Reach All City Tour

November 29, 2017 2017年11月29日

 

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Reach All City Tour is a short documentary about a country-wide street art tour organized by Taiwan-based street artist, illustrator, creative director, and photographer Reach. Along with three other companions, Reach set out on a 44-day journey across Taiwan, painting street art pieces across 22 locations. From the heat of the scorching summer to the wind and rain of Taiwan’s typhoon season, Reach and his friends encounter and overcome unexpected challenges as they gradually discover the meaning of their once-in-a-lifetime journey.


《Reach All City Tour》是台湾街头艺术家、插画家、创意总监和摄影师Reach所拍摄的一部跨越台湾各地街头艺术的短片纪录片。Reach和其他三名同伴一起,用44天的时间,横跨台湾各地,在22座城区创作街头艺术作品。从炎热的夏季到风雨交加的台风季节,Reach和他的朋友一路上遇到和克服了许多意想不到的挑战,亦逐渐领悟到这段让他们终生难忘的旅程的意义所在。

Websitereach-studio.com
Instagram@reach_studio
Weibo: ~/HelloReach

 

Contributor: George Zhi Zhao


网站reach-studio.com
Instagram@reach_studio
微博~/HelloReach

 

供稿人: George Zhi Zhao

Frenetic City

November 28, 2017 2017年11月28日

Frenetic City is a series from Singaporean photographer, printmaker, and art director Zhou Hanshun that examines the pace of modern life in Hong Kong. A graduate of the Nanyang Academy of Fine Arts Singapore and RMIT University, Zhou uses photography as a way to investigate and document culture and people in cities he’s lived in.


《Frenetic City》(狂热的城市)是新加坡摄影师、版画家和艺术总监Zhou Hanshun(周傼顺)所创作的一个摄影系列,通过一系列黑白影像探讨了现代香港社会的生活步伐。周傼顺毕业于新加坡南洋艺术学院和皇家墨尔本理工大学,他选择了用摄影的方式来探讨和记录自己所生活的城市里的文化和人。

Frenetic City was created during a three-year residence in Hong Kong, in which Zhou became fascinated with the chaotic rhythm of the city. Using multiple exposures of black-and-white film with upwards of 25 exposures per image, Zhou photographed busy locations across Hong Kong, capturing its residents in haunting form.


《Frenetic City》是他在香港生活的三年期间所拍摄的,在这里,他爱上这座城市的混乱节奏。他用黑白胶片拍摄了香港各个繁华地段,通过多重曝光的方式,重叠 25个以上的画面,以重复交叠的影像记录下生活在这里的人们。

According to a report by the U.N., the world’s population will reach 10 billion by 2050, with three quarters of humans living in cities. For Zhou, Hong Kong is just a starting point for the Frenetic City series, which he plans on extending to document other crowded cities across our increasingly overpopulated world. According to Zhou, “To say life moves fast in a city is an understatement. Time in the city seems to flow quicker; memories in the city tend to fade away faster. Nothing seems to stand still in a city.”


据联合国报告显示,世界人口到2050年将达到100亿,而生活在城市的人口将占四分之三。对于周傼顺来说,香港只是《Frenetic City》系列的一个起点,他打算继续记录这个日益人口过剩的世界上其它拥挤的城市。周傼顺说:“生活节奏快,这个词还不足以说明城市之快。在城市,时间似乎流失得更快,回忆往往也会消失得更快。在城市里,没有一样事物是停滞的。”

Websitezhouhanshun.com
Instagram: @zhouhanshun

 

Contributor: George Zhi Zhao


网站zhouhanshun.com
Instagram: @zhouhanshun

 

供稿人: George Zhi Zhao

NEKO

November 27, 2017 2017年11月27日

 

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NEKO (which means “cat” in Japanese) is an original animation featuring a heroine who journeys into her pet cat’s fur to battle the gigantic, blood-sucking parasites that have inhabited its body. As a social impact design project, it was conceived by the creators to encourage people to take better care of their furry family members. It’s the only animation project to be awarded the coveted 2017 Design Mark from Golden Pin Concept Design Award. The short film is created by a team of six design students from Southern Taiwan University of Science and Technology — Zeng Pin-Ciao, Tsai Meng-Shu, Liu Yu-Chi, Hsu Tzu-Fu, Wang Wei-Fan, and Lin Hao-Ting. The production sees each student’s special skills – as artists, producers, video editors, and more – all working in tandem to bring to life the fun, animated short. Below, we had a chat with Zeng Pin-Ciao, the director of NEKO, on the challenges of working as a team and the differences between American and Japanese animation.


来自台湾的动画《奈可》,剧中女主角是一个住在小猫身上的城市守护者。她会解决任何危害到这只小猫的害虫,借此传达宠物健康防疫观念,并推广饲主定期为家猫做驱虫防疫的工作。此件作品尝试用笔触的线条呈现艺术风格表现,极具特色,甫获2017金点概念设计奖标章肯定。《奈可》制作团队由曾品乔、蔡孟书、柳育琪、许子甫、王玮凡及林颢庭组成。他们皆毕业于南台科技大学,成员专业各有所长,如原画设计、场景、美术、后制、剪辑等。在未来,他们期望各自在不同专业继续精进、一同成长,做出有趣的动画。下面,我们和这部动画的导演曾品乔进行了一次采访,内容有关团队合作的挑战以及美日动画的差异。

Neocha: What was the motivation behind the original story?

Zeng Pin-Ciao: In the beginning, I was inspired because I was spending a lot of time with cats. I lived with a cat for around six months, and unfortunately, the cat fell ill. Afterwards, I began learning about the variety of parasites that can affect a cat, as well as how to prevent it. In the end, I decided to use the concepts of health and disease prevention as the starting point to remind people of the unremitting love and devotion that we promise our pets.


Neocha: 当初创造故事的动机是什么?

曾品乔: 最初主要是因为我和猫咪有了长时间接触,才萌生的念头。当时我和家里的猫咪生活了半年,但猫咪不幸生病了。随后我就了解相关的知识,像是寄生虫与除虫等,最后我决定以宠物健康防疫观念作为出发点,提醒大家不时的要想起当初养宠物的决心,爱护与照顾必须是要持之以恒的。

Neocha: How long did it take to finish the animation? What difficulties did you encounter?

