:: PARTIME ISSUE 11 VOYEUR
WORK IS PART TIME LIFE IS FULL TIME Partime Issue 11 窺視 Voyeur
前衛時尚影像生活誌， 要帶給您最獨特的視野。 長久以來強大的包容力使得這片土地上充滿了異國的色彩， 美言之：就是國際化。各種平面媒體的國際中文版搶灘上 市，打開了我們的視野，但也讓我們更忽略了自己一些些。 「重新提醒」是PARTIME拓時誌的創辦初衷，提醒我們自己 的存在與價值。我們也試圖將PARTIME拓時誌期許成為一個 創作的平台，使得本土的創作人、設計人、藝術家…等，可 以在這個平台上得到展現，讓我們可以看見自己的力量，也 才能肯定自己的價值。 PARTIME拓時誌就是你、我的雜誌，我們更希望它成為名符 其實的國際英文版，從這裡出發，走向全世界。
WWW.ABOOK.CC PARTIME 森之意文化事業有限公司 104 台北市內湖區港墘路221巷39-1號 Tel : (02)2657-1666 Fax:(02)2657-1555 Email : joshualin@me.com / ting740802@yahoo.com.tw Website : www.abook.cc 監製 Supervisor | 張艾嘉 執行 Executive | 林炳存 Joshua Lin 創意總監 Creative Director | 尹培袞 Sean Yin 發行人 Publisher | 賀錫敬 Leo Ho 總編輯 Editor in Chief | 廖曉喬 Michelle Liao 副總編輯 Executive Editor | 林特 Chun.P Lin 翻譯編輯 Translation Editor | 姜怡凡 Annie Chang 英國特駐 Overseas Editor | Linda Cooper 採訪編輯 Assistant Editor | 李佾樺 Tim Lee 視覺主編 Design Director | Alex Chang 視覺編輯 Visual Editor | 王培華 Hingis | 陳宛均 kye 攝影總監 Photography Director | 林威呈 Wei Lin 攝影編輯 Photography Editors | 林特 | Eddie Chau | Linda Cooper | Cecile 造型總監 Styling Director | 林夢薇 Monfi Lin 編輯策劃 Executive Director | 趙欣、桑科 廣告行銷統籌 Advertising Director 蔡詠綸 Diana Tsai Mobile : 0955-289-298 E-MAIL : dianatsai888@gmail.com 高見文化行銷股份有限公司 經銷服務 Team | 陳錫龍 TEL : (02)2668-9005 ext. 3134 FAX : (02)2668-9790 E-MAIL : oldblack.ch@mail.wds.com.tw 顧問團隊 | 陽帆 | 廖鎮漢 | 詹仁雄 | 林知佑 色彩管理 王振昇 | 行政管理 張騰元 總務管理 李佾樺 | 執行公關 星予公關
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:: PARTIME ISSUE 11 VOYEUR
目錄 INDEX
064
PARTIME GAZING _ 窺視中的Akif Hakan ― The Voyeurism of Akif Hakan
006
驚魂計 ― A Tribute to Alfred Hitchcock 失落的模特 ― The Lost Mannequin 窺視的物件 ― The Object of Voyeur
PRECTIVE _
下雨的倫敦天-聖保羅區 ― A rainy day London Town -St.
和平、希望與愛 ― 施哲三棄醫從畫的傳奇
Paul, London
NELLA ― 從科學的角度來說，真正助眠的是數學，
城市偷窺者的自白 ― Confessions of an Urban Voyeur
不是床邊故事。 伍佰 ― 放開你的腦袋
010 PARTIME EXPRESS _ 高鞋奇觀 ― Shoes for Exhibition and Natasha Marro Sorapol的真實色彩 ― Sorapol “TRUE COLOURS” S/S 2012 前衛時尚派對「馬戲團」― This Is Circus 5th Anniversary @ Cafe De Paris 追憶似水年華 ― A la Recherche du Temps Perdu
024 PARTIME FASHION _ ㄧ 窺 究 竟 ― A Voyeuristic Eye 偷窺者的午茶時光 ― Peeping Tom’s Afternoon Tea
092 050 PARTIME ATTITUE _
TAIWAN TALENTS _ 窺見另一種生活 - 周書毅 ― Mr. CHOU AND HIS JOURNEY 目擊對撞現場 - 再現，交換與和諧 ― PARTIME LIVE - Kollide
大不列顛炫耀指南 : 另類世界小姐 ― The British Guide To Showing Off: Andrew Logan and his “Miss Alternative World” 時尚造型的魔術師 Julius Reuben ― Julius Reuben, The Magician of Fashion styling 創作如同精靈般地呢喃細語 ― Nao Art made by Nao
034
096
COVER STORY _
PARTIME SPECIAL _
八零年代的台灣前衛時尚 ― Fashion of the 80’s in TAIWAN
PARTIME SPECIAL - Transcendent Fashion
面具下的虛偽 ― The False under the Mask
徵 - Call for submissions 3
:: PARTIME ISSUE 11
DEPUTY EDITOR-IN CHIEF 攝影是為了拍下喜歡的事物
Photography is about capturing what you love 是的，鏡頭對著喜歡的事物，框起來，按下快門，就可以帶回家了。看見喜歡的風景，拍一下，看見喜歡的人，拍一下， 看見好吃的食物，也要拍好幾下，才開始動手，這是現代人才能享受的虛擬物質生活，有圖才有真相。 當拍照變成了工作，這個道理也沒有變，只是喜歡的事物不會自己坐定擺好姿勢等著，你得自己去把喜歡的事物放進框框 裡，然後放成自己喜歡的樣子，想辦法把不那麼喜歡的事物變得喜歡，而且要讓大家也喜歡才行。 拿著相機是一件好處很多的事情，相機可以遮蔽攝影者的眼神和表情，所以人們不會知道你其實把鏡頭對在哪裡，就像巴 黎鐵塔下的觀光客，總是可以偷拍個幾張情侶熱吻的照片，拍照的時候，你可以放心地躲著，然後窺視著這個世界，並且 將窺視的內容帶回家，像是你愛著這世界的證明一樣。 每天每天，不管拿的是最新最高畫素的高級單眼，智慧型手機，還是裝著電影底片的古董老相機，把眼睛喜歡的事物拍下 來，過了一段時間回頭看，你會發現自己擁有很棒的寶藏。 不知道徐志摩會怎麼想，我們每天揮一揮衣袖，就把雲彩打包回家了。-endThe camera allows you to capture what you love and bring it home. Whether it be a beautiful scenery, someone you like, or food you enjoy eating, when you take the picture it objectifies the subject of the picture and creates some sort of visual proof validated in our consumerist world. When photography becomes your job, this idea does not change, just that what you like may not be placed in front of you, but rather you must create it. You have to make what you put in the frame appealing to not only yourself, but to everyone else. There are many benefits having a camera with you. A camera can hide the photographer’s emotions and gaze. No one really knows where your focus is pin-pointed. It’s much like the Eiffel Tower, where you can hide below and take pictures without being seen. It’s voyeuristically looking at the world and bringing that world to you, as something you can keep forever. Every day, whether you have the latest single-lens camera, or whether you are using your smartphone or polaroid cam, if you capture what you see and what you love, you’ll look back and feel like you have a collection of priceless treasures that you wouldn’t trade for anything. -end-
副總編輯 林特
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Photography Linter
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Photography & Text NELLA
:: PRECTIVE
從科學的角度來說， 真正助眠的是數學，不是床邊故事。 一首好聽的歌曲往往能夠跨領域且跨年齡層地去感動人。 有的人受感動之後買了CD； 有的人受感動之後買了吉他。 多年後… 有些人抱著棉被在馬路上排隊買演唱會門票； 有些人抱著腸胃炎躲在錄音室裡熬夜修VOCAL。 我身為後者，大腦的某一塊一直沒長大； 與其在狂歡之後收心回到朝九晚五的鞠躬哈腰， 我更希望把天真的夢想與殘酷的現實用 黑洞理論交織在一塊。
老衲我都快30了，音樂被打槍時仍然會幻想用魔貫光殺炮 擊殺對方。
而這跟我高中用七科不及格去突顯自己英文成績好是不一 樣的情況。
社會分成黑道與白道。
扯了這麼多，現在我們入一下正題。
琴鍵也分成黑鍵與白鍵。
今天我們要窺視的是來自1960年代德國老兵的裙底風光。
