大家再一起把材料通通
疫情的影響
運回部落盡量不造成浪費。
我的生活好像本來就有點隔離，似乎沒有太
會提這幾個案子，是因為都嘗試另外找了自
大影響。就是展覽類因為疫情的關係幾乎都
己欣賞，覺得一起合作可能會不錯的人一起
沒辦法展開。原本要和自然洋行去的威尼斯
做，像是台東館找了鍾良錚，藝術之夜找了
雙年展也都延到年底，或是場地也不好，有
James 和 廖 浩 哲， 他 們 都 是 很 認 真 的 創 作
很多限制，變得難辦很多。但也是有好的一
者，在想法和執行上都是，大家可以一起討
面，很多朋友因為疫情的關係都從國外回到
論，彼此真誠的交流，竟量貼近真實的去創
台灣，大家聚在一起時會認真想想可以一起
作，就產生了很美好的結果。這些經驗也啟
做點什麼，不是只喝酒瞎扯。
發我對未來做事的各種可能和想法，很謝謝 他們的付出。
2018_ 大好台灣在山丘
37
Double-Grass is an art curation company that has created a name for itself in Taiwan; from planning art exhibits for “siu siu lab of primitive senses”to holding different events, and workshops, Double-Grass has become a coveted event company in the art realm. Since 2016, they have been putting on the “Taipei Art Book Fair” which sees an influx of attendees each year and garners a great amount of media attention and coverage.
對本期雜誌主題「暫停」的想法
working with a partner in Taiwan doing art
疫情，是大家一起暫停一下嗎？我覺得還算
events for【OFF SITE】which is a curator-
蠻好的。有點像是去當兵一樣，僅管什麼事
run platform that promotes contemporary
都不能做，時間被浪費了也不會覺得愧疚。
art. Our main focus was architecture, art,
同時也可以找一些別的創作出口，像我就是
design, and city planning related events.
去做些陶藝什麼的，說不定會有一些新的靈
This is where I met Double-Grass founder
感與啟發。現在還可以看到很多大畫廊或藝
Frank. At first Frank shared some ideas
術家在線上的直播也都無聊的很有意思。
with me, about hoping to open up a space for artists to hold events. This made me
Today we interview Double-Grass co-
think of those interesting bookstores that
founder Chiang Bing Fan 姜 秉 汎 ; Chiang
I would see in Europe, and the art book
studied in Norway at the Bergen School
fairs that many museums overseas held. I
of Architecture (Bergen Arkitekt Skole)
thought, wouldn’t it be interesting if we did
and at the Design Academy Eindhoven in
something similar in Taiwan?
Holland. During our interview we could see
After our chat, Frank invited some of his
his unique sense of humor, and his passion
designer friends and artists, and the very
for design. Chiang is very perceptive of
first "Art Book Fair" was born from there.
his surroundings and strives to use his overseas experience to bring something
Tell us a bit about the Taipei Art Book
new to the design world.
Fair & Visual Structuring Workshop? The Visual Structuring Workshop is meant
How did you start working with Double-
to be a platform. Our founding members
Grass?
include Jorgen Stavseng from Norway,
While I was working abroad, I was also
architect Chi Ti-Nan, and myself; many
38
2018_ 華文朗讀節
39
amazing partners subsequently joined
situation to observe and interact; it’s not
us as well. At first, we started with a
what you would see in common design.
series of workshops, with Jorgen as the main speaker. Our method is termed
The Visual Structuring Workshop is
the “Open Form” which originates from
meant to propose experimental and non-
Polish architect Oskar Hansen. It’s a visual
conventional viewpoints towards design.
training method which places emphasis on
It’s a method that welcomes users with
the relationship between the architectural
open arms and hopes to initiate dialogue
building and its environment. It’s a
and thought.
movement that focuses architecture on the user.
How is the “Open Form” taught? This design process can be difficult at
We applied this architectural theory to our
first. In architect schools in Norway there’s
second Art Book Fair. Our team looked for
a particular training method and the class
key characteristics of a space, and allowed
focuses on visual structure. You start with
the participants and users to input their
graphic training, which then extends to
ideas into the planning and setup process.
three dimensional concepts. Throughout
The architects and designers were more
the process, interaction with your
like facilitators and allowed the designs to
classmates is very important; you have
be freely adapted by the users. It was really
to speak genuinely about other people’s
interesting to see the diversity of designs
design, and through the process, self-
and visuals that came about through this
reflect on your similarities and differences.
process. Where do you find your inspiration? For example, for the Art Book Fair we
The 2018 “Wordwave Festival” was the
decided to make tables that were slanted.
first time I represented Double-Grass
Many of the exhibitors and vendors were
creatively; the theme for that year was
surprised and didn’t know how they were
“1980s Parisian Student Movement”.
supposed to display their products. We
Many ideas came to mind, but one of
noticed that some vendors went along
the first that stood out was “graffiti”。
with it and figured out unique ways to
Obviously, there are many ways to express
work with a slanted table, but others had
the method of graffiti, but because of
a difficult time and even tried to level the
venue constraints, we couldn’t graffiti on
table themselves. It was a very interesting
the walls, so our first task was to find
40
something concrete to graffiti on. In the end, we invited calligraphy artist “I Am Hand Tonight” to work with us. We decided to work with rusted metal sheets, and it was very interesting for both of us because we had to work with bumpy and uneven surfaces. I remember it was summer at the time, and we could only work in the late afternoons when the sun was not so hot. Frank and I had to carry these metal sheets to an open field where she could work. Then, when the paint dried, we had to store it away. It was a very physically demanding and draining project. At the end, we hung the metal sheets to a wall, and visually it looked somewhat violent, but then also poetic at the same time. Sometimes, what may look like spontaneous or impromptu ideas, are actually an accumulation and result of many years of experience. When you are able to work with talented artists, 2019_ 草率季
many new ideas may come to mind, and makes you want to try something new. I like to challenge myself by using different mediums and I like using old or salvaged materials. I never limit myself to specific aesthetics or standard perceptions of beauty.
41
Current Work Status?
we want to problem solve for clients and
This year we finally found an ideal location
answer to their needs while retaining a
for our studio. It used to be a carwash,
lucrative revenue.
so the lifts are extra tall and we were able to use leftover materials to renovate
Has the pandemic effected your work?
the space. We moved all of our materials
I think my life has always been sort of
and equipment already, and hopefully
isolated so it hasn’t affected me much.
this can improve our productivity. My job
Ofcourse all exhibits have been postponed
requires hands-on work; I need to feel
so that’s probably the only thing that is
the materials beneath my hands, and
different. My trip to Venice with “Divooe
be in tune with how my body feels. The
Zein Architects” has also been postponed
unique qualities of the materials, and the
until end of the year. The positive thing
environment it is placed in, can create
about the pandemic though, is that a lot
different design results.
of friends from abroad have come back to
What’s in plan for the future?
Taiwan. It has been great catching up with
I want to give people a platform to create;
them and just exchanging ideas on what
we can write, draw, sing, or even dance.
we can do together.