Zeng Pin-Ciao: It took eight months to finish the short film. In the beginning, the challenge was to bond as a team and figure out how all of our technical skills could fit together since we were all individual artists. This was my first time doing Japanese-style animation and many aspects were fresh, new, and challenging. It took one-and-a-half months to complete just one-minute of animation. The total length of the final animation is longer than four minutes. The biggest challenge was getting the composition right because adjusting it at a later point would mean that the whole scene would have to be redrawn. As a director, it’s important to be decisive, otherwise it affects the mood of the entire team.


Neocha: 这支影片花了多久时间完成?期间有没有遇到什么困难?

曾品乔: 这支影片共花了8个月才完成。一开始是技术上的磨合,因为大家都是刚开始配合,加上我是第一次执行日式动画的处理方式,很多事情既新鲜也很艰钜挑战,1分钟的动画制作差不多1个半月,我们影片总长约4分多钟。过程中最具挑战的部分就是修改镜头,因为其实对于动画来说,修改就等于是重画,所以是要下定决心才能做修正,不然随便修改也会影响到整体团队的氛围。

 

Neocha: It’s obvious that you’re deeply influenced by Japanese animation. How did this interest come about and who are your favorite animators?

Zeng Pin-Ciao: Actually, when I was in high school, I adored American animation, such as the work being put out by Dreamworks and Walt Disney. The purpose of a Disney film is to make people happy and make them dream. Inspired by this, I started to study American animation. Later, during university I got to know the work of Japanese animator Satoshi Kon, and I realized that animation can also be used to encourage deeper thought and reflection through negative emotions. The same can be said for the work of Hideaki Anno and Katsuhiro Otamo. In their works, they always give the audience space to reflect; they do not simply aim to please the audience. I began to admire this approach and started studying Japanese illustration. NEKO became my first challenge after I got to understand the Japanese style. This work is also a very important experience for me because it helped me realize a lot of my inadequacies. It was a great learning opportunity.


Neocha: 从作品看出你们受日本动漫影响很深,是受到哪些作品或特定动漫家的影响呢?

曾品乔: 我在高中时期很崇拜美国动画,如迪士尼或梦工厂等等,迪士尼做动画的初衷就是用动画带给人们梦想与快乐,因此开始学习美式动画。后来在大学,也开始接触了日本鬼才导演今敏先生的作品,我发现动画不只是能给人快乐,日本导演喜爱用负面的情绪带给观众更深层的省思,如庵野秀明导演与大友克洋导演也是一样,在作品中总是能带给人思考的空间,不再是单单只是满足观众。我开始憧憬这样的呈现方式,就开始去了解日式绘画。《奈可》就是我接触日式的第一个挑战,对我来说,做这个作品是段非常重要的经历,因为在这过程中我觉察到很多不足之处,因此也学到很多。

Neocha: You received the 2017 Design Mark from Golden Pin Design Award. Can you share the benefits of participating in this competition?

Zeng Pin-Ciao: From the first round of the competition to the final stages, it’s been really exciting all the way. I was incredibly nervous presenting my work on stage, but it was still an unforgettable experience. During the competition, I also attended a presentation training workshop held by Golden Pin Design Award. It was a great experience. In the workshop, I focused on learning about body language and how a good communicator performs. It was a rare opportunity to learn from a master presenter. I really appreciate the hard work of the organizers and the staff was very friendly. I am truly thankful for this opportunity.


Neocha: 你们今年以《奈可》获得金点概念设计标章,可否与我们分享下参与这次竞赛的收获呢?

曾品乔: 从初审到决审都令人非常兴奋。即便在提报作品的时候我非常紧张,但终究也是个人生中非常难忘的经验。竞赛过程中,我参与了金点概念设计奖举办的「简报实战训练」活动,我觉得是很棒的经验。在课程中,我很专注地在看老师的肢体动作,一位能言善道者是如何表演的,这也是很难接触到的实例。感谢整个单位用心的筹备整个企画,工作人员也都非常乐于助人,让人感到暖心,真心感谢给予我们这个机会。

Neocha: So what’s on the horizon for you and the team?

Zeng Pin-Ciao: With the conclusion of NEKO, we already have a short script for a new story that we want to try and make. We’re trying really hard to acquire the necessary resources to pull it off. Because of my experience with NEKO, I feel confident that I’ll have much more to offer in our next project. It’s very exhausting putting so much of yourself into a project, but in the end, I’m happy. Ultimately, with all of my animations, I hope to leave a lasting impression and help people.


Neocha: 接下来是否还有其他的计划?

曾品乔: 接下来有一个小短片的剧本想要尝试看看,还在很努力的找资源与筹备。因为完成了这次的作品《奈可》,给予我很多经验上的帮助,能够放更多思考与意义在下部动画之中。创作虽然说很辛苦,但也真的很快乐,我期望能够用动画帮助到更多的人。

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A Beautiful Contradiction

November 24, 2017 2017年11月24日

 

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Just 20 minutes outside of the dusty town of Siem Reap in Cambodia, and away from bustling groups of tourists visiting the Angkor Wat complex, a small farm has quietly revitalized ancient techniques of silk weaving that date back to as early as 4000 BCE. Surrounded by lush rice fields and vast orchards of mulberry leaves, the Artisans Angkor farm is an oasis in this otherwise hot and arid region. The farm was established in the late 1990s when it began recruiting rural women in the surrounding area who lacked formal education and provided training in all facets of the silk-production process, from breeding worms all the way to weaving intricately designed pieces of art. Beginning with just a handful of employees at its inception, today nearly 800 artisans can be found at the farm and its satellite workshops scattered across rural Cambodia.