不會彈鋼琴如我，不到必要盡量都不會去碰黑鍵，
它原本的面貌很霸道，體積能佔滿一整張兵乓球桌。
因為碰下去往往之後會很難收拾。
後來為了將就近代錄音生態，被改裝減肥成一台PS3的體積。 而它的內部也依照舊時代電動玩具的概念做成插卡式，方便維修。
面對那些昂貴的器材，我也是如此睜一隻眼閉一隻眼。
在這個非黑即白的0與1構成的世界裡長大，我很難體會一顆電容、一段線材、甚 至連接它們的銲錫型號居然會對錄進去的聲音造成如此大的影響。
前陣子因為朋友的關係，來到了MAFIA 錄音室，認識了小葛。 初來乍到，我巡視了一下貴寶地。 倒不是確認逃生路線，乃因為這裡的一切如此吸引我的視線。 關於錄音器材方面的知識，其實我跟一般民眾沒有兩樣；但是從對方使用一只
我請小葛略過許多型號方面以及錄音工程方面的資訊，因 為希望大家醒著把我的文章讀完。
Converse 紀念款鐵盒來收藏他的麥克風，我們可以知道此人的品味獨到，不屑
於是我打斷小葛的句子，並問他此機器入手於何處。
與相機玩家同流合汙使用「防潮箱」，這種一點設計感都沒有的產品。
葛組長眉頭一皺，我立即知道案情並不單純。 他透出一抹不知是憤怒還是輕蔑的笑容，嘴裡一顆一顆地吐出了故事的主角:
他拿著螺絲起子，打開器材的外蓋時彷彿打開了一本童話 故事書，在昏暗的燈光下，我坐在自己唯一敢碰的靠牆的 那張沙發，豎起耳朵。
「e-bay上的賣家，來自田納西的麥特」 他說這些骨灰級的機器通常價值不斐，
在電子產業發達的現代，我們已經能把數十年前如半個手掌大的電路，縮小至比
大多數已經停產全球數量有限，
自己的手指甲還要小。一切如此精緻，生活如此奈米。
擁有狀態良好之機器的人通常也沒想過脫手。
但是在藝術的世界裡，美麗並不是用毫無誤差的精準就能換來的。
於是有很多物美價廉的情況來自於對方家裡的長輩擁有此機器但已離世， 子女拿來車庫大拍賣並被其他好此道的人以低價收購。
比如說LOMO相機；比如說正片負沖；比如說速食店加十 元只平均多那麼幾根的中薯變大薯。 在錄音工程的世界裡，有更多人崇尚上個時代的種種傳奇。 真空管的溫暖，變壓器的肥滿。 當時的人們利用當時科技的不完美，去修飾甚至美化演唱者的聲線。 6
而其他的情況來自於機器本身已經不能運作，但由於台灣代工產業一把罩， 在價錢合理的情況下是值得購買回來用煉金術來進行重生儀式的。
如果周董買了一台蝙蝠車，運到台灣發現只有三個車輪。 打電話回去議論，對方還跟他說「三個輪子就可以開了」
:: PRECTIVE
這種話，他一定會很生氣。因為這種東西你不會忍心買一 顆 HONDA 的輪圈掛上去將就。 概全的扭曲心理。
之後我又透過網拍買了兩台一模一樣的這款機器，將裡 面仍完好的部份取出來，拼湊出現在給你當MODEL拍照 的這台。小葛講完這句，我對他的尊敬又硬生生的多了 一甲子。
我其實可以很直白的寫「種族歧視」四個字，但是我想要讓自己的文章看起來有
作編曲的人為什麼要會一點混音；
深度一點，而且我不喜歡寫中國人被歧視的故事，李小龍說我們不是東亞病夫，
作混音的人為什麼要會一點焊接；
我不能同意他更多。
吉他手家裡為什麼要擺這麼貴的錄音器材。
小葛潤了潤喉，開始從網拍的角度灌輸我種族主義造成不同地域人種間很多以偏
為什麼我每次幫女生作歌都要用東廠公公的聲音自己錄DEMO。 他說道，歐美的許多大城市人種混雜，大家早就習慣與亞洲人來往，很多文化上 的差異造成的稜角也就沒有這麼刺眼。
因為起初我們都自以為是搞藝術的，以為我們賣的是想法。
但是美國許多中部或是南方的偏遠城市，以及一些東歐國家，常常會在拍賣的網
但是到最後我們都不得不承認自己做的其實是服務業。
頁上寫明不願意與亞洲人交易。
買肉就是要送一點蔥蒜，買柴魚粉就該附一本小食譜給人家。 人家開口要，我們就要給，不然對方就掉頭找別人要去了。
一開始他以為這純粹是交易上不願意與英文不流利的買家盧來盧去。 直到他發現買回來的機器裡面少了些許零件，接線上有幾個很新很漂亮的切口。
一路從錄音助理做起的小葛，走到錄音室外的陽台點了根菸。 述說自己的音樂生涯的開始，是晚上做錄音助理，白天在餐廳煮飯。
東方人在電腦程式上的造詣日漸被印度超越，但是近代幾 個最驃悍的電腦入侵案例仍然是由我們黃種人隻手遮天。
身為那買了CD又買了吉他的他； 身為那聽演唱會也熬夜修VOCAL的他。
小葛請朋友幫忙，人肉這位把駕駛艙拔走只把戰鬥機外殼賣給我們的不肖商人。
他選擇不擇手段地把天真的夢想與殘酷的現實用黑洞理論交織在自己的每個
而對方不知道哪來的聯邦調查局管道，居然查到對方的本名(麥特)
24小時。 - end-
住家與公司地址，還拍了一張對方住家的照片回來。 所以我們才會知道他叫田納西的麥特。 想當初變型金剛狂派密卡登的手下也只知道山姆的 e-bay 帳號叫LADIESMAN217 ，可見我們這位朋友的人脈以及手段之高。(雖然聽說他是使用一個叫臉書的專 業人肉網站)。 對方得知消息後隨即發現台灣網路鄉民的辦事能力遠遠大過其政府單位，並馬上 答應全額退費。
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:: PRECTIVE
和平、希望與愛 施哲三棄醫從畫的傳奇 Photography A Yuan Chang Text 李碧華
來到施哲三位於八里的靈動創作基地，伴著水岸邊的無敵美景，四面牆都掛上色彩鮮 艷的畫，一股典雅的藝術風撲面而來，二十九樓的高度，與雲為伍，激盪出蒼芎無盡 的寬闊視野，居高臨下，胸懷萬里，施哲三說，這樣開放又居高臨下，更能盡情的揮 灑，創作出千古佳作。 擁有旅美醫學博士，雕塑家，油畫家，芝加哥海嵐美術館創辦人眾多頭銜，施哲三最 愛的居住環境還是台北，八里的天泉畫室是個小型美術館。過去三十年，施哲三當了 大半輩子的醫生，這幾年，卻棄醫從畫；從前，用手術刀為人治病，現在，畫筆成了 他為人療傷止痛的工具。以真愛與和平為初衷創作真善美的作品洗滌人類的心靈，讓 施哲三歡喜沉浸在畫作的天空中樂此不疲。 初見施哲三，高大挺拔的身型，穿著高級筆挺的西裝，氣質不像印象中的藝術家，而 他的行事風格和走上繪畫這條路的過程也的確與眾不同。會改變醫途而走上繪畫這條 路，施哲三回憶，是一九九四年一天的下午，有一種莫名的靈感，令他突然很想畫 畫，但是又從來沒畫過，根本不知該買什麼樣的筆，於是，就把每一種筆都買了回 來，當完成第一幅作品時覺得很高興，第二天，便立志成為一名畫家，從此開啟了繪 畫旅程。 只是他從不拜師學藝，而是憑自己的靈感作畫，而且只要他決定的事就很難改變，開 始畫的第二年，他就將原本的賓士車換成一台廂型小巴，方便跑遍全美各地舉辦個 展。 施哲三閉門作畫，汲取當代大師如梵谷、莫內等人的風格，藝術手法日臻成熟，終 於完成個人獨特的詮釋方式，收放自如，賦予每一幅畫嶄新的生命！五年當中完成 500 多幅作品，自 1995 年迄今，施哲三陸續在美、歐、日、台舉行畫展超過 50 次， 無不引起四方騷動；芝加哥美術館的葛羅莉亞葛盧姆博士 (Gloria Groom, Ph.D.) 是法國 近代藝術鑑賞家，她說：「施哲三的油畫強烈地散發出樂觀的氣息、以及對自然和人 性的信心；他的畫就是要傳達和平、希望與愛…。」 2006年，施哲三頂著「油畫大師」光環回到昔日從醫的梅育醫學中心舉行個展，驚動 同僚。施哲三說，七十歲是常人所謂的「古稀之齡」！但自己早把年齡拋諸腦後，正 興致勃勃聯結十五個當代藝術家，擘劃台灣藝術園區的曠世傑作，準備為人生再劃一 個更大的驚嘆號！- end8
:: PRECTIVE
放開你的腦袋 Photography & Text WuBai
七月在美國做「單程車票」專輯混音時，我聽著第一首完成的歌「放開你的腦袋」， 一邊大叫：「Celebration」，「Festival」 Bill大師：「Festival？」 是的，我說聽起來就像一個慶典的場景 Bill大師：「No good？」 我說：「No No No, good good good」 我又犯了華人最會讓人搞錯的錯誤英文說法， Bill大師：「It’s no good or good？」 我：「Yes Yes Yes, good good good」 我只是沒想到，其實我寫這首歌時是想著Live演出的畫面寫的，而Bill大師讓它變成一 個慶典，當然好啊！ 人類是需要慶典的，那是生命力的表現，那是凝聚人心、釋放壓力、給人們希望，或 單純的生命讚嘆，產生力量。宗教慶典、王室慶典、奧林匹克、運動會，各種節日、 祭典，嘉年華會，大小的音樂祭，農產品節…每個都是能量向上，鼓舞與激勵。但我 沒想過我的演唱會也是慶典。之後陸陸續續好幾首都有這種「Festival」的畫面與感 覺，「都是我的錯」「單程車票」…那首「結」竟然有「胡士托」的畫面冒出來… 通常人們透過創作來尋找自己、認識自己，我也是經由這次看到我這張專輯「單程車 票」隱藏在背後我的大腦深處，那股驅動的原力。人生就是一張單程的車票，就應該 把它當成慶典。 做唱片宣傳時，媒體需要的是影劇新聞，輕鬆的花絮，實在沒什麼空間讓你落落長的 說這一堆，遇到不瞭狀況的主持人，說這個，簡直就是拿電風扇吹颱風，況且，音樂 說明那麼多，我也覺得不帥。不然，我也很想在別人問我為什麼跳火山舞時回答說「 因為慶典啊」- end9
:: PARTIME EXPRESS
SHOES FOR SHOW & NATASHA MARRO Photography David Shih Interview Meihui Liu Text Linter 林特 English Translation Annie Chang
高鞋奇觀 東倫敦在十一月初辦了一場介於時尚和藝術之間的高跟鞋展，展出各 fashion house 專 為走秀而製作的「傳奇秀鞋」，注目於服裝設計師與鞋設計師之間，為同一個概念 合作詮釋的作品。其中包括 Christian Dior 2008 春季、Christian Louboutin 2008 秋 冬、Alexander McQeen、Nina Ricci 等等，以及碧昂絲曾經在Run the World 音樂錄影帶 裡穿著、Gereth Pugh 設計的金色高跟鞋。 A shoe exhibition was held in East London back in November and not only was it a combination of both fashion and art but it was also a gathering of celebrated fashion designers and renowned shoemakers from all over.The theme was “Legendary Shoes” from various runway shows or performances. Included in the exhibit were shoes from Christian Dior’s 2009 Spring/ Summer collection, Christian Louboutin’s 2008 Fall / Winter collection, and shoes from Alexander McQueen, Nina Ricci, and a pair of golden heels by Gereth Pugh that Beyonce wore in her “Run the World” music video.
