Garde Magazine #36

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ISSUE 36 A bi-lingual and bi-monthly independent magazine aimed at bringing works of the young and talented to the world.


In the midst of the 2nd month of 2018, we are definitely amazed at the flight of time. We are very glad to have you with us and hope to impress you with two creators this issue. For issue 36, we have Victoria Manganiello, who combined her interest and profession creating a spectacular project that explores food and textile culture; Giulia Martinelli, who switched her career from translator to animator/ illustrator and is determined to change the world with irony and humour. Don’t miss out on David’s prediction on the Oscars – he usually has his own views but that doesn’t mean you can’t have yours! We are very much looking forward to see how far off his guesses will be. We might be having some changes in the late future. After all we would like to have more time and energy to deliver better and more. We will see. Nonetheless, happy reading!


踏入2018年的2月中旬,我 們終於感悟到時間的飛逝。我 們非常高興您依然在跟我們 一起,同時為您帶來兩位創作 者。 在第三十六期,我們有將興 趣和專業合二為一並帶來一 個食物與紡織並用的Victoria Manganiello;也有本身是翻 譯但是後來變成動畫師和插畫 家、立志用幽默諷刺來改變世 界的的Giulia Martinelli。 同時別錯過David(也許不 怎麼可靠)的奧斯卡獎項預 測 – 蠻有自己想法的David 這一次也不太有自信,不過我 們還是挺期待能看他猜得有多 錯。 在這不久以後的將來我們可能 會有些改變 – 也可能沒有。 不論如何我們也只是想為大家 做得更好更多。 祝大家閱讀快樂!

An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.


Natasha Chan

CREATORS Victoria Manganiello Giulia Martinelli


Kalle Ă–stgĂĽrd

CONTENT Giulia Martinelli Illustration Changing the world with one meaningful creation at a time Victoria Manganiello Textile Design Positioned in a dream

David Madsen Movie Review Best of 2017 movies

GIULIA mARTINELLI illustration

插畫 Changing the world with one meaningful creation at a time 一步一變幻

There’s one question that more and more are asking themselves today: How do you change the world? We are increasingly better informed, and the urge to improve the state of affairs can sometimes be very strong, but how to do it? Giulia Martinelli, an Italian freelance illustrator and animator, offers a humble and practical approach. Although her birthplace is Italy, Giulia describes herself as a nomad, and has lived in many places over the world, picking up languages and friends along the way. The one constant in her life so far is her work in animation and illustration, but this development was not an obvious one at all. Originally inhabiting the academic world of translation and foreign languages, Giulia discovered stop-motion on YouTube during her bachelor, and experiments led to school applications, and suddenly the path was set. Her childhood interest in drawing grew up to be the leading theme in her life.

隨著時代的進步,人們問這個問題的次數越來越多:「怎麼改變 世界?」人類得到越來越多的資訊,知道身邊的各種事情並積極 的想要改變,但是到底該如何做到?意大利自由插畫家和動畫師 Giulia Martinelli則提出了一個實際又容易的方法。 儘管她的出生地是意大利,Giulia形容自己是一個游牧人:她曾 經住過很多個地方,學習了各種語言並結交了各地的朋友;但在 她的生命中有一樣東西是不曾改變的:她從事動畫和插畫的工作 – 雖然這也不是一開始就註定的東西。 一開始作為一個學術翻譯,Giulia一次偶然在YouTube上遇到定 格動畫後,就從自行實驗行進到報讀專業學校,然後一直就這麼 著了。小時候喜歡畫畫的興趣沒想到變成了人生的進程。

However, Giulia is not content to simply create for the sake of creation. “Usefulness,” or “meaningfulness,” plays a big part in her motivation and how she picks her projects. “I want my work to fit my values and to go in the direction that I wish to take in my career. That’s why I try to get more and more involved in projects such as educational videos and initiatives, awareness-raising projects and documentaries.” Her choice of projects look beyond self-gratifying aesthetics. For example, in Graphic News (a magazine featuring a mix of illustration and documentary topics) Giulia wrote “Hour of the Wolf.” This illustrated click-through animation is aimed at battling stereotypes and prejudices in the wake of Italian legalization of wolf hunting. This is a good mixture - information, activism and animation – a way to “explore social and global issues and give voice to inspiring stories.” However, she doesn’t want to come off as too serious: “It’s always important to remember that a good laugh is in itself a good purpose: I believe that irony can save the world!”

