关于 ABOUT INTER-YOUTH

学院是青年艺术家艺术创作和思考世界的基站,也是他们对话的对象和蜕变的原型。绘画在一代代青年艺术家不断自我突破的同时也在不断改变着学院的意义。在相互应发革新之中,学院的青年艺术家一直是不可忽略的重要群体。他们面貌各不相同,但大多具有开放、睿智、叛逆与反思的特点,他们是未来艺术的闪烁亮点和中流砥柱。

早在2004年,中国美院便发起“世纪之星”项目致力于推出当代青年艺术家,为他们的创作提供一个有品质的学术平台,连接社会生活与艺术创作,强化个性与创造,开拓国际视野,并于坚持创作中追寻艺术本源。今年,“Inter-Youth国际青年绘画展”将秉承初衷,并进一步拓展为国际高等艺术学院青年绘画展。它将集世界一流艺术学院的优秀国际青年艺术家,形成交流和作品展示的平台;与此同时,本次展览还特邀知名青年艺术家参展,强调国外青年艺术家之间的互动和交流。本次展览将延续前沿、实验的精神,追问绘画本源,关怀人文价值,直面传承、融合和创新的时代命题。

本届“Inter-Youth国际青年绘画展” 将以开放、多元的面貌集合众多青年艺术家,以“此时虚造” 为学术主题,展现时代青年的绘画艺术所具有的丰富的想象力与创造力,融合多元的绘画表现方法,为视觉艺术创作打开不同的视角。在虚拟真实的世界,如何用绘画再现“真实”与“本真”成为这个时代的重要命题。“虚造”回应图媒体时代图像过剩的现象和艺术创作中“转换”、“还原”、“再造”三个基本问题。“视真”回溯世界的真实与视觉的真实这个关乎绘画本源的问题。本次展览通过对绘画本源、时代特征和绘画当代性的思考,再次发起对绘画创作的反思与追问。

在此基础上,展览将以“N种开始KickStart”为口号,面向当代艺术创作的诸种问题,并置从学院出发的青年艺术家各具个性的多种表达方式和丰富的面貌。探讨他们在想象力和创造力的驱动下,如何通过绘画表达各不相同的观念、态度,以及明确的诉求和愿望。“开始”或许意味着“第一次”、“不清晰”和“实验”,但对于青年艺术家来说更是充满挑战的起点。强调“N种开始”是希望兼容并蓄,用活跃、丰富、平等、开放的基调,让国内外青年艺术家在相遇和交流中重新找到开始的意义。他们将为这个图像泛滥时代重新给予生命力,从“转换”、“还原”、“再造”等基本的绘画问题出发,向着整个(艺术)世界,沿着不同的方向和路径一次次整装待发。

值得一提的是,本次展览将设置“Inter-Youth奖”,旨在弘扬绘画精神、倡导人文关怀,鼓励青年艺术家以绘画的方式来介入社会生活,创作出具有国际视野的时代艺术。“Inter-Youth国际青年绘画展”旨将构建一个可持续发展的学术品牌,成为时代青年绘画的推动力和风向标。奖项设置为:“Inter-Youth艺术奖”一名,奖金十五万;“Inter-Youth创作奖”二名,奖金五万元;“Inter-Youth实验奖”二十名,奖金三千元。另外展览将设置“最受观众欢迎奖”,由大众票选完成。

展览分为特别展,主题展,阐述展三个部分。特别展集合具有广泛影响力的青年艺术家。主题展版块聚焦国内外知名院校推荐的艺术家,根据本次展览的学术主题,向观众展现国际绘画的风格面貌以及发展方向。阐述展将集中展示绘画艺术学院年轻艺术家的作品。

 


 

Introduction

INTER YOUTH is a new platform to exhibit and to communicate the development of contemporary painting at the academies in China and abroad. The project is initiated by the School of Painting. The school is composed of oil painting department, mural painting department and printmaking department, which is quite different to the academic structure in Europe or America as well as to other Chinese academic institutions.

