• Wander | Dream | Create

    Abbey Laura San

  • I am looking forward to............

    You have entered Abbey Laura San's magic world. This space of endless possibilities habours my sustained belief in the power of writings. It is a realm where creative minds freely fly, through literary, visual, aesthetic and phylosophical presentations.

     

    It contains the following profiles:

    • City and Place: City has more and more replaced country as the unit for humans. I visit the places I have never been, and revisited places I have been to.
    • Art: Contemporary art as lens of world.
    • Work: A perpetual topic of work v.s. life, money v.s. time, status v.s. happiness. I continue to seek out the joy of being salaryman.
    • Life Editor: A lifestyle magazine improving better life quality.
    • Fashion Notes: How we live through looks. I try to place fashion within the cultural and societal context in profound and meaningful sense. 
    • Inspirations: Every little thing bringing me crystalline blink. 

    前言

    歡迎來到Abbey Laura San的創意世界。這個充滿無限可能的空間,承載了我對文字矢志不渝的熱情,對文字力量的堅信。創意和思想在此自由飛馳,除文學外,還加入了我對設計、美學、哲學的一些觀點。這也是一本個人創意雜誌,所有內容、板塊、美學設計,以及IT技術,全部親力親為,個中的快樂不言而喻,我享受其中。

     

    雜誌包涵以下六大版面:

    • 城市驚奇:城市已逐漸代替國家成為人類生存的基本單位。以獨特視角發現城市,思考建築,探尋小地方。
    • 藝術庭院:當代藝術深深折射了我們今天的生活狀態、社會環境、世界趨勢。
    • 工作頌歌:工薪上班族是大多數城市人的社會身份。關於工作的話題總是說不完,Abbey Laura San不斷探尋工作的新鮮話題,思考著如何過好工薪階層的快樂一生。
    • 時裝筆記:服裝的藝術史與社會學。
    • 生活編輯室:有一種職業,叫做生活家,一份把經營生活當工作的工作。
    • 人間灵感指南:小事、小東西、小地方、小動作.......統統匯聚成一部人間靈感指南。
  • To visit places I have never been

    To revisit places I have been to

    Phnom Penh through the lens of French Colonials

    City Magazine NyoNyum: New Khmer Urban Narrative

    法國殖民鏡像裏的柬埔寨

    柬埔寨日語雜誌NyoNyum:高棉微笑的敘事

    金邊的當代藝術空間在發展壯大中,有獨立畫廊、非盈利機構和非政府組織贊助建設,也有藝術家親自參與。包括Sa Sa Art Projects/Sa Sa Bassac、Java Arts、Meta House、Institut Francais du Cambodge和柬埔寨國家博物館

    「昔日的難民,今日的贏家」,新加坡《海峽時報》以這樣的標題報導了Svay Sareth獲2016年保成當代藝術獎的消息。對此大好消息,柬埔寨當地媒體《金邊郵報》更願意提及藝術家的真實名字,避免難民身份:「Svay Sareth在新加坡榮獲最高獎項」。這個章節,我們以專訪及對話的方式,由作者帶出藝術家的群像,藉著藝術家群像窺視當今柬埔寨的意樹生態。

    世界各地的遊客湧向柬埔寨,為吳哥窟與暹粒而來,吳哥始終是高棉的精神家園,而作為首都和最大城市的金邊,卻並不受矚目,這座城市從一開始,就是高棉對外部世界讓步妥協的結果,與古老漫長的高棉文明相比,金邊從15世紀才開始擁有自己的歷史。它的出現,是躲避泰族入侵的自保,也是對自我文明的被迫離棄。它小心地與西北的泰國維持安全的距離,又一次次與鄰近的越南激烈抗爭,它與法國微妙地親密又疏離,在印度支那時代收穫了珍貴的文化與精神遺產,卻又逃不過被大國陣營玩弄的命運,經歷了長達半個世紀的空前災難,直到今日在諸多國際社會的「援助」之下,化作沉默的背景,注視著外國資本的擴張充斥和本土寡頭的強取掠奪。金邊就像它的中文名字,坐擁金色的文明、斑斕的歷史,卻徘徊於邊際之間、邊緣之外。

    I spent my special new year eve this year in a Japanese restaurant in Phnom Penh. It is a city with extreme trauma and under big influence from the foreign countries. I wonder how it feels to be subordinate to foreigners on their own homeland, but it seems people of Phnom Penh have their own belief. The humid and hot sunshine has made the colour of the city, as well as humanity, to the its boldest extent.

