於台中百貨繁華區域巷弄裡,有著點綴粉色塗裝卻一點也不少女的平房,走近看則會發現充滿獵奇圖文符號裝飾著的細節,而這場域就是由”ALONE“ 與 ”蛆;箘“ 兩單位共同經營的空間。自2015年開始ALONE 是一個以推廣獨立品牌為重心,試著在城市的水泥中擠出一點裂縫讓創作可以流進來。期間無論是自行發起或是與其他品牌連結,在這空間內已經有不少屬於創作者與社群交流的事件發生。台中藝術書展 Break Off Art Book Fair 就是由ALONE與其團隊所策劃執行,我們透過與ALONE的經營者林稟儒 Nibiru ( A.K.A小秉)訪談與側寫試著傳達這藝術書展緣由以及所帶來的訊息。    ALONE經營者小秉因著對服裝與金工開始對於時裝產生興趣,逐漸接觸到滑板文化而萌生對於這次文化場景的關注。雖然就學期間都是在台北參與活動,因著是居住在台中發現老家還有很大的空間與機會,來創造自己在這城市文化風景的一部分。但是台中在地生活的創作者與台北相較之下是相對的稀少,如果要創造文化場景是不能單純仰賴外來的資源`創作者與藝術家。是在開始經營ALONE後,才逐漸打開台中屬地的次文化連結。ALONE一開始是以金工銀飾製作與引進獨立服飾品牌開始,而品牌選擇首要條件為有獨特風格的獨立品牌,從台灣到日本`香港,目前接洽中的則是韓國的廠牌。   而在品牌接洽的過程中ALONE是極力地在促成與品牌創作者與在地的連結。要求被邀請的品牌,在商品展示上架同時要搭配著品牌的意象活動或是展覽`演出,而不是單純地將商品展示成列如此而已。像是新一季的服裝與走秀的關係,如此有進駐品牌的參與才能更完整呈現其內容以及精神,而在國外這早已是常見的合作與呈現方式。也因者這樣的堅持以及維持氛圍,在空間中使用不鏽鋼包覆的牆面讓ALONE在網路平台上能見度提高。雖然當初花費不貲,也成功的成為了ALONE的視覺上特色,如此要說服外國品牌進駐與參與並沒有想像的困難。反而是台灣的獨立品牌漸漸的減少,環境不足以支持創作的誕生則是令人擔憂的現象。    而ALONE這名字則是在表達任何事物的一開始或是想要有突破的狀態時,總是從孤單一人的狀態開始改變,但空間的經營則是為了要提供在地文化的聚集與連結的場域,讓創作者們feeling  not so alone。   在各種展覽`派對與影像放映後,ALONE 一週年時舉辦了一場結合 演出/展覽/展示會的“孤單一週年派對”,隨即則催生了第一次Break off Art Book Fair 2017。 小秉認為藝術書展是一種文化指標,是一座城市裡必要存在的展覽形式。在參加台北`東京`首爾等地的書展後,因著自己對於紙本媒介的喜愛,決定來辦屬於台中的藝術書展,當時適逢與巴拿馬斷交,英文新聞使用了 “Break off”表示斷交的情形。當時認為很符合台中次文化的環境,正是一個斷聯同時也尋找突破點的狀態。在試著透過藝術書刊展覽來刺激環境,如果沒有這個活動,外地的設計師沒有太多誘因同時聚集在台中,書展除了提供平台銷售創作品外,更是一個機會接觸到亞洲次文化社群的機會。同時也增加其他國家設計師來接觸`認識我們所在城市的可能。第一屆時是透過自行接洽創作者,第二屆的書展則開始對外徵件,參展的有來自德國與日本的設計師,並有展覽`演出與座談會,參與的單位與展覽空間是倍數的成長。並於展覽演出場地搭建裝置,製造場景感也是目前比較少見的書展模式。  空間經營與活動籌備過程中,感到最大的問題就是創作者的不足很難凝聚對於台中與本島的關注度。認為如果覺得環境不好或是不認同老做法,就更應該要自己下來做,有許多如電台`服裝`頻道…..等方式與平台,在台中是等待著被創造與參與的。在去參加首爾書展期間有去拜訪一些工作室,十分喜歡整個城市對於創作的活力,藝術工作者的密度很高,是競爭卻也充滿著機會。在這樣的環境下,就算是年輕的設計師也有機會在主流的平台展露頭角。 而台中的次文化現狀也是一個很關鍵的時刻,如果有什麼創作的想法就應該要去執行,而不是等待。場景經營的困難更是可以拿出來討論,讓那些有心參與的受眾或是未來的創作者們,能夠了解我們此刻面對的問題。雖然台中已經漸漸有些具有特色的單位`店家`音樂圖像等創作者,但需要更多才夠支撐起城市的次文化風景,如此才有可能加速場景與環境的形塑。而受眾參的”共感“與也是很重要的一環,如何使受眾自在的參與這些他們是如此熟悉的活動是活動主辦組織與單位需要去琢磨的。小秉認為如果不認同就試著突破。像是Break off Art Book Fair 的中文是”台中藝術書展“。如果覺得這憑什麼代表台中, 那就更應該要自己來辦一個符合自己標準的展覽,來代表城市,甚至也許不太要在意前人的看法,因為現在就是讓自己形塑那場景 成為想像中“新都市”的一部分的時刻。況且如果自己不投入,要如何去說服那些因著環境限制而不斷外流的創作者。  環境`創作者與空間,三者一直是次文化場景中環環相扣並互相在影響著,除了靠時間累積,要如何保持著好奇心試著將資訊 與資源融合出新的樣貌,而不再是複製已經被咀嚼過的二手資訊是值得思考的。期待看見場景與群體間的多樣性交流,創造屬於台中這城市的文本。 ——————————————————————————- 12.01~12.02 – 2018「深海」台中藝術書展 Break Off Art Book Fair 活動連結:https://www.facebook.com/events/248754855817980/ 文字`影像:Wong Ta Wei

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Being a DJ, producer, web designer, illustrator and an amateur model, Mars89’s multi identities are sort of difficult to be briefly categorised. His visual and audio inspirations are mostly triggered by surrealism and sci-fi genres. In summer 2016 he released a cassette tape & zine bundle named East End Chaos. A year after, Bristol-based experimental dub label Bokeh Versions released Mars89’s “Lucid Dream”, an 8-track EP with massive layers of occult undercurrents tightly knitted up with his lucid dreaming experiences highly reviewed by Resident Advisor, Boomkat, and Discogs. As a loyal follower of Gpom/Dub/Dancehall/Jungle/Tribal/Drill/Ambient/Grime/Experimental, Mars89 has been on stage with prestigious DJ Lag, Nigga Fox, Endgame, Goth Trad, O.B.F Soundsystem, Asusu of Livity Sound, NTS’s