pangbianr » Bbrother: hutong dérive

Bbrother: hutong dérive

By Josh, 2011年 3月 30日

click marker, then picture to see full documentation for that site

Bbrother是来自台湾的一位艺术家，目前在英国念书。最近有他的作品在北京三里屯SOHO的大声展项目中展出。现在他回到了台湾参加台北的双年展。Bbrother来北京时候带了许多涂鸦所用的浆糊材料，在北京也结识了一些新的朋友，分别以他们肖像画大小作为图版进行涂鸦绘画创作，而且以具备了开开软件的摄像手机随时跟踪所涂鸦的地点。Bbrother 尝试在北京的胡同里暂时行的涂鸦，这也是在北京胡同里罕有的创作方式，显然，它们很快将会被遭到毁坏。

Taiwanese street artist bbrother visited Beijing recently as part of the Get It Louder exhibition at Sanlitun SOHO before heading on to participate in the Taipei Biennial. Equipped with wheatpaste materials, full-scale drawings of people he met during his trip to Beijing, and a camera-phone with a Kaikai app, bbrother marked Beijing’s hutong with inherently temporary installations, objects to be destroyed.

我们深夜带着Bbrother “飘移” 入鼓楼和雍和宫等地方，同时带上北京步行旅游的地图，去了事先我们所想要去的地点。带着啤酒，一路穿梭于胡同中，Bbrother他说这犹如一个巨大的迷宫，第二天他完全不知道自己到过哪些地方。关于他这次北京之旅，我们也对他进行了这次项目的采访。（采访原文是英文）。

We led bbrother on a dérive through Gulou/Yonghegong, navigated dually by a Beijing walking tour map and our pre-existing knowledge of the space and its places. Along the way we asked him a few questions about his project and overall experience in Beijing. (Interview originally in English, translated to Chinese — read bbrother’s own account of the night on his blog).

从采访部分往下我们就可以看到每一个站的涂鸦摄影作品记录。（也可以点击地图的标志直接进入每一个涂鸦地点）。我们会继续记录每个作品将被毁坏的过程。

You can find documentation for each stop below, after the interview. (You can also click the image on the map to jump directly to each stop.) We’ll continue to document the process of destruction of each piece over time.

pangbianr: 你参加大声展这个活动是当什么样的角色？

bbrother: 他们邀请我来大陆是为了和他们做一个项目合作…我到这里［中国］之后就开始做一些涂鸦项目。所以不知道我的角色到底是“涂鸦艺术家”或者“艺术家。”

pbr: 你这次参加大声展的项目是关于把你自己的作品位置更新在手机上的地图。那个是怎么处理的？

bbrother: 我就是想如果你能指出你自己画的作品在地图上，这个会很有趣，因为我是个陌生人刚来到这个城市。和一个城市最容易的沟通方式就是去了解你作品的地理位置了。

pbr: 那后勤是怎样处理的？我听说他们把一个手机给你，就是为了更新你的作品。

bbrother: 是一个软件叫开开（k.ai），就像Flickr地图或其他的这种东西。你可以用手机发你的位置，然后软件就会在地图上指出。那么最后你就可以上载图片。所以算是一种互动软件。

pbr: 做这次的项目，你已经在北京呆了多久？你去过哪些地方，在哪还有你的作品？

bbrother: 大概两个星期。主要是在安定门和鼓楼东大街。

pbr: 你喜欢在胡同创作有特别的原因吗？

bbrother: 有，是因为在我来自的那个地方我们完全没有这样的传统地方。我们有一些，但不像这样。中国北方和中国南方是有差别的。对我来说，胡同很吸引我就是因为他们是纯粹居住性的。公民的日常活动都在这里发生。所以这点特别吸引我的关注。

pbr: 你什么时候开始用浆糊来创作？

bbrother: 我四年前开始画涂鸦。刚开始的一两年是用模板来做。但我觉得用模板太危险 — 这是在台北－因为你要在街上花多一点时间。所以我就开始用浆糊，结果是一样，但你花的时间会短一点，同时会减少危险。

pbr: 你目前在Goldsmiths念书。你的课程是什么？

bbrother: 美术。我在做装置艺术，为他们的计划做一些更倾向于“艺术”的东西。涂鸦更像是我课余生活之后的一种行动。

pbr: 那你现在有没有一些其他想法想说一说，关于你在北京做这个项目的经历。

bbrother: 第一个星期我感觉特别惊讶，因为这个城市一直有很多事情发生。有好多人从农村来到北京打工、交朋友、开始一种新的生活。在我看来，这个城市在扩大，但如果跟我来自台北的那个城市做对比的话，台北像一个已经死亡的城市。所以这个城市给我很深刻的印象。所以我想做一种跟城市相关的一个项目，拍我认识的一些人，拍我聊天的对象，然后把这些图片变成可以挂在街上的涂鸦作品。我的项目就是这样。

pangbianr: What was your role as a participant in Get It Louder?

bbrother: They invited me to China to do some kind of collaboration… when I arrived here I decided to do some graffiti. So I don’t know whether my role is “graffiti writer” or “artist”.

pbr: Your project for Get It Louder is based on updating the locations of your pieces to a map via cell phone. What was the idea behind this?

bbrother: I thought it would be interesting if you can locate the place where you paint in the map, because I’m a newcomer in the city. The easiest way to communicate with the city is to be able to locate the work geographically.

pbr: How did it work logistically? I know they gave you a phone to use to update on your work…

bbrother: It’s software called Kaikai, it’s like Flickr Maps or this kind of thing. You can send your location in the cell phone and they’ll locate the place, then you can upload pictures. So it’s kind of interactive software.

pbr: How long have you been in Beijing for this project? What areas have you gone to and where have you put up pieces?

bbrother: About two weeks. Mostly around Andingmen and Gulou dongdajie.

pbr: Is there a reason that you prefer hutong areas?

bbrother: Yeah, it’s because in the place where I come from, we don’t have this kind of traditional place. We do have them, but in different ways. northern China and southern China are different. For me the hutong areas are very interesting because they are purely residential, activities of the citizens are going on in this place. For me this is fascinating.

pbr: When did you start doing wheat paste work?

bbrother: I’ve done graffiti for four years. The first two years was doing stencil. I found stencils too dangerous – this was in Taipei – because you have to spend more time on the street. So then I found wheat paste, you have the same effect but you can make the time shorter to decrease the danger.

pbr: You’re currently studying at Goldsmiths in London. What is your program of study?

bbrother: Fine art. I’m doing installation art, something more “arty” in the program. Graffiti is more like activst work after school.

pbr: Is there anything else you want to say about this project or your experience in Beijing?

bbrother: For the first week I was totally shocked because in this city a lot of things are going on. A lot of people from the countryside come here to work, to make friends, and to start a new life. For me this city is growing and Taipei, where I come from, in comparison is a dead city. So I was really impressed by the city. I tried to do something relating to the city, taking pictures of people I know, people I talk to, then make it into graffiti and put it on the street. That’s my project.

第一站：家作坊 /// stop 1: homeshop

night of

next day

48 hours later

“Commentary ranges from ‘Is this you guys’ doing?’ to ‘It scared the shit out of me’, ‘What does that say? Not understandable’ and ‘Have you heard Soda Green’s songs before?’ Speculation about meaning, intention and whether or not the smiling figure looks like QU sound a lot like museum chitchat…”
–Elaine, Homeshop