I hope Double-Grass and the Taipei Art Book Fair can be even more dynamic and
What does“Caesura”or“ Pause” mean
diverse.
to you? Covid-19 has forced all of us to stop and
Previously I worked with Berlin architect
pause. I think it’s a good thing. It’s like
group Raumlabor on an exhibit at C-Lab.
going to the army; even though there’s
I helped them with location scouting and
not much you can do, but wasting time
marine research. We also did a project
no longer makes you feel guilty. It has
based on the idea of ocean sustainability
also given me time to really think about
and shrimp fishing at the Creative Expo,
the future, and think about different
so I really want to continue with this ocean
creative possibilities, like pottery. Many
theme. I hope we can continue to have
big galleries have also been doing online
control over our creative ideas, while still
broadcasts, which is really interesting.
giving clients what they want. Obviously,
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COR ΑΠΟΚΑ ΙΩΑΝ
Joshua Lin’s Photography
RAL'S ΑΛΥΨΙΣ ΝΝΟΥ 啟 示 錄
Photography / Joshua Lin Stylist / Makeup / Monfi Lin Stylist assistant / Melody Chan Hair / Tyker Ho / Sanki Wang Makeup assistant / Nell Chiang
View V
Video
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我的彩虹停在這裡 我的橡皮筋彈到了自己 珍珠控制了我的腦
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我的頭皮長不出草 耳朵生出了動物的毛 黑色黏稠液爬上我的嘴
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我的腦努力想長出草 結果長了綠色的毛 冒出黑色的光 我的肉體暫停了
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Just a pause 【只是暫停】 Text / Photo by 王偉忠
煙硝未散的戰場，遠處砲聲隆隆，一旁小
牠是很膽小的生物，儘管身軀高大、卻什
徑上，堂吉訶德騎著馬、咖搭咖搭走來。
麼都怕；這樣的牠上了戰場卻敢往前衝，
他手上沒拿長矛、卻舉著一台相機，拉了
全因感受到騎士的信心。只要騎士有信
拉韁繩、暫停。
心、牠就有信心！馬相信總有一天，騎士
馬嗅到騎士身上的焦味，晃了晃鬃毛。
還會前行。
堂吉訶德拍了拍身上的灰、放下相機，拍
馬也是騎士的知己，更是雜誌的忠實讀者。
拍馬說，「先暫停一下吧！」
牠回想這趟奮戰，覺得雜誌早該在「某 一期」就該喊停，因為那期封面實在太
「我們被打敗了嗎？」
醜 ..... 就是王偉忠當封面的那集，有多醜 呢？馬想到「母不嫌子醜」，但那期封面，
「只是暫停。」
連王偉忠媽媽都喊「好醜！」 這麼難的困境都過關了，馬覺得，只要騎
馬回頭，用善解人意的大眼看了看這段日
士在，沒什麼不可能。
子牠生死與共的騎士，全身緊繃的肌肉瞬
這時騎士又握起韁繩。
間放鬆，汗水蒸發、熱氣奔騰，牠甩了甩 尾巴說，
「繼續？」
「好！」
「只要你好，我就陪你！」 只要騎士有信心、馬就有信心！
Column
In the smoky battlefield, with gunfire
one day, the rider will continue to move
rumbling in the distance, Don Quixote
forward.
comes riding on a horse along the small path.
The horse is the rider’s confidant and a loyal reader of the magazine.
His hands didn’t hold a spear, but instead he held a camera; he pulled the reins and
Thinking back on the battle, the horse felt
paused.
that the magazine should have ceased after the release of a past issue, because
The horse detected the burnt smell on the
the cover of that issue was really ugly ...
rider and shook his mane.
that was the issue where Wang Wei-zhong was on the cover. How ugly was it? The
Don Quixote dusted off the ashes on his
horse thought of the Chinese saying "a
body, put down the camera, and patted the
mother will never think of her child as ugly",
horse and said, Let’s pause for a second!
but in reality even the mother of Wang
Have we been defeated?
Wei-zhong shouted "It was really ugly!"
It’s just a pause.
We’ve gone through so many difficulties, but the horse thought, as long as the rider
The horse looked back at the rider who
was there, nothing was impossible.
he had gone through thick and thin with, and the tense muscles of his body relaxed
And then the rider picked up the reins
instantly, the sweat evaporated, the heat
again.
forgotten, and he flicked his tail and said, Ok!
Continue?
It is a very timid creature. Although it is
As long as you’re ready, I’ll be there with
large, it is afraid of almost everything;
you!
when it dares to gallop forward on the battlefield, it is all because of the rider’s
As long as the rider is confident, the horse
confidence. As long as the rider has faith,
is confident!
it will have faith! The horse believes that
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Stop stop stop
Photography 江俊民 / Style 高小娟 / Mod
del 方菲菲 . 劉欣 / Dress CROSS FOR GOD
Our Fashion, Our Style
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剎那間 我按下快門 徬彿為整個世界啓動 了暫停鍵
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一幀又一幀不停地按 我努力記錄下的一切
是真？
是幻？
Column
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我不曉得 也許鏡頭中的物象都是真假莫辨
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我也知道 時鐘不會因我的臆想而停止運轉
我也知道 人們不會因我的幻覺而停止慌亂
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風一樣的光影 謎一樣的再現
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在歷史的眼睛中 它只是渺渺茫茫、似是而非的答案 片刻的靜止， 也只能為了讓人們駐足觀看
68
而流動的思緒 可否能應付迫不及待的貪婪？ 而暫停的語氣 可否能形成永恆久遠的畫面？
Column
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一切皆為泡影 一切皆為始點
我只好按下暫停之鍵 只在剎那間⋯
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Rest: It’s time to hear me. Photographer / Tonnie Tseng Assistant / 子琳 Videographer / Taz Chiang & Yu Inspiration / 解芝瑀 Stylist / Monfi Lin Hair / 張仕誠 @HAIRMOSA.Lab Makeup / Mako Chou
Hair assistant / Nana
Makeup assistant / 郭郭
Our Fashion, Our Style
休止符在樂譜上是標記暫時停頓或靜止的符號， 可使音樂樂句造出不同的情緒表達。 有了空隙，才有律動，有休止符，整個樂句才能 完整。所以我認為暫停可能和走動是差不多的， 都是為了完整整個生命。
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A rest symbol within a musical score tells you to pause. It can help to create mood and expression within the music. There needs to be a gap in order for there to be rhythm. The rest symbol allows a piece of music to be complete. Pause and go, pause and go. It’s the rhythm of life.
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Our Fashion, Our Style
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for (I'm suffocating. When carbon dioxide levels rise, our bodies have natural reflexes that deal with it. Surprisingly, it's not that uncomfortable. )
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<span style="font-family:Microsoft JhengHei;"> 細黑體 </span>// 窒息、停止 呼吸，當二氧化碳升高到一定值後 }}}，// 身體會有自然的收縮反應，等待它、 感受它 }}，// 其實這一切都沒有想像中的那麼不舒服 }}。<span style="font-
family:PMingLiU;">
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<span style="font-family:PMingLiU;"> 每次下沉都好像掉進深層睡眠 }}}， 被全 然的安靜和水壓包圍 }}，// 第一次覺得世界如此平靜 }}}。<span style="fontfamily:Microsoft JhengHei;"> 黑體 </span>//
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if ďźťEach time we sink into a deep sleep, the water surrounds us with such quietness.:}} It's the first time, the world feels so at peace.ďź˝
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DIE AGAIN BEFORE 35
Photo by Joshua Lin Text by Nella
35 歲前，再死過一次
Column
最近很多人忍不住衝動紛紛跑出去玩了。那
很多回憶停在從前的從前，很多事情卡在沒
些插鼻管的影片跟獨自在醫院死亡的文章好
有然後的然後。有些事，千金難買早知道。
像沒能阻止一般民眾想出門走走的決心。12
有些事，早知道也沒有用，純粹只是千金難
年的後製人生，其實除了婚後的這三四年，
買而已。
其實前面都跟隔離沒兩樣。
我跟太太的人生就突然暫停在了存款剩 8 萬
所有想買的東西，想去的地方，想吃的餐
的那一刻，我們都很焦急，但我們都安慰著
廳，都因為工作，或因為貧窮，而一直沒有
彼此。我們在家覺得會一直憂慮，就決定出
成真。一年、一年、又一年。直到後來有存
門走走，出去就覺得一直在花錢，最後又躲
款了，也仍然不敢把前面想做的事情完成，
回了家裡。我們追劇、打電動、再追劇、再打電
因為真的不想再回到從前，因為真的不想回
動。這兩件事，真的是最不花錢的消遣了。
到原點。因為真的窮怕了。
一年過去，我的財務危機解除了。謝謝富邦 的尾牙、謝謝我宅的填詞、謝謝 Zero Four
去年初在結清工作的一些帳務之後，我的存
的影像剪輯與調色，你們把我跟太太從深淵
款總共剩下 8 萬元。跟我大學剛畢業時的銀
中拉拔了起來，我們雖然手頭還不寬裕，但
行存款差不多。8 萬元在 14 年前對一個 21
是房子總算保住了。
歲的畢業生來說並不少。可以為自己添購一
我們從一次長達一年的深海探險中險象環
台電腦，可以為自己規劃一次旅行，再拼一
生，把頭抬出水面的當下，我們發現水上的
下，可以買台二手中古車了。
世界被暫停了！現在所有人都在燃燒自己僅
但是當你 35 歲已婚且有車有房的時候，8
存的積蓄，應付著不知何時才能停損的只賠
萬元存款可就不是自由的表徵了。8 萬元表
不賺。每個人都被迫在家追劇，即使是富到
示不吃不喝的前提下，你還可以擁有自己的
流油的，也是點開「愛的迫降」在房間裡看
房子 6 個月。你可以趕快賣車把住屋的權利
北韓的愛情故事。
延長至一年，或是趕快想辦法把房子賣掉自
上個月有朋友說要帶小孩去露營，並覺得為
保。你的每一次麥當勞外送都要趕快改變成
什麼我可以為了防疫在家蹲著死不出門，是
麥當勞外帶，你的每一次麥當勞外帶都最好
不是搞編曲的搞影像的都是這個性格？
變成萊爾富外帶。你打算讓太太過更好的日
「是啊 ... 我跟太太都是這種性格 ...」
子，結果你帶她過了一把你 14 年前在街上 唱饒舌的日子。
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Recently, many people couldn’t bear it and rushed
another year, or you can quickly find a way to
out to have some fun. Those intubation videos and
sell the house. If you used to order delivery from
articles of people that died alone in hospitals didn’t
McDonald's, you must choose to get take-out
seem to deter people’s determination to go out. 12
McDonald’s instead. Or perhap’s it’s better to stop
years of working in the post-production industry,
buying take-out from Mcdonald’s and instead buy
with the exception of the three to four years after
food from Hi-Life (convenience store). You planned
marriage, life before was no different than being in
to give your wife a better life but as a result you
quarantine.