    Argument has preoccupied the mind of its people intrusively. They are obsessed with debating on right and wrong.

    他們與其說是搬弄是非,不如說對是非有一種執念。所守或匪親,化為狼與豺。朝避猛虎,夕避長蛇;磨牙吮血,殺人如麻。

    Chengdu has motivated my will for expression, here, I find my unique language. It is an amusement park full of anxiety and panic. The spicy food functions as an outlet for innermost anger to the heart's content, it is the code of Sichuan women's personality.

    漸漸失去了表達欲,在成都,我開始找回語言。這個“城會玩”的地方一直怀揣了一份與它不搭配的躁動不安。飯菜中的那一份勁辣,是他們於口腔的情緒發洩,那種憤怒與痛快一併呼之欲出的感覺,是“辣妹”的人格密碼。

    Shiva and Mandala of South Asia provides phylosophy, Islam of Middle East provides spiritual belief, Confucianism of East Asia provides the method of living, European culture since colonial period provides business mind, all these constitute the genes of Singapore.

    來自南亞的印度濕婆與曼陀羅提供了哲學,中東伊斯蘭提供了精神信仰,東亞儒家文化提供了處世之道,殖民時代以來的歐洲文化提供了商業思維,所有這些就是作為混血兒的新加坡的基因。

    The "Big Government, Small Society" developmental model of Singapore is also reflected in its local arts and cultural scene.Censorship, centralization of power, elitism, and an effective rule of law are all in force simultaneously.The extent of the potential for art to develop under government's control is a subject worth exploring.

    「大政府,小社会」的新加坡發展模式,同樣體現在藝術文化領域。言論管制、權力集中與精英主義、高效法治並馳。政府管制下的藝術局面有多大的發展潛力,值得討論。

    Go beyond the borders, this is how Thai art develops through overcoming the constraints from authority, market, international recognition. I am lucky to have a sincere conversation with Mr. Tang Fu Kuen, a Singaporean who chooses to base his art career in Bangkok for decades.From him I can feel a link between countries in Southeast Asia, the common challenges many states are facing. Thanks my dear friend Sasiwimon Wongjarin for coordinating. In this small cooperation, Singapore, Thailand, Hong Kong and China mainland are intersected, we are lucky to live in a connected world to make our common belief realized, this is what I cherish the most.

    我有幸與Tang Fu Kuen(鄧富權)先生展開一次對話,分享對泰國文化生態的觀察思考。作為新加坡華人,也是祖籍廣東的廣府人(從英文名拼寫發音來看,符合粵語發音規則),Tang Fu Kuen已在曼谷生活工作了十年之久,此次被特邀接受香港媒體專訪。在藝術話題之外,這種華人的地理遷徙、東南亞國家的神秘聯繫,讓我覺得及其有趣。謝謝我的前泰國同事,清邁本土人Sasiwimon Wongjarin (Aom)小姐的推薦,在倫敦與愛丁堡繁忙的差旅中途,不忘為家鄉的文化傳播而奔走。這次訪談的背後,是不同人文、地理、國度的一次微妙聯繫,在這個緊密連結的互聯網世界,創意工作者可以跨越時空與地域,展開一場有意義的合作,這是我們的共同的幸運,也是我最珍視的。

    Thailand has overcome the limit of "resort destination". The local artists and creative practitioners initiate to build their own creative cities and smart livings. TCDC and BACC in Bangkok are the new landmarks of the city, while the project of Creative Chiang Mai has made the city an established complex of art, craftmanship, NGOs, academy, education, international relations and business.

    不僅僅是度假聖地,更是創意城市,倡導智慧生活方式。泰國本土藝術家和創意工作者,將創意社區引入曼谷和清邁兩大城市, 曼谷的泰國創意設計中心和曼谷藝術文化中心 成為城市創意產業新地標,而在「創意清邁」項目的引領下,清邁已將藝術、手工藝、非政府組織、科研、教育、跨國合作和商業結合,形成完整的行業链。

    After hearing the lecture from the director of film Shakespear Must Die, especially noticing that the producer is Manit Sriwanichpoom, the artist for Pink Man, I start to discover Thailand, an unknown while familiar resort, the cultural ecosystem of two largest Siamese Cities, Bangkok, the international metropolitan, and Chiangmai, the livable "second city".