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展出設計師之一的 Natasha Marro，出身於法國尼斯，2000年 在倫敦開設第一家鞋店，在她製作鞋子的十五年間，建立不 少傑出的客戶群，知名歌手 Lady Gaga 以及英國名媛 Daphne Guinness 都是她的忠實客戶，因此 Natasha 所製作的無跟高跟 鞋成為她的標榜作品。Natasha 目前正在進行的企劃，是幫八 個不同國家的杜莎夫人蠟像館，製作 Lady Gaga 的蠟像所穿的 八雙高跟鞋。 One of the designers who were also involved was Natasha Marro. She was born in Nice, France and opened her first shoe store in London in the year 2000. In the past 15 years of shoemaking, has built up an clientele base consisting of Lady Gaga and fashionista Daphne Guiness. Natasha is currently busy with her latest project of creating shoes for Lady Gaga’s wax figures in various Madame Tussauds Wax Museums.
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:: PARTIME EXPRESS
SOR APOL “TRUE COLOURS” s/s 2012 Photography Linda Cooper Couture Sorapol Chawaphatnakul Text Linter 林特
窺探 Sorapol 2012 s/s 發表現場 Sorapol Chapwaphatnakul 出生於泰國曼谷，2006在倫敦吸收來自城市的文化色彩和自由的思考模式，於倫敦時裝學院 (London College of Fashion) 就讀，Sorapol 覺得必須要將自己的創造能力推到頂點，於是蒐集了來自全世界的豪華布料， 並以自己的獨到眼光，推出了他的個人品牌，和第一個春夏系列。作為一個年輕設計師，Sorapol 不只是設計自己的品 牌，他參與了許多藝術和文化的推動，並自己擔任品牌的創意總監，徹底貫徹自己的風格。 品牌的第一個系列 “TRUE COLOURS”，靈感來自於 Coccinelle (90年代法國女演員)，以自然、有機的對比顏色和質感， 裁製出現代前衛女性的俐落優雅線條，並且精心處理釘珠、彩繪等細節，確保布料保有鮮明的色彩，每一件單品都經過複 雜的製作程序。 Sorapol 替 Daniel Lismore（倫敦最有影響力的派對主催者之一）構思造型並製作服裝，而這場秀也由 Daniel Lismore 擔 任創意總監和秀導，並集合許多倫敦新銳的造型、化妝和插畫家，以及 Bryan Oknyansky 設計的鞋，和 Linda Farrow 的眼 鏡。整場秀在教堂裡舉行，成功營造了詭譎卻優雅的氣氛，和 Sorapol 的設計相互輝映。-end-
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Sorapol 2011 show，London
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Sorapol Chapwaphatnakul, born in Bangkok Thailand, headed to London in 2006-
Central Saint Martin's Graduate Skir Lin, Shoes created by Bryan Oknyansky, sun-
drawn to the city’s chromatic culture and free-thinking creative energy. Enrolling
glasses by Linda Farrow and illustration by Achraf Amiri and Dominico Cordua. All
at The London College of Fashion to study a BA in Woman’s wear, Sorapol felt com-
which serve to enhance and enrich the collection through their own unique charac-
pelled to stand out and further his creative abilities through the launch of his own
ter and creative vision.SORAPOL's first collection, 'True Colours' is inspired by the
fashion brand to bring across his unique vision.
story of Coccinelle. -end-
As a new young designer Sorapol launches his first collection and brand, SORAPOL, which creates long lasting items using luxurious fabrics from stores around the world. Soon after arriving in London, Sorapol styled Daniel Lismore, the face behind many of London’s successful fashion, artistic and cultural movements in recent years. He works along side Sorapol as creative director at SORAPOL, bringing his own unique style and flair to Sorapol’s work. Taking inspiration from exotic nature, SORAPOL's first collection is built up of contrasts, in the form of shapes, colours and texture. Sorapol has carefully developed natural, organic shapes, into formats that have been tailored to suit elegant, successful, forward- thinking women. Each surface is elaborately embellished with hand beading, painting and crystals, using rich, contrasting colours throughout the collection. Every garment undergoes intricate processes to ensure a high quality finish. Sorapol's first collection sees the collaboration of some of London's most talented artists and designers. Creative direction by Daniel Lismore, the show's styling by David Motta, make up by Illamsqua, hair by Yoshitaka Miyazaki, jewellery Design by 14
Sorapol 2011 show，London 15
:: PARTIME EXPRESS
CIRCUS 5th ANNIVERSARY @ CAFE DE PARIS 前衛時尚派對「馬戲團」 Photography Linda Cooper Text Linter 林特 16
開車不喝酒 安全有保障
以 Jodie Harsh 為首的前衛時尚派對「馬戲團」，從五年前就在倫敦各大小夜 Jodie Harsh's legendary gay led club night Circus presents “Erotic”. hosted by Arabel店舉辦，派對以無性別的前衛裝扮而著名。這次以「色情」為主題，在 Café De laDrummond, Viktoria Modesta, Alexis Knox with DJ's SISTER BLISS, Kris Di AnParis 又大肆地玩鬧了一番。-end-
gelis and Josh you are. -end-
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This Is Circus 5th Anniversary @ Cafe De Paris 18
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:: PARTIME EXPRESS
A LA RECHERCHE DU TEMPS PERDU FR ANCESCA MAROTTA 2012 S/S Photography Natalie J Watts Design & Styling& Art Direction Francesca Marotta Model Erika S @ Profile Management Hair Mira Parmar MUA Monika Swiatek
追憶似水年華 即將在二月倫敦時裝週嶄露頭角的 Francesca Marotta 發表了他第一個時裝系列。這個系列圍繞著「追憶似水年華」的老電 影氛圍而得到的靈感，描繪性格濃烈且堅強的女性線條，卻選用輕盈的絲綢為主要材質，同時反應了女人溫柔堅毅兼具的 兩面性。
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:: PARTIME FASHION
A VOYEURISTIC EYE Photography A Yuan Chang Make Up Mia Model Lily (PACE) Text Linter 林特 Ehglish Translation Annie Chiang
在視線對視線、目光對目光的對立搏鬥裡，你從視覺投射的主體，變為被視的客體，世界突然不 再以你為中心，你只是一個畫面裡的過客。究竟，是誰在看誰？ As glances meet, and a fight between different viewpoints coincide, you change from being the viewing subject to being the viewed object. The world no longer revolves around you, but rather you are just a visual element in a picture. Who really is looking at whom?
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:: PARTIME FASHION
PEEPING TOM’S AFTERNOON TEA Photography 林特 Chun P. Lin Style & Make Up Monfi Lin Model Maria (PACE) Lingerie LA PERLA X Jean Paul Gaultier English Translation Annie Chiang
偷窺者的午茶時光 羅蘭巴特說︰「我想像操作者的主要行動（經由相機小孔），是突襲某件事物或某個人， 我想像當他完成此舉而被攝對象並未察覺時，便是達成一項完美的行動。」 於是，偷窺者滿足地舔了舔嘴唇。 Roland Barthes once said that the subject (with a camera) advances on his victim tactfully and when he successfully captures his subject without being discovered, it’s as if he has completed a perfect mission…
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:: COVER STORY
Photography Joshua Lin Styling Monfi Lin Text Linter 林特 English Translation Annie Chiang
80'S FASHION IN TAIWAN 八零年代的台灣前衛時尚
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:: COVER STORY
曾經台灣也有一個充滿想像力和活力的時代，隨著社會風氣開放，八零年代的台灣開始出現許多舞廳、夜總會，和一些私 人舉辦的派對，當時不管是 live band 或是入門票的方式，一到週末總是人滿為患，而且個個精心打扮，準備了一整個星 期，就為了週末到舞廳去爭奇鬥艷一番，大濃妝、高聳的瀏海、巨大的墊肩，這些現在看起來不知道該說俗還是復古的元 素，在那個年代席捲了年輕人的穿著和流行文化，連音樂和舞步都受到很大的影響。當時的世界正刮著喬治男孩、大衛鮑 依、Prince、MC Hammer、和美國影集「朝代」(Power Suite的由來) 等等的風潮，日本也出現了以樂團 X-Japan 為首的視 覺系，前衛的裝扮正式從女孩身上正式延燒至男孩，而且發光發熱。 當時台灣也出現了自己的前衛視覺時尚。1988年陽帆在「愛的迷惑」專輯發行之後，女性化的裝扮、結合未來的元素、視 覺取向鮮明的舞台效果，引起一陣軒然大波，當時許多人覺得【過度前衛】而無法接受，但是過沒幾年，日本就正式出現 【視覺系】的名詞，印證了男性誇張的裝扮也是一種潮流。當時的黛安娜舞廳、水牛城和 Penthouse 等許多有名的派對， 可說是展現個人穿衣風格最好的時機，就像是時尚指標一般地，所有青少年無不趨之若騖。 Taiwan in the 80’s was full of vitality and imagination as a cultural paradigm shift had loosened-up the general public and brought about a soiree of new nightclubs, disco bars, and private parties. Each weekend was an event to anticipate and everyone took great effort to dress-up and to look good, as if each party was a magnificent show on stage. At the time, a wave of musical fever was also sweeping the world with the voices and eclectic sounds of Boy George, David Bowie, Prince, and MC Hammer. In Japan, the visual rock band X-Japan was also rising in fame and not only changing musical tastes of the Japanese but affecting the way young people dressed as well. In 1988, Taiwan’s music industry also saw its own breath of fresh air with the release of Yang Fan’s (陽帆) debut album entitled “Confused by Love” (愛的迷惑). Yang Fan initiated the combination of female fashion styles with futuristic elements and installed that on the male body; he started what was considered a kind of “avant-garde” movement in Taiwan. Along with what was considered innovative and daring stage effects of the time, Yang Fan’s fame quickly rose and created an up-roar in the traditionally conservative Taiwanese society.
