INSPIRATION|The self-righteous man and the dismissive woman, the love letter written for the lonely spine: "Sophie Rotation"

Photography/ Little Dinosaur. "Sophie Rotation", this is a self-righteous man, and a dismissive woman, a love letter written by two people; and "When you pick up this book, this becomes a triangular relationship. A relationship between three people." The military love letter written to netizens In 2014, Xiao Yuhui, who was enlisted in the army, launched the "necessary of the old-school military lover" plan on Tumblr, inviting netizens to become his love letter recipients. During this slow and difficult period, Xiao Yuhui wrote 118 handwritten love letters. "But even if the nature of the text is delicate and gentle, this batch of manuscripts is actually very male. This forced the receipt of letters, forced the other party to accept some of my emotions, and constantly confessed to their views on the world, very male and very masculine." Xiao Yuhui said. He began to think of ways to balance the positivity of the love letter, looking for the illustrator Phoebe Chen (Chen Jingrong) who met two years later. Phoebe's picture is a frame of girl's lust sketch, romantic and powerful; the girl's gaze in the painting is disdainful, jealous or naughty, holding the viewer's line of sight, leaving nowhere to hide. Contrast the ambiguity of Xiao Yuhui, the frank Phoebe exaggeratedly exclaimed: "When Xiao Yuhui invited me to cooperate, I thought, "God! The texture of our two is so much, how is my text?" Is painting good?"" The collective operation of the collectively individual love letter is eager to be read, understood, and responded. With Phoebe responding to the text of Xiao Yuhui with an illustration, the 118 love letters are no longer just whispering, "the necessity of the old-school military love letter" has become the current "Sophie Rotation". Xiao Yuhui said: "I got the inspiration from the astronomical knowledge of the architecture in the book: the three states in which the planet is running alone, colliding with others, and there are two. Later, a postcard written by a friend, mentioned Su The Philippine rotation dance. I suddenly realized that the Sufi rotation is in line with the image of the rotation of the planet - all of which are collective personal operations." In the love letter of individualistic nature, in the process of seeking others' response and collision, I found a collective. . "Would those who danced and dance really collide?" Phoebe asked suddenly. Is it possible? The person in the rotation, can't help but secretly think about it? Rotating to the end, in the end, there are more self-cultivating ingredients, or are there more suspenseful collisions? Xiao Yuhui, who wrote a love letter, has more ingredients for writing self, or is he eager to have more mutual understanding with Tumblr users? In the early days of Tumblr's comparison of the niche, Xiao Yuhui enjoyed a special friendship and distance with these netizens. But now Tumblr has become as simple and fast as other social media, and the familiar tacit understanding is no longer a problem. "The evolution of this project is inconsistent with Tumblr, so I also feel that this plan will not appear again for the second time. I feel the "quality change". It is not their own qualitative change, but there is a kind of objective environmental change. Comfortable." Xiao Yuhui explained. Phoebe: "Are you the kind, the orchestra, the secret base that was discovered by others, and the people who don't like it so much?" Phoebe: "I used to say that I want to take me to a secret base. I enjoy it there. Soon after sunbathing, many people were found to have come. The place was originally opened on the Internet, and it was called a "secret base." Xiao Yuhui: "I do have a secret base behind a cave. If Some people have also found this place, I hope that the time we appear does not overlap. If you have a chance, you can still be friends. But don't want too many people to know the other side." Phoebe: "Whether you are the kind, like the orchestra, the secret base is other When people discover it, people who don't like it so much?” Phoebe: “There was also a friend who said that I would take me to a secret base. After I was sunbathing there, I found that many people came. It turned out that this place was already there. The Internet is uploaded, and it is called a "secret base." Xiao Yuhui: "I do have a secret base behind a cave. If anyone finds this Place, I hope that the time we appear will not overlap. If you have a chance, you can still be friends. But don't want too many people to know the other side." Phoebe: "Are you kind of, the favorite orchestra, secret base was discovered by others?" "I don't like people so much?" Xiao Yuhui: "I do have a secret base behind a cave. If anyone finds this place, I hope that the time we appear will not overlap. If you have a chance, you can still be friends. But I don't want too many people to know that." Phoebe: "There was also a friend who said that I would take me to a secret base. After I was sunbathing there, I found that many people came. It turned out that this place was uploaded online. Open, and it is called a "secret base." The qualitative change includes not only the community environment, but sometimes we still have time. When the interactive setting and operation mode of social media changed, we also indirectly adjusted our relationship with others; the communication channel became complicated, and our mentality of conveying words became complicated. When we are pushed by big data from the niche to the flashlights of more account users, we will no longer be able to communicate in the same way. The sadness in the rotation When we mourn the qualitative change of the environment, we are also mourning our own qualitative change. What is even more sad is that we often doubt what is the quality of our own? Because we can't see clearly, we have always been better before the qualitative change. "I only write one or two poems a year. The poem in the postscript of Sufi Rotation is...