从柬埔寨暹粒这个尘土飞扬的小镇驱车20分钟,你就能远离吴哥窟建筑群中熙熙攘攘的游客,来到一个安静的小农场,在这里,人们正默默地努力振兴可以追溯到公元前4000年前的古老丝绸编织技艺。在这片炎热干旱的地区,这个名为Artisans Angkor(吴哥工匠)的小农场四周却是郁郁葱葱的稻田和广阔的桑果园,可谓是一片绿洲。农场成立于1990年代末,农场一开始招收周边地区未接受过正规教育的农村妇女来工作,为她们提供从养殖蚕虫到编织复杂艺术品一切有关丝绸生产制作的培训。从刚开始仅有的数名员工,发展到如今拥有将近800名工匠,除了这个农场之外,还在柬埔寨的农村地区开设了众多的小作坊。

The farm is organized as the physical representation of the entire silk production process. As I walk onto the grounds, I first pass through endless lines of thick mulberry bushes that are grown year round as a food supply for the worms. This leads to a large warehouse filled with millions of silkworms that will feed on mulberry leaves until they are moved to wicker trays where they can begin spinning bright orange cocoons that will eventually encase their entire bodies. If you sit quietly and listen, you can even hear a chatter-like sound as the worms voraciously devour the leaves one bite at a time. The final section of the farm is three separate buildings where the cocoons are boiled, unwound, cleaned, dyed, and finally passed along to expert weavers who may spend several months carefully stitching the silk into intricately designed patterns using nothing more than a traditional wooden loom.


这个小农场诠释了丝绸生产的整个过程。进入农场前,我首先要穿过一望无际的茂密桑树丛。这些桑树常年生长着,用来为蚕供应食物。在一个巨大的仓库里,养着数百万条蚕,它们以桑叶为饲料,一段日子后,就会被转移到柳条托盘上,在那里,它们开始吐丝,结出亮橙色的茧,最终将自己的身体完整包裹住。如果你静静地听,你甚至可以听到啁啾不停的声音,那是蚕虫一口一口贪婪地吞噬桑叶的声音。农场的最后一个环节会在三幢独立的建筑里进行,在那里,人们将蚕茧煮沸、松开、清理、染色,最后交由专业编织师花几个月的时间,将蚕丝精心编织成复杂的艺术图案,所用的工具也仅仅是一个传统的木制织布机。

While the process of producing and weaving silk is nothing short of awe-inspiring, the sheer volume of raw materials required to make just a single piece of fabric is almost unfathomable. Each cocoon weighs a mere 70 grams and contains approximately 400 combined meters of raw and fine silk. One medium-sized scarf requires no less than 3,000 individual cocoons, while larger items require as many as 6,000 cocoons. The silk farm keeps 20% of the cocoons that will later transform into moths and ensure a steady reproduction rate of new silk worms, with female moths giving birth to upwards of 300 eggs each.


整个生产和编织蚕丝的过程令人叹为观止,打造一条布料所需原材料的数量更是令人讶异。每个蚕茧的重量仅为70克,包含大约400米精细的生丝。一条中等尺寸的围巾需要至少3000个蚕茧制成,而尺寸再大一些的产品则可能需要多达6000个蚕茧。蚕丝养殖场会保留20%的茧,用来养成蚕蛾,以确保稳定的新生蚕虫繁殖率,每只雌性蛾子一次可以产300只卵。

Savuth, one of the farm’s employees, explains to me that while Cambodia may not be a silk powerhouse like India or China, silk weaving is a tradition that runs deep in numerous rural Cambodian households. “My grandma, grandad, and mom also did silk weaving. Just the three of them, they planted the bushes, dyed the colors, and wove scarves. One scarf with just three people would take almost five months,” he says. As a child, Savuth was responsible for caring for the mulberry bushes and making sure the silkworms were well fed, which led to an affinity for worms one usually would associate with a pet dog or cat. “I still play with the worms every day. I like them very much,” Savuth tells me with a grin on his face.


农场的雇员之一Savuth向我解释说,虽然柬埔寨在产丝规模上可能不如印度或中国这样的丝绸强国,但丝绸编织是许多柬埔寨农村家庭一个流传已久的传统。他说:“我的祖父母和妈妈都会丝绸编织。从种植桑树,染色到编织围巾,全由他们三个人完成。如果仅靠三个人来打造一条围巾,可能需要将近五个月的时间。”小时候,Savuth负责照料桑树丛,确保蚕每天能吃饱,所以他和蚕之间逐渐产生了深厚的感情,在他眼中,蚕就是他的宠物,像一般家庭的宠物狗或猫一样。“我现在每天还会逗蚕虫玩,我非常喜欢它们。”Savuth告诉我时,脸上露出了笑容。

The influx of foreign investment into Cambodia is resulting in a rapid transformation of societal values, where speed and efficiency are swiftly taking the place of craft and tradition. And while Cambodia’s large textile factories are bringing newfound economic gains, the small silk workshops in the country’s sprawling rural areas continue to preserve one of Cambodia’s oldest and most celebrated crafts.


越来越多进入柬埔寨的外国投资,导致社会价值观迅速转变,速度和效率取代了手工艺和传统。虽然柬埔寨的大型纺织工厂正在带来新的经济收益,但在这个国家广袤的农村地区,小型的丝绸作坊仍保留着柬埔寨最古老和最著名的工艺之一:缫丝,并也将继续留存下去。

Website: www.artisansdangkor.com
Facebook: ~/ArtisansAngkor
Instagram: @artisansangkor

 

Contributor, Photographer, and Videographer: Jeremy Meek


网站: www.artisansangkor.com
脸书: ~/ArtisansAngkor
Instagram: @artisansangkor

 

供稿人,图片摄影师与视频摄影师: Jeremy Meek

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No Word From Above

November 23, 2017 2017年11月23日

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.


李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。


No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.


《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui

$37

Buy Now


Li Hui《No Word From Above》

¥168

立刻购买

Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD

全副产品信息:

  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Websitewww.huiuh.com
Instagram: @huiuh_

 

Contributor: George Zhi Zhao


网站: www.huiuh.com
Instagram: @huiuh_

 

供稿人: George Zhi Zhao

Soap Operas as Inspiration

November 23, 2017 2017年11月23日

A snippet from Episode 3 of Hello, Finale!  《你好,尽头!》第三集 片段

无法观看?前往优酷

Chinese multimedia artist Tao Hui’s newest series, Hello Finale!follows nine different individuals making a phone call to close acquaintances. Inspired by film, soap operas, and even local news, the series explores topics of love, life, and death through the overarching theme of “all things must end.”