想當然爾,Giulia也不僅僅是滿足於只為一腔熱情而創作 - 「有沒有用」和「有沒有意義」成為了她選擇項目的動 機和指引。「我想我的作品符合自己的價值觀並且為自 己的發展引路、所以我希望我的作品更加具教育意義, 比如是為了某個價值引起公眾關注或是紀錄片等等。」 她挑選項目的準則遠大於只是讓自己滿意的美學。比方 說,Giulia在Graphic News(專門報導插畫及紀錄片的 雜誌)裡面撰寫過一篇名為《Hour of the Wolf》的文 章,內容關於獵狼合法化及意大利人對狼的偏見與定型 想法,更包含一個互動動畫 – 這是包含資訊、行動主義 和動畫,一個「探討社會與世界議題的方法」更「為有 意義的事情發聲」。與此同時,她也不想將議題變得太 嚴肅:「要記住『笑』本身就有美好意義,我相信諷刺 手法可以拯救世界!」

While many illustrators and animators idealize the process of individual creation, Giulia stresses the importance of other people in her work. In school, the importance of working together became apparent to her. “Not only for work, but also in life, it is very important to learn how to effectively collaborate and communicate with others, and to surround yourself with the right people.” Appropriately, her biggest project so far, the graduation animation called “Merlot,” was created with her friend Marta Gennari, sharing “the whole work from script to compositing” in a year-long process that required “total commitment and effort.” Another unforgettable experience was her partaking in “Animation Sans Frontiere,” an “amazing” European program where young animators network and develop a short film project.

當很多插畫家和動畫師都推崇個人創造的時候,Giulia 強調別人在她的工作裡的重要性。在學校裡面,她學會 了與別人合作的重要性。「不單單使工作,還有生活, 學習如何有效地跟人合作和溝通,並跟對的人來往和交 流。」 她迄今為止為大型的項目就是她與朋友Marta Gennari 合作的畢業項目《Merlot》 – 這是為期一年多的過程, 途中她們從「寫稿到作曲」一起經歷並付出了「完全的 投入和精神」。另一個難以忘懷的記憶就是當她參與歐 洲創作活動《無國界動畫》(Animation Sans Frontiere)認識了很多年輕的動畫師,並且參與創作了一個 短片項目。

With interests ranging beyond animation – be it theatre, dancing or singing, it’s no wonder Giulia’s future plans spread in many directions. She can see herself “combining animation with performances in everyday life, like in a sort of urban installation or flash mob,” or “collaborating with theatres and performers to set up the shows.” Naturally, other people are present in her plans. For her current dream project, making an animated documentary, building up a nice team is a crucial factor, and for the longer term, she fantasizes setting up a natural farm-studio collective. No matter your field of interest, Giulia’s story shows that we can all work to find our own answer to that tough question – how do I change the world. “First of all, be patient and never give up even when it seems like a long, long way.” she advises. “Experiments and exercise is the best way to learn. Last but not least, surround yourself with good people that constantly inspire and challenge yourself. Good luck!”

除了創作動畫,Giulia的興趣也很廣泛 – 歌劇,跳舞或 者唱歌 – 這解釋了為什麼她的未來向多個角度展開。 她看見自己能夠將日常生活融合在動畫和表演當中,比 方說是在城市裡面的藝術裝置甚至是快閃黨表演;又或 者是和劇場和表演者合作開始一個表演秀等。顯而易見 的,別人的參與都在她的計劃當中。她現今最想做的項 目,就是成立一支優秀的團隊,並創作動畫紀錄片;長 期的說,她想開設天然農場工作室。 不論您的興趣為何,Giulia的故事都著實的告訴我們: 只要努力,就能夠為那個最終問題找到答案。「首先, 要有耐性,就算奮鬥的過程很長,都不要放棄。」她建 議:「實驗和練習都是學習的最佳方法。最後,最好可 以和身邊的人一起成長,讓他們賦予你靈感和挑戰!」