Emotional exchange transactions, building a barrier: "Woman from Java", "Evil Lady Mark White", "Her story is not yet to be continued"

"Love will accommodate, reflect and magnify the trap of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations." - Eva Illouz, "Why Love Hurts : A Sociological Explanation "The Lady of the Officials", the Dilemma of the Construction of the People's Context: "The Woman from Java" Yai's young, self-explored life, sold as "married to the Netherlands" by a father's simple and ignorant transaction. The Javanese woman of the official." The honor of Mrs. Guan gave Yayi a glimmer of hope, and she looked forward to the opportunity to get rid of shame and turn over from gender and ethnic weakness. "Since my father sold me like a product, it became the most expensive item that others could not afford!" She read the newspaper, read books, and discussed her rights with a lawyer. The working class, religious groups and even the protesters all hope to get the help of the lady of the official; "Mrs. Guan", everyone shouts, the crowd context holds the words that are also secretly - they obey Yai, just because they are obeying In her identity - that is her shining title, but also the annotation of the patriarchal system on Yayi. Since then, how she strives to construct and build self-worth must be attached to this identity. Yayi may understand that he is only an audience used by these people, so she wrote to the writer, hoping to find an ally to speak for her before being betrayed and abandoned by the great history. The weak and dying Dutch husband's birthday, the fixed-position lens is aimed at Yai, watching her calm and solemn, she is everything, and accepts all kinds of guests. The long shot of a mirror highlights the oppressive feeling that Yayi is staring for a long time—it is a blockade that blocks our chances of approaching her, suggesting that Yayi is physically and psychologically restrained. Factory employees, colonial government officials, lawyers, religious groups... In this diverse living room, the most distinguished value is the independent and respected right to speak. The colonists recited the so-called law and justice to the colony, and Yai’s voice was ignored under the table. Her voice and story could only be expressed by the opportunity of the writer’s visit, but the whole film was the most powerful. Scene. The colonial country oppressed the skewness of women who were being oppressed by colonies and men, and they continued to perform in the living room of Yayi without answering. In the end, the one-way will of the colonizer rudely succumbed to the self-esteem she tried to maintain and establish; the closed door was forced to open, and the identity of Yayi was as faltering as the empty house and the health of her husband. The end of the film is a long, breathtaking silence. Yai stepped on the soft and graceful dance steps, and the gun in his hand swayed gently, and the momentum became a hollow gunshot. Just like the condolences in the HBO drama "Western Bliss World", "Music can't resist the piano that created it." How can the anti-antibody itself be based on the identity given by the patriarchal system? The living room is a discourse space for the masses to confuse and lie, how can Yayi get his identity? And what is her identity? Sitting on the sofa listening to the voices of all parties, but the original lively living room only left itself at this time, do not know what they should be. The problems and troubles that the parties gave her can be solved rudely, but the self-worth of Yayi still has no solution. Marriage secret room in the patriarchal system: "The evil woman Mark White" Catherine's royal blue dress is like a heavy cloud, drifting in the dull home; she is the heaviest ornament in the house. Her work and dressing were performed according to the table, and time was like a quiet dust falling on her shoulders, and she swayed and fell as she slept. Catherine, who loves the outdoors and the fresh air, can only wait and see the world as big as four window frames. Her likes and dislikes, interest was removed, and the whole life was squeezed into a neat and beautiful vest and skirt. But those unacceptable faces discarded by the husband and the father-in-law will not lie in the darkness; they will bubbling into the unconscious, and when the time comes, they will vent their arbitrarily. At that time, it happened to come to Catherine's door when her husband went out. The "Evil Woman Mark White" was changed from the Russian writer Leskov's short story "Mrs. Mark White of Mozambique", which is also reminiscent of Mrs. Mark White in Shakespeare's famous "Mark White". Shakespeare's Mrs. Mark White disgusted, spurned the weak, dragged her negative traits, and tried to climb