both are living like you did 14 years ago when you were still a rapper on the streets.
All the things I wanted to buy I never bought, the places I wanted to go to I never went, and the
A lot of memories are stuck in the past and many
restaurants I wanted to try I never tried because
things have not changed. There are things you
I was working or I was too poor at the time. Year
cannot foresee, even with all the money in the
after year after year, even when I had some savings,
world. And some things won’t change even if you
I still not dared to do I wanted, because I really
know what will happen and some things can’t be
didn’t want to go back to square one and I was
bought.
scared of being without money. The life my wife and I had together seemed to take After returning some of my debt last year, I had
a pause when we found out we only had 80,000
80,000 NT in my savings account. It was about the
NT left in our savings. We were very anxious, but
same amount I had when I graduated college. 14
we both comforted each other. At home when we
years ago, 80,000 NT was a lot for a 21-year-old
would feel depressed, we would go out. But then
recent graduate. I could buy a computer for myself,
we felt that we kept spending money while being
or go on a trip, and with a bit more, I could even
out so we would return back home. We watched
buy myself a used car.
many TV shows, played video games, watched more TV shows, and played more video games. These 2 activities were truly money saving activities.
But when you’re 35 with a car and a house, a
A year later, my finances are now more stable. This
savings of 80,000 NT is not a sign of financial
is all thanks to Fubon ’s year end party project, my
freedom. 80,000 NT means you can keep your
lyric writing, and Zero Four ’s video editing and color
house for another 6 months and this is without
grading project. They pulled my wife and I out of the
spending money on anything else. You could sell
abyss. Although we are still not wealthy, at least we
your car so that you can pay the mortgage for
have been able to keep the house.
105
After what feels like a yearlong deep-sea expedition, we are able to rise out of the water, but it seems that the world above has stopped moving! Now everyone is burning through their own savings, trying to cope with no income. Everyone is now forced to watch TV shows at home. Even the richest of the rich click play on [Crash Landing on You] and watch the TV love story from North Korea.
Last month, a friend said he was going to take his children camping, and was surprised at how I could stay at home with no problem during this pandemic. He wondered if all music producers and videographers all had this type of personality?
Actually yes â&#x20AC;Ś my wife and I both
106
Our Fashion, Our Style
Skin Photographer / Jessie Ho Creative Director / Stylist / Makeup / Monfi Lin Models / Felicia. &Lynn Hair / Tyker Ho / Sanki Wang Makeup assistant / Melody Chan
108
109
如此單純的呼吸
The purest breath
如此自然的擁抱
The most genuine affection
暫停在此刻
Paused in this moment
皮膚隨著呼吸起伏
The skin moving with every breath
身體處在空氣之中 暫停在此刻 身體在呼吸 皮膚渴望擁抱 暫停在此刻
The body existing in the air Paused in this moment The body is breathing The skin yearning for affection Paused in this moment
110
Column
重啓人的感受 重新一次的 連結人的心 只為了使你感受 你、你、我、我 都是一個宇宙 未來 新世代 就在眼前 別讓那身體的形 阻礙了你的連結
112
View Video
113
The emotions begin Restarting once again A connection with the heart In order to make you feel You, me, and I Makes up an universe A new generation in the future Is before your eyes Donâ&#x20AC;&#x2122;t let the physical body Hinder this connection
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Interview
Art Director 郭志達 Kuo Chih Da
畢業於台北復興商工美工科，在就學期間專注於油 畫創作。畢業後輾轉開始接觸音樂錄影帶的美術場 景設計工作，榮獲多屆時報廣告金像獎 - 美術指導 獎項。獲得金點設計獎：二十輪旅店
Text by Ash
Photo by Kuan
Interview 郭志達 提供
從學生時期就想走美術設計這條路嗎？是怎
在製作 MV、廣告、電影美術設計時，在執
麼認識這個行業的？
行上有何不同之處？
學生時期我讀的是復興美工而當時專攻的技
某個程度上這些都是跟室內設計有所關聯
法是油畫，跟電影美術這行其實八竿子打不
的，但這三個產業別所使用技巧都不一樣，
著，退伍後因為泡沫紅茶店的蓬勃發展，很
所以你必須了解成片的用途、拍攝運鏡的方
多店面需要有創意、有突破性的裝置藝術，
式，如此才能準確的搭建與佈置出適合的場
我們幾個朋友就開始著手改造，甚至還運用
景，譬如說一般的廣告都有非常完善的拍攝
過報廢的飛機來做設計，因為這樣才開始了
計畫，而美術的任務就是精準的打造出精緻
我的視覺美術之路。
無暇的場景，換作 MV 那就不一樣了，它會
真正開始踏入這個行業是因為一位朋友在林
因為節奏的快與慢有所變化，若是搭配上舞
炳存導演那當助理，有次拍片遇到突發狀況
者的快歌舞曲，場景的設計就必須要有足夠
而原本負責的美術就這樣突然消失，於是我
的包覆性才能營造出導演想要的張力，而早
就被介紹進入了電影圈。我還記得當時林導
期還沒有所謂的 3D 圖，為了要能事先模擬
演問我：“既然你對拍片這麼有興趣，要不要
出現場的鏡頭感我還自己購入了 DV 與廣角
試試看美術指導？” 當下我只覺得現場有明星
鏡頭，就是希望拍攝當下能符合我要的氛
唱歌、這個行業在當時又是如此 Fancy，而我
圍，那電影美術所要營造的資訊量又更大
也能發揮所長，接下這樣的工作有何不可！
了，經營故事、陳設訊息、甚至是整體色調 是否有辦法襯托出角色與情緒這就顯得格外
116
重要，除了腳本內的故事線之外美術也身兼
預算與整體完成度之間的拉扯了吧。
了輔助敘事的功能。 有時導演的想法天馬行空 你是如何吸收並執 有沒有特別喜歡哪個工作環節，或最在意的
行出來的呢？
部分？
其實每個導演的路術跟風格都不一樣，我們
剛入行時我對攝影與燈光都還很萌懂，林
要做的事情就是在最短的時間內，了解導演
炳存導演當時正要拍攝范曉萱一鏡到底的
喜歡的拍攝方式，除了經驗之外還要預測到
MV，那時我想得非常單純就是把四個空間組
導演在現場可能會提出的更動方案，我們不僅
起來即可，但燈光師到現場才發現這樣的陳
要了解客戶“要什麼”還有他“正在做什麼”甚至
設沒有空間下光還氣得把刀片摔在地上，也
是他“為什麼樣這麼做”，如果我們分析得愈多
是因為這樣我才對攝影、燈光開始深入的研
那創造出來的成品就會更符合對方的期待。
究，並且購買 DV、鏡頭去頗析拍攝現場需 要什麼影像條件，所以我覺得跟各組的事前
除了美術設計之外，還想做些什麼事呢？
溝通與基本概念是非常重要的。
建築吧，這個事情對我來說挑戰很高，所以 我想要蓋一座房子。
搭景過程中，最困難的環節又是什麼呢？ 我天馬行空已經 20 幾年了，經驗值與執行
在忙碌的生活中，怎麼舒壓與充電？
力都具備的情形下，那做不做得出來就跟預
運動！我也有參加三鐵，我覺得運動對我而
算有關了，目前整個大環境的困難就是卡在
言已經超越身體上的反饋了，在跑步的同
郭志達 提供
117
時，我更能跟自己對話，甚至會閃過很多突
from airplanes to create unique pieces of
發的靈感，這反而是一種心靈上的提升。
art. That’s how my journey began. However I really began working in the industry after
本期雜誌的主題為『暫停』，對此你有什麼 想法？ 因為這次的疫情導致很多城市進行了封城， 而這樣的集體行為，讓我發現人類的暫停竟 然能顯現出一個空間的真實樣貌，假如我們
a friend of mine, who was an assistant for Director Joshua Lin ( 林 炳 存 ) at the time, introduced me to work on a shoot with them because the original art director vanished mid-project. At the time I just remembered thinking, why not? It was such
把人從很多場景抽離，我們更能夠細緻的去
a fancy and exciting industry to be in at
看到城市真實的面相、文理、材質，去除掉
the time, and so I seized the opportunity.