    翻開中國人的護照,幾乎每本都貼著泰國簽證,貌似是熟悉的度假天堂,其實我們對這個國度知之甚少。一次在新加坡的「東南亞電影節」上作志願者,偶然聆聽了泰國導演Ing Kanjanavanit的電影《莎士比亞必死》的創作分享會,更驚喜的是這部電影的製作人,正是藝術家Manit Sriwanichpoom,他的「粉紅男人」已經成為泰國當代藝術的標誌形象。這一次,我嘗試探索曼谷清邁的雙城生態,前者是泰國社會尖銳矛盾的發生地、包容世界文化的國際都市,後者是泰北文明縮影,探尋傳統農墾與宜居城市間的平衡。

    A tribute to Zaha Hadid, this April I visited her signature architectures Wangjing Soho and Galaxy Soho in Beijing, the Ultraman-like constructions reveal a hidden side of the city. Click the picture to see what I have observed.

    似乎在每一次危機與不確定的時刻,新加坡與香港都成為了彼此的鏡子,成為彼此丟失的那另外一個自己,代表著另一種可能性,一種生活在別處的幻想,本可實現卻無法得到的夢。

     

    當潘迪華的《梭羅河畔戀曲》(Bengawan Solo)的悠悠南洋旋律響起,在新加坡熱鬧的中國城吃飯的周慕雲,接到蘇麗珍來自香港的電話,欲言又止的沉默,默不作聲的隱忍、渴望和無奈,都在香港那一頭的電話掛掉後,戛然而止。在憂鬱迷人的舊香港,周慕雲與蘇麗珍的情感從那張「幫我訂張去新加坡的船票」開始。去往星洲的船票,藏著百般依戀柔情,又是出逃苦悶婚姻、尋找愛情的理想島嶼。 彼時的星港,千絲萬縷,冷戰大背景和共同的離散華人身份,讓兩座離岸島嶼之城,即作為避難所的繁華香港和哼著馬來戀曲的迷人星洲,血脈貫通。

  • View the world through an artistic perspective

    New article published on Aug 2017 art plus (Taiwan). In this report of Creative Expo Taiwan 2017 臺灣文博會, I used a comparative perspective of Culture Expos/art fairs in China mainland, Taiwan, Singapore and Japan. China's design expos are more presented through different big cities' powers and competitiveness, it has released the strong regionalism of China's social-economical status quo, while no one can represent "Design in China". Another good sample is Singapore, which is free from regionalism and well fused with its global, overall character, while limited by its small and monophonic city-state outlook. A good reference for Taiwan is Japan, both are islands, and both regional prefectures are well integrated into a whole, with clear, overall identity. Theme of this year's expo is "We Explode in Culture", which originated from the youth anxiety, generation friction, and economic downturn, therefore, good IP is the biggest advantage for "Design In Taiwan" in global market.

    構建文化平臺以承載華人優質生活,是「臺灣文博會」宗旨。如果將華人生活立足在一個「島嶼」的範圍,實踐一種近似老子理想中的「小國寡民」社會單元,會有怎樣不同的生態?

      2 years ago I started to pay attention on Southeast Asian contemporary art, which needs and deserves a larger visibility. Its multicultural nature within a context of complicated social and economic circumstances made its unique, touching our hearts. This article is my first attempt to provide a perspective for Chinese readers, and it has been followed by more and more breakthroughs.

      两年前开始关注东南亚当代艺术,一个被忽略遗忘,却值得被认真关注的艺术领域。奇妙的多元文化与复杂的社会经济语境,铸就了东南亚艺术别样的生态。这是两年前写的第一篇东南亚当代艺术评论,发表在《颂雅风艺术月刊》,愿未来会有更多突破。

      Teppei Kaneuji touches my heart by his will to break order and build a parallel, democratic new world order. His art generates incentives to encourage unrelated universes to mobilize and renegotiate. My first art critics for Japanese contemporary art, first published on a,m,post magazine, Hong Kong.

      金氏徹平最吸引我的,是他打破規則,創造融合共同體的想像力,是三浦展「真性團塊次代」的延伸,即個體表達、共享、平行、民主價值觀。他隱喻了後現代人類的生存狀態,在本土、民粹、民族主義膨脹的今天,探索美丽新世界。我的艺术评论《次元探求與世界新秩序》,首發於香港《a.m.post》雜誌。

        “Fundamentally, the value of art is that it can touch your heart. Heart-touching art will be appreciated, whatever the background it comes from” , Liu Jianhua told me.