这是艺术家陶辉的作品。他的新作系列《你好,尽头!》讲的是9个不同的人分别给各自亲友或他人打电话,这些灵感来源于对电影、电视剧,甚至市井新闻报道内容的再创作,内容则讲述的都是一些和尽头相关的主题,爱、生命、死亡等等

For Tao Hui, who grew up during the peak era of cable television, TV has been central in his creative growth. Observing his mother, an avid fan of Taiwanese writer Qiong Yao, cry when watching Yao’s shows, Tao began to wonder, “What is the relationship between reality, television, and film?” and “What role can art play in exploring that dynamic?”


对陶辉来说,他成长在电视媒体的发展和顶峰时期,从小的媒体启蒙就是电视。陶辉曾说自己的妈妈特别爱看琼瑶剧,看得入戏时常常会边看边哭。这让陶辉不禁反思起现实和影视剧之间的关系究竟是怎样的?艺术创作又将以怎样的身份介入?

Tao Hui’s goal is to clearly define the often blurry line between TV shows and reality. In Hello, Finale!, Tao intentionally cherry-picked footage with minor acting slip-ups. “I don’t want the audience to fully believe what I’m showing them. I want them to see the flaws and understand this is what a performance is. There are parts that are real and parts that are fake.”


那根模糊于戏里戏外的分界线,陶辉想把它挑出来。在这次《你好,尽头!》的制作过程中,陶辉故意选了一些没那么完美的成片,“我希望观众不要完全相信我提供的内容,就是想让观众看到出错的部分,意识到这就是表演,有真实有虚假。”

As thoughtfully produced television shows and movies become increasingly difficult to find in China, the public has grown accustomed to the visually grandiose films made for fast profit. “This is to be expected in our modern life. The pursuit of beauty has always been a large driving force behind human motivation, and as our society develops, people have more money to spend on their pursuit of beautiful things. Hence, it’s even more important to separate works that are made for profit and works with artistic intentions.”


现在耗时长且制作精良的影视剧越来越少,公众视线似乎更容易聚集在美色创造的商业电影之中。陶辉说,这是这个时代的必经之路啊,美色一直都是一股强大的生产驱动力,而且社会的发展导致消费力大增。但是我们还是要把这种类型的影视剧和有艺术追求的影视作品做个区分。

Discussing favorite directors, Tao Hui names Abdellatif Kechiche, Asghar Farhadi, and Michael Haneke to be his current picks. And even though the three don’t share any stylistic similarities, the common denominator is that their films are far more thoughtful than typical Hollywood blockbusters. “I feel like for-profit movies are made for the average consumer, created for mass appeal and satisfying the public,” Tao says with a shrug. “For-profit films and video art should be differentiated. The former is a product; it’s something for people to consume. The latter is created with the goal of provoking discussion and making people think.”


他谈起喜欢的电影导演:柯西胥,法哈蒂,哈内克——很难一以概括的风格,但可以肯定的是,三者都绝非商业大片的导演。“我认为商业电影是为了消费观众情绪、满足观众情感。我们还是要把商业影视剧和有艺术追求的影视作品做个区分,一种是商品,只是为了消费;而另一种却是为了引发思考。”

 

无法观看?前往腾讯视频

Website: ~/TaoHui

 

Contributor: Chen Yuan
Image Courtesy of Tao Hui and Rockbund Art Museum


网站: ~/TaoHui

 

供稿人: Chen Yuan
图片由陶辉与上海外滩美术馆提供

Tibet Trilogy

November 21, 2017 2017年11月21日
Roof 雪顶

Matt Lindén is an English-Finnish photographer who, for many years, has journeyed again and again to a place dear to his heart: the Himalayas. A graduate from the Master’s program in documentary photography at the London College of Communications, Lindén prefers his life of photographing distant lands to a life spent chasing society’s status quo. When traveling, he spends a large portion of his time learning about the local people, cultures, and histories of the places that he visits. In the two years that he spent living in Tibet, Lindén experienced everything from coming down with altitude sickness, to communicating in the Tibetan dialect that he learnt while living in Lhasa, to living with and alongside local families. While immersed in the local culture, Lindén documented his experiences in the Tibet Trilogya series of works that captures the majestic mountains and endless skies of Tibet in both color and monochrome.


马特·林登(Matt Lindén),芬兰籍英国摄影师,他常年会出没于挚爱之地:喜马拉雅。毕业于伦敦传媒学院纪实摄影硕士的他,不爱名利爱江山——他钟爱去到荒芜而严酷的环境中拍摄,用大量时间去了解特定地区的人文历史。在西藏旅居的两年中,他体会过高原反应、用在拉萨学会的藏语与当地人沟通、与藏民一同生活起居。深入了解当地的文化的时候,他亦创作了系列摄影作品《西藏三部曲》,有彩色、有黑白,有凌厉的雪山、也有包容的蓝天。藏地的自然风景,在他的镜头下,展现出浸润着情感的微光。

Overcome 征服
Stupas From Hepo Ri 哈不日山的佛塔
The King 万山之王

In Lindén’s Black and White series, the contrast between the land and the sky creates a stunning visual impact. Without having to worry about color, Lindén was able to capture the interplay of light and shadow to express the desolate mood of the unforgiving environment.


在对比分明的《黑白》系列中,贫瘠的山石和耀眼的天光相互映衬,Matt试图用黑白照片向大家阐述藏地严酷艰苦的生存环境。

Energy 能源

“I felt like I was so far away from everywhere,
from Lhasa, from the world, from everyone.
Almost as if I’d found some distant, long-lost world.”

— Matt Lindén


那一刻我感觉世界上所有地方都离我很远
我远离拉萨,远离所有人
就好像我找到了一个失去已久的全新世界
——马特·林登

Stormy clouds near Sera 色拉寺的雨云

In Lindén’s eyes, Tibet isn’t only a monochromatic world – it’s full of color as well, especially in moments when the sun highlights the fissures of the mountains, revealing them in all their splendor. His Colour series seems almost like a love letter from the photographer to his surroundings, recounting his treks through the Karuola glaciers.