Victoria Manganiello TEXTILE DESIGN

紡織設計 A maker at heart 創作由心而發

Since she was young, Victoria Manganiello has liked utilizing her hands to create. She was deeply inspired by the intimate relationship between humans and fabrics from birth to death, which motivated her to go further on the journey of textile design. Through different processes of textile production and design, Victoria enjoys weaving because even though it may be monotonous, it is also meditative. “I like to let the materials guide me and I don’t regularly have a plan for what I’m weaving. I seek out opportunities to break the rules and interrupt the symmetry or balance that is theoretically required for weaving.” Other than creating textiles and their designs, she is also an adjunct professor at two universities. Victoria has been teaching students from fashion design, painting and sculpting. While there might be slight differences on these approaches, the golden rule remains universally applicable:

自她小時候起,Victoria Manganiello就喜歡用自己的雙 手創作。她深深的收到人類由生存至死亡時與織物的密 切關係,致使她在紡織品設計的路上一往直前。 即使有時候設計和實際製造紡織品的不同步驟比較單 調, Victoria尤其享受紡織的過程 – 因為期間其實非常 療愈。「紡織的時候我喜歡讓不同物料帶領我去創作, 也不常有完好的計劃。雖然理論上紡織的基本是平衡和 規矩,但是我也樂見不同打破常規和平衡的機會。」 除了出於興趣而創作之外,Victoria同時也是兩家大學 的副教授。她教導的學生來自不同的科系,包括時裝設 計,繪畫和雕塑等等。雖然說習得技術的過程可能略有 不同,但是她認為學習的金科玉律卻是亙古不變的:

“It is so important to write about your concepts, practice articulating the mediums or philosophies – even if these rituals are never shared with anyone, I believe they are essential to discovering the full potential of one’s creations.” Always juggling different things in both her mind and hands, Victoria’s latest project “Mordant” combined her profession and her hobby – cooking. While participants eating food in special food containers with special utensils, natural colouring is marked on the fabrics. While food colouring will not stay on the fabric permanently unless processed, Mordant is the mineral/salt solution that fixes the colours. The project “Mordant”, Victoria says, was not only the end product that mattered but also the process of the making.

「將概念寫下、練習使用不同創作媒體及其哲學是非常 重要的一步 – 即使哪些內容你從不會跟別人分享,我相 信這是發掘潛能而不可或缺的一步。」 經常一心多用又同時進行不同項目的Victoria最近的創作 《Mordant》融合了她的專業和興趣 – 煮食。當參與者 享受美食時,特別製作的器皿將會將食物的天然顏色滲 透到特製的桌布之上。桌布之上的顏色並不是永久保存 的,所以必須透過特別加工,而Mordant正是一種礦物 鹽液體將顏色永久定型。 Victoria說:「我很喜歡多人合作的項目,這總是有些意 想不到的效果。當不同人,比如說我的學生或者其他藝 術家一起互動的時候,讓結果的變化更加多元。」

Victoria Manganiello - Mordant

“It seems that people really enjoy being a part of ‘Mordant’. I think of it as a performance and I’m also the conductor. It is also a meal that I share with my guests so people sometimes forget that they are a part of an ‘art experience’ and just enjoy their food and the company. I’m creating recipes that I think would be delicious and enjoyed by my guests with the plants that yield colours.” For the future, other than developing “Mordant” in other parts of the world, Victoria would also like to make a large-scale installation. “I want to make something that viewers can really be within and I would love to thereafter collaborate with musicians, dancers, scientists, historians and anyone who will have me to activate the installations.” Speaking of collaboration, aside from working on her own, Victoria has been motivated by teamwork. “I am very inspired by collaboration and have found some incredible results from working with other people whether this is in the dynamic I have with my students or with other artists,” said Victoria.