        「歸根到底,看一件藝術品,就是看它能否打動你。打動人心的作品會引起共鳴,無論文化背景如何」,刘建华对我说。

          The evolution of Mao Lizi’s art reflects his life history. The highly realism in the earlier years, critics on space at the middle age, and finally in the senior years, he gave up the hound for reality, as he gradually recognized the ambiguous boundary between truth and lie, reality and illusion, right and wrong. There is no necessity to stay astute for any situation, and it would turn to be much happier to contemplate the moon reflected on water, or gaze the flowers through mist, to set free interpretation and imagination. Flower or not, the fact or bubble, they are ephemeral among eternal being.

          毛栗子藝術風格的演進史,反應了他個人的人生變遷。早年的高度現實,中年對空間的探索,到晚年終究放棄了對現實的追討,仿若看透真與假、實與虛、是與非間本無界限。事態的面目無需看得太清楚,隔水觀月、霧裡看花,任憑解讀與幻想。似花而非花,真實與幻覺,只在一念之間。

            On the eve of Art Stage Singapore, I hold a conversation with Rudolf Lorenzo and Khim Ong to share their opinions on Asian art scenario and Southeast Asian art.

              Click the picture to read more related articles.

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              1. Explore Endless Happiness and Sorrows of Salaryman

                Travel is not necessary to be somewhere faraway, it could be your workplace, which habours the majority of our time in life, and where we are most familiar with while most unfamiliar with. Start to plan your trip around office building, to keep fit, stya smart and look fresh, travel could happen every routine working day.

                不必遠行,不用金錢,旅行就在日常通勤路上。旅行不是別處,旅行就是當下,工作即旅行。

                香港前特首曾荫权在上任的时候,说过一句:「我会做好呢份工」,成为当时许多媒体文章的标题。「我会做好呢份工」,简单的一句话,却是多难的一件事。「呢份工」是什么,听说、猜测、文字描述都不算,只有亲自做过才知道。了解了「呢份工」后,「我会做好」则难上加难。

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              2. Researching How to Improve Life Quality Better

                弗吉尼亚吾尔夫说,女人想要写小说,必须有钱,再加一间自己的房间。一间自己的房间,是为自我构建的一个地理空间,也是一个心理空间,空间决定了我们与这个世界的关系,它关乎我们与一座城市的关系,集合了我们的欢忧,悲喜,它首先与经济,生活习惯和身体健康相关,接着关联了我们的社会关系与在社会中的位置,最后它是美学,哲学和心灵。

                Happiness is the efforts of changing environment, not the expectation of what it will surely bring. Moving is not a choice between right or wrong, but a choice among several wrong options, you choose the one you can accept, and go ahead.

                僅僅是為改變環境而做出的努力,就很快樂,而不是這種努力一定能夠換來什麼。​遷徙,不是在對與錯中選擇,而是在幾個既定的錯誤選項中選擇,選擇那個你可以接受的錯誤選項,然後走下去。

                [Reunion] Finally get reunited after 2 years since farewell in Singapore. Hongying Chen it's not easy to have a meet at this age, when everyone of us is busy with life, while we still have much to share as if the gap years never happened. It is lucky that the places habouring our time together are all pleasant cities, Singapore and Hangzhou. Food of Hangzhou is delicious and very poetic,with a philosophy of keeping balance and essence of nature, just like its people.

                [食記] 但願無事常相見,千言萬語盡在佳餚中。杭幫菜充滿江南的人文情懷,鮮而淡,香而雅。追求自然,淡妝濃抹總相宜。

                [Réunion] Enfin nous nous réunions après deux ans depuis l’adieu dans Singapour. Il n’est pas facile d’avoir réunion à cet âge, quand chacun est occupé par la vie. Alors que nous avons encore beaucoup à partager comme si les années d’écart n’ons jamais eu lieu. Nous sommes heureuses que les lieux où nous passons notre temps ensemble sont agréables, Singapour et Hangzhou. Aliment de Hangzhou est délicieux et très poétique, avec une philosophie de garder l’équilibre et l’essence de la nature, tout comme ses peuples.