the high level of the patriarchal system, but fell heavily because of her moral conscience. Catherine of "The Bad Woman Mark White" seems to be equally cold-blooded and cruel, but what drives her is not to imitate the power status of the patriarchal system, but the most feminine and irrational Gothic love. Catherine imprisoned her home and applied a "plague" called love to all the people who oppressed her in the patriarchal system to bury the marriage. French sociologist Eva Illouz writes that love will accommodate, reflect and magnify the traps of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations. (From "Why Love Hurts: A Sociological Explanation") Catherine's love is not a solid feeling. It is a mirror of the demon, reflecting the autocracy and violence of the husband and the father-in-law, magnifying the crucifixion of Catherine, and a freedom The trap of the bait. At the end of the film, Catherine walked back to the empty city house and sat back to her standard sofa position. She stepped on the bloody pace to tear down the marriage chamber, but each step fell into a deeper hell, like a loop of mutual involvement. When she removed the last wall, she found herself facing the origin of the beginning, alone. The evil in the evil woman Mark White is not Catherine's madness to love and freedom, but the marriage under the patriarchal system, the viciousness of true love and freedom. The freedom that does not exist in the transaction, the desert that cannot be left out: "Her story is not to be continued" The wind and sand blows through the smoky vines in the central United States, and the skinny girl wears a waiter uniform and walks to the small restaurant to go to work. At the age of seventeen, Katie earned money to raise her mother and her dream of going to San Francisco to study hairdressing. But this is not the American version of the orphan woman's hard work, nor is it a self-reliant and sunny girl who brings inspirational stories; in this vast and endless land, the future cannot be seen. The vast space is like a closed playground. Katie spreads goodness, beauty and dreams, but the crowd around it has already rusted. In order to save money to go to San Francisco, in order to have mobility in this desolate town, there is a secret agreement between Katie and the man with a car in the town called "Hitchhiking", which is a sexual transaction. The cars that come and go are like sub-spaces that move. When Katie is "invited" to get on the bus and exchanges money and freedom of movement with physical autonomy, he is actually kidnapped by an invitation with exchange. Behavior in the name of a transaction seems reciprocal, but when Katie decides not to make money through the flesh, almost all "customers" are reluctant to respect her choice. The body as a container of one person is the basis for letting social behavior penetrate into consciousness, and is also the channel through which the self can get along with the society. (John O'nell "Five Body") Faced with these men, Katie does not have real autonomy and boundaries. The mobility and direction she gets from them is always only in the town; it is not possible to sail to the exit. In his own right, the practice ability of imprisoning and leaving, "going to San Francisco" has become an illusory and unattainable expectation. The operation of the town has long since failed. Katie’s money from the townspeople is more like the amusement park tickets in the amusement park. It is gradually exhausted in the closed system and cannot escape the gate of the amusement park. When she walked alone on the industrial road, the huge truck whizzed past, the sense of oppression and her own thinness, like the weakness of her destiny. If she encounters a kind of "professional exploitation" in disguise, she sees the power structure in the transaction; but this structure is not just a binary opposition between sex trading and class, but more ubiquitously permeates every corner of the town. Katie and the boss, friends and family interact with each other; she must be willing to see through and give up the money and freedom built on the power structure. At the end of the film, after walking through countless deserts, she reached out for the first time to take the initiative to stop the car - pre-viewing the "transaction" that was almost certain to happen again, but could not predict the direction that Katie would decide to walk next. She understood that she had to leave the town, and that the townspeople did not care for the goodwill garden vouchers for the dust. After embarking on the real road, they did not hesitate. All Images Courtesy of Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

Let the film become a windbreak: write homesickness, to the hometown that is about to die