和攝影師Kristin Kremers合作,從紐約開始的《Mordant》也在保 加利亞的首都索菲亞進行過。當地各種食材和飲食文化都讓《Mordant》產生了與眾不同的效果,讓Victoria大感意外。「項目的結 果完全取決於不同的國家飲食文化!」 《Mordant》這個項目不只是一頓晚飯以後的那塊桌布,更是製作 過程的種種。 「人們看起來都很享受作為《Mordant》的一部分。我身為指揮 者,讓整個『表演』都鮮活起來。與此同時這是一個聚餐,人們有 時候會忘記了自己是一個藝術表演的一部分,純粹的享受美食和他 人的陪伴。我正在思考如何使用天然帶色植物做出每位飯菜之餘, 讓來賓可以同時享受。」

Victoria Manganiello - Mordant

She collaborated with Kristin Kremers, a filmmaker, on a different project starting in New York and venturing all the way to Sofia, Bulgaria. The differences of products and culture sparkled a different result to “Mordant”, which surprised Victoria a lot. “It was incredibly inspiring to notice the nuanced differences of the clothes that depended upon where the project has been!” Without a doubt, “making” is Victoria’s goal that she would like to keep continuing. “Making is the only thing that differentiates us from animals. The ability to take a set of materials or components, re-order them, and create something new gives me an intoxicating power and I strive to inspire others to harness their potential as humans to make impact on the world around them.”

在未來,Victoria除了繼續讓《Mordant》走訪其他地 方,她也想創作大型藝術裝置。「我想製作一些讓觀眾 也可以融入其中的作品,以後我也希望可以跟音樂家、 舞蹈家、歷史學家甚至科學家合作!」 不論如何,「創作」都是她的最終目標。「創作是唯一 將我們與動物分別開來的元素。利用不同材料去製造, 重新排列並得出新的事物讓我覺得自己充滿靈感並希望 可以從而啟發別人為世界帶來改變。」

Victoria Manganiello - Mordant

THE OSCARS 2018 奧斯卡2018 by david madsen The Oscars 2018 is going to take place on the 4th of March. And while there is a tendency to write the event off as silly and superfluous there is a definite appeal to it. It is the closest thing film fans have to a big game night like Superbowl or a soccer VM finale. It allows us to root on our favorites, chastise the jury for picking the wrong films and make bold predictions. It is not so much a celebration of the very best the film industry had to offer in the past year, but more a reaffirmation of what sells these days. With that, the 2018 Oscars looks rather promising. Unlike for the past many years the Best film category does not have one clear ‘right answer’. The nine nominees are Guillermo del Toro’s fantastical Cold War romance The Shape of Water, the satirical drama Three Billboards Outside Ebbing, Missouri, Steven Spielberg’s The Post, Daniel DayLewis’ reportedly last film The Phantom Thread, the gay summer romance Call Me by Your Name, the coming-of-age story Lady Bird, the horror-film about systemic racism in America Get Out, the war-film Dunkirk and the bio-pic about Winston Churchill, The Darkest Hour.

2018年奧斯卡頒獎典禮將於3月4日舉行 – 即使總是有種偏向將這個節目寫得既膚 淺又無聊,對於電影迷來說這個盛事卻跟足球的世界盃和橄欖球的超級盃一樣舉足 輕重。它讓我們對於喜愛的電影更加忠誠、對於評審的選擇可以恣意批評及對得獎 電影作大膽假設。它並不是慶祝現今電影業的傑出作品;更多於證實有什麼電影確 實大賣。 本年度提名電影頗具質素,與去年最佳電影項目中「一看就知道什麼電影會贏」的 狀況完全不同。 本年度提名電影為吉列爾莫•德爾•托羅的冷戰浪漫故事《忘形水》、諷刺戲劇《 廣告牌殺人事件》、史蒂芬•史匹堡的《戰雲密報》、傳說是丹尼爾•戴路維斯的 最後電影《霓裳魅影》、同性戀夏日浪漫故事《以你的名字呼喚我》、廠長故事《 不得鳥小姐》、關於系統式種族歧視的恐怖電影《訪•嚇》、戰爭電影《鄧寇克大 行動》和關於丘吉爾的電影《黑暗對峙》。