Akito, V.I.V.E.K., Ishan Sound, Marfox and Elysia Crampton. Mars89’s livestream at Waiting Room during his first visit to Taipei enlightens his vision to Pan-Chinese culture. Beginning of this year, Mars89 played with Beijing-based label Do Hits's party in Forestlimit thrown by the fashion label SCV. He’s recently been selected by Tokyo’s leading underground club WWW for the exchange programme with Club ALL , renowned for former Shelter, and will soon head to Shanghai to start his debut Asia tour in May. Graduated from the top-rated Bunka Fashion College, Mars89 chooses to tag himself along with fashion industry by sound design instead of pattern cutting. He was the music producer for the key visual of Amazon Fashion Week Tokyo 2017A/W and exclusively created cinematic soundtrack for the Ready-To-Wear brand Growing Pains’s runway at Amazon Fashion Week Tokyo 2018S/S. In support of Ashtart Al-Hurra, Mars89 quickly stated to end up his residency on London’s Radar Radio along with most of other worldwide hosts, and currently focuses on his monthly show on Bristol’s Noods Radio. This is my second time to interview Mars89. Since our first one is very quirky, I should do some serious shits this time then. Ash: As you might already know, our underground club scene is relevantly small compared to Japan and majorly happens in Taipei. Cave is probably the first venue which is keen on shaping a regional club scene in Taichung in recently years. How about the underground scene your hometown Kobe? Is there any iconic underground club there? Mars89: I’m not sure about Kobe. Last time i went for party in Kobe was about 10 years ago while I was a student haha. There are a lot of live houses instead. I always went to Osaka for clubbing during my time as a student. I know there are some good underground Dj/musicians and venues around Osaka but there is none in Kobe tho. Ash: From your music selections, it’s obvious that you are very into significantly regional /primitively exotic sounds on the top of heavy bass line, such as Durban house, Bristolian bass, London Grime, or even Jersey Club to middle eastern instruments. Which area’s music genre is on your recent search history? Mars89: I’m listening Baile Funk, Batida, 3ball and Dembow recently. Now I’m trying to install Japanese rhythm and sound to my body again. Ash: Recommend us some new electronic tracks made by Japanese producers with regional elements embedded. Or Name some promising producers you can think of. And Why do u like them? Mars89: Check Sugai Ken. I really like his style. He is researching Japanese sounds super deeply. He uses traditional essence but his sound is not stale. I often use his music in my dj set. His music makes dancefloor to another dimension. Super good. Ash: Understanding music/musicians from all over the world and diverse cultural backgrounds can be an influential inspiration especially for DJs, producers, and audience due to each genre was initially an exit for a small group of people to release their the ecstasy/sadness/anger. The aspects of human equality and welcoming acceptance are what makes subculture beautiful. Undoubtedly