這些干擾，其實對與美術工作者來說，我們 更能發現平常不會去注意到的細節。 What are the differences between working on a music video, commercial, Kuo graduated from the esteemed Fu Hsin Trade & Art School and majored in Oil Painting and received his degree from the Department of Art & Design; after graduating Kuo started work on set for music videos and commercials and has won multiple awards for his work including recognition from the “Times Awards” and “Golden Pin Design Award”.
and film? How is the execution different? On many levels, it’s all related to interior design. However, all three genres are very different, technique-wise. You have to understand the purpose of the shoot and the camera angles, so you can accurately create a set that is suitable. For example, most commercials have a detailed shooting plan, and our job as the art director is to precisely create a set that is immaculate
Did you know as a student that you wanted to work in Art Design? How did you step foot in the industry? In school I majored in Oil Painting, which has nothing to do with film and art design. After I went to the army, it was during a time when bubble tea stores were very popular and a lot of them needed creative and unique art work to accent their stores. So, me and a couple of friends started experimenting and tried using old parts
and detail oriented. However, for a music video, our design is often influenced by whether the song is slow or fast tempo. For a fast, dance song, I would need to make sure that my set design can give the director the dynamic and energy that he is looking for. Back in the day we didn’t have any computer technology to do 3D layouts before the shoot, and so I remember I bought a DV camera and wide-angle lens so that I could see what the set looked like through the lens. For film, the requirements
118
for set design are much greater. You
photography and lighting in detail. With
have to consider the story, the props,
the DV that I bought I’d go on set and
and even the colors used and whether or
try to figure out what requirements were
not it can enhance the characters and
needed by the camera crew etc.
the emotions that need to be portrayed.
To me, pre-production communication
Working in film, the art director has an
with each department is very important.
important role to facilitate the plot and the telling of the story.
What’s the most difficult aspect of set construction?
What do you like most about your job
I’ve been doing this for 20 years, so I
or what do you care about the most?
think for me, the toughest part is not
When I first started in the industry, I
experience or execution related, but
didn’t know much about photography
rather mostly related to budget. In this
nor lighting. I remember I was working
environment nowadays, it’s always a
on Mavis Fan’s music video with Joshua,
struggle between your design and the
and he wanted to do one long-shot for
budget.
the entire music video. I was very simple minded at the time, and I thought well,
When a director has crazy imaginative
then I’ll just do four different spaces
ideas, how do you absorb and
connected together. When the gaffer
implement these ideas?
arrived, he noticed that my set didn’t
Every director thinks very differently and
allow him any space to put his lights,
have their own unique style. Our job is
and he was so angry he started throwing
to understand what the director likes,
things. That’s when I started to study
and his shooting style in a very short
119
amount of time. Aside from experience,
a conversation with yourself. It’s really
you have to be able to foresee what the
good for the soul. When I’m running a lot
director may want to change and have a
of inspiration and ideas flashes by in my
backup plan. We have to understand what
head.
our client wants, what they are doing, and why they are doing this. The more we
This issue we are exploring “Caesura”,
analyze the closer we are to meeting client
or “Pause”. What does pause mean to
expectations.
you? Because of the pandemic, a lot of cities
Aside from art design, what else do you
are under lockdown, and because human
want to do?
activity has been put on pause, we can
Architecture. I see it as a great challenge,
now see the true beauty of a space. When
so I want to build a house.
we remove humans from real life scenarios, we can more intricately see the city’s true
With your busy lifestyle, how do you
colors, design, and materials, because the
rewind and recharge?
human interference has been removed.
Exercise! I’ve even joined a triathlon
For those working in the art industry, we
before. I think exercise for me is more
can then discover the details so often lost
than just taking care of your body, but
during normal times.
rather when you’re running, you can have
郭志達 提供
120
TICK
蘇益良
LIANG SU
Our Fashion, Our Style
122
# 警消 # 朱智群
125
# 民宿老闆 #Yoanna
127
# 神職人員 # 楊炳乾
129
# 餐飲老板 # 王竇錦英
131
# 藝術家 # 周坤政
133
# 模特兒 #NING
135
# 攝影 # 陳凱勛
137
# 髮型設計師 #Julia Huang
139
# 攝影師 # 蘇益良
140
Interview 蘇益良 LIANG SU Text by 姜大帥
Photo by Liang Su
如何發想這系列作品
關於記錄性質的片子
在拍攝這次的作品時，我想回到一個更純粹
我本想全部拍黑白，可是後來不用了。因為
的狀態：不要帶助理，我自己揹著相機、背
黑白這件事情對於紀錄感，它是理所當然，
著腳架，自己去約人，去發想我要的東西，
我不想那麼矯情。我想讓人感覺更有時間的
然後拍攝。所以從行為面上，其實是從『想
紀錄。
回到純粹』這件事情開始。 而且你會發覺我這組光都很平，就是刻意在 我想回到攝影的最純粹，想從拍身邊周遭的
拍照的時刻沒什麼高反差，就是要平，平到
人開始。當我跟他們講要拍攝，他們說：來
讓人覺得好像是一種生活紀錄。我的構圖有
啊！那想拍什麼樣，現場再跟他們講。百分之百，
些也不是水平，沒有刻意抓水平，感覺這些
他們都不介意，他們覺得沒有什麼包袱。
照片就是我身邊的事。我也希望他看起來不 是那麼專業，過度專業，會讓人覺得是一種
這次的拍攝也是我第一次拍自己，我想如果
修飾和表演，我想回到一個很真實，就像你
把人拍醜（眨眼）的這件事，沒有自己的話，
眼睛看到的樣子。包括所有的場景。
就覺得自己太孬了（大笑）。
Interview
每個畫面都是由兩張相近的照片所組成的
其實，我還蠻享受在這次疫情當中，我可以
其實很好玩，是從我二十幾年的挑片經驗來
把自己看清楚，不要去把外面看的太清楚。
的，我覺得平面照片最有暫停感的狀態是：
拍攝中，我也不給他們任何指令，做什麼動
『眼睛眨到一半』。可是這種照片都是大
作，不用糾結。就像面對這個疫情是什麼樣
家看不見的、被丟掉的。因為這二十多年
的心情？如果你很煩，就事會很煩。
來，都是在做商業，商業訴求並不需要這 個東西，它要在真實和美化之間要抓一個
對本期雜誌主題『 暫停』的想法
balance 。
就暫停來說，其實我想到的是『休息』，可是如 果就休息來看，其實它又分兩個層面：你在為下
那為什麼用兩張？實際上我本來只想用一張
一個前進做準備，還是只是純粹的停頓。暫這
眨眼的。可是當有一張睜開眼睛和一張眨眼
個詞就是一個 moment，一個片段，所以我只把
的時候，會發覺這兩張有一種時間感。
當成是我停了某方面的東西，可是我某方面要
我在拍攝的時候架腳架，所有東西和場景都
前進的更多。
是不變的，唯一改變的就是眼睛。我覺得暫停 這件事，他在時間上面是有某種意義的代表。
這幾個月，我在做的事情就是整理自己，不是整 理作品，包括整理自己的腦袋與內心的東西。第
半閉的雙眼在人像攝影中常被歸類為ＮＧ
一個我想的是，這二十多年來，什麼時間是我人
片，而畫面中眼睛半閉是一個怎樣的狀態 ?