Inter Youth is giving the possibility to communicate about painting now with the focus on students and academic experiences in different education systems. It will be a platform to show the possibilities for young artists as well as the difficulties once they leave this system.

We proudly announce the INTER YOUTH ART AWARD to promote further the inquires and innovations of painting in the arts. All students from The International League of Higher Education Art Institutes can participate. The major creation technique should be drawing, printing and of course: – painting. Two- , three- and multi-dimensional works are accepted. The size should not expand 200X200 cm. The winners will be chosen both from a Jury of established artists, critics, and scholars. Also, there will be an award of My Favorite Painting voted by audiences.

The Inter Youth Art Award shall support the communication between the academies from the International League of Higher Education Art Institutes as well as supporting young artists to kick start their first steps into the art world.

How do artists visualize their imagination?
How do we create worlds and let an audience be part of these worlds?
THE FICTITIOUS PRESENT is the first exhibition taking place in the program INTER YOUTH with a general focus on creation and imagination of young adults and the need of binding this onto a canvas, a paper, referring to it in sculpture or in video. The creation methods in the main media painting have emerged a lot, changed its own restrictions. Painting is and will always be compatible to all other contemporary medias.

We increasingly live in a world, where nothing makes any sense. The reality has become so complex, that we can’t understand processes of separation in work, the production of the most simple objects etc. Painting, art and creation itself will always mirror this so-called FICTITIOUS PRESENT.

The exhibition will also invite young established artists to show their works, who also went through the academic system in the academies in China. They will allow to reflect on their ways into and through the world of art and show their experienced positions from the “reality“ after the studio years.

Opening: October 29, 2015
Venue: Art Museum of CAA, No.388 Nanshan Road, Hangzhou, China

Chief Curator: Jing Shijian
Guest Curator: Ma Nan, Song Zhenxi, Carola Uehlken

“出谜,或入谜”

许江

 

很久没有与青年艺者谈画了。

绘画艺术学院要将油画系的老节日“世纪之星”改制为更为国际化的平台,变戏法似地征集来了不少作品,并让同学们命笔作文,欣欣然图文并茂,编成颇有吸引力的册子。老井又风风火火地拿了两张同学的文字,摆在我的案头,命我为画册写序。

没看过青年艺者的参展作品,没有作品的实例,看来这个序是难以写好了。我唯有从两张同学的文字中,寻找谜一般的踪迹,询问新一代艺者的思考。与众多扑朔迷离却清新稚气的文字相比,对于“何为绘画”的问题,同学们往往给出用力的回答。下面摘录几段同学的短语:

“绘画是一种对自己日常生活中所看、看感、所思、所想的记录。所采取的方式……都源自个人的价值判断和切身的情感经历。”
“绘画是心走过时留下的一丝丝痕迹。”
“每一棵树都有灵魂。……从树上,我们可以看到生命,同时也返照着我们自己。”

与我们那个时代的青年相比,今天的青年更为迫切地表达这种意图:不满足于写物,而留意于写心;不满足于平铺直叙地接近对象,而更乐意谜一般地置身其中。但他们知道心与物不可分。如何在心物须臾不可分的进程中,经历一份缓慢的语言的锤炼和生命的成长,如何在谜团一般的生活世界中,用自己的成长与艺行来持续地打开这个谜团,恰是历史和时代给一代人出的谜,也是青年艺者给自己出的谜。