Home is true more than anywhere, but unless your people, no matter who they are, tell you how to imagine a home, you won't be able to get there. Your people may not be your blood relatives or speak different languages; they may just be words printed on paper, ghosts of memory. But they can lead you home. - American writer Sula. Ursula K. Le Guin If you were born today as a vulnerable person who was exploited and exiled by his homeland, how do you imagine a stranger and tell them your story? Last month, I was fortunate to participate in the cultural salon "Revisiting History and Memory: Narrative Reconstruction of the Asian Film Festival" held at the Beijing University of Radio and Television Exhibition. I listened to four filmmakers from Southeast Asia and talked about the harsh historical background and political environment. Film work. This is a glimpse into the fact that even if the director has creative freedom and is in a free market mechanism, the social marginal story he wants to say may not be seen. The rigorous review of the unspoken rules in China and Southeast Asia and the stereotypes of the Western community's wishful thinking of the minority groups are like the "orthotics" that eclipse the body of the story. Even so, for filmmakers, it is more important to let the simple audience at the screen see and understand that the world may not be as expected. This year, the Taoyuan Film Festival selected a lot of movies from all over the world. Among them, the "home" is deeply rooted in the description of the Gansu Yugu people's "home in the lush waters", Tibet's "old dog" and Myanmar's " Exile Diary. "River Road" (River Road) "River Road" (River Road) The home of the shepherd is in the rich waters of the grass; the mother represents the river, the father represents the grassland... "Home in the water grass Fengmao's Place describes a pair of Yugu brothers who, after their grandfather's death, rode a camel alone in the desert to find their way back to their parents. The Yugu people are descendants of Hui and Turkic who had their own country in the Hexi Corridor. After more than 50 years of ruling, Li Yuanzhang of Xixia destroyed the country. Now there are more than 14,000 people left, and they are divided into things. Therefore, the young director Li Ruizhen said that he had to take time to shoot. "River Road" (River Road) "River Road" (River Road) "River Road" (River Road) "River Road" (River Road) What is the road? Based on the memory of my brother’s past nomadic pastoral, he said, “Dad said that the family is in a place full of water and grass.” But the green grass is not seen again, where is the township? Without the grassland, Grandpa sold all the flocks together with the identity of the shepherd. Sitting on the white horse, he looked at the wealthy car and took his property and herder's identity. He whispered: "The shepherd's home is in a place full of water and grass; the mother represents the river, and the father represents the grassland..." The next day, Grandpa Like a destiny, the two brothers became true orphans. They looked for the father who was still nomadic and the sick mother in memory, but the mother did not really appear from the beginning to the end of the film. She was ill and dried up, leaving the displaced children. Together with the father of the end of the film, the father and son are not only orphans in the sense of relatives, but also cultural orphans. In the scene of the road, the two brothers found abandoned villages and caves. The wreckage of the tattered people's commune posters was also visible on the walls, but the family was once a family portrait and an ancient mural. The brother who had followed the thin water source finally listened to the noise of the rumbling mountain project and found the father who was among the workers. Old Dog Old Dog The end of Old Dog is not a tragedy, it's just a fact. Without the real grasslands and flocks, where does the concept of "home" take root? The "old dog" of the director of Tibet, Wan Ma Cai Dan, also saw the shackles of being a stranger in the land of his hometown. Also describing the minority groups, "Old Dog" tells the Tibetan culture that was originally a hometown and identity, and became a figure that can be consumed and traded in industrialization and capital society. "Tibetan Mastiff is a family, a friend of a shepherd. What do the rich people in the city want the dog to do?" The 13-year-old dog that the shepherd has raised is a purebred Tibetan Mastiff. The Tibetans call it "Senger", also known as the Lion. the meaning of. Tibetan mastiffs are the treasures of Tibetan shepherds. They also give dogs a gift and delicious food during the Chinese New Year. But the people in the city yelled at it, and before the take-away it, Sven opened a price to you: "Let's sell the dog instead of letting the dog be stolen? When the dog is stolen, you will regret not selling me." "Old Dog" Old Dog Director Wan Ma Cai Dan "Old Dog" "Old Dog" (Old Dog) director Wan Ma Cai Dan film in a scene echoing the capital system The hustle and the awkwardness of the ancient Tibetan culture: the old shepherd, the shepherd son and the daughter-in-law watched the people on the TV exaggerating the tone and auctioning the gold bars at an unusually low price. The original definition of the precious he said, selling you cheap is your blessing, should be well grasped, full of gratitude. But when you have no choices or needs, the free capital market becomes the least free hell, and you have nowhere to run. Goods can be born out of nothing, but home and family can't. Wan Ma Cai Dan only used a simple story line to shoot "Old Dog", and the rest was shot in the middle of the film, the tone of the level is like a documentary. He is not going to cook a wonderful legend of mainstream appetite, just as he said that the ending of "Old Dog" is not a tragedy: "That is only a fact." "In Exile" (In Exile) We wouldn' t swap our home for a fancy house....