That is a lot of different genres and topics represented at the top of the race. We could start cherry picking a few favorites, but like I said this year does not really have any one film, that adheres to all of the Oscar-juries’ sentiments in the way that La La Land and Moonlight did last year. The closest we have is The Shape of Water, which has been nominated in 13 categories including the most important ones namely Best Director, Screenplay, Editing, Cinematography and Film. I would love to see del Toro win and it is an excellent, original and heartwarming film, but it would definitely be a safe choice over some of the other, more interesting candidates. Two of those candidates have gained a lot of traction due to the directors and the political and cultural climate of today. Lady Bird and Get Out are both genre-films and while coming-of-age stories has been in the race for best picture many times before, just as recently as Boyhood, it is incredibly rare to see a horror-film in the mix. But Jordan Peele’s Get Out is not just any old horror flick. It uses the genre to give a unique account on the black experience in America and condemns the sort of liberal white Americans who claim to be progressive, but still think of black people as a commodity. Lady Bird isn’t as politically volatile, but it does have something as rare as a female director behind the camera. Director Greta Gerwig is no stranger to making warm, flawed, relatable characters. While she didn’t direct the film Frances Ha, the lovable main character in that film is very much her brainchild and Lady Bird shows the same love towards its characters.

這九套電影都代表了不同的題目和體裁。我們大可以選幾套喜歡的,不過正如我所 說,今年沒有一套電影像去年《星聲夢裡人》和《月亮喜歡藍》一樣直擊評判的 心。呼聲最高的是《忘形水》,獲得包括最佳導演、最佳編劇、最佳剪接、最佳攝 影和最佳電影等13個獎項的提名。我非常樂見德爾•托羅得獎 – 那確實是一套非常 出色和暖心的原創電影,相比起其他電影,這同時也是一個贏面較大的選擇。 其中兩部候選電影在政治及文化氣候的帶動下吸引了不少注意。《不得鳥小姐》和 《訪•嚇》同為體裁電影,而成長故事類型更提名過多次最佳電影獎項,比如《我 們都是這樣長大的》;你甚少會看見驚慄電影被提名。但是佐敦•皮爾的《訪• 嚇》不單單是恐怖電影,它描繪了黑人處於美國的經驗,狠狠鞭撻自稱開放文明但 其實思想守舊的、視黑人為附屬品的美國人。 《不得鳥小姐》並不是政治敏感,但它擁有一如女性導演般含有的通知。導演葛 塔•潔薇對於創造溫暖感人但充滿缺憾又現實的角色毫不陌生。即使她沒有導演電 影《紐約哈哈哈》,那個可愛的女主角卻不折不扣的來自她;而《不得鳥小姐》的 主角同樣表現出最那個角色的愛。

The Shape Of Water (2018). TSG Entertainment and Double Dare You Production. Directed by Guillermo del Toro.

Perhaps more than that it’s great to see both Jordan Peele and Greta Gerwig being nominated for Best director. Not only are they both debuting with their respective films, not only do they represent groups that in the past have been ignored by the Oscar-jury – this is only the fourth black director and fifth female to ever be nominated – but more importantly their films show us bold new ways in which classical genre-films can be told. There are a couple of other smaller nominations that made me burst with joy. The heist-movie Baby Driver is not exactly my favorite Edgar Wright-film, but it is great to see it getting its dues in editing and sound editing categories, since that basically is the whole movie. It is also great to see the neo-noir inspired superhero-film Logan get a nomination for Best adapted screenplay. Superhero-films are a big deal and awarding one of them outside of the technical categories is just plain great to see. And of course, I would not be a proper Dane if I did not highlight the Best foreign language film in which the Swedish The Square is nominated. It is a brilliant piece of satire about political correctness and the modern man, the likes of which we just do not see anymore. More importantly the actor behind the main character is Danish Claes Bang who even in his home country is not really known outside of a few television series. Here he perfectly imbodies the hypocritical, progressive artist-type with an amazing deadpan sense of humor.