但是在Matt眼里,西藏不仅仅是非黑即白的世界,它充满着独特的色彩,高原上强烈的阳光往往也会让山脉上的色彩更加生动。《彩色》系列,就是摄影师献给卡若拉冰川徒步之旅的情书。

Yak at Kharola 卡若拉冰川的牦牛
Slide 坡
Kharola I 卡若拉冰川 I
Blur 模糊

Lindén’s Electric series documents the photographer’s trip across Tibet by automobile. Capturing dusk and nightfall outside of his car’s window, Lindén somehow makes the vastness of the landscapes seem smaller and quieter. Through long and double exposure, Lindén reveals the blur of mountain ranges, shapes, and animals in dreamlike images.


Matt开车穿越西藏时拍摄了《电光》系列。透过夜晚昏暗的车窗,那些广袤的风景似乎变得更加渺小了,山峦、动物,形象模糊且不可辨认,经过他的长曝光加二次曝光的艺术化处理,《电光》系列中令人着迷的显影映入眼帘。

Swim 游泳
Squiggle 波纹
Jump 跳跃
Earth 大地

Tibet Trilogy is currently on display at the BROWNIE Gallery Store in Shanghai, see details of the exhibition below.

 

Exhibition Dates: November 9th to December 7th, 2017
Opening Hours: Daily, 10am~10pm

Address:
Kerry Center (North Section)
1515 Nanjing West Rd, 2nd Floor, 06B
Jing’an District, Shanghai
People’s Republic of China


现在,马特·林登的摄影展《西藏三部曲》正在BROWNIE Gallery Store展出,欢迎大家前往观瞻。

 

展期: 2017年11月09日——2017年12月07日
时间: 早上10点至晚上10点

地址:
中国
上海市静安区
南京西路1515号 二楼 06B
静安嘉里中心北区

Website: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

Contributor: Chen Yuan
Images Courtesy of BROWNIE


网站: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

供稿人: Chen Yuan
图片由 BROWNIE 提供

In the Studio with Orkhontuul

November 20, 2017 2017年11月20日

Orkhontuul Banzragch is a visual artist whose surrealist paintings have attracted increasing attention in the Mongolian art scene. Since the induction of his Face of painting into Mongolia’s State Treasury in 2014, Orkhontuul’s work has been heralded as the new wave of Mongolian art. His style is distinct and doesn’t fit the mold of traditional Mongolian art, which might include predictable imagery of horses, wolves, nomadic warriors, and the great wilderness. Instead, Orkhontuul prefers portraits, which, more often than not, are based on himself or people in his life. He wields his art as a vessel in which he can share his commentary on the struggles of modern-day Mongolians – touching on modern issues such as the national identity crisis, the population’s collective nostalgia for a supposedly glorious past, among other sociopolitical topics. As such, despite his nonconformist style, Orkhontuul is widely regarded as an artist who creates authentic Mongolian art.


Orkhontuul Banzragch是近年来蒙古艺术界中崭露头角的视觉艺术家。2014年,他的《Face of》一画被选入蒙古国库(Mongolia’s State Treasury),其作品也被标榜为蒙古族的艺术新浪潮。他的作品的特别之处,在于它偏离了蒙古族的传统艺术模式,譬如大多数蒙古艺术作品都会出现马、狼、游牧战士和大荒原等形象。相反,他的作品多为超现实主义的肖像画,这些肖像画往往是以他自己或他身边的人为原型创作的。通过自己的艺术,他展现出自己对现代蒙古人所经历的挣扎的看法,譬如是民族认同问题危机,或是蒙古人民对这个民族过去辉煌历史的集体缅怀。因此,尽管他的风格不拘于传统,他仍被蒙古人们视为是创作正宗蒙古艺术的艺术家。

A recent visit to his studio took us to the outskirts of Ulaanbaatar city and into the basement of a newly built apartment complex. The space, sparsely decorated and dimly lit, is split into two rooms. The second room belongs to Lkhagvadorj, a local artist who’s sharing the space. Orkhontuul tells us that the primary reason for choosing this location was because of affordability – the two artists have a rather unorthodox arrangement with the landlord where they’re allowed to pay rent with their paintings. The secondary reason is because of its remoteness; it’s even an hour-long commute for Orkhontuul himself to get there, but this was a deliberate decision, as he wants to discourage frequent visitors and focus on his work without distractions. Undeterred by Orkhontuul wishes of being left alone to his art, we sat down with him and had a long chat about the challenges of being an artist in Mongolia and breaking free from “generic Mongolian art.”


我们最近拜访了他的工作室,那是乌兰巴托市郊区一幢新建公寓大楼的地下室。工作室内没什么装饰,光线暗淡,被分成了两个房间,这是他与另一名当地艺术家Lkhagvadorj共享的工作室。Orkhontuul告诉我们,之所以选择这里作为工作室,最主要的原因是因为它价格便宜。其次是因为它位置偏远——Orkhontuul自己每天也要花一个小时才能到工作室——这是他深思熟虑后作出的决定:因为他不想工作室有太多的访客,这样才能专注于自己的创作。虽然Orkhontuul更享受一个人的时间,但我们还是和与Orkhontuul坐了下来长谈,跟他聊聊关于蒙古艺术家所面临的挑战,以及突破挑战“传统蒙古艺术风格”的困难。

Neocha: Did you choose art or did art choose you?

Orkhontuul: It’s not that I wanted or chose to be an artist like you would choose a profession. I think some people can choose their profession, but for example, artists like painters, musicians, singers and composers are not privy to that because they can’t choose their talent. I believe talent is something predestined. Unlike other artists, I would say I’m lucky, in that none of my family members have expressed disapproval in me drawing or painting. My father is a composer, so I think him being an artist probably helped me continue down this path. Either way, my family probably had no way to stop a kid who started painting before he could even crawl.


Neocha: 你觉得是你选择了艺术这条路,还是艺术它选择了你?

Orkhontuul: 关于这一点,我觉得不是像平时人们选择职业那样的,不是说是我想要成为或者说选择了成为一名艺术家。有些人是可以选择自己的职业,但是像画家、音乐家、歌手和作曲家这些艺术家是不同的,才华不是一件可以选择的事情。我相信才华是命中注定的。我会说自己很幸运,因为不像其他艺术家,我的家人都没有反对我画画。我的父亲是一名作曲家,我觉得有一位艺术家父亲让我更加坚定地走艺术创作这条道路。但不管怎样,我的家人可能也没有办法阻止我,毕竟在我还没学会爬的时候,我就先会画画了。

Face of... (2014)
Road (2009)
It Flies (2017)

Neocha: Your paintings capture the hardships and struggles of modern Mongolians. Why are these issues so important to you?