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:: COVER STORY
我們這次找來當時過度前衛而風靡台灣八零年代陽帆先生 和他的妻子Julie，來分享他們的八零年代。 In this issue, we are honoured to invite Yang Fan and his wife Julie to share with us what the 80’s meant to them.
八零年代最酷的玩樂
Hot Spots of the 80’s
那個年代最酷的地方就是 kiss 和中泰賓館，再來是黛安娜，永遠都是一大群人一
At that time, the coolest place to go was “Kiss” , “Zhong-Tai Hotel” (中泰賓館), and
起去，與現在瘋狂的 clubbing 不一樣，那時去 Kiss 只是純打扮和跳舞，志不在
“Diana”. We always went with a big group of people and it was a lot different than the
喝酒買醉，而且大家一定會圍成一個圈，全場跳一樣的舞，比現在的夜店好玩也
nightclubs we see today. Everyone went to “Kiss” merely to dress up and to dance.
單純許多。每當舞廳結束之後就一定會去復興南路吃清粥小菜，像是無名子、小
It was never to get drunk.. We’d have afternoon tea at “IR Cafe”, then head to the dance
李子，到現在還是很有名。那時也很流行到 IR 吃下午茶，一直晃到晚上才開始
clubs, and then afterwards we’d go eat congee on Fuxing South Road.
去舞廳。
八零年代的裝扮
Style of the 80’s The heavy-metal styles of “Guns n Roses” and the Gothic inspired black lipstick, black
那個年代很流行 Guns n Roses 的金屬搖滾裝扮，黑色口紅，黑色眼影，黑色
eye shadows, and black nail polish were extremely “in” during that time. Many people
指甲油的 Gothic 打扮，還有很多人在手指上刺十字架的刺青。出去玩一定要有
had the Christian cross tattooed on their fingers and your wardrobe had to be equipped
大墊肩的西裝外套、AB褲，如果穿迷你裙的話就一定要穿黑色絲襪。
with AB pants (skinny jeans), mini skirts, black panty hose, and suit jackets with humongous shoulder pads.
八零年代的音樂 Depeche Mode, White Snake, Duran Duran 等等的，都是當時影響舞廳節奏的樂
Music of the 80’s
團，許多人的音樂啟蒙也都是從這個時期的音樂開始，相信所有的搖滾愛好者都
Depeche Mode, White Snake, and Duran Duran were all influential music of the 80’s. A
會非常懷念八零年代。當然從日本來的影響也很多，中森明菜、吉川晃司、少年
lot of people started their musical careers listening to these bands and I’m sure many
隊、尾崎豐，一直到現在心目中都還是覺得這些音樂最好聽。
rock n’ roll enthusiasts still miss these sounds of the 80’s. Japanese music also inspired us a lot, including that of Akina Nakamori, Kikkawa Koji, Shonentai, and Ozaki Yutaka.
現在看見倫敦、紐約、柏林等大城市，巷弄中大大小小有名的夜店，總是有一大
Even now I still think music of the 80’s were the best.
群打扮前衛的人擠破頭想要擠進去，而常常流連於這些派對就像是一種流行的活 動，如同文藝復興時代的藝術沙龍一般。這樣的前衛派對現象，其實在八零年代
Nowadays on the streets of London, New York, Berlin, and other major cities, you can
的台灣也曾經有過一段光輝時代，所以再一次的，我們何不解放自己對裝扮的渴
always find a hub of fashionistas waiting to get into the hottest nightclubs in town. The
望，勇敢創造另一個前衛的時代?
avant-garde style has become a symbol of prestige and is garnering an increased presence in popular culture today. Interestingly enough, back in the 80’s Taiwan already had its own avant-garde era already. Why not then, should we expect and yearn for a new era of cutting-edge and unconventional fashion that can give us to a brand new visual experience?
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THE FALSE UNDER THE MASK 面具下的虛偽
Photography Joshua Lin Styling Monfi Lin
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Wardrobe giuliano Fujiwara
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Wardrobe giuliano Fujiwara
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Wardrobe giuliano Fujiwara
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Wardrobe giuliano Fujiwara
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Wardrobe giuliano Fujiwara
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Wardrobe giuliano Fujiwara
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:: PARTIME ATTITUE
THE BRITISH GUIDE TO SHOWING OFF: ANDREW LOGAN AND HIS “MISS ALTERNATIVE WORLD” 大不列顛炫耀指南: Andrew Logan 與他的另類世界小姐 Photography Linda Cooper Interview Linda Cooper Text Linter 林特
「大不列顛炫耀指南」這部英國紀錄片描述了 Andrew Logan 自 1972 年開始
“The British Guide To Showing Off” documents the unique history of Andrew Lo-
主催長達四十年選美會「另類世界小姐 Miss Alternative World」的獨特歷史。另
gan’s Miss Alternative World. This hysterical feature film follows each pageant;
類世界小姐可說是全世界最有創意、最有想像力、最瘋狂、最歇斯底里且最惡名
beginning
昭著的派對，也是英國派對文化史上歷史最悠久的派對，許多從八零年代開始著
udges, viewers and family including Zandra Rhodes, Grayson Perry and Ruby
名的藝術家、設計師、表演者和創作者都是座上賓，其中包括 Zandra Rhodes,
Wax. Stephen Jones and David BowiThe exclusive footage is so creatively conta-
Grayson Perry, Ruby Wax, Stephen Jones 和 David Bowie，這個派對號稱具有
gious, that even your parents will be applying the false eyelashes, which would not
「能令爸媽也開始想貼假睫毛」的感染力。
surprise the Logan’s whom have all contributed. i-D recently met up with artist,
in
1972
and is narrated throughout by various contestants,
performer and creater of the infamous event to discuss his new venture “The BritAndrew Logan 生於 1945 年，是英國的雕塑家、表演藝術家、珠寶設計和畫
ish Guide To Showing Off”.
家。從牛津建築學校畢業之後，開始舉辦另類世界小姐選美會，成為影響倫敦文 化和時尚藝術很深的指標人物，藝術作品遍及倫敦各大美術館，也曾和 Comme des Garçons 合作 2007 年的設計。 50
www.andrewlogan.com
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如何開始「另類世界小姐 Miss Alternative World」?
What made you start Miss Alternative World?
我非常喜歡舉辦Party，當時一方面沒什麼錢可以辦，一方面也正苦無更有創意的
I just loved giving parties and thought what else can we do? When I received a letter
點子。有一天我正在吃晚餐時，收到 Crufts Dog Show (英國著名的狗選美秀)寄來
through the post for Crufts Dog Show, I had done a dinner and dance which was quite
的信，突然笑了起來，「就是這個!」我們決定用這個狗展的形式來舉辦活動，
funny (laughs) and you know, we had no money, so we came up with the contest and
也就是世界小姐選美。起初一切都像個玩笑一樣，但是到了第二屆，規模突然大
themed it around Crufts. Then for the second one it suddenly got a lot bigger, so I got
了起來，許多服裝設計師都來擔任我們的評審，像是 Thea Porter, Zandra Rhodes,
all the fashion designers to be judges, we had Thea Porter, Zandra Rhodes, Bill Gibb,
Bill Gibb, Ossie Clark, Barbara Hulanicki 和 Angela Bowie (David Bowie的前妻)，
Ossie Clark, Barbara Hulanicki and Angela Bowie; David tried to come and see her but
當時現場人滿為患，就連 David 想看他的太太，也擠不進去，人們甚至從窗戶爬
couldn’t get in; people were climbing in the windows for that one!
進會場來看！
Describe one of the most extravagant contestants.
歷屆以來最奢侈豪華的參賽者?
1981; we had a catwalk which was 250 feet long, my brother Richard had a bicycle to
在1981年的選美會，我們有個長達250英尺的伸展台，我弟弟理查必須騎著
get from one end to the other and I remember Michael Hannes (Miss Aldershot) want-
腳踏車來回兩端，我記得 Michael Hannes (奧德夏小姐，其中一個參賽者)
ing to have his white, Rolls Royce coming up the stage, but I honestly didn’t think it
想要讓他的白色勞斯萊斯開上舞台，但我不覺得舞台能夠支撐一輛車子的
would quite support it, instead he brought the Irish guards and a choir of 500! I think
重量，結果他帶來了愛爾蘭衛兵和一個五百人的合唱團!我想他應該是很想贏得
he wanted to win, that’s what everyone said.
比賽。
Which was your favourite stage set?
你最喜歡的舞台佈景?
1985, we had a backdrop of a waterfall and fountains and Michael White, who put on
1985年，我們製作了瀑布和噴水池的場景，全部都是我弟弟理查一個人做的，然
“The Rocky Horror Show”, said it was the best theatrical experience he had ever seen.
後Michael White (「洛基恐怖晚會」的英國戲劇製作人)說，這是他有過最棒的
My brother Richard made it all.
戲劇體驗。
最有印象的三套服裝?
What were your three most memorable outfits? Were any inspired by the body?
Rosa Bosom（1965年英國科學家 Bruce Lacey製作的女演員機器人）擁有最棒
Rosa Bosom had a fabulous body and won even though she was a robot! Zandra was ter-
的身材，雖然她是個機器人！Zandra Rhodes (評審之一)當時對這件事非常沮喪。
ribly upset! I also loved James in 78, he came as a box of After Eights for eveningwear;
我也喜歡1978年的 James，他穿著 After
it was just so witty. Oh and Fran she was as wide as she was tall and stole the show!
Eights 巧克力箱子作成的晚宴服，真
的很聰明！還有Fran，她的身高和她身體的寬度一樣，然後就贏得了比賽!
Ruby Wax 在2009年加入主辦的行列，她是怎麼樣的人？ Ruby是很美好的人!雖然我覺得這整個活動的舉辦對她來說有點不堪負荷，記得
Ruby Wax Co-hosted with you in 2009, what was she like? Ruby was wonderful! Although I think she was quite overwhelmed by the whole thing I remember her saying “I’ve taken lots of drugs, but never seen anything like back stage!”