William Eggleston, the ancestor of color photography: the atmosphere of the times under the lens of the 70s and 80s

I am involved in a war against the obvious ordinary things. "It's ugly and boring, it's not worth a shot!" William Eggleston, who was born and raised in the southern United States, was only 20 years old. After watching the slow southern scenery for more than a decade, he looked at the scenes in front of him. How can you take a lively photo like Henri Cartier-Bresson in this place? "Then take these ugly and boring things?" The friend next to him suggested this frustrated new photographer; so he began to film the boring dullness of the southern town. Later, he used the color negative film, which was only used for advertising and commercial photography, to express the undetectable side of the land in detail. The bright and full of the southern beauty, from then on from the bottom of the people to the bottom of my heart. Louisiana, 1971-1974, from the series Los Alamos, 1965-1974 © Eggleston Artistic Trust/ Courtesy David Zwirner, New York/ London. Louisiana, 1971-1974, from the series Los Alamos, 1965-1974 © Eggleston Artistic Trust/ Courtesy David Zwirner, New York/ London. William Eggleston, born in Tennessee, USA in 1939, was the first camera in his life at the age of 18. Two years later, he read the French photographer Bresson's "Decisive Moments", deeply fascinated by Bresson's work, and since then he has embarked on the road of photography. The 1960s was a turning point. He began to get involved in color photography, which allowed the color to last for three hundred years.

City order after the typhoon: photographer Yang Yazhen "Delete Park", one by one minus the visual park

"How can I develop a keen ability to watch from boring things?" The photographer Yang Yazhen, who had just finished at the Pengding Gallery in early March, has been around for a while now. Think about the mystery. Farther and farther away from the 2014 work "Park", Yang Yazhen relies on solitude to ease the anxiety of creation while thinking about her relationship with what she sees. But if we still use photography alone to describe the type and meaning of the human vision, the city will still be trapped in boring viewing rules, even though it carries a messy object. A typhoon dismembered the face and order of Daan Forest Park, and the confusing objects were dismantled and scattered around. A park needs the green space surrounded by bricks, columns of trees and leisure equipment to be established. This is a system that we can identify and accept rationally. In the face of the scene after the typhoon intrusion, we quickly recognized that this is not a "normal" scene in Taipei, but a mess, but also a mess. However, Yang Yazhen suddenly saw another order under the outer shell of the city, which is closely bound. This order is invisible in the existing horizon of human beings because it cannot be recognized. She uses photography to detect and walk through objects and scenes that have not yet been written logically. The objects projected by her eyes suddenly become concise and abstract—even if they are contained in a complex and chaotic city, they remain with them. A very intuitive, very simple relationship. "Delete Park" is her "Park" series in 2014, in a "subtractive" mode in her visual park, allowing clusters of images to be stacked and grown in an almost organic way. "I don't always want to sneak into a certain kind of transpiration, the melancholy of white noise filled with information, some kind of "just today, there are special things happening", and the boredom of no confidence in this decision. .... Which kind of entanglement can be summoned by the luminosity of the day, the sound of the wind, the fragrance of the grass. The original clumps emerge and are changed back to a certain spot. There are many such entrances in life."-< Through the blue trace of the taste of chlorine>, "Mystery Scene", the object in the image of Huang Yizhen as the connection with the reality, the more contacts, the more we can identify and outline the scene. Just like we took the evening flight, we looked out the window and looked at the lights of the city underneath. We connected the lines into the outline of the residential area and the industrial area, and slowly pieced together the whole city to a country. The construction of the joint is to return to the past entrance. Every detail may be a call: the strength of daylight, the dog sleeping on the side of the road, the wind blowing between the leaves... There are many such entrances in life. Those who know how to identify the entrance also have the ability to describe the past and make stories. However, Yang Yazhen's image is not in the normal narrative track, nor is there the usual logic between the contacts and the contacts. Rather than breaking down the original system, these broken and awkward images are like hackers, with calm and objective gaze, seeing the entrances and cracks that can be raided on the surface of the world's fullness. Once broken, the structure we are familiar with will be distorted and distorted. She deformed the structure of the landscape rather than the variant, so when we look at these photos, we don't even think that they are foreign objects, but there is a sense of familiarity with "defamiliarization." This is why these photos seem strange again, still inexplicable to maintain a certain degree of objectivity, rather than her privatization of the current landscape with subjective feelings. These images stacked on the wall and on the cloth existed. We instinctively tried to connect logic and stories between the images, but somehow they were rejected. They seem to maintain a mysterious distance with the viewers - a tacit understanding and secret between them and Yang Yazhen. Even though many people have photographed trivial coincidences or dissatisfaction in life, and the choreography constitutes an embarrassing narrative, Yang Yazhen is not trying to collect the original lights on the surface to depict the constellation with personal characteristics; she avoids the map. On the fine and complex path, minus the beautiful composition of the carving, let her world, completely capture her at that moment. Through her photography and video editing, we see another logic, architecture, and the fire that would otherwise not shine in our eyes. Image Courtesy of pon ding & Yang Yazhen. Join Polysh Facebook to read the latest and interesting exhibitions and art articles at any time.