生最快樂的時候？其實這件事情我已經想了好
是對於這一次疫情很好的詮釋。其實在這次
幾年，可是因為想了想又開始忙碌，所以總
疫情中，多數人是持著比較負面的看法，會
是中斷了這方面的思考。還有什麼東西是我
去擔心。就像是把眼睛張著，把所有事情看
可以做的。
得太清楚，可當你半張半閉的時候，不用把 很多事情看的很清楚。
就像這次的拍攝，其實我也會想，要找 model 做一些比較意識形態的創作表現暫停。可是後 來發現，這都不是我要做的，因為這很多人可以 做。我想做一個比較偏向報導的紀錄。 我覺得這段期間讓我腦袋非常清晰，不會是 你丟一個主題給我，像丟根骨頭，我就像狗 一樣去追。你丟出來，我會想，我用什麼方 式走到那邊，我怎麼走過這一段時間？或是 怎麼走。
142
攝影
邊抽菸、看，走走，然後感受整個環境。如果一
我覺得這個東西可能回到更早。
去，相機就架著，開始啪、啪、啪、啪，我覺得這
其實對於攝影，我們講這是個技術活，我一
個東西不是我要的，我要的是真正感覺到這裡。
直在想他會是什麼？我做了二十多年的商業
不管是溫度也好，聲音也好。所以我從早到晚，
攝影，我認為有時候在商業行為裡，我們攝
包括曬太陽，一直到傍晚蚊子很多，到晚上全
影師只是個服務者，我只是表演者。在現場，我
黑，我才開始感受到一些東西。晚上吃飯時候，
要控場；在服務面，我要服務客戶要的東西。
吃完飯、喝酒，開始聊我想怎麼做，他們也會給 我他們的感受，然後才開始拍。開始拍好像是
其實，我們很多時候已經忘記，攝影這個東
第二次下去，第一次就只是去觀察。我現在做很
西，它的最原始、要的是什麼？
多關於土地與生活環境的議題，我都會提前去。
我覺得紀錄當下會是攝影最原始、最純粹的
就像拍這次『暫停』的每一個人，我都會提前到
那個的目的。
與拍攝者交流，感受環境與氛圍。
創作讓人跳脫慣性思維
影響你的創作
在行為上面，我自己會把在創作上的行為，跳脫
安 東 尼· 葛 姆 雷 - 靜 止 中 移 動（Antony
工作的行為模式。因為我覺得當你行為模式是
Gormley Still Moving）。我在上海看到的展，
一樣的時候，其實你就是一樣。有上過跑步機
是一系列的雕塑。他用金屬，雕塑成人型。
吧？我們有時候跑完之後開始用走，走到最後
他也把很多人型放在海中央拍照，然後放在
很慢的時候，有些人會倒著走一下，讓腦袋
街上拍照。香港的某個街頭買了他的作品，
不要一直是往前，因為下跑步機的時候，走
就放在那。當你進到展場觀看這些作品，會
路會有點晃。
有一種很感動的事情：他是你生活的每一個 情緒，懺悔、開心 ...... 每個人是不一樣的。
我覺得，行為模式不是改變一次你就有感受，你 要改變很多次。比方說我自己在創作，我的行為
這個展讓我想法上有些改變，讓我更想去做
模式都在改變。每一次創作，助理就問：要不要
一些跟人性有關的作品。我更確定所有的藝
準備什麼？我會說：都不要。因為我說，你需要
術，不需要複雜，反而是要『簡單』，可是
準備什麼、幫我準備什麼，就像發工作一樣。我
他必須讓人在裡面找到自己的投射。為什麼
不想是發工作的感覺。
會有感覺？因為我看到跪在那裡抱頭痛哭的 雕像；看到躲在牆邊，我不知道他是懺悔，
五年前，我跟方序中做了一個東西叫小花，我們
還是休息；我看到有直挺挺的樣子，也有很
去南部眷村拍照，那次拍照是另外一種行為模
謙卑的；看到的就是眾生相。這件事情，我
式改變。我們去一個眷村，然後在附近晃，逛了
就覺得非常簡單，他沒有精雕細琢，看不出人的
一下午都沒有拍任何東西，我只是晃。站在路
長相，可是能感覺到這一個人他在做什麼。
Tell us about the concept behind these
There’s two versions of each image.
photos?
Why?
For this shoot I really wanted to just get
It’s really interesting actually. I’ve been
back to simpler times. I didn’t want to bring
doing this for twenty years but in
any assistants. It was just me, a camera,
commercial photography, we always
and a tripod. I wanted to get back to the
choose those photos that are a perfect
roots so to say, and create something that
balance between authenticity and beauty.
I really want.
These photos however are the ones that you don’t see. They are thrown out. I
To get back to photography and its purest
thought about using just the blinking photo,
form, I wanted to shoot people around me.
but when you see both photos at the same
It was 100% spontaneous on set but they
time, it can better portray “time”and “a
didn’t mind. No pressure no baggage. This
moment in time”.
time’s also the first time I shot myself. I
I used a tripod for this shoot, and
figured, if I wanted to make someone ugly
everything doesn’t change except for the
(wink) I might as well man it up and shoot
eyes. I feel like a pause in time symbolizes
myself. Hah~
many things.
Is this documentary photography?
What messages are these photos trying
I was thinking about shooting all black and
to tell?
white photos but then I changed my mind.
It’s the perfect interpretation of the
Black and white seems to make it obvious
pandemic. Many people look at what’s
that I’m documenting a space in time,
happening with negativity or they choose
but I didn’t want it to be so intentional.
to open their eyes and analyze things
You’ll notice that the lighting is quite flat. I
too intricately. When your eyes are half
wanted to refrain from high contrasts and
open, or half closed, you don’t need to
symmetry. These photos capture things
see things too clearly. To be honest, I’ve
around me so I wanted it to look less
found gratification during these hard times
professional, because then people wouldn’t
because I chose to look within myself, and
view it as putting on a show or lose that
not at the outside world.
authenticity.
During the shoot, I didn’t give them any
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direction at all. No fuss and no over-
people throw ideas at me, I want to be
thinking things. This is how we should view
able to think for myself, and to decide for
the pandemic. If you are irritated then
myself, how I’m going to interpret it and
everything will be seen as an irritation.
how I will get there.