她說「我知道吸毒之後看到的世界有多混亂，但我從來沒看過比後台更可怕的東 西!」
為什麼覺得人們只要一旦裝扮之後就不會想要回到原本的 樣子? 現代人似乎都很壓抑和控制，不像從前人們會想要在造型上大肆玩樂，我相信那
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Why do you think people don’t dress up as they once did? Everything’s very controlled nowadays, this is an event where you lay a system out then let it unfold. It’s not controlled.
是會上癮的，它也可以是紓解壓力的一種方法，就像瑜珈一樣。這部電影裡的另
Do you think dressing up could change the world?
類選美大會是一個讓所有系統束縛癱瘓並且炸開的活動，它是失控的!-end-
Well it has, hasn’t it?-end-
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時尚造型的魔術師 Julius Reuben
時尚造型並非一般想像的，只是將許多服裝配件搭配在一起，有時 候造型師也必須發揮想像力設計出更具舞台感、更戲劇化的「形 狀」，這樣藝術感的造型設計，有別於服裝設計師對於設計的傳統 義。 Julius Reuben 使用大量聚乙烯塑膠布料、多層錫箔、尼龍材 質、羽毛、人工毛皮等等，像是變魔術般，以「生活在地球的異 星人」為概念，創作出一系列強調身形的邊緣和輪廓的、精彩的
Photography Linda Cooper Make Up Artist Natalia Tkacenko Stylist Julius Reuben Co Stylist Monica Chenault Hair Lady Angel Burbridge Photography Assistant Andrew Huang Interview Linda Cooper Location Thanks To Cardboard Citizens For The Venue www.Cardboardcitizens.Org.Uk Text Linter 林特 English Translation Annie Chiang
「藝術品」。
真正的職業是？ 一直都很羨慕那些可以很單純且快速地回答這個問題的人，這個問題的答案對 我來說，隨著環境和我當下所處的時空而一直在變化著，你可以說我是個模特 兒、演員、作家、時尚創作者，或是造型的玩家。我出生於坦尚尼亞，在世界 另一端-倫敦長大和生活，母親年輕時是選美皇后，所以在我中學畢業，知道 自己想要投身于表演藝術和時尚相關的創作工作時，我猜應該是受到這影響。
靈感來自於？ 對於每個遇見的人、陌生的人，我都很有興趣，我喜歡研究人們的不同，也喜 歡大自然，和任何接觸到的事物，我會仔細去觀察。另外影響我很深的是，曾 經在軍隊受過六個月的訓練，所有和軍人有關的配件、生活方式和態度等等， 也常常是我的靈感來源。
生活的哲學？ 不應該對於自己做的事後悔，過去的就過去了，要做的是好好地尋找並且挖掘 自己未開發的潛力和天分，在挑戰不同工作時好好將自己「打開」，然後會在 這個發現自己的旅程中找到許多樂趣。另外我想對PARTIME的讀者說：要勇於 表現自己，不用擔心自己與別人不同，每個人生來都是與眾不同的，要讓這社 會跟隨你而變化，and do it with LOVE! - end-
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JULIUS REUBE THE MAGICIA OF FASHION S
EN AN STYLING
Skirts ANOOSH Shirt ANOOSH Mask Belt & Hat JR Black Jackets(Fur With Sequence) JR Coset JR Necklace Tong-Ta
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Necklace ANOOSH Waist Coat Natasha Bag JR Couture Belt LEVIS Trouser JOHN GALIANO
What do you do? I have always envied those who can answer this question with simplicity, as for me, I do too many things at once and so my answer to this question is different each day. However, I have tried my best to sum it up in to these words: model/ actor/writer/fashion stylist.
Can you tell us more about your life (yourself, your hometown, your family) I’m 27 years old and I was born in Tanzania and raised in different parts of the world including London, England, which is the city I reside now. My mother was a former model and my father was a former politician. I have two brothers and four sisters that I know of at least, as from what I hear my father has been with many women so I probably have more siblings. I studied my A levels at Alperton School in Middlesex and after that I decided that I would be better off in the world of performing arts and creative work which included fashion. So that’s where I am now, I continue to try my best to perfect and understand my craft through further studies and training.
Where does your inspiration come from? My inspiration comes from people, nature and basically everything I touch or get a hold of. But a majority of my style comes from my time in the army. I trained in the army for six months and once you have been in the army, no matter how long, it will always remain a part of you, especially in style.
Can you tell us more about these four outfits? What materials did you use? How long does it take you to finish each piece? What is the fashion element? I used polyethylene, polypropylene with laminated foil, nylon, feather, fur, sequins, silk, cotton and leather. For these pieces it took me from 2 to 12 hours. The theme was “Alien on Earth” I've tried to create something less familiar. I have tried to sharpen and contour the edges so that it can better bring out the line, form, shape, and texture of the clothing. - end-
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Wing Hat JR Couture Top And Skirt JR Couture Shoes JR Couture White Underwear D&G Dolce And Gabbana Hand Bracelet Tong-Ta
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Green Leafs Coset Top JR COUTURE TROUSER JR COUTURE Shoes Balenciaga
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Wing Hat JR Couture Top And Skirt JR Couture Shoes JR Couture White Underwear D&G Dolce And Gabbana Hand Bracelet Tong-Ta
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NAO ART MADE BY NAO Collage Nao Interview Linter 林特 English translation Annie Chiang
創作如同精靈般地呢喃細語 Nao，來自日本福岡，在歐洲流浪的女生，喜歡森林，喜歡畫畫，喜歡在陽光和煦的草地上野餐， 也喜歡鑽進午夜倫敦的小酒館，聆聽現場的爵士樂演奏。 從2006年到2011年之間，她持續地在歐洲創作具有時尚感的水彩插畫和拼貼作品，2008年更加入倫 敦街頭藝術節的現場繪畫表演 (live painting)。她的插畫風格強烈，總是在流倘的感情和柔軟的線 條裡，可以看到一些些諷刺的矛盾，不論是欣賞她的作品，或是欣賞正在畫畫的她本人，都是一種 很特別的經驗。Nao的創作涉獵廣泛，除了平面作品之外，也有音樂和動態影像的創作，創了一個樂 團叫做Chocobox。 然後，Nao也加入了PARTIME本期，關於【窺視】的集體創作。 A painter from Fukuoka, Japan- she immerses herself in the wonderments of life around her. She likes to draw; she likes the forest, the sun, picnics in the park, and jazz music. In 2008 she started painting on the streets of London. Her style embodies a sense of softness that uniquely contains various contradicting elements. Her creativity extends from the canvas to music and videography where she explores her talents in her band “Chocobox”…who is she? Her name is Nao.
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靈感來自於哪裡? 我經常看大量的電影和書籍，但不是所有的類型都接觸，我會選擇自己喜歡的風 格，讓自己一直浸泡在某種情緒和氛圍裡，靈感就會像煙一樣地一絲絲冒出來飄 在空氣裡。 其實我不確定自己能不能被稱為是藝術家，但意識到自己在創作的時候，我會覺 得很舒服。有很多時候我為了現實生活而掙扎，對於從事這樣的工作充滿迷惘， 但我知道自己不可能放棄創作，所以只好繼續掙扎，然後享受著那樣的掙扎，保 留所有的感受，也讓我覺得活在當下很好。
是怎麼開始插畫和拼貼的創作？到歐洲生活的契機和歐洲 對創作的影響 從小我就喜歡看電影、看書、拍照，像許多其他的小孩一樣地畫畫和創造一些小 東西，只是長大以後，我並沒有停止這些事情，所以畫插畫以及拼貼這樣重組分 解的材料，好像是很自然的事情。19 歲的時候，我第一次到了倫敦，當時停留時 間不夠讓我好好體驗，所以我決定之後還要再回到倫敦生活。 歐洲的生活比想像中的自由很多，不只是文化上的 ; 而想像力和創造力，也奇妙 地變得豐富起來。博物館、美術館、大大小小的藝術展覽，每天遊走在這些之 間，對創作產生很大的刺激。但後來我意識到，其實藝術無所不在，就在我們生 活周遭，只是有沒有認真去發掘而已。
關於音樂創作? 其實我不擅長任何一項「正式的」樂器，創作音樂的時候我總是直覺的、即興 的。最喜歡且最常使用的樂器是給兒童使用的樂器玩具，我在歐洲到處收集這種 二手的玩具，有小木琴、塑膠音樂盒、鳥鳴笛、小鼓等等，這些玩具對我來說， 比正式的樂器更有神秘感，它們在聲音上的不可控制和不可預期，就是最具吸引 力的地方。
I watch a lot of different movies and read a lot of books. I tend to choose genres I like and just submerge myself in it. When I do so, inspiration seems to just appear like smoke and hovers in the air. To be honest I’m not sure if I can be called an artist but I just know that I love doing what I do. Sometimes I find myself fighting the realities of having to make a living and it does depress me and confuses me, but I know that I cannot give up creating as it’s the only thing that makes me feel good and content.
How did you begin painting and collage work? How did you end up in Europe and how does London affect your art? As a kid, I was like all my peers; I loved watching movies, reading books, taking pictures, and being creative. I guess what’s different is that as an adult I never stopped doing these things. Painting, illustration, and working with collages seemed so natural to me. When I was 19 I went to London for the first time, but I didn’t spend much time there and so vowed to go back again one day.
About Music Actually I don’t really know any particular instrument, but rather when I create music I go with my gut instinct and it’s very spontaneous. In Europe I started collecting various second-hand children’s instruments like music boxes, little drums, xylophones, and toys; these things to me have a sort of mysteriousness that you don’t find in traditional instruments. The sounds that come from these unconventional instruments are often times unexpected and uncontrollable. I think that’s what fascinates me.