Weaving the dome of the industrial age, reading the vastness and tranquility of history: the French National Library "Richelle Quadrilateral"

The La Bibliothèque Nationale de France was built in 1368 by Charles V (1364-1380) as the King's Library, which houses royal books and private collections. Since the Middle Ages, it has been the largest and largest library in France in the world: in addition to 14 million volumes of books and prints, it also collects various manuscripts, prints, photographs, maps, scores, currency, badges, costumes... …Wait. The French National Library branch is located throughout the country: the Mitterrand Library, the Richelieu Library, the Asna Library and the Opera Library, which were added by President Mitterrand. Commonly known as the "quadrilatère Richelieu", the Richelieu Library, known as the "French Corner of France", moved to the original building on rue Richelieu during the Louis XIV period until the Mitte After the completion of the Long Library, it was changed to special collections and became the National Art Library. Since 1993, the Richelieu Quadrilateral has been the library of art history of French nationals. The people who provide non-academic systems can also access these ancient artifacts from the 17th to the 20th centuries, so that the book officers can have both museums and galleries. Public education function. The Richelieu Quadrilateral is divided into different blocks by conspicuous geometric figures, including the vast reading room, atrium, garden and so on. Since the seventeenth century, through the continuous expansion, demolition and refinement, these seemingly neat and old buildings have been refurbished and reorganized numerous times. Nowadays, the nearly five hundred years of the year have made the "Richardius Quadrilateral" gradually worn out in public use or in the preservation of cultural relics. Therefore, at the end of 2007, it was decided to start the restoration and modernization project. Designed by French architect Bruno Gaudin and chief architect Lagneau Architectes, in addition to maintaining and maintaining the old building itself, it is designed to follow the digital age and design a digital database, as well as the French National Filekeeping and Ancient Clerical School. (l'École Nationale des Chartes) collaboration in cultural and scientific projects. In order to continue to provide people's use during the restoration period, this huge project will be demolished into two parts and is expected to be completed by 2020. This year, after the first part of the repair, it was finally reopened and re-emerged in front of the public. Architect Bruno Gaudin's team has invested in a huge study of the history of building structures in order to preserve the historical features of old buildings while injecting modern new life. They developed different weaves to allow dialogue between architecture, history and technology in different areas. "This library has experienced the hands of many heavyweight architects in history. We undertake their extremely complex and rich architectural heritage in different spaces and time," explains Bruno Gaudin's team. "Therefore, this project is the most The tricky thing is to find a balance between the historical sense of the building and the new plan it will take in the future.” Without compromising the integrity, try to integrate the essence of the architects of the past 100 years. The glass promenade is then used to illuminate the room, blending with the brilliance of the retro wall and the modern design. The first step in the repair and refurbishment project is to reorganize the flow of people in the huge library; in a large and complex space, people can easily find the relationship and logic between space and collection; insert new space, stairs and The elevator is in it while maintaining the overall feel of the interior space. In the past, it was a complicated and painful process to search the manuscript or the performing arts department in a quiet corridor, but now the construction team has created a new walkway that is easy to circulate, making it easier for people to find 10,000 medieval Books with grass papers. Gaudin's team replaced the Performing Arts Center with a new reading room that uses warm wood and clean spaces to create a bright, soft reading space. Typical examples of style differences due to time factors, such as the Central Book Zone, were originally built in 1868. During the period from 1936 to 1938, two more basements were built, and in 1959, five floors were built. Bruno Gaudin then removed the discordant design over the years – including elevators, laminates and partial ceilings, allowing for the addition of 1930 and...