Radar Radio’s abusive practices in exploiting women, coloured people, and LGBTQ community greatly disappointed the insiders. As a resident DJ of Radar, you are also one of the walkouts who made a quick decisions against this triple discrimination. What do think about this whole scandal? Mars89: I refuse to support people who don’t want to support minorities. I think underground/street/subculture can be shelters for many different minorities that make this scene beautiful and vibrant. Racist, sexist, homophobia or whatever biases are our enemy. Enemy of the human beings! Ash: This time you will be playing in an abandoned temple instead of a club, pretty much like the idea of warehouse squatting. I assume it should be quite different from your past gigs. What do you expect from this experience? And Also what do you expect to play in Cave, a new venue in a non-capital city? Mars89: I think abandoned temple will fit to my sound’s texture perfectly! I don’t make tracklist before DJing so I’m not sure what to precisely expect. But I think my DJ will be more aggressive in the temple, and that will be more experimental in Cave. Maybe haha. At least I believe I’ll get good inspirations from these two venues, audience, and other DJs for sure. Ash: Last, what do you expect ( apart from music) for this Taiwan trip? Mars89: Apart from music… It’s very difficult for me haha. Night markets and spicy local food!! See you soon! facebook: https://www.facebook.com/Mars89.jp website: https://www.mars89.com/ twitter: https://twitter.com/_Mars89 ig: https://www.instagram.com/_mars89/ mixcloud: https://www.mixcloud.com/mars89/ soundcloud: https://soundcloud.com/mars89 —About Ash— Ash Lin is a Taipei-based-frequently-Tokyo-bound freelancing photographer and music event planner. Greatly influenced from rave and underground culture during her 4-year stay in London, her relocation back to Taipei never means to exclude herself from this tiny yet vibrant scene. Currently She does photography and visual materials for Beijing-based music label Do Hits and also a core member of SCV Clothing. As a person holding triple identities: partly insider in electronic music scene, photo taker, and full-time raver, her audio experience and musical friends’ stories drive her to visually archive what she’s been told and listened.

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  2013年,一扇窗的關閉是另一道門的開啟。一道窺視尖鋒音樂場景樣貌的萬花筒轉熄, 接續著是網路直播開啟音樂場景想像可能性的時代開始。網路媒體音樂內容持續擴張, 開始可以輕易地搜尋到外國電台(KEXP….)的現場節目錄製,大型音樂祭(Coachella…)的 現場高品質直播,接續著看見Boile Room (派對轉播組織平台)轉播世界各地與當地音樂創作者 所聯合的派對場景。 只要有不願意流俗的聽眾與創作者, 獨立跳舞音樂場景就不會寂寞太久。   跳舞音樂創作者開始在獨立空間試著發出聲響,社群媒體更是擴張 音樂場景組織方式的可能性,數位DJ混音軟硬體設備的進步普及 學習DJ混音不再受限於昂貴指標器財。神秘學與啟靈的思想風潮加深 參與派對試著透過參與群體`感受強烈頻率`享受肢體舞蹈進入神遊狀態 體驗。跳舞音樂場景的擴散在各式助力下的推波助瀾,音樂產業組織與 操作隨之改變。   跳舞場景開始在島上擴散,其中一支融合 Bass/Trap/Jungle 等曲風的派對場景 製造先鋒UnderU。  2017年時發行Greenhouse/ Warehouse 雙合輯即將屆滿一年, UnderU的組織者 Sonia Calico 剛登上美國SXSW舞臺,是 Go Chic 創始團員,         2007成軍開始該樂隊曲風帶著跳舞音樂科技律動與電子龐克風格,在樂隊暫歇後, 現在的她以個人創作的身份 Sonia Calico 帶著強烈跳舞能量現今活躍於Bass 舞場與 世界各跳舞音樂舞台。             霧誌QA / Sonia Calico   霧Q_1. 音樂風格中帶有英國地下音樂的既視感,為何喜好這樣的音樂? […]

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