About Voyeurism
把音樂用玩具「玩」出來，和我的插畫創作之間，好像是使用不同區塊的身體和
I think people are always fascinated and intrigued by things they cannot or aren’t
感情去作的事，彼此不相關連，但我想當我在畫抽象的東西時，感覺起來和作音
supposed to see. I think it is part of human nature. It’s hard to say whether it’s right
樂是差不多的。
or wrong. -end-
所以我也不敢說自己是作音樂的人。只能說音樂是我創作的一部份，用音樂來表 達繪畫影像無法表達的那一部份罷了。
關於窺視 我想人們總是會對於他們不應該看見、不應該知道的事情好奇，這應該能算是人 性之一，至於該不該是黑暗的，並不太能確定。這個系列我從「樂園」的概念延 伸出去，看似多采多姿的交錯層次，仔細一看，裡面藏著讓你心口一揪、瞳孔放 大的祕密。-end62
Where does your inspiration come from?
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THE VOYEURISM OF AKIF HAK AN 窺視中的Akif Hakan 欣賞一個攝影師的作品，就如同進入他的眼睛，去看他眼中的世 界。Hakan 的作品總是帶領觀者進入奇幻異色的想像，輕易地感受到他 強烈的色彩個性。 對 Akif 來說，最重要的事情莫過於創造出誠懇且誠實的作品。他在拍照 時，會創造一個現場的氛圍，讓模特兒浸泡在裡面，如此不論從哪個角 度去拍，照片都會保持在同一個氛圍裡，他在現場時常常是即興創作， 卻同時帶著真實而不造作的感覺。「有時候我也會先停止拍照，直到感 覺對了才開始。」他這樣說。
如何詮釋「窺視」的概念？ 這整個世界都與窺視有關。 當我們在報章雜誌上閱讀別人的故事時，我們正是介入他們生活的偷窺者。在攝 影師的身分之下，我樂於當一個偷窺的人，常常坐在咖啡廳裡好幾個小時，觀察 來往的人們，這從不會讓我覺得無聊。我到處觀察人們，得到的那些畫面、遇到 的人和得到的經驗，都在對我的攝影作品風格雕刻塑形。
什麼是「女人」？ 女人使我興奮、使我快樂，給我靈感並且幫助我創作，同時也是我生命中最重要 的一部份。
關於Akif Hakan 出生於土耳其伊斯坦堡 | 高中畢業以後在美國讀大學，主修行銷並拿到音樂影像 製作的學位 | 畢業後在邁阿密的電視台工作，從各種電視節目的製片助理開始做 起，並也擔任電視台的攝影工作 | 2004年辭掉電視台的工作開始拍照，之後2年 的時間建立作品集，有些知名度之後開始接正式的攝影工作。
|
2006年前往日
本旅行和創作，在日本真正開始進入專業攝影師的世界，並在日本找到自己的攝 影風格 | 之後經常往來伊斯坦堡和倫敦 | 2011搬到香港居住和工作。-end-
Interview Linda Cooper Interview Linter 林特
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The concept for your personal project? The most important thing on my personal works is to create sincere honest works. The concept just evolves in itself as I am taking photos. I create a mood and let the model take it from there and it can go into any direction as we shoot. It is mostly improvisation on the spot but with true feelings. I do not start taking photos with acertain concept most of the time. Just start shooting and see where it goes. However I have some certain ideas that I want to do in the near future. Very bold ideas that will disturb some people.
How do you interpret the idea of “Voyeur”. The world is about voyeurism. When we read stories of other people in magazines and newspapers we are actually getting inside their lives and becoming voyeurs. It is all out in the open. I love being a voyeur as I am a photographer and a visualistic person. I sit in cafes and watch people passing by for hours. It never bores me. I watch peopleevery where I go and the scenes I see, the people I meet, the experiences I have through the years shape the look of my photography.
And What is “Women”? Women excite me, makes me happy, inspires me and helps me to create .The most important part of my life.
About Akif Hakan Born in Istanbul, Turkey | Moved to USA for University | Majored in Marketing and obtained a 2nd degree in Music/Video Production | Started his career as a Production Assistant and cameraman for various TV channels in Miami | Started taking pictures in 2004 and took 2 years to build his portfolio | In 2006, started his career as a photographer in Japan| Frequently visited and lived in Istanbul and London | In April 2011, moved to Hong Kong and is currently based there.- end66
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A TRIBUTE TO ALFRED HITCHCOCK 驚魂記 Photography Cecile Style & Make Up Monfi Lin
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THE LOST M 失落的模特
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Photography Howard Chang Style & Make Up Monfii Lin Model Avlis Zhongr
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OBJECT OF THE VOYEUR
窺視的物件 Photography Anna Swiczeniuk Interview Linda Cooper Model Sohui Text Linter
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乳膠緊身衣、馬甲、細高跟鞋、限制和拘束︰戀物者的語言 傳統上，女性被視為一種美景，原始的「性物」，純粹為了男性的觀看和 欲望而存在的物件。然而，近年來關於性的革命，已經讓女性可以開放地 探索自己的性欲望，不受男性的干涉。女性使用戀物的元素早已不是為了 男性的愉悅，而是自己的喜好。 Latex, corsets, stilettos, restriction, and constriction: the language of the fetishist. “Traditionally” women are viewed as spectacles, primary sexual beings, existing purely as objects of the male gaze and desire. However, the sexual revolution of recent years allowed women to explore their own sexuality openly without any male input. It has become common for women to use fetish implements not purely for the male’s pleasure, but for their own empowerment. -end-
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A Rainy day In London Town St. Paul, London
下雨的倫敦天 聖保羅區 Photography Linda Cooper
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老人的行蹤吸引著我，於是我跟蹤他好一陣子。 Somehow the old man was really attractive, I followed him for quite a while.
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CONFESSIONS OF AN URBAN VOYEUR
城市偷窺者的自白 Photography Mikey Piliero
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MR. CHOU & HIS JOURNEY Photography 林特 Chun P. Lin Stlye & Make up Monfi Lin Interview & text 林特 Linter Wardrobe Trimapee by V Hotel
窺見另一種生活 周書毅 周書毅是誰？ 他是一個對自己在作的事情很有想法，在現代舞的世界裡充滿熱情的男生。他不是台北 小孩，在中壢長大，爸媽都是台南人。他以「 1875 拉威爾與波麗露」拿下 2009年倫敦 Sadler’s Wells 世界現代舞的編舞大獎。他在台灣，想要作很多有趣且有意義的事。 Who is Shu-Yi Chou? Shu-Yi Chou was born in Zhong-Li, Taiwan, and both his parents are from Tainan. He is a man who is determined about his work and the things he does. He is driven and passionate about dance, modern dance to be particular, and in 2009 he received the prestigious Sadler’s Wells Modern Dance Award for Best Choreography in London. Shu- Yi continues to advance his craft in Taiwan, and hopes to contribute and make his mark in the field of dance.
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關於現代舞的事情
About Modern Dance
很多人聽到現代舞都覺得有些距離感，說看不懂，你如何 看待這件事情？會如何去介紹現代舞？
Modern dance can be very foreign and hard to understand for some people, why do you think that is? How do you introduce ‘modern dance’to the general audience?
我不會去解釋它。
I won’t try to explain it. 我聽過很多人直接跟我說「我看不懂，但是我很喜歡」，我就會接著問「你喜歡 什麼?」我覺得不管是舞蹈、音樂，或是吃東西，都需要「直覺」。我會想要知
A lot of people will tell me directly that they don’t understand it, yet really love it. I
道，當你來到這個空間，你看到這個環境，聽到這些音樂，看到這些服裝，是不
often then ask them why they like something they don’t understand? Is it the cos-
是被什麼因素吸引了，有什麼感覺?喜歡嗎?喜歡哪個部份?
tume, the music, the environment of the theatre, or some particular element that has drawn the audience in? I realize however that conclusion is, no matter it be
在台灣，整個教育的環境好像給我們一種辨別美醜、對錯、好壞，非常清楚的界
dance, music, or the food you eat, many things cannot be explained. Rather your gut
線，一種「正確答案」，很少教導全面性的感受。所以關於感受性的藝術發展，
reaction, your intuition, what your heart tells you, is essentially what you feel about
是有些困難的，大家都期待去「了解」一個作品的內容，卻沒有多少人可以說出
the particular subject.
他對作品的感覺。「懂不懂」這件事並不存在，只有「有感覺」和「沒感覺」而 已。
In Taiwanese society, our perceptions of beauty and morality are so strictly defined and not very often are we taught to “feel” or experience things from all sides and
舞蹈是因為有一個表達的距離而令人著迷，不透過講話，而能夠溝通的一種語
viewpoints. Thus when it comes to artistic development and acceptance, there are
言，編舞的人透過這種語言來表達想表達的事。
obstacles we still have to overcome. People here still seek to “understand” an artistic piece as if there’s a right or wrong. Yet, not many people can really describe how they
身體的表達在亞洲文化裡是很少的，人們對於彼此身體的表達比較含蓄，隱隱約
“feel” about a particular artwork or dance performance.
約有一種文化上的差異，而且台灣的舞蹈的種類還不是很多，需要更多實驗性的 刺激，國外的舞蹈或是劇場的種類已經發展得很成熟，各國有不同的面貌，也有 新的類別，就不會再去重複東方文化的思考，我覺得世界是已經打開的。所以不
As a male dancer, have you seen Billy Elliot? Can you relate to the story at all?
管是喜歡舞蹈還是意外闖進舞蹈的人，都會因為一種形式，產生喜歡或不喜歡的
Yes I’ve seen it three times and I’ve cried each time.
新舊現代舞等等的類別，像雲門偏向東方文化的思考，對於我這樣突然跳出來的
感受，而這樣的感受是美的共通語言，是無國界的。 My family isn’t against me pursuing dance, but rather they just don’t understand
身為一個跳舞的男生，你看過 Billy Elliot 嗎？在你小時候 有過類似的故事嗎？
why. I started dancing because when I was in elementrary school, there was a girl
看過，我哭死了，看了三次。
passion for dancing, but had to face very realistic elements of this profession. At one
who was taking dance classes and I thought she was so beautiful. I told my mom that I wanted to sign up for lessons as well and I did. As I grew older I continued to have a point my parents really wanted me to find a “real job”, and it wasn’t until recently
其實家裡並不算反對我習舞，應該說是不瞭解，只覺得舞蹈這件事是種才藝，所
that they’ve seen some of my achievements and have slowly started to understand
以也無從反對。當初去學跳舞的原因很有趣，小學時候班上有個跳舞的女生，覺
why I do what I do.