或者更令人驚喜的是佐敦•皮爾跟葛塔•潔薇雙雙入選最佳導演 – 不單單 是因為他們首次執導就獲提名,更是因為他們分別代表過往被奧斯卡評審 所忽略的群組:佐敦•皮爾是史上第四位被提名的黑人導演;葛塔•潔薇 則是葛塔•潔薇史上第五位被提名的女導演。更重要的是,他們的電影揭 示了拍攝體裁電影的嶄新手法。 同樣幾套獲得較小獎項提名的電影讓我喜悅萬分:搶劫故事《寶貝神車 手》雖然我並不是最喜歡這套由埃德加•萊特的電影,但是我卻很樂見它 被提名最佳剪接和最佳音效 – 這基本就是構成這套電影的兩大元素。同時 新暗黑類英雄電影《盧根》獲得最佳改編劇本提名。超級英雄電影從來都 是大熱門,看到它獲得除技術類獎項外的提名真是令我非常欣慰。 作為一個丹麥人,如果我不提起最佳外語電影提名的瑞典電影《方寸見人 心》就太沒有道理了。在諷刺人類嘗試「政治正確」及身為「現代人類」 的方面,它非常出色,甚至現在也非常少見。更重要的是男主角是丹麥演 員克萊斯•邦本人在家鄉除了幾套劇集以外並不為人熟知 – 他完美演繹虛 偽,擁有激進藝術家性格同時對身邊事物毫無感情想法的幽默。

Top: Ladybird (2017). Scott Rudin Productions. Directed by Greta Gerwig. Bottom: Get Out (2017). Blumhouse Productions. Directed by Jordan Peele.

That does not mean there is not a few titles that feel unfairly left out. Because there always is. For my money, it is incredibly sad to see both Detroit and The Beguiled get completely left out of the conversation. Detroit is a historical recount of the cops who killed and maimed a group of women and black men under the Detroit riots in ’67. In the hands of Katheryn Bigelow, she manages to make one of the most effective, downright terrifying horror-films I have ever watched. Its exclusion is especially weird because Bigelow is one of the few female directors, who has had sway at the Oscars in the past. She did after all make the 2009 Oscarwinner Hurt Locker. I talked extensively about The Beguiled already in my Best of 2017-article, but I just want to reiterate how unique and god damn beautiful that film is. Like how is it not at least nominated in Best costume design? Absolute insanity! But in general, the Oscars 2018 gives us a solid, varied and positive slice of what the Hollywoodindustry looks like and what potential it has going forward. There are not any truly bad apples among the nominees either. Like hey, remember how Suicide Squad not only was nominated but WON an award last year? Remember how Mel Gibson’s awful World War 2 film Hacksaw Ridge was shoved in our faces only because the jury loves a good comeback-story? Yeah, this year does not have that level of atrocious filmmaking on display.

這並不代表沒有被落下的傑作 。我的賭金本來想押在《底特律》跟《美麗有 毒》之上,可惜希望落空。《底特律》重新演繹警察在1967年底特律暴動殘殺 女人和黑人們的歷史事件 – 在凱薩琳•畢格羅手中這個事件有效地化身成為 一套讓我徹底膽寒的恐怖電影。這套電影被排擠在外讓我十分驚訝,因為畢格 羅可是少數曾經問鼎奧斯卡獎項的女導演之一,她的《拆彈雄心》在2009年 更成了大贏家。 在之前《2017電影之最》的文章中我已經講過《美麗有毒》這套電影,我只是 想重申一次這套電影有多獨特跟美麗。難道它不值得起碼獲得最佳服裝設計? 真是太神經了! 但是總的來說,奧斯卡2018讓我們看見荷里活工業一個實際、多元化並正面的 躍進。在所有被提名電影當中沒有什麼爛電影 – 還記得去年《自殺特攻隊》 不單止被提名甚至獲得獎項嗎?還記得米路•吉遜那套難看的二戰電影《鋼鋸 嶺》僅僅是因為奧斯卡評審喜歡回顧電影所以被強行塞到我們面前嗎?是的, 今年並沒有那麼令人作嘔的電影被提名了。

The Square (2017). Platform produktion. Directed by Ruben Östlund.

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