What does “Caesura” mean to you?
What does photography mean to you?
It means rest or taking a break. There’s
Photography to me is like skilled labor. I’ve
two ways to look at it. You may be
been doing commercial photograph for
resting to prepare for what’s coming
twenty years, so to me, photographers give
up ahead or merely taking a break. The
a service but at the same time they are
word pause seems to be connected to a
also performers. In the studio I have to be
moment, or fragment in time. I see it as
able to handle the entire situation. I have to
stopping something, but moving forward in
be able to give the client what they want.
something else. Sometimes, we seem to forget what In the past few months, I’ve been
photography means in its purest form.
reorganizing myself so to speak.
I believe that documenting a moment in
Reorganizing what is in my mind and in my
time, is perhaps its truest purpose.
heart. I’ve been asking myself, what makes me happy? I’ve been asking myself this question for many years, but then work
How do you create with an open mind?
gets busy and I put it on hold. I want to ask
I try to escape the “work mode” by
myself, what more is there for me to do?
consciously changing my behavior. It’s like stepping on a treadmill. When you’re
For this shoot, I thought about hiring a
running or walking on a treadmill, your
model, and shoot something more abstract.
mind tells you to keep moving forward.
However, I realized that it’s not really what
But if you step on it backwards, and walk
I want, because anyone can do it. I wanted
backwards for a period of time, when you
to do something that strays from the norm.
get off your head is dizzy.
Recently, I’ve found that my mind and my thoughts have become more clear. I don’t
I believe that in order to change your
want to be like a dog, who chases after
behavior, you have to keep at it for a period
a bone, once it has been thrown. When
of time. For example, when I’m working I
try to break free from routine behavior. My
What has influenced your work?
assistants will ask me whether or not they
Antony Gormley’s exhibit, “Still Moving”
need to help me prepare anything. I always
. I saw this exhibit in Shanghai and it’s a
say no, because when I tell them what to
series of sculptures. He used metals and
prepare, it’s like delegating a job. I don’t
shaped them into human form. He also
want to treat creativity like a job.
placed a lot of these metal figures in the middle of the ocean, or on the streets,
Five years ago I collaborated with Joe
and took photographs of them. It was very
Fang ( 方 序 中 ) and we went to shoot
inspiring and touching. His work portrays
in remote villages in the southern parts
every emotion of the human experience.
of Taiwan. That shoot was a behavioral
Remorse, happiness…everyone takes
change for me. We got to the village and
something different away from it.
we started just walking around aimlessly. I didn’t shoot anything the entire afternoon.
This exhibit inspired me to explore
I wanted to just roam, smoke, and take
humanity. I now firmly believe that art
in the environment around me. If I started
shouldn’t be complex, but rather it should
to shoot right away, I don’t think it would
be simple. However, you need to let people
have been what I wanted. I genuinely
discover a projection of themselves in
wanted to get a feel of the place and take
the work. One of Gormleys' work was a
in the sounds and everything around me.
sculpture that looked like it was kneeling
During dinner time, we had some drinks
in despair. I didn’t know if it was repenting
and started chatting about ideas. This
or if it was just resting. The sculpture
dialogue gave me a lot of inspiration as
was very simple but it triggers different
well. When we finally started to shoot, it
emotions in you.
was as if I re-visited the space for the second time. The first time was merely about observation. When I shoot lifestyle or nature themes, I try to get to the location earlier. Like the shoot this time, I like to go and interact with people, and get a feel of the environment and atmosphere before I start shooting.
Photography / Kuan Hair / Tyker Ho @ 黑鵝摩沙 HAIRMOSA.LAB Makeup / Hungyi Lu Style / James Zhan Star / Ian
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CCIP & CAFE 自 由 之 丘 Text by Jane
Photo by Tonnie
ABOOK’s Picks 店家提供
在熱鬧嘈雜的都市叢林裡，宛如綠洲般存在的世外桃源， 穿過如時空隧道般的巷弄，迎來的是一片奢侈的藍天， 自由－是能大口吸進這片綠意的舒坦， 希望來到這裡的人們都能感到無拘無束， 此場域舉行了各式活動與市集， 星空戶外電影院、草地演唱會、心靈療癒講座， 集結在地的各方藝文人士、地方特色事物， 豐僥這片家鄉的土地， 我們期待著， 從一點一滴的小小聚落， 慢慢茁壯成一座文化之丘。
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店家提供
為何取名為『自由之丘』，跟日本的『自由
以之後的活動選擇上，就會更謹慎把關，以
之丘』有什麼關聯？
不影響別人為主。
第一個原因是因為我很喜歡東京的『自由之 丘』，每次去日本都會特地前往，穿梭在街
怎麼會選擇開設在地點如此隱密，而非顯
道巷弄中，體驗街上的每一間特色小店、咖
眼、交通便利的地方？
啡廳。第二個原因是因為我喜歡『自由』這
當初選擇回木柵開店是因為我本身是木柵
個詞，想要打造一個自由自在的空間，是舒
人，希望更了解自己所成長的地方，但我找
服的、不受拘束的，可以坐在桌椅上、也可
了很久都沒有滿意的地點，我的理想環境是
以坐在草地上、想坐就坐，想躺就躺，用你
希望有公園的寬闊、有歷史痕跡的老房，最
最舒適、最自在的方式！
好有個戶外區，我喜愛有花草林蔭的空間。 就在我一無所獲之時，走到了這個地方，有
您認為什麼是自由？什麼是不自由？
老房與偌大的戶外空間，一眼望去，這就是
大家對自由的定義是做自己想做的事，但我
我所屬意的空間，加上腹地大，可以拿來開
覺得應該是以不影響別人的前提下做自己想
咖啡廳，同時又能在草地上舉行一些講座、
做的事，所以談到開店，我希望以不影響在
展覽，何樂而不為呢？
地環境為主。 有一次音樂演出沒和表演者確認曲風，樂團
在空間運用上有什麼規劃？
到了現場，音樂一彈下去，是重金屬搖滾 ...，
我們不想改變原本的樣貌，保留了當初的建
當然後果可想而知，接到許多居民投訴，所
築結構，頂多就是重新粉刷與陳列傢俱。
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像是圍牆上的畫作，都是舉辦現場活動，藝術
轉成為我們的優勢與特色。所以我花了很多時
家當天留下來的即興創作，所以整體風格是很
間，打造一個宛如時光隧道的小巷。來尋找我
多元化且極具特色的。
們！你就必須穿越隱密的小巷，當你勇敢地踏 進來，你會看見一片綠地與天空連綿著的秘密
經營期間是否有哪些有趣的事情可以分享 ?