老井此前给画展拟的展名叫“此时·虚造”。这个题目隐晦地触碰某些哲学化的焦虑。正是存在与虚无的幽灵般的生存境域,弥散在同学们的纷繁离断的心思之中,诱发着时代性的精神疑窦,尤其揭示着一个无以规避的事实:互联网的虚拟图像技术处理的快捷如何持续地磨损和散乱着一个艺者持久的匠心。那种迅疾而跋扈的想象,那种“云”数量的无际的图像群,正让足踏大地的青年面临前所未有的困惑。是否可以用某种生的活的意象来捕捉一代人的纠结与求索,却又使其不失去当代人心灵处境的迷茫诗意呢?于是,我想到了:出谜,或入谜。在今天的图像时代中,图像的存疑不在其海量,不在其处理方法的便利,而在于我们与之关系的浅化,正是这种浅表化为我们的真实感受制造了无边的迷局。我们出入这种迷局,并向内向外交相企望。我们想看到的往往是我们自己,是“万不得已者在”的自己。企望的“企”字原义是踮起脚尖,这踮起脚尖的翘望,该是何等的努力!

此刻,我正站在深秋里的圆明园遗址的边上。我仿佛三千年前周大夫写《黍离》时那般缓缓行走。“行迈靡靡,中心如噎。”但我并未哽咽,而是慨然地想到天与地。天,古人谓之“彼苍苍者”。东汉许慎著《说文解字》曰:“天,颠也,至高无上。”天颠音近,颠本指人的头顶,这里指无限高的天空和至大者。地字从土,在甲骨文中,“土”和“社”本一字,后世乡村有土地庙,村民聚会娱神,则称“社会”。天与颠,地与社,天地之谜,其大无外,其精无内,我们身在其中。天与地给出如此多的谜团,我们如何用艺行与人生来出入、进而解脱这些谜团呢?

 


 

Preface

Out of or Into the Mystery

Xu Jiang

 

It has been a long time since I had a conversation on painting with younger artists.

The colleagues from the new-founded School of Painting are about to make the traditional Stars of Century program of the former Oil Painting department more international. They have magically collected many works of art and asked the students to write relative essays and then compiled into an attractive catalog with both words and illustrations. Professor Jing, the deputy dean came to me one day and showed me two essays from the students and invited me to write a preface for the catalog.

Not having seen any exhibiting paintings of the young artists, I do doubt whether I could give a satisfactory prelude. The only way I can take is to seek for the riddle-like traces and inquire about the consideration of the younger generation from those two essays. Most of their words are complicated and confusing meanwhile fresh and naive, however they always give an impressive answer to “what the painting is”. Here follows some excerpts: “Painting is a record of what we see, we feel, we think and consider in our daily life. The means we take…is depended on our personal judgment of values and emotional experience.”

“Painting is the traces left by the heart when it passes.” “Every tree has its soul. On the tree we see life, which reflects ourselves.” Compared with our generation, the younger artists are more eagerly to express their intention that they are no more satisfied with painting the objects; they want to paint their minds.They are no more satisfied with approaching the objects in a dull and flat way; they’d rather get into it mysteriously. However they do know that minds are inseparable with objects. How to experience a slow polish of language and a growth of life in this inseparability; how to constantly crack the code with their growth and artistic practices in the mysterious world; these are the riddles given by times and histories and by themselves.

Professor Jing has named the exhibition “Existence and Vanity”, which somehow has dimly reflected some philosophical anxiety. It is the ghostly living circumstances of both existence and vanity that disperse on the students’ complicated and confused minds and induce the spiritual suspicion of times, and particularly reveal an inevitable fact that the convenience of the virtual images technology of the internet era has constantly hurt and disturbed the persisting mind of craftsman of an artist. The imagination which is hasty and bossy, the innumerable image package of the Cloud have made the younger generation confronted with an unprecedented confusion. Is it possible that to capture the confusion and seeking of a generation with a lively and active image without losing the poetic sensation of their heart? Then it flashed into my mind: Out of the Mystery, or Into the Mystery. In the present era of image, the suspicion of image is not about the abundance or the convenience; it’s about the simplification of the relationship between image and us, which has constructed a boundless mystery for our real feelings. We come into or go out of the mystery, looking hopefully outwardly or inwardly. We want to see ourselves. Qi, which means looking forward in Chinese, originally means standing on tiptoe. What a hardworking of this kind of looking!