Orkhontuul: I think everyone in Mongolia has their own feelings on the current state of things. But as an artist I just see and feel it as images so I express it in that way. There are people, like journalists, who can explain whats happening today with their writing, but someone like me just can’t explain it with words. My art is just what I have seen and experienced in our society, which at times, might be what I feel to be injustices. These things just come out as a painting for me. I’m not trying to advocate for any cause or use my art as like a banner or an ad for something. I am just painting what I see, but I don’t strictly paint images focused on social commentary.


Neocha: 很多人说你的画作展示出了现代蒙古人的艰辛和挣扎。为什么这些主题对你来说如此重要?

Orkhontuul: 我想每个人对当下的事物都会有自己的感受。但是,作为一名艺术家,我的所见所感对我来说都是一个个画面,所以我还是以画画的方式表达出来。有些人,譬如记者,他们可以用文字来解释当下发生的事情,而我可能无法用语言来做到这一点。我的艺术正是我在社会上的见闻和经历,无论它是否不公正。只是我会通过画画来表达出这些东西。我并没有想通过自己的艺术作品来倡议任何事情或是用它作为一面旗帜或广告去宣传任何东西。我只是在画我所见到的事物。我并非只专注创作有关社会问题的画像。

What was I Saying (2014)

Neocha: Are you actively searching for inspiration or do you just have spontaneous “lightbulb” moments?

Orkhontuul: It varies. Sometimes inspiration just comes to me when I’m walking down the street. It comes from things I hear or see. I think artists should be very acute and peckish. Since my student days, I’ve constantly searched for things that can inspire me, and because of that tendency, I’ve learned a lot and am even more eager to search out the next thing that can inspire me. If something sparks my interest then I’ll try to make something out if it.


Neocha: 你画画的灵感从何而来?你平时会不断去搜寻灵感,还是就灵光一闪,下笔如神?

Orkhontuul: 不一定。有时,我在街上走着走着,灵感就出现了。可能是来自我听到或看到的事物。我觉得艺术家应该保持敏锐,并始终充满渴求。从学生时期开始,我就会不断去寻找能激发灵感的事物。这样也更能提升我的敏锐度和求知欲。如果有什么东西引起了我的兴趣,我就会努力尝试从中创作些什么。

Neocha: Most Mongolian art is littered with generic subjects like horses, wolves, beautiful woman, and so on. What are your thoughts on the prevalence of these subject matters in Mongolian art?

Orkhontuul: I think some of these paintings have a different purpose from art. Some artists draw these things not because they want to, but they have to make a living. These types of paintings should not be considered art in my opinion. I, for one, would never paint a wolf just for the purpose of making money. I might use an image of a wolf if I’m trying to express something specific in my paintings, but I’ll never think that I should incorporate a certain element because it’s the norm.


Neocha: 大部分蒙古族艺术作品中都充满了像马、狼、美丽女性等形象。对于蒙古艺术中这些题材的流行泛滥你有什么看法?

Orkhontuul: 我觉得这些画不是以艺术为目的创作的。有些画家画这些画并非出于自己的意愿,而是为了谋生而画。在我看来,这样的画不应该被视为艺术。拿我来说,我永远也不会为了赚钱而去画一匹狼。只有当我觉得狼可以用来表达某种具体意义时,我才会去画,但我从来不会因为某种元素或形象很流行,就把它加入到自己的作品中。

Mother (2012)

Neocha: Can you tell us about this piece named “Mother”? It’s quite different from some of your other work, and there’s quite a lot to digest in the frame.

Orkhontuul: This painting is actually based on a real person that I met. I don’t have many interests or hobbies in life except for painting and traveling. I love to travel. There were times just on a whim I would just hitch a ride to the countryside. One time, when I was on a train, an old lady barged into my cabin holding a bottle of vodka, and with a growly voice, she said “Let’s share a drink.” She was one of those ladies that goes to China to buy cheap goods and sell it here at the local market. And maybe because of her profession and stress, she looked more like a man than a woman. All the joy she had seemed to have faded away. She told me she does to support her family. And that is why in the painting she has four breasts – every breast represents one of her children. Her missing face represents the losing her feminine identity, and the pigeons are her stressful thoughts of feeding her hungry children. The missing puzzle pieces are things that left her life – husband and love. She has a penis because she had to essentially “become a man” to live, but the silhouette of the many arms that surround her is meant to represent that she is still a goddess. That’s what I wanted to portray but other people might look at it and see something different.


Neocha: 你能跟我们介绍一下这幅名为《母亲》(Mother)的作品吗?它和你的其它作品有很大的不同,整个画面有相当多值得注意的元素。

Orkhontuul: 这幅画其实是以我认识的一个人为原型创作的。除了画画和旅游,我在生活中没有太多的兴趣爱好。我喜欢旅行。有几次,只是一时兴起,我就去了搭顺风车到农村。有一次,我坐在火车上,一位老太太闯进我的车厢,拿着一瓶伏特加酒,对我吼着说:“让我们一起来喝一杯吧。”她和很多妇女一样,都是去中国买些便宜货,然后拿回当地市场转卖。也许是因为她的职业和压力,她看起来更像一个男人。她曾经的快乐似乎已经消磨殆尽。她告诉我,她要支撑起整个家。这就是为什么在画里,她有四个乳房,因为每一个乳房都代表了她的一个孩子。她所缺少的面部,代表了她所失去的女性身份,而鸽子则是她忙于喂养饥饿的孩子们所承受的压力。缺少的拼图是指她的生活中所缺少的丈夫和爱。她之所以有男性的生殖器,是因为她被迫“作为男性”来生活,但“千手观音”的轮廓又表示她仍然是一名女神。这就是我想表达的意义。当然,其他人看到这幅画时可能会有不同的看法。

Life. (2011)
Tongue Without a Body (2012)

Neocha: It sounds there’s a lot of contemplation involved in how you want to present your messages. How long does it usually take you to complete a painting from start to finish?