Keep Calm & Visit Barter Books: British second-hand bookstore converted from the old train station

"The 书架 哒 哒 . . . 」 」 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵 绵This station is Barter Books, a second-hand British bookstore for more than 30 years. Barter Books is located in the small town of Ainvik in Northumberland, England. The stone-clad façades, rolling windows and promenades are reminiscent of the small and exquisite train station in the movie. The image of the train is no coincidence. Before becoming one of the second-largest bookstores in Europe, Barter Books was the Alnwick Station built during the Victorian period. The station was also abandoned in 1968 with the suspension of the Ainvik branch line. In the efforts of the founders, Stuart and Mary Manley, they added a new life to the old soul with a book fragrance in 1991, and preserved and restored the classical high arches, large glass and three-sided old fireplace. The ingenuity of Stuart and Mary turned the stopped train into a mini model and continued on the old Ainvik train station. Every train track and pier is a line of verses. When our eyes follow the small train on the head, we will finish a beautiful poem in the bookstore. At the center of the train detour is a large arched mural depicting forty-three great writers, including Shakespeare, Jane Austen, George Orwell, and Wu Erfu. Some of them talked with people around them, and some muttered to themselves, and some of them held their railings and looked down at the guests who read and bought books. The great writers gathered together, and the vivid and flexible charm was like sitting on the Barter Books, inheriting and continuing the sacredness and enthusiasm of reading. The spacious space covers 85 categories of book areas, a children's reading room, three fireplace rooms and a station buffet. Barter Books' collections range from ancient treasures to contemporary novels and are known as the "British Library of second-hand bookstores." And these can be exchanged for the old books of their own worth. If you don't want to exchange old books, we can still spend the most comfortable leisure time here. In the cold winter, we can pick an old book here, like a cat, squat on the sofa by the fireplace, and enjoy a hand-baked handmade biscuit and hot chocolate. Stuart and Mary are like grandparents in the entire town, taking care of everyone's heart and stomach. Mary's bookstore buffets are all private healing menus – from handmade biscuits to bacon sandwiches, from hot soups to red wines. The dream of opening a second-hand bookstore came from a part of Mary’s work experience at the time of college graduation. At that time, she was studying in the United States, working in a small bookstore run by a couple, and she could never forget the beauty of working in the pile of books. "For me, opening a second-hand bookstore in a difficult time is an attempt and challenge for my ability to operate. For Mary, it is building a paradise for itself," Stuart said with a smile. "Although we are now the town." The organization with the most employees, but we never know what will happen in the future." Unexpected things, such as a poster that suddenly burst into red in the bookstore: "Keep Calm and Carry On." Although there is a flood of "Keep Calm and...