I am right now standing on the side of Yuanmingyuan Imperial Garden. I walk slowly like what Master Zhou wrote in Shu Li 3000 years ago, “walking slowly, choked with sobs”. Although not choked, I think of Tian i.e. the sky and Di i.e. the land and sigh. Sky meant vast and hazy. In Analytical Dictionary of Characters written by Xu Shen of the East Han dynasty, Tian meant the most lofty. With a similar pronunciation to Dian, which meant the top of the head, Tian meant the infinitely high sky and lofty. In the ancient oracles, Di derives from Tu, which is equal to She referring to the temple then the society where the villagers get together to worship their gods. Tian and Dian, Di and She, we are inside the mystery of the sky and the land which is grand and sophisticated. The sky and the land have given us so many mysteries. How can we come into or go out of then solve them with our artistic practice and life?

Oct. 15, 2015

“此时,虚造”

杨参军

绘画不同于机械图像,还在于绘画是画家在当下的体悟之中创造的一种语言。黄公望终日只在荒山乱石,丛木深筱中坐卧,他深酣于富春山中,在意态迭然中窥探山水的神韵,因此,《富春山居图》和我们看到的富春山的实景是那么不同,因为画家丰富的心灵感受,已将其再造为一种简读的山水境界,这境界穿万壑于线条之中,在一石一树中彰显了一种博大的宇宙豪情,在残枝枯木中,抒写了作者胸中的逸气。因此,绘画对自然的的再造是绘画立身之本,而机械的图像永远不能承担起这样的功能。

“此时虚造——国际青年艺术展”脱胎于中国美院油画系的“世纪之星——学生自选作品展”,它是以青年艺术家日常创作为基础的展览。今天我们将其改为由世界诸多国家和地区的青年艺术家参加的展览,以期拓展它的创作平台。我们深知,其中的作品可能不尽成熟,也不那么完整,但它却呈现了今日青年在绘画创作中鲜活和生猛的特性,而“此时虚造”也试图说明作为绘画主体的年轻人,如何在机械图像显现的“真实”中,重新立定精神,从在场的当下感受中,重寻人类的体验之源,而“此时虚造”的画面却成为这真情的流露,它不似机械图像那样对世界进行原模复制,而是经人心过滤下的“虚造”中,实现对真实世界的重构,同时,也实现对人类精神家园的重构,是为序。


 

“The Fictitious and the Present”

Yang Canjun

 

Painting is different from machine-made image. Painting is a language created by artists through their comprehension of what they feel. Gongwang HUANG, who painted the Dwelling in the Fuchun Mountains, lived in the mountain with barren trees and bushes. He was so much involved in the tranquilized environment and the joy it brought. Eventually he captured the essence of the Fuchun Mountains. Therefore, the real environment of Fuchun Mountains is so much different from what we can see from his painting on which there are mountains and waters, dead branches and leafs painted in a traditional way. Every detail reveals the manner that HUANG had. The most important part of painting is the recreation of nature and this is what machines can never do.

“INTER-YOUTH: International Painting Exhibition” is originated from art works done the students majored in oil painting in Chinese Academy of Art. The paintings are mostly come from daily composition. Now we make it as an international exhibition inviting young artists from the world to extend its function as a platform. The paintings presented might have room for improvement, but it shows the dynamic and the fresh motivation that young artists have. “Present & Current” also tries to emphasize that how young artists reposition themselves and how do they find the originality of art from images that created by machines. They are not simply record nature as machines do, they record after interpretation. It is to reconstruct the real world, and at the same time, it is also the reconstruction of men’s spiritual world. This is the Preface.