Orkhontuul: I can’t truly say. I usually start on a painting, and I’ll stop and comeback to it later. I usually don’t think about it when I start on a certain painting. Sometimes, a piece might take me more than a year to finish, but the actual time I spend putting my brush to canvas probably isn’t longer than a month. I am one of those people who will get frustrated or hate what I am painting if I force myself to finish a painting when the inspiration isn’t there. For some artists, there are paintings that might’ve taken them more than ten years to finish. If the painter paints without stopping, he or she would have produced hundreds of paintings like that. It takes them that long because something will go wrong – they might have gone into a rut, they might have to do research, maybe they’re just not feeling it, or maybe the painting turns into something they did not want or expect. Sometimes, they might just want to scrap it altogether.


Neocha: 听起来,对于画面所传递的内容,你需要经过很多思考。那么通常来说,你需要花多长时间完成一幅画?

Orkhontuul: 不好说。我常常开始画一幅画,画到中间就停下来,过后又回头继续画。每次开始创作一幅画时,我都不会去想要花多长时间。有时候,一幅画我可能要画一年多才能完成,但实际上真正下笔画的时间可能不超过一个月。我是那种如果没有灵感还要强迫自己作画时,就会对在画的东西感到很失望、甚至产生厌恶的人。有一些艺术家可能会用十几年的时间才能完成一幅画作。但其实,如果画家不间断地画,这么长的时间足以创作出数百幅画作。之所以需要这么长的时间,是因为创作的过程不是一帆风顺的,画家可能突然感到枯燥乏味,或是需要去进行更多研究,也可能觉得不想画了,或者是画着画着,发现画跟他们预期和期待的不一样。或者有时,他们可能只是想要毁掉了重新再画。

Neocha: You seem quite empathetic towards the hardships of other people, but what are some of the challenges that you yourself face as an artist in Mongolia?

Orkhontuul: You do have to pick up odd jobs and work on commissions to earn money and make a living. It’s impossible to just work on your own art and make a living off of that. But, the way I see it is that whenever I’m working these odd jobs, I’m buying time for myself to pursue what I want to paint.


Neocha: 你在作品中充满了对他人艰辛生活的同情,那你自己作为一名蒙古艺术家,又面临怎样的挑战?

Orkhontuul: 你必须做零工,接受客人委托的画画工作来挣钱谋生。想单纯靠自己的画来谋生几乎是不可能的。但我的想法是,我做这些零活,就是为了让自己有更多的时间去追求我真正想要的创作理想。

Facebook: ~/B.Orkhontuul

 

Contributor: Anand Tumurtogoo


脸书: ~/B.Orkhontuul

 

供稿人: Anand Tumurtogoo

Skating w/ Tony Gao & Simon Sun

November 17, 2017 2017年11月17日


 

无法观看?前往优酷

At a recent skateboarding competition in Shanghai, we met up with Tony Gao and Simon Sun, two young, up-and-coming skateboarders in the Chinese skate scene. Tony, now 15-years-old, first became interested in the sport at the mere age of five; he saw someone playing around on a skateboard near his house and was immediately captivated. He pled with his father to buy him a skateboard. Fast forward one year, Simon, his older cousin, saw Tony on his skateboard and was inspired to follow in his footsteps, picking up the sport himself. This was at a time when not many skateboarding resources were readily available online in China, so Tony’s father became their de-facto coach. He took the two to the local bookstore and found found an instructional book on skateboarding. Meticulously studying the book, he used to verbally coach the both Tony and Simon as they practiced. Tony smiles as he recalls these memories: “My dad, he doesn’t know how to skate, but he can teach. If I’m doing something incorrectly, he can see it right away. He instructed us as we skated.”


在前不久的一次滑板比赛上,我们遇见了来自西安的滑板兄弟高群翔孙坤坤,两位正在滑板届崭露头角的中国年轻滑手。今年15岁的高群翔,已经和滑板打了十年交道。五岁的时候,因为看见家门前有人在滑板,高群翔缠着爸爸给他买了第一块板。接下来的一年里,表哥孙坤坤也受到弟弟的影响跟着一起练习。最初,高爸爸就是他们的启蒙教练。那时候网上的滑板视频还不多,高爸就带着兄弟俩去当地的书店,被他找到了一本滑板教科书。你没看错,正是纸质教科书。在自己细心研究后,高爸以口头教学的方式带着兄弟俩一起练习。说起这段经历,高群翔也觉得很好笑。 “我爸爸虽然不会滑,但他会说啊。我哪里滑的不对,他一眼就能看出来。我们在一旁滑,他就用嘴巴教我们。

Simon Sun 孙坤坤
Tony Gao 高群翔

A decade later, Tony would become a national skateboarding champion. At the finals of this year’s G-SHOCK CHINA BEST AM competition, Tony took first place, finally realizing a dream that he’s hung onto for all these years. Shortly after, he took the championship title at the Huzhou Extreme Sports Competition, again showcasing his world-class potential. Tony shares of his competitive experience and how he feeds off the crowd’s energy, saying: “I love the atmosphere of a competition. When I see other skaters land new moves, it makes me want to get even better. When there are more people watching, I get more hyped up. Being around really talented skaters makes me want to push myself even harder.”



十年过去,当时的滑板小子已成长为现在的全国冠军。在今年的G-SHOCK 硬碰硬 CHINA BEST AM总决赛上,高群翔便把这个他期盼已久的全国冠军头衔收入囊中,并且又在不久后举办的湖州极限运动大赛上迅速再摘一个冠军,充分证明自己的实力。作为一名人来疯式选手,高群翔向我们分享了他轻松拿下比赛的秘籍:我特别喜欢比赛的氛围,看到别人成了新动作,我就有加倍的动力想要去学。人越多,我滑得越兴奋,和厉害的人一起玩,他们能带动着我一起进步。

But behind Tony’s victories are the countless hours of practice and innumerable challenges he’s had to overcome. Recalling one of his most memorable injuries, he taps on his two front teeth and says, “These are fake. I’m lucky that my family is supportive. When I knocked these out they took me to the hospital right away. But do you really want me to share more about my injuries? I don’t remember most of them that clearly. It’s mostly the positive times that stick out in my mind.”