Melbourne Plant Gallery: IVY MUSE Botanical Emporium Lifestyle Store

Flooding sunlight poured into the room, and the room floated like a water-filled shadow. Plants arranged vertically and horizontally grow quietly and slowly here, elegant and full of vitality. Organized for six months, the indoor planting studio IVY MUSE, co-founded by a friend, Jacqui Vidal and Alana Langan, officially opened the Botanical Emporium, a brand-owned store in Armadale, Melbourne. In order to make the interior space filled with the rich green atmosphere, Jacqui and Alana opened the urban green experience with this gloomy studio and art gallery. Their green fingers are not only taking care of plants, but also making custom homes for plants. With its vine-like mind and creativity, IVY MUSE inspires everyone's imagination of indoor gardening, retreating from uninteresting earthen pots, or plastic cacti and Christmas trees. IVY MUSE In addition to inspiring more creative aesthetics, a wide range of potted shapes complement each plant's unique look. Planting in the eyes of Jacqui and Alana is like an organic art. The vitality is the most beyond the imagination of people; perhaps it is like a paint-like pour, a dancing gesture towards the sun, or a large, deep green color. Blocks, veins and veins contain the gradient brushstrokes of the artist. The simple and low-key texture highlights the unique color temperature and level of nature; the geometric shape of the metal is ingeniously supported by the posture of the plant, which is like a living complex sculpture. Under the careful work of the two, the studio was specially raised to four meters, the display stand was still beautiful 24K gold; the interior lighting was from the hand of Melbourne artist Amanda Dziedzic, and the installation art was made by paper artist Amanda May Lee. The most ingenious thing is that the treasure of the town shop - 3.5 meters of black bean trees. "In order to move it to this position, the five talents are moving, but it is worth it!" they said. This pair of obsessed green plants has another commonality besides the love of greenery - both are full-time professional women and novice mothers. Unlike the average person's imagination of the artist, Jacqui and Alana are not laid back. In addition to operating IVY MUSE, Jacqui has a gallery called Signed and Numbered, which specializes in limited paper art, while Alana is Hunt...

If the garment can perceive: "The sense of flow," an interview with Oksana Anilionyte

If you can see the color of a human texture, then the fashion designer Oksana Anilionyte is probably the sand yellow of Central Asia and the blue of Northeast Europe. Born in Turkmenistan, she grew up in Latvia; when she was enrolled at the Royal College of Art in the UK, she discovered the magic that makes emotions and personality appear on clothes—Fluid Sense. The costumes in this series are a bit sci-fi a bit romantic, as the emotion itself has no language and line rules; it is the speed of blood flow, tears, headaches caused by boredom. Oksana upset the sorting drawers of the wardrobe, so that we can express ourselves by the clothing, not just the upper body, the lower body, the outerwear and the underwear. Photography/ Nhu Xuan Hua. Photography/ Nhu Xuan Hua. During the school year, Oksana came to work at the MIT Media Lab (the MIT Media Lab), where the experience became a later The source of nutrients in the series of Senses. "The relationship between body and material is very fascinating to me," she said. "I was studying the correlation between emotion and body temperature in various parts of the body. I was thinking that the vast majority of human body composition is liquid, but How do we design clothes using only dry materials?” At this point, MIT gave her the knowledge and inspiration she needed. Fluid/Sense by Oksana Anilionyte. Photography/ Nhu Xuan Hua. Fluid Sense by Oksana Anilionyte. Photography/ Nhu Xuan Hua. Photography/ Nhu Xuan Hua. Photography/ Nhu Xuan Hua....

Social media generations, weird girls voice: escape from anxiety with creation, John Yuyi

She wears instant noodles as accessories, exposes photos of people on the Internet to the human body, winds the charger into laces, and glues the voice message on the tip of the tongue. She is John Yuyi - not from the West, but from the Taipei girl Jiang Yiyi. Foreign media called her the Willy Wonka in the art world. Perhaps the Internet is her exclusive chocolate factory. The social media is a magical stick of gold and stone. The ordinary attitude of ordinary life is a plaything in her hands. A group of "Why Didn't You Like My Pic?" held in Peng Ding's exhibition was the first time John Yuyi appeared in his hometown. This time we focused on this interesting girl and asked her to share the ideas of the paradise. . Please talk about the previous works on "Why Didn't You Like My Pic?" The works on display are my main projects - "FacePost" and "BodyPost". They originated from the powder promotion campaign of the previous clay swimsuit series. At that time, it was the first time to put facebook and clay works on the back. Later, after a year of thinking in New York, I felt that if I posted my friends and my post. I should be quite fun on my body. After playing it for a while, the results were shared on Tumblr and Instagram, and I was stolen by the Dongdaemun of Korea to do t-shirt. Since the repercussions are good, I continue to do different themes with different girls, all related to their own social media. For example, one of the themes presented is "messenger" and "Voice Message", and a tattoo sticker that has been read under the eyes. The middle one comes from the "SKIN ON SKIN" series, which was shot in Japan. In addition, there was also the exhibition "TAPE TAPE FURBY". It is a small work made of different tapes by using different tapes to attach Furby to the wall. . The name of the joint exhibition was "Why Didn't You Like My Pic?". Have you ever felt this way when sharing creatives on the Internet? ...