得他很漂亮，跟媽媽說也想學跳舞，然後到舞蹈班去報名，一路學下來就變成現 在的樣子。長大以後，當然對於舞蹈有一度很迷惘，需要去面對現實的問題，家
In Billy Elliot you see the battle between reality and a young boy’s dream. The scene
裡也希望我去找個「正當工作」，一直到最近，他們開始發現我有些成果出來，
where you see him talking to the judges like they are his audience is very touching.
才慢慢瞭解。
He doesn’t explain why he wants to dance, but rather he tells them how dancing makes him feel. The film points out a lot of stereotypes young boys face in a female
看了 Billy Elliot，講到夢想的這件事，從片中感受到整個現實環境跟小男孩的堅 持，這兩者的對立關係。小男生對著評審們說的話，就好像是對著觀眾講一樣， 他只說出他對跳舞的感受，而並不是在解釋為什麼要跳舞，那一幕真的很令人感 動。這部片也用了許多手法，點出了男生跳舞，尤其是跳芭蕾舞的過程，和一般 人的刻板印象。小時候覺得，跳舞就是教室裡一大群小女生，大家都穿著粉紅色 裙子，然後我像是一頭撞進了那粉紅色的森林一樣（笑），很開心，所以一直跟 著跳，很有趣。 94
dominated ballet dance which is very interesting.
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關於「1875 Ravel and Bolero」與舞蹈旅 行計畫
About “1875 Ravel and Bolero” and the Dance Travel Project
為什麼會有舞蹈旅行計畫這件事？
How did the Dance Travel Project come about?
想要讓更多人知道舞蹈到底是什麼。
I wanted to let more people know what dance really is.
「1875拉威爾與波麗露」這支舞，我想是很貼近大眾的，它很熱鬧、服裝色彩鮮
“1875 Ravel and Bolero” dance number has been quite welcomed by audiences. The
明，音樂又是耳熟能詳的Bolero，所以決定把它帶去旅行，把這支舞拿到街上去
piece is very exciting and full of vibrant and colorful costumes. The Bolero music genre
演，到人群聚集的地方。我們到了剝皮寮、板橋車站、台中、高雄美麗島站，想
is also familiar to audiences and so I decided to take this piece to the streets, and travel
知道一個三十分鐘的舞，到底有沒有人停下來看完這三十分鐘再離開。當初沒有
to different areas and cities where crowds would gather. We went to Wanhua, Banqiao
作很多宣傳，只是在表演現場附近靜靜地發傳單，後來發現當天有一半的觀眾都
Train Station, Taichung, and Kaoshiung. I wanted to see how many people would stop
只是路過，看到有表演就停下來看，反應比預期的好。
to watch our 30 minute performance. We didn’t do much promotion beforehand, but rather just handed out flyers on the spot. We realized that half the audience were pas-
每當表演一結束，我會請工作人員馬上採訪觀眾，聽聽觀眾們來看的原因，和沒
sers-by who just stopped randomly. The turn-out was a lot better than we anticipated.
有離開的原因。這個舞蹈計畫簡單說，就是把一個舞丟在大家面前，然後想知道 反應是什麼，我看見百分之八十的人就這樣停下來看了，都好像有感覺了，每次 演出也大概會有十個左右的不認識的人來跟我說【我喜歡你的舞！】當中也有很 多路過的婆婆叔叔給我們加油，這真的是一件很奇妙的事情，他們說【我真的看 不懂，但是我好喜歡！】
How different is the local dance industry compared to abroad? I don’t think you can really compare it in that way. Europe, France, U.S, and New York are just culturally more advanced than we are. In Taiwan, many elements of our art
國內外舞蹈創作的環境？ 我覺得環境是不能夠比較的，因為不管是歐洲、英國、法國、美國、紐約，他們 文化的厚度和深度是久遠的，到了巴黎你可能會想：「天哪！這裡的房子都怎麼 了，怎麼可以在這待這麼久！」台灣的某些廟宇或建築被列為古蹟，但看起來其 實都還很新。台灣的許多藝術文化雖然是從西方傳來，但你可以感覺到那發展的 厚度是很不一樣的，所以我一直告訴自己不能這樣比較，也不能去怪罪環境什 麼，應該要想的是從現在我們可以怎麼去做，這個世代的我們應該已經可以慢慢 脫離模仿的階段，開始尋找屬於自己的東西，去發現、去創造。
如果讓現代舞和結合更多商業活動，以你的角度來看， 兩者之間會有什麼影響？你會希望是哪些商業活動？ 所有的企劃我都儘量會接，把它當成是一種演出，但是在合作的過程中，我會想 要知道我有多少空間可以發揮、我在這個企劃中的必要性，和我的價值。而非像 是小時候接到「需要會跳芭蕾的人」或是「需要一個跳中國舞的人」、「你來作 一下這個廣告的身體指導」這樣的案子，從來都沒有交集或是溝通討論的空間， 只是一直被框在一個既定印象裡，被指使著作已經規劃好的事。 其實不管是藝術界、時尚界、廣告界，每個業界的人都有不同的說話和溝通方 式，不能老是覺得對方說的話太膚淺或是太天馬行空，這些人和團體之間彼此的 交流，雖然已經無法像幾百年前巴黎藝術沙龍那樣，固定聚在一起交流討論，腦 力激盪一番，但要能夠靜下心來花時間聽對方說話，才能產生不一樣的碰撞，不 能永遠都只是看reference和sample，不願意花時間溝通。所以在我接到的所有商 業案子裡，我都會希望能夠參與思考，或許會出現新的運作方式。 96
industry are inspired by the west and so I don’t try to compare but rather try to see what we can do to be different and to create something we can call our own.
Are there any conflicts between modern dance and business or commercial events?Are you opposed to performing at certain functions? I try to accept any offer to perform, because I see it as just that, a performance. However, I try to know beforehand how much room I’ll be given to really be creative and to do what I want to do. Many times, dancers are given roles that are very stereotypical. They either want a “ballet dancer” or a “traditional Chinese dancer”, and that puts us in a tiny box unable to step out of it. For each project that I’m involved with, I hope there can be dialogue with the client to see if we can come to terms with adding new elements and new ideas to the performance, rather than using just references and samples which really limit the performer.
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旅行和流浪的事情
The Wandering Traveller
從身體出發
Beginning with my body
在出國之前，我開始不確定自己編舞是為了什麼，身體到底是什麼，出現了一堆
Before I started my travels, I started to wonder why I danced. I didn’t know what my
想要問自己的問題，然後我和媽媽討論，她說：「跳舞不就是從身體出發嗎？」
body was and began asking myself a myriad of questions about my work and myself
我突然睜大眼睛看著媽媽，恍然大悟，原來自己深陷在一個循環裡，差點就忘記
as a person. I was talking to my mom and she asked me “isn’t dancing something that
最簡單的事情，於是我就做了一個這樣的作品，但其實它也不算是作品，比較像
comes from the body”? I was taken aback by my mom’s question but it made me re-
是自省。
alize that I was so engraved in some sort of cycle that I forgot the most simplest of things. Thus I began travelling, hoping to open my eyes again to the world of dance.
你為什麼要去流浪？ 想要讓更多人知道舞蹈到底是什麼。
Why did you choose to travel? In my resume I wrote that I am an independent dancer, even though I don’t really know
我在簡歷裡寫自己是一個「獨立的舞蹈工作者」，但其實我不太確定它是什麼，
what that means. For the past eight years I’ve become exhausted by the limitations of
在尋找和摸索的過程當中，八年下來，一直在疲於奔命，有表演就接，有什麼事
the industry; I took any job opportunity that came along but was still paid miniscule
做就去做，後來我累了，我發現這整個環境的溝通方式沒有變，一樣是很少的
amounts of money, and received very little respect and communication. I wanted to
錢、尊重很少、溝通很少，就突然想離開。我想知道自己從現代舞得到的這些技
leave to explore what I could do with my dancing and so I applied for funding and left
巧，可以作成什麼東西，從小的教育就是安排好的課程，學中國舞、學芭蕾舞，
in 2009.
但是從沒有告訴你為什麼，想到這些，我開始憤怒地問自己一些問題，然後找到 了出去的動機，我要去尋找答案。07年我作完台北藝術村駐村的「看不見的城
I went to compete in London, and then I went to Denmark, Tokyo, Hong Kong, Berlin,
市」之後，開始寫企畫案申請出國，09年通過以後，就出發了。
Vienna, Avignon, New York, and Holland. My goal was to see how each city viewed dance and dancers in general. I remember that in Paris, one performance I wanted to go
當時我心裡想，我們看了這麼多國外的表演，比如說Pina Bautsh，大家都知道她
to was completely sold out. I learnt that tickets for that performance were very hard to
很厲害，但我想知道的是，她在自己的故鄉德國，在觀眾的眼裡是什麼樣子，想
come by, just like how A-Mei’s concert is, in Taiwan.
知道台灣以外的人是怎麼看待舞蹈的。 When I returned home, I didn't have enough time to really reflect on my travels but 我去了倫敦比賽，然後去了丹麥、東京、香港、柏林，去亞維農、紐約、荷蘭，
I just remembered that many people were like me, searching for their position in the
繞了一圈，都是在看和聽，這些城市是怎麼看待舞蹈，和藝術家，從很生活的角
industry and in the world. I came up with the Dance Travel Project while I was abroad,
度去看。當中我在巴黎的時候，想要看的表演完全買不到票，曾經以為是售票系
and I really wanted to discover some sort of personal value and self worth.
統出了問題，後來才知道原來是一票難求的狀況很嚴重，就好像在台灣的張惠妹
回到台灣以後，我沒有時間好好去回想整理那些流浪的過程，只是看見有許多人
When you’re alone in a car, what usually goes on in your head?