                 

                  喜歡美食,更喜歡承載饕餮的器皿。每到一地,必然要去當地的餐具店走走,從各地搜集的日式瓷器,包括日本原產的「古伊燒」、「光峰」、「藍蘇」、「伊陶」、「專山窯」,還有廣東的瓷器。日本餐具最吸引人人的部分,在於將花紋燒在容器內部而不是外面,這樣在進食的時候可以直接看到碗中的圖案色彩,搭配不同的食物饒有趣味。好的餐具,往往看起來大而實,實則輕而巧。「藍蘇」的藍花碗弧度別致,深而包容,最適合吃拉麵。「光峰」的藍道碗寬大有容積,拿起來卻有空氣感的輕盈。「伊陶」的黃紅花碗盤最適合春天進食用。走遍新加坡的Robinson百貨在JEM、烏節路的各大分店,訪問北京的Raffles City與華堂超市,為了買一個器皿,要多次斟酌比對,在美與功能性之間尋找焦點,逐漸形成對器皿的鑑賞力。更是探尋自我的過程,發現自己對生活、美、工藝的態度是怎樣一個變化。價格不菲,但物有所值,是可以一直用下去不會丟棄的好物。它所帶來的美之享受,讓飲食體驗更愉快,讓生活更有味。

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                1. How We Live Through Looks

                  你可了解自己的身體?身體與時尚有著怎樣的關係?英國時尚評論家科林·麥克道爾從人類的身體出發,依循「未穿衣的身體」、「被解剖的身體」、「穿上衣服的身體」三部分,依照身體的歷史構建時尚史,探討了身體為何穿衣,時尚為何隨著時間不斷演變,何以人類的身體構造亙古不變、衣著的推陳出新卻源源不斷。

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                2. Imaginations and Observations

                  Melody | 齊藤和義の空に星が綺麗

                  旋律 |《今夜星光燦爛》

                  齊藤和義的《今夜星光燦爛》適合週日的早晨。“吹著口哨漫步,今夜星光燦爛”。口笛吹いて步こう,肩落としてる友よ。いろんな事があるけど,空には星が绮丽。

                  Melody | Spitzスピッツの遥か

                  旋律 |《遥远》

                  秋日晴朗早晨適合聽的歌,就是被遺忘的2001年日劇《Love Story》主題曲Spitz的《遥か》,中山美惠和豐川悅司再度合作,又是北川悅吏子的腳本。2001年的日劇片頭製作水平今天看起來也相當精湛。白色背景與白色衣著的兩人,穿插了青蘋果、香橙、番茄、甜椒、西芹、花菜、水蘿蔔、百合,以及飛舞的瓢蟲和學步的小鴨子。佈滿陽光的咖啡廳桌旁,三男三女快樂地品嘗甜品慶祝生日。總覺得豐川與中山美惠才是最搭配的銀幕搭檔,演出了最優雅純淨的中年之愛。而頂著一頭灰白色頭髮的香取慎吾一如既往得看起來像大媽,但日劇里總會出現一些與主流格格不入的奇怪另類,倒也恰到好處。不厭其煩地一直聽,發現一首好音樂的感覺實在幸福。

                  Melody | Antonio Vivaldi's L'estate Presto (Summer) in Four Seasons

                  夏日雷雨

                  维瓦尔第的《四季》表达了他对每一个季节的情绪。显然,夏季在他对时间的理解中是暴躁、危险、矛盾与斗争的代名词。夏季并不明朗开阔,它不是《夏日么么茶》里的沙滩阳光,也不是清新宜人的茶园,而是18世纪的意大利,深绿的原野充满哀伤。起先只是对前途未卜的忧愁,暴雨将至的苦楚。而后电闪雷鸣,狂风暴雨,牧羊人与大自然的凶狠以及命运的艰难顽强对抗着。小提琴的小调像是倾诉着真实心声,而后的协奏进行曲则诠释了敢与命运对抗的人类不屈的精神与人性的光辉。起初你会对那刺耳的旋律与紧张的氛围感到不适,但越听就越有味道,因为充满画面感,让我们想像到自己的人生。

                  如果《下流社會》中,三浦展在禦宅族、啃老族身上看到日本社會墮落的危險,那麼《第四消費:分享型社會》中,三浦展則在拼房拼車族和飛特族身上看到了日本建設共享型社會的新希望。從佔有、到體驗,直到與人分享,消費心理折射著一個社會的自我認知與情感成熟。

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                  Abbey Laura San is a creative writer on city, architecture, contemporary art and society of Asia. She reflects on how to improve life quality through aesthetic, literary, and philosophical way.

                   

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