新型コロナの影響拡大により、世界共通で様々なイベントが中止や延期に追い込まれております。本当なら今日から上海でSTSが開催され、勿論INSTINCTOYも参加する予定でした。
ブースでは2mを超えるincの大型のFRPを展示し、POP MARTさんから先日リリース頂いたRELAX SERIES 1...
新型コロナの影響拡大により、世界共通で様々なイベントが中止や延期に追い込まれております。本当なら今日から上海でSTSが開催され、勿論INSTINCTOYも参加する予定でした。
ブースでは2mを超えるincの大型のFRPを展示し、POP MARTさんから先日リリース頂いたRELAX SERIES 1のサイン会と発売記念イベントの開催も予定頂いておりました。
会場では数多くの新作発表や限定商品の発売も。
毎年当たり前の様に開催され、むしろ、イベント開催のスケジュールに追われて過ごす1年の日々が、今ではどれだけ幸せな事だったのかという事を心の底から痛感しています。イベントに来て頂け、ショーケースの作品を眺めるファンの方の表情からどれだけパワーを貰えていたかという事も。新型コロナが終息し、また再び世界が活気を取り戻りましたら、一つでも多くのイベントに参加したいです。皆様と再び会場でお会い出来る日を楽しみにしています。
イベントで販売するはずだった商品につきましては、毎月随時ネット通販にて抽選販売を予定しておりますのでどうぞ宜しくお願い致します。
Due to the large-scale impact of the COVID-19, various events are being canceled or postponed worldwide.
Actually, STS would be held in Shanghai starting from today, and of course INSTINCTOY was going to participate.
For our booth, we planned to exhibit a large FRP inc of more than 2m in height. Also, an autograph session for our RELAX blind box SERIES 1 released by POP MART was planned to celebrate the release.
At the venue, we wanted to make many new announcements and release several limited products.
Events like these were usually held all over the world, and they are taken for granted. Because of the current situation, I now once again realized how blessed I am to attend toy shows on a regular basis. The days spent at the venue are very fulfilling, there is always so much to see. I get such positive energy from the fans’ expressions and reactions when they are looking at my works displayed in the showcases. Once the COVID-19 is over and the world is back to normal again, I want to attend as many events as possible again. I am already very looking forward to seeing all of you again then.
Regarding the products that were supposed to be sold at these cancelled events, online lottery sales are scheduled every month.
受到COVID-19影響擴大，世界各地的展覽也都終止及延期。原本今天就要去上海，STS也會舉辦且INSTINCTOY也會參展。
展位裡計畫準備要有2公尺高的大型玻璃缸展示，及泡泡瑪特發售的RELAX Series 1的簽名會及紀念販售的活動。
會場上當然也有多樣的新作品發表。
每年都會舉辦的展覽，我一直都認為是很正常不過的事情，確切的說，能夠安排一年中的展覽行程是多麼幸福的是情，如今讓人感到心痛。那些專程來到展覽，在我們的展示櫃前觀賞的客戶，他們的表情都是賜給我力量的來源。待疫情結束後，世界再次恢復活力時，我會盡可能參加更多展覽。 我很期待與紛絲們在某個展覽再次見面。
原本預計在各個展覽上發售的商品，會看時機在不同的月份中以網路抽選方式販售。敬請期待。
#イベント #中止 #延期 #STS #上海 #INSTINCTOY #インスティンクトイ
多樣的various 在 VOP Facebook 的最讚貼文
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30：美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代，尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會（中國農村復興聯合委員會，JCRR），被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意，這一農經專業的美援機構，在1950至60年代拍攝了大量的照片、幻燈、電影，並生產各種圖像、圖表、圖冊與海報，在冷戰年代與美援宣傳機制緊密連結，深深參與了戰後「台灣（視覺）經驗」的構成，影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知？本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料，揭載鮮為人知的美援年代視覺工作，追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中，李威儀考掘農復會的歷史線索與視覺文本，探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡，以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑；蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊，從語言、歌謠與漫畫等多元的視覺表現中，重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力；楊子樵回看多部早期農教與政策宣傳影片，析論農復會在戰後台灣發展中的言說機制與感官部署，並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略，一探冷戰時期「前衛」紀錄影像的可能形式；黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影，解析早期台灣航攝史的源起與美援關聯，揭開多張難得一見的戰後台灣地景航照檔案。