“虚静则明”

井士剑

这个时代青年的绘画具有丰富的想像力与创造力,为视觉艺术打开了不同的视 角、融合多元的绘画与绘画表现方法。此时,这是一个虚拟真实的世界,对“真实” 与“本真”的绘画再现成为这个时代的重要命题,“视真”回溯世界的真实与视觉 的真实的绘画本源问题。通过这样一个对绘画本源、时代特征和东方诗性的思考, 以期达到绘画创作的追问与解答。

“虚造”回应图像与媒体时代的图像泛用与过剩的现象和艺术创作的“转换”、“还 原”、“再造”三个基本问题。中国传统美学的“以虚生实”——“无形而有形生嫣, 无声而五音鸣焉,无味而五味形焉,无色而五色成焉。是故有生于无,实出于虚”。 从创作论上阐述了东方诗性的美学精神,同时也预知地道出了今天的真实所在。

今天,绘画所面临的的问题不仅是图像危机的时代,也是绘画滥造众相的时代, 它面临概念化国际化的语言的冲击和保守与世俗、观念艺术等复杂状况。历史上几 乎无人记得“娃哈哈”曾经生产过“中国可乐”,不久便消失。互联网也曾是舶来品, 缘何在这里生根,引领世界。特有的时代、生长的地域性、品质的特征、时空的吻 合性构成了它们各自的命运。一个技术与商业的历史线索也可能是艺术的见证。

许江院长提出的“技艺与方法”学术核心问题是大绘画时代的深刻命题,这本书所讨论与展示的正是回应诸多问题的材料与开端,是深思熟虑充满挑战的学术梳 理,在某种意义上尚属首次。

“虚静则明,以万物森然出于镜”道明了艺术创作的方法与思想之境。

以全球当代青年绘画的视野进行这个主题的讨论,旨在以审视的态度纵观当代绘画。期盼更具有时代精神和博大深邃的东方特征绘画成为艺术的力量。

2015年10月16日

 


 

“Clarity of Void and Tranquility”

Jing Shijian

 

The paintings of a younger generation are full of imagination and creativity, which open various perspectives for visual arts and blend multiple means of expressions to painting. At the present world of virtual reality, and the pictorial representation of the “truth” and “reality” become the main theme of this time. “Viewing the Truth” is the original problem of backtracking the reality of universe and the visual reality of painting. Through this meditation of the painting’s origin, epochal features as well as oriental poesies, we expect the questions and reactions for the creating of painting. “Fabricating” is a responds of images and the generalizing and excess of images in a media era, as well as three basic matters of artistic creation which include “transformation”, “restoration” and “recreation”. The philosophy of Chinese traditional aesthetic is to create reality from the vanity: “from the intangible tangible was shaped, from the silence voice was created, from the tastelessness gustation was appeared, and from the colorlessness color was produced. Thus everything is out of nothing, and vanity creates the reality.” This interpreted the spirit of oriental poetic aesthetic, and also predicted today’s facts.

The Time today’s painting is encountering is not only a time of image cerise, but also a time of painting abusing. Painting is facing the complicate situation of international linguistic shock and conceptual conflict between conservative, secular ideals and new ideals. Nobody remembers that Wahaha Company had produced “Chinese Coke” years ago, and soon disappeared. The Internet used to be a exotic. Why it takes its root in China and also leads the world? Different epochal features and their own characters as well as opportunities create different fates of this two things together. A historical clue of technology and commercial could also be a testimony of art.

The academic subject of “ technique and method ” proposed by Dean Xujiang is a profound thesis of this great painting period. Themes discussed and displayed in this book are the responds as well as a beginning of various problems and materials. It is a academic clarifying full of contemplation an challenges. It is a Pioneering Work.

“Let your spirit get into a extremely quiet status without desire and material gain, then the richness and beauty of universe will display in front of you as were revealed in a mirror.” this explain clearly the creative methods and thinking moods of artistic creation.

This work, which discussed its subject under the vision of contemporary painting of youngsters around the world aims to make a comprehensive observation of contemporary paintings through a scrupulous attitude. And we are looking forward to witness more representative and profound works with oriental qualities to become a significant power in the art world.