小天地！
原本以為開在巷弄裡，沒什麼人會經過與知 道，但有趣的是，這個空間原本就是當地人會
希望『自由之丘』是一個什麼的空間、未來的
穿越的捷徑，而在採訪當天，不少當地居民就
方向與目標是？
騎車穿過咖啡廳，形成一個非常特別又有趣的
我們所在的木柵地區，其實是蘊藏很多資源的
景象。因為每天待在這個空間，默默成了鄰里
地方，只是需要你慢慢的發掘。
觀察家，看見誰幾點上班，今天怎麼晚下班
我認為地方創生，不單只是地上的老建築，很
了？誰的包裹寄放在這，或是跟鄰居聊聊天，
多是藏在這片土地下的底蘊與氣息，所以這裡
算是一間敦親睦鄰、跟社區緊密連結的店家。
不單只是間咖啡廳，是希望能把『自由之丘』 打造成木柵在地的藝文中心，用年輕化的經營
與一般店家最不同的地方在哪裡？
模式，將這裡的歷史文化推廣及延續下去。
很多人會問你怎麼把一間咖啡廳開在這麼隱秘
你們常舉辦一些藝文活動，其合作的目的與選
的小巷？印象中的咖啡廳，應該要開在人來人
擇的標準？
往的街道才有人潮。但這就是我們想與一般咖
我們歡迎所有類型的活動，在此之前辦過了品
啡廳做出區別的地方，把大家視為的劣勢，扭
茶會、音樂會、座談會、電影會、流浪動物市
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集 ...... 等等，但目前最花心力的是推廣在地文 化，希望我們空間能與在地文化更多結合。 以之前舉辦過的憂鬱講座為例：講座的講師也 是店裡的客人，再一次的交談中，談論到都市 人或多或少，心理總暗藏著憂鬱情緒，這裡像 是城市中的綠洲，我們舉辦了憂鬱講座，讓有 類似困擾的朋友，可以在這裡找到出口。
本期雜誌主題為『 暫停』，它也許是一種未完 成、靜止、剎時的狀態，請問對此您有什麼想法？ 『暫停』這個詞其實也是我們想要傳達的。人 在急急忙忙時，很容易錯過許多事，在完成一 件事情之前，最難能可貴及有趣的就是過程， 如果在這過程中，你只是為了達成目的的埋頭 苦做，卻錯過了享受它的過程，其實很可惜。 所以我們希望來這裡的人，他必須穿過條條巷 弄。那些沒來過的人其實會卻步，怕走錯，需 要勇氣踏進這條時光隧道，你越往裡面走，你 會越與現實、工作、都市抽離，進到這裡，你 能短暫的把這一切拋離，拋在前面的那條路上， 進到這裡，點杯咖啡、看本書，好好地喘一口 氣，休息休息。 等 你 準 備 好， 再 走 出 去、 面 對 一 切，Go fighting!
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Amidst the hustle and bustle of the city, There’s a green oasis situated within, An alley through the tunnels of time, Leading you to luxurious blue skies, Freedom- you can smell it, breathe it The CCIP&CAFE holds movies nights, summer concerts, and spiritual workshops; different people from various backgrounds come together, and embrace the land they call their hometown. It’s like a cultural hub. Growing and expanding, bit by bit
like the term “freedom”; I wanted to create a carefree and comfortable space that’s not bound by any restrictions. You can sit on the chairs, on the grass, you can lie down, and do whatever you want.
What does freedom mean to you? Most people interpret freedom as being able to do what you want to do. However, freedom to me should be based on the premise that what we are doing does not
How did you come up with the name for
effect others. When I opened the café, I
your cafe? Does it have anything to do
wanted it to have as little impact on the
with Tokyo’s Jiyūgaoka district?
environment as possible.
I really enjoy visiting Jiyugaoka in Tokyo;
One time we invited a band to perform at
every time I’m in Japan I always make an
our café, without asking them what kind of
effort to go there. Every shop and café in
music they played. It turned out they were
that district has so much character. Also I
a heavy metal band, and we received a lot
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of complaints from neighbors because of the noise. Since then, we have been more careful about what kind of events we hold at our café.
How did you decide on this location? It’s very secretive, yet quite convenient? I’m originally from Muzha so I knew I wanted to come back here. It took me a long time to find this place; I knew I wanted a place with a garden and perhaps an old house with a lot of history. Upon chance I came across this place while walking around in the neighborhood. It’s exactly what I envisioned; the space is big enough for a coffee shop, yet it also has green space that is perfect for exhibits and events.
Tell us about the design and arrangement of the space? I didn’t want to change the original aesthetics too much. I wanted to keep the original infrastructure. All we did was repaint the walls and put in some furniture. The paintings you see on the walls are all leftover pieces from events we did with different artists. The overall look of the
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space is very unique and diverse.
to come through these secretive alleyways, but when you do, you’ll find a secret world
Since opening shop, has anything
with beautiful greenery and blue skies.
interesting happened or are there any stories you can share with us?
Future plans for CCIP & CAFÉ?
Our café is in the alley so I originally
Muzha is abundant with resources and
thought that nobody would know about
interesting spaces but you have to take
us. However, it turns out that this alley
time to discover them. I believe that in
is often used by locals. I’ve become like
order to bring a place to life, it’s not just
a neighborhood observer; I know when
about restoring the architecture, but you
neighbors get off work, or when they get
have to unearth the innate characteristics
home late. I chit chat with the neighbors
of the space. So, to me, this place is not
quite often, and everyone is very friendly
just a coffee shop. I hope that we can build
with each other. It’s a very close-knit
this place into a cultural center and a place
community.
for dialogue between the new and the old, so that we can preserve the history while being sustainable.
How is your café different than others out there? A lot of people ask me why I chose to
You hold a lot of art and cultural events.
open a coffee shop in such a hidden alley.
What’s the purpose behind it?
To most people, coffee shops should be
We welcome all sorts of events; we’ve
located where there’s a lot of foot traffic.
done tea tasting events, concerts,
However, that’s exactly why I wanted to
workshops, film viewings, and fundraisers
be different. I wanted to reverse things
for animal welfare groups. Our focus
and turn disadvantages into a unique
now is trying to promote local culture,
advantage. I spent a lot of time trying to
so we hope that our space can be more
turn this space into a place that takes you
integrated with local culture.
back in time. In order to find us you’ll have
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In the past we did a workshop on
are ready and recharged, we hope you can
Depression. The speaker was a customer
leave with optimism and energy to face life
of ours, and during a conversation, we
and all its challenges.
realized that most people in the city suffer from some form of depression or dark emotion. Our cafĂŠ is like an oasis in the city, so I wanted to do this workshop and give people an outlet to express their emotions and hopefully find some peace.
What does â&#x20AC;&#x153;being put on pauseâ&#x20AC;? mean to you? When people are busy going about their lives and working towards their goals, they tend to forget that the process is just as important as the outcome. Many people forget to enjoy the process because they are so focused on the end result, which is unfortunate.