此外，我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘（1923-2005）的攝影檔案，首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒，呈現楊基炘於農復會工作期間的重要文獻，並收錄他拍攝於美援年代、從未公開的攝影遺作與文字，重新探看他稱為「時代膠囊」的視覺檔案，展現楊基炘攝影生涯更為多樣的面向，同時反思「美援攝影」複雜的歷史情愁。
本期專欄中，李立鈞延續科學攝影的探討，從十九世紀末天文攝影的觀測技術，思考可見與不可見在認識論上的交互辨證；謝佩君關注影像的遠端傳輸技術史，檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領，分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中，讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗，還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行，希望下個十年裡，我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件！
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
多樣的various 在 美國在台協會 AIT Facebook 的最佳貼文
你是美國學生、而且想來台灣就讀碩博士學位並且和台灣的老師及學生實際交流嗎？好消息！學術交流基金會歡迎並鼓勵美國學生上網申請「傅爾布萊特來台碩士學位獎助金計畫」，共有10所台灣的大學提供了多樣的學位學程以及獎助學金供選擇就讀。每位受獎者皆能得到每月NT$25000的津貼，並由合作學校提供受獎者免費住宿與學費減免！這十項獎助金已開放線上申請，申請截止日期為10月13日。希望各界積極鼓勵對這些領域有興趣的美籍學生踴躍報名。詳情請參考學術交流基金會網站：http://www.fulbright.org.tw/。
Are you interested in studying for masters or doctoral degrees in Taiwan? The Fulbright Taiwan welcomes American students to apply for various Fulbright Master’s Scholarships to Taiwan, which now offers 10 distinctive programs in different Taiwan universities. Each grantee will receive NTD25,000 (USD860) per month during the grant year, along with free accommodation and tuition waivers! All these programs are now available for Fulbright online application and will be closed on October 13, 2020. Please visit the Fulbright Taiwan website for more details: http://www.fulbright.org.tw/.
多樣的various 在 TOYSREVIL Facebook 的最讚貼文
KING KORPSE、怪獣キラーに続くJAMES GROMAN × INSTINCTOYの怪獣ソフビ超大作シリーズ最新作”MEGA-MIXASAURUS（メガミクサウルス）”の原型がついに完成です。
コロナ禍により相次いでイベントが中止になった影響で、最新作の生産スケジュールを計画的に後半にズラしている関係もあり、予定よりも進行が遅れておりますが勿論、リリースに向けて進行中です。
分割構造は59パーツ！様々な怪獣の部位が”継ぎ接ぎ”で構成されたデザイン且つ、付属パーツの装着交換により、T-REX型からドラゴン型へと変身が可能な、1体で2種のスタイルを楽しめる新しい怪獣ソフビとなります。是非とも完成にご期待下さい。
The prototype of the latest collaboration between JAMES GROMAN × INSTINCTOY, "MEGA-MIXASAURUS", has been finally completed. After KING KORPSE and KAIJU KILLER, this work is the latest edition to our Kaiju Soft Vinyl masterpiece series.
Due to the impact of COVID-19 and various events being cancelled, the production of this work also had to face delays. We had to move the production to the second half of this year, but we are still aiming for our initial release date goal.
It is made of 59 parts in total! This is a new Kaiju soft vinyl figure that allows you to enjoy this work with two different styles within one body. It consists of various Kaiju parts that are combined with "stiches". A lot of the parts are interchangeable, so you can transform this work into a dinosaur type like a T-REX or a dragon type. I hope you are already looking forward to the completion of MEGA-MIXASAURUS.
接續著KING KORPSE及KAIJU KILLER，JAMES GROMAN × INSTINCTOY合作的怪獸軟膠傑作系列中，最新作品”MEGA-MIXASAURUS（メガミクサウルス）”的原型終於完成。
由於COVID-19的禍害影響了展覽接續的中止。我們將最新作品的生產行程移至後半年，雖然進度比預期延後，但當然我們還是朝著發售目標進行中！
有59個拆建！擁有著多樣的怪獸部位” 串接”構成的設計，並且有附屬的配件可以交替組裝，可以由暴龍型態變身成飛龍型態，這款作品是可以享樂兩種不同風格的趣味。敬請期待。
#INSTINCTOY #インスティンクトイ #JAMESGROMAN #MEGAMIXASAURUS #KAIJUSOFUBI #MONSTER #Collaboration