光环背后,练习的过程中自然吃过不少苦头,问起受伤的经历,高群翔却只是轻松地敲了敲自己的门牙:中间这两颗牙都是假的。好在家人都很支持我,牙掉了就带我去医院看呗。  真要说受伤的事情吗?我都记不太清了,我只能记得滑板特别开心的事了。

As long as it’s not raining, Tony says he’ll be out skating, and as we chatted, it was evident how much skateboarding truly meant to him – he clung onto his board the entire time we spoke. “I used to be a good-for-nothing kind of kid. I was bullied since I was young and didn’t have too much confidence. Skateboarding is basically my whole life now. I’ve made a lot of friends because of it, and it’s given me much more self-confidence.”


只要不下雨,高群翔便会天天带着他的滑板出门。聊天的过程中,他也时刻抓着自己的板子,能感受到他对滑板那种十分简单纯粹的热情。我以前是个性格特别孬的人,从小被人欺负着长大,也没什么自信。滑板现在几乎是我的全部吧,带给我很多朋友,也带给我很多自信。

Photographer: Wang Chenwei / 摄影师: 王晨玮
Photographer: Wang Chenwei / 摄影师: 王晨玮

The two cousins have differing opinions about skateboarding becoming an official part of the Tokyo 2020 Olympic Games. Tony finds it a bit ironic when he recalls his experiences of skating in public. “I guess it’s a good thing, now the way that people look at us on the street is different. It used to be unfriendly, like we were hooligans or something, but now people generally have a more positive towards us.” He continues, “Now that it’s an Olympic sport, a lot of different regions are in a rush to put together teams to compete, so it’s a chaotic period. But for me, I’m still just focused on my own skating.” Likewise, Simon also intends to concentrate on bettering his own skating. “We only care about making ourselves better, and as long as we continue to enjoy skating, that’s all that matters.” The simplicity and purity that these cousins hold towards the sport is a shining example to those who want to become successful in any endeavor. To find out more about Tony and Simon’s stories, check out our video at the top.


对于滑板运动即将在2020年成为东京奥运会官方比赛项目,兄弟俩有自己的态度。算是好事吧,现在街上人的目光变了,以前是很不友善的,觉得你是小混混,现在偶尔有点欣赏的目光了。说起在街上练习,高群翔有点苦中作乐的感觉。滑板现在进奥运会了,很多地方都在匆忙组建自己的省队,这算是个比较混乱的时期吧。但是对于我来说,我只管滑我自己的就好了。对哥哥孙坤坤来说,他的热情同样也只放在自己脚下的这块板上,我们只管提高自己的水平,滑的开心就可以了。这样简单又积极的心态,也正是成为一个成功的职业滑手的必备要素吧。关于兄弟俩更多的滑板故事,点击上方视频观看。

Weibo:
~/TonyGao
~/SimonSun

 

Contributor: Ye Zi
Videographers: Ye Zi, Damien LouiseYang Bingying
Photographer: David Yen
Additional Footage Courtesy of Liu Maomao

Additional Images Courtesy of Wang Chenwei


微博:
~/TonyGao
~/SimonSun

 

供稿人: Ye Zi
视频摄影师: Ye Zi, Damien Louise, Yang Bingying
图片摄影师: David Yen
附加素材由刘毛毛提供
附加图片由王晨玮提供

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Unconventional Fairy Tales

November 16, 2017 2017年11月16日

Using fairy tales as the foundation of her work, Taiwanese artist Chang Chia-ying creates colorful oil paintings steeped in a wondrous sense of mystery and innocence. Many of Chang’s paintings are unexpectedly large, with some being more than two meters tall, a surprise for people who assume her delicate brushwork is done on a smaller canvas. The size of her paintings help accentuate one of the most prominent features of her works – her doe-eyed characters. With penetrating gazes that demand a viewer’s full attention, these characters invite viewers to immerse themselves into Chang’s surreal world. Chang beckons viewers to use their own imagination to fill in the blanks, form their own interpretation of her work, and essentially create a fairy tale of their very own. Describing her art, she says, “Like Moebius’ illustrations, my paintings are a fairy-tale paradise without an entrance or exit, a fantasy that goes on infinitely, stories without a beginning or end.”


来自台北的80后艺术家张嘉颖,创作了许多以童话为画本的油画作品,看起来绚丽多彩、天真烂漫的画面背后,仿佛蕴含着隐隐超现实的神秘感。

张嘉颖笔下的这些画看起来玲珑精致,但其实有很多尺寸不小,甚至有些高达2米,接近半面墙。凝神细看,画中的每一个形象似乎都有一双“会说话的大眼睛”:而当你被这种深邃的魅力牢牢攫获时,想象力便会将你儿时的童话故事串联起来,自行补充上画面中断层的联系,从而人人都可以谱出各不相同的故事。那是迷你微观世界里的大故事,用张嘉颖自己的话来说,就是“如同一处既无入口也没出口的童话天堂,无穷尽地运行着,永无终点或结局的莫比斯童话。”

To see Chang Chiaying’s paintings in person, the Project Fulfill Art Space in Taipei, Taiwan is currently showcasing her solo exhibition.

 

EventMini Me
Exhibition Dates: October 20, 2017 ~ November 25, 2017
Opening Hours: Tuesday ~ Saturday 11am~7pm (Sunday by appointment only)

Address:
Project Fulfill Art Space
1F., No.2, Alley 45, Lane 147, Sec. 3, Xinyi Rd.
Da’an District, Taipei
Taiwan


现在,张嘉颖的作品正在台湾“就在艺术空间”展出,欢迎大家前往观瞻。

 
 

活动: 迷你谜
展期: 2017年10月20日——2017年11月25日
时间: 周二至周日 早上11点至晚上7点(周日仅供预约)

地址:
台湾
台北市大安区
信义路三段 147 巷 45 弄 2 号一楼
就在艺术空间

Websitewww.changchiaying.com
Facebook: ~/Changchiaying

 

Contributor: Chen Yuan
Images Courtesy of Project Fulfill Art SpaceChang Chiaying


网站www.changchiaying.com
脸书: ~/Changchiaying

 

供稿人: Chen Yuan
图片由就在艺术空间Chang Chiaying提供

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