So, I hope that people who come here, when they pass through these hidden alleys, when they get pass their doubts and fears, they will see that there is a light at the end of the tunnel. You can come here, order a cup of coffee, read a book, take a breath of fresh air, and just chill. Once you
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Our Fashion, Our Style
S t a l l e d
S i n n e r
View Video
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Dangerous Times
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To be bad... and even more bad
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Accusations are too deliberate a n d s c h e m i n g No traps can tie me down Yo u r j u d g m e n t s a r e t o o s i n c e r e Yo u r p u r s u i t t o o o v e r - b e a r i n g
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Stop that path towards Sin and punishment
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From-
Reader From Reader
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Article by 願枘
Photo by 罗卜
除夕的前幾天。我們在沙溪，在武漢人開的
去吃飯，餐廳裏空蕩蕩的，吃飯的只有我壹
餐廳吃飯，討論武漢有幾個人感染的事，
個，做飯和端茶水的，加起來還有兩個人。
網上醫生說出來，當成謠言處理了。餐廳的
老板特別熱絡地跟我說：“最近生意怎麽樣？”
老板說，兩個禮拜前才從武漢回來嘛，沒有
我們誰也沒再提任何關於肺炎的話題。
網上傳的那麽嚴重，街上還是照常上班的上 班，沒人戴口罩，只是聽說小孩的學校都要
初二起，沙溪封城，城管開始街上勸說已經
消毒，進教室要換鞋。
湧入沙溪的遊客原路返回，同時停止了客棧 接受住宿的權利，只有常住的外地人被允許
那時候我們誰也沒想到世界會變成今天這
留下來。走在街上最多看到的就是城管，他
樣，整個世界都變掉了。
們帶著口罩，三五成群，帶著懷疑的目光打 量每個陌生臉孔的外地人，看到我們在踢毽
過完年，他們的那家餐廳當然也沒有恢復營 業，後來又過了好長時間，允許營業了，我
子，會有人上來勸說：“不要聚集。”
From Reader
車行到田野裏，竟也沒有 什麽人務農，古鎮和周邊 都空蕩蕩的，讓人仿佛置 身於壹幕遊戲場景。到了 村子裏，方看到許多本地 人圍坐，在自家門口抽煙， 曬太陽，打牌，對戴口罩 的我們側目而視。和新聞 裏描述的緊張場面，宛如 兩個世界。 最大的問題是菜難買，城 管進入菜場，勸本地農戶 也不要來賣菜了，因菜場 最容易引起人流聚集。
聽聞此消息，我媽去超市囤積了大量的雞蛋
城市內外，人們經歷著無可挽回的分離。醫
和面條，牛肉、豬骨頭還有雞冷凍在冰箱裏，
生裏厄眼看著壹個個病患在眼前死去。墓地
沒想到做我們的冰箱，也會有這麽辛苦的壹天。
不夠用了，開始挖大坑集體掩埋，坑也無處
疏散和囤積，成了疫情背景下的關鍵詞，讓
挖，開始征用公墓。直到公墓也不夠用，屍
人聯想起許多看過的末日僵屍片，只是沒有
體就載在火車上，運往城市盡頭的焚化爐進
了僵屍圍城，我們是看不見的病毒困住的。
行火化。城市裏的居民知道了，偷偷在夜裏， 從高處往下，往火車上拋灑鮮花。
我開始重讀《鼠疫》。加繆筆下的阿赫蘭， 此刻看起來像我們所經歷之事的隱喻。
裏厄在見過了這麽多死亡後，第壹次壹分壹
壹開始時，老鼠吐血死在過道上，樓道的管
秒地看著壹個孩子在他面前掙紮，因接種了
理員當是惡作劇。可壹旦鼠疫蔓延，自欺欺
實驗的血清，他的死亡被延緩，痛苦被更具
人的信心到萬念俱灰的絕望，仿佛只壹夜之
象地放大：“加之於無辜者的痛楚實際上從來
間。阿赫蘭封城了，這如同給事態的嚴重性
性質都壹樣，即是說，都是令人憤慨的恥辱。”
蓋章認證。
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A few days before the Lunar New Year, we were
changed. After the New Year holidays, of course,
in Shaxi, Yunnan, having food at a restaurant
their restaurant didn't reopen. It remained closed
opened by someone from Wuhan. We were talking
for a very long time and wasn’t until recently was it
about the outbreak in Wuhan and how the doctor
allowed to open. When I went in, the restaurant was
who exposed the news online was treated as a
empty. I was the only customer. The boss asked me
rumormonger. The restaurant owner said he just
very kindly, "how is your business doing?” Both of
returned from Wuhan two weeks ago and it wasn’t
us didn’t mention anything about the virus.
as serious as the internet portrayed it to be. People were still going to work as usual, and no one wore
Since the second day of the New Year, Shaxi was put
masks.
under lockdown; law enforcement officers began stopping tourists and asking them to leave the city.
He only heard about schools requiring routine
Only residents were allowed to stay. Walking on
disinfection, and students had to change their
the street, most people wore masks. The officers
shoes before entering the classroom.
seemed to look at each person with suspicion, and told people not to gather.
At that time, none of us thought that the world would become what it is today. The whole world has
When we drove to the rural parts of town, it seemed
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like a ghost town or a scene from a video game.
My mother had gone to the supermarket to stock
Farmers were no longer tending to their fields, and
up on eggs, noodles, beef, pork bones and chicken.
the ancient towns and surrounding areas were all
She froze them in our fridge.
empty. Isolation and hoarding have become key words used When we got to the village, we saw many
in this Covid-19 pandemic. It’s like a scary zombie
locals sitting around their front doors, smoking,
movie, except without the zombies, but rather the
sunbathing, playing poker games and looking
enemy is an invisible virus.
suspiciously at us in masks. Compared to all the news you saw on TV, it was like two worlds.
I began to re-read the book the “Plague” by Albert Camus. In the beginning of the book, a
The biggest problem about the lockdown was that
mouse vomited blood in the corridor and died. The
food was difficult to buy. The law enforcement
manager thought it was someone playing a joke
officers went into the markets and advised
and didn’t think much of it. But the plague soon
local farmers not to go anymore to avoid large
spread; confidence soon turned into despair. In just
gatherings.
one night, Akhran sealed the city, and a grave and dire situation arose.
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Inside and outside the city, people were dying. Doctor Leo watched patients die in front of his eyes. The cemetery did not have enough room, so mass graves were dug. The cemeteries couldnâ&#x20AC;&#x2122;t handle the influx of bodies and so the bodies were taken by train to an incinerator at the city borders for cremation. The citizens mourned and secretly threw flowers on to the train to say goodbye. After seeing so many deaths, Doctor Leo had to watch another child die in front of him. The child had been given an experimental vaccine, but it only delayed his death, and magnified his pain. "The pain added to the innocent was in fact of the same nature, that is, an outrage of shame."
190
CAESURA
暫
停
From Reader
Photo / Text by Wãng Chia Yüan 王嘉元
192
這一組攝影系列，我用了過期的攝影底片，並自己在家手沖成的作品
沖完的底片被我放在抽屜的角落中大約兩年的時間，我喜歡過期底片給我 像畫一樣的質感，我喜歡手沖的溫度，更喜歡這種被遺忘的暫停感。 我不知道什麼時候會把底片拿來掃描，但我喜歡每次看到照片瞬間的 驚呼感，也喜歡回想那時後的時間與空間感，就像是把過期底片的過 去、拍攝的當下、與看到照片的未來，一起暫停在同一個時空之中， 我認為這種感覺非常的有趣，也不容易被形容。 這是在法國東部靠近德國的小鎮拍攝的，幾年前的聖誕節我被邀請到 女友的父母家作客，平安夜的晚上下起了大風雪，凍到隔天早上我都 不想從床上爬起來，我轉頭往窗外看去，那白茫茫的景色吸引著我的 目光，下午時，我決定與女孩們一起到附近的田間小路走走，一路上
193
都沒有任何人，植物們被雪覆蓋著，道路、房屋、田地無一倖免， 我仰望著，在我的視線範圍內的世界，在一個晚上變成了雪白色 的， 我們走在路上，尖叫著，那冷凍的空氣進入了我們的身體， 並以煙的形式脫離，那瞬間，我感受到了一種寂寞感，而寂寞給 了我平靜，這是一種不真實的感覺，像是這世界停止了運轉，生 物們也以同一種形式存在者，我拍著照並希望可以暫停下這種感 覺，今年無意之中在書櫃裡找到了這捲底片，掃描後的此刻，我 又被畫面吸引住，像是我的當下被暫停在 ...
不知道是哪個時空之中 .....
194
For these photographs, I used expired film and developed them myself at home. After the process , I placed the film in the corner of the drawer for around two years.
I like the the painting texture that the expired film gave me. I like the temperature you get from developing your own film. Most of all I like the feeling it exudes, the feeling of being forgotten. I donâ&#x20AC;&#x2122;t know when I will scan all these negatives, but I'm in awe every time I see these photos. It makes me recall the moment and space at the time the photo was taken. It
195
could be something I might not even remember, if it weren't for the photo. It's like a combination of the past and present. The past when you took the photo, and the present when you are viewing it. These feelings are hard to describe. But that's the power of photography.
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These photographs were taken in a small town near Germany in Eastern France. I was invited to my girlfriend â&#x20AC;&#x2122;s parents' house as a guest a few years ago on Christmas Day. It snowed heavily on Christmas Eve and froze until the next morning. That day, I didn't even want to get up from bed. I stuck my head out of the window. The white scenery attracted my attention. In the afternoon, I decided to take a walk with the girls in the nearby field.
198
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200
There was no one along the way. The
entered our bodies and escaped in the
plants were covered with snow, and
form of smoke.
no roads, houses, fields were spared. I looked up, the world before my eyes
At that moment, I felt a sense of
turned into snowy white. We walked on
loneliness, but that loneliness gave me
the road and screamed; the frozen air
peace. This is an unreal feeling to me.
201
It seems like the world has stopped
images. It was me, paused forever, in
functioning, and all the creatures were in
a space and time of which I don't even
it together. I took these pictures in hopes
remember...
of docmenting this feeling. I accidentally found this film in the bookcase this year. I was drawn to these
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