也和我一樣在尋找自己的定位。幸好我回來之前，有一些計畫就已經在腦海裡打
I think about leaving, and I ask myself why I want to leave. It’s sort of like a
轉了，像是舞蹈旅行的企劃等等，我想要可以看見自己的價值。
reorganization of my life and a pull and release conflict. Of-course there are
演唱會一樣，原來，他們是這樣，趨之若騖的。
times I just relax and immerse in the things around me.
通常在獨自一個人前往某的目的地的車上，你都在想些什 Besides dancing, what else do you do regularly? 麼？ 在想離開這件事，在問自己為什麼要離開，有點像是整理，和距離之間的拉扯
I rarely think about anything unrelated to dance. I guess I’m somewhat of a
感。當然也有放鬆的時候，完全的看跟聽，把自己丟到所有事物的發生裡。
workaholic but I don’t find it tiring. Maybe I’m still deeply passionate about my work. I’ve recently been involved in a couple of projects that I’ve really en-
除了跳舞，佔去你生活大部分時間的事是什麼？ 幾乎沒有！ 我很少思考和舞蹈完全無關的事，除了跳入別人的討論裡發表意見之外，我大概 可以算是工作狂，不太覺得累。或許我還處在一個充滿熱情的狀態裡，而且最近 參與的所有工作都是自己很喜歡的，覺得很有收穫，好像是找到了一個完美的位 置一樣，覺得很滿足。 98
joyed as well. So I feel a sense of accomplishment.
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周先生的PARTIME精神 你對“WORK IS PART-TIME, LIFE IS FULL TIME” What does “work is part-time, life is full time” mean to 的體驗是？ you? 從大學開始，我就沒有固定在哪一個團裡跳舞，一直都是跑來跑去的，這樣的方 式讓我遇見許多不同的人，用著不同的方式生活，對我來說是一種磨鍊，那些經 驗可以影響我現在所有的選擇。 就好像去創造一個與環境溝通的方式，沒有把自己劃定在圈圈裡，沒有所謂的職 稱這件事。 我不想要被定在那裡，然後就一輩子這樣下去，我知道自己想要從舞蹈創作這種 語言裡面去給別人什麼，並且持續地熱愛。在這個創作的圈裡，我可能製作要管 一些、攝影也要管一點，於是就出現多重身分，但我其實還是在做同一件事。一 直以來都沒有人告訴我 free-lance 是怎麼一回事，就像 part-time，好像只要接 觸到商業活動就是 part-time、就是兼職，但我一直都不喜歡 case 這個字眼，不 管是不是一個案子，只要我認定它的價值是不一樣的，那些事就全部是我的工作 的一部份。
後記
Since college I haven’t been in any particular dance group; I’ve always been running around and so it has allowed me to meet many different people and experience life in many ways. To me, it has been a form of training and preparation; my past experiences greatly influence the decisions I make now. I refuse to be static. I know that to express a language through dance, I must remain passionate. In this creative industry, I often times have to play many different roles. I might have to take part in production and oversee a bit of the photography…to me however it’s all part of my job. No one ever told me what “free-lance” or “part-time” means. It turns out that any stand-alone event that we sign on to is considered a parttime job. I never liked to describe my work as being a “case” or being part-time work; rather to me everything I do is part of my work and that perception is what gives my job value.
EDITOR'S NOTE As a dancer, Shu-Yi often has to embody different roles in order to do what he wants to do. When will his unrelenting passion be seen as a realistic pursuit in our prag-
周先生說著自己身兼數職的事，想要做些什麼、想要改變些什麼，這些熱情要如
matic world? PARTIME's dedication to our bilingual content is much like Shu-Yi
何被化為理智的執行。PARTIME對於作雙語雜誌的感覺，就像周先生與他的舞者
and dancers like him. We often times have to play multiple roles and though each day
們一樣，一個人要分飾很多角色，每天忙得團團轉，卻又覺得很充實。我們都一
is extremely hectic, it is satisfyingly rewarding at the same time. We are all the same.
樣想要讓台灣以外的人，知道我們在作什麼，並且為此努力著。
We all want to step into the international arena and to show the world that Taiwan has talent and that we deserve to be seen.
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PARTIME LIVE Kollide 目擊對撞現場 再現，交換與和諧
Photography Chun P. Lin Text Linter English Translation Annie Chiang
這是一場實驗電子、打擊樂與互動影像間的華麗跨界。Kbn凱比鳥的合成打擊，
An experimentation which combines electronic music, percussion, and visual im-
和自由擊的實體打擊，相互對撞；節奏化為視覺、視覺跟隨聽覺，如同將所有感
agery, creates an electrifying collaboration for the senses. “KBN” and “Freedom
官揉合成一體的盛宴。在drum 'n' bass的碎拍裡，鼓手和電子合成器的鼓聲彼此
Beat” have contrasting styles with one using electronic technology and the latter us-
競賽著，實體打擊的淋漓伴著電子的低吟，除了過癮之外，似乎沒有更貼切的形
ing conventional drums and instruments; a seemingly opposite combination of drum
容了。
n’ bass and percussion creates something extraordinary and beyond what words can describe. All we can say is, it’s just “freakin’ awesome!”.
實驗電子團體Kbn凱比鳥的成立已邁入第十三年，曾為電影以及短片配樂，其中 為侯孝賢導演「最好的時光」一片的配樂“Urge”，入圍金馬獎最佳電影原創歌
Electronic music group KBN is entering their 13th year together. They once pro-
曲，Kbn主辦的「吵年獸」音樂季，在今年也進入第六屆，對於有關音樂的創作
duced music for movie soundtracks and short films; the most famous being their
和企劃好像從不間斷。
track titled “Urge” created for Director Hou Hsiao-Hsien’s movie “Three Times” 「最好的時光」and was also nominated for Best Original Score at the Goldern
自由擊則是舞台表演底子深厚的四人打擊樂團，融合東西方打擊樂器和曲風，舞
Horse Awards. KBN’s “FreakOutBeast” music festival is also held annually and is in
台上可見爵士鼓、太鼓、木琴和其他大大小小、風格迥異的打擊樂器，表演中也
its 6th season. For KBN, planning and creating music never seems to stop.
加入了面具和打擊動作的舞蹈元素，展現了打擊樂豐富的一面。 The four-person band “Freedom Beat” integrates both Asian and Western musical el在台灣的音樂，不論是主流或非主流，像這樣的跨界演出並不多見，這場「對
ements and styles in their music. Taiko drums, the traditional drum set, xylophones,
撞」把不同類型的東西放在一起，而且放得非常完美。 - end-
and various percussion instruments are used in their performances. Along with masks and different dance elements, their performances are uniquely memorable. In Taiwan, it is very rare to see collaborations between various musical genres and it is the same for mainstream and underground music. This collision of beats and rhythms presents audiences with something that has never been done before and synthesizes the sounds into something purely amazing. - end-
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PARTIME SPECIAL
TR ANSCEN
106
NDENT FASHION Photography Linda Cooper Style Daniel Lismore Make Up & Hair Monfi Lin Model Connie & Annie Chiang
還記得十月的 PARTIME 一週年派對的特別來賓嗎？行動藝術家 Daniel Lismore 與影像玩家 Linda
Cooper 又再一次為 PARTIME 合作拍攝，只是這次從倫敦飛到了台北的五角船板餐廳取景。這也是
Daniel
第一次將自己身上的「裝置藝術」放在模特兒身上造型，創造出如同奇幻世界的神祇般，莊
嚴、邪惡而詭譎，時空交錯，超越了時裝的概念，卻又保有前衛的時尚元素。
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:: PARTIME VOYEUR
Call For Submissions
PARTIME Readers 來稿選錄 voyeur | voi : yər; vwä- | 窺視者 noun a person who gains sexual pleasure from watching others when they are naked or engaged in sexual activity. 關鍵字 窺視者、被窺視者、觀看的方式、沒有自覺的客體、帶有性慾的。
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:: PARTIME VOYEUR
Call For Submissions
Photography Elizabeth Flynn 眼，並不只是事件的本身，更像是一條沒有鑰匙的
The eye. Not just a coincidence. More than a gateway
路徑。
but a key?
它埋于蛇般的皮膚，讓光進來，形成一種內部的宇
Bound up in snaky skin the eye lets out the light. The
宙，物質在此串連成具有意義的存在…
knowledge of within.
我多麼希望能夠剝離一切，並從這苦悶的身體逃離。
Strung up substance becomes a meaningful existence…
血液是不值得的，光又是如此令人目盲的亮。
I wish I could peel away the rest and escape from this
燃燒的呼吸。
agonising excuse for a body.
烏黑的絲絨窗簾，比衰弱血肉的碎片更容易關上。
Blood isn't worth it. The light is so blindingly bright it
這樣的輪迴對一個靈魂來說是否太多了？
is painful to let it in.
我們應該全都感到需要逃避！
Burning Breath.
有時候眼睛觀察過於悲慘的瞬間而無法理解，卻無法
Velvet ebony curtains would be easier to shut than
將它鎖上關上。
these feeble bits of fickle flesh.
這世界有可能是美麗的嗎？
Could this life be too much for the soul?
眼睛是真相，它們無法隱藏任何事。
We all feel the need to escape! Sometimes the eye watches moments too catastrophic to comprehend and you can' t lock it shut. But could the world be beautiful? The eyes are truth; they aren't hiding anything.
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:: PARTIME VOYEUR
Call For Submissions
Photography Cotton Hsu 窺視是一種濃縮的東西，混雜了熱情與期待，窺視的本質有點噁但也有可能變得很美好，對我來說拍照就是那個美好的部份。 Voyeur is like something concentrated and mingled, it mingles with enthusiasm and expectance. The essence of voyeur is a little bit disgusting but there is a possibility for it to become wonderful. To me, voyeurtistic photography is that wonderful part.
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:: PARTIME VOYEUR
Call For Submissions
Garment design Lisbeth Løvbak Berg Photography Mona Elise Faber Hair & Make up Camilla Kobbevik 你是否曾經在一棟殘破的老房子前躊躇著，對它的美麗深深著迷？ Have you ever stumbled upon an old house in ruins and been completely fascinated by its beauty ?
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