“另一种关照的开启”
陈焰

 

作为一门眼与心、心与手合一的古老技艺,绘画在被赋予独特的荣耀的同时也因为它独特的时间性而构成麻烦。绘画的劳作在今天看似已失去了某种象征性的力量和功能,说绘画“死”了,视觉或触觉感知已经不是判断艺术的唯一条件,这也势必强化了人们对观念的依赖。但事实上,还没有其他媒介能像绘画那样如此直接结合视觉和触觉来表达对事物的感觉和思考。套用丹托的话来说,绘画的一套实践结构已经被另一套结构所影响与延展。绘画变化的不是叙述的对象,而是叙述本身。

在数字化时代的今天,多元文化存在着“同时性”的状态,所有的历史也同样可以使用。“同时性”是后现代主义的一个定义,它也说明了艺术家选择性地从以往的艺术中汲取有用和有效的部分加以运用,或进行简单的派生而滋长出更多内容已经成为创作的普遍方法。这种情况在展览中从未缺席,哪怕是对于具有奇思妙想特质的青年艺术家们而言。

我们看到,今天繁多的媒介、形式和材料为年轻人孕育着属于他们这一代的特殊编码。他们或截取、放大某个生活片段并予以延续一贯的美学诉求,或拆解日常事物,用其构成部分重新组合,试图去掩盖或揭示那些事物原来的样子,从而组成自成一体的某种系统。时尚流行、城市变迁、网络游戏、虚拟生活、生物学等等都是他们的对象所指,也许其中的主题并非统一,但在绘画的方法上显然充斥着某种全球化的共通性与持续性。艺术的基本技术问题已经转变为艺术的态度、艺术的观念和艺术的语言。

也许这些现象应征了一个问题,当全球消费文化的界限变得模糊或者同时性发生之时,画面提供的元素可以被更广泛的经验构织成某种叙述,而其受制于观众的文化语境象征性的元素也同样可以由便捷的网络知识所获得。那么,其在文化根性朔源上表达的技艺与方法的广度与深度才可能成为判断其个别性的的一个砝码。尽管艺术作品的创造与存在过程受制于历史,但一定存有某种恒常不变的东西。

互联网无疑无限扩展了艺术作品的可展示性,就像今天这个展览,让我们假托于此并汇聚于此。此时虚造,什么皆有可能,亦是另一种关照的开启。

 

2015年10月

“丛林中的N种开始”

马楠

 

也许,今天绘画所面对的不仅是图像时代图像泛滥的处境,还有全球化造成全球景观均质化、整体平庸,以及被资本绑架的艺术市场化等诸问题。但是关于绘画,我们或许讲的太多,期待的太多,赋予的太多,以致于艺术变成了某种特定的流行姿态、类型和占支配地位的政治正确之立场,而变得不兼容,进而绑架了原本多元的艺术创作的有机生态?绘画通过自身的前卫实践确实发生了太多不可思议,但引发神奇的一次次与自身体系决裂的原动力是本能、直觉感受、还是所谓的哲学逻辑、调研思辨?也许是太多元素的综合,同样,当我们在谈论绘画整体观念和观看一件具体的绘画作品时,自身也同样在经历着太多复杂的分裂和综合。当本雅明将揭示真理的任务由哲学让渡给艺术的时候,他是在将理性至上分权,进而从非物质性的艺术创作中唤发出寓言的神秘性。艺术不是唯理的,它相信在见与未见之间有大量有待发现的层次。而人类生活的这个领域正是文化艺术可以各种方式加以探索的田野,是在感性和非工具理性主宰的思维方式之下的一种自发的精神探索。

这次青年绘画展将不套用线性归纳的方法试图分类总结,而是在拓扑学意义上从年轻艺术家鲜活的个体实践及其经由绘画整合知觉碎片的案例中找到相互之间的关联,并置来自国内外多所艺术院校的绘画作品以构建出一片样貌丰富的绘画丛林;提供几种与现实共振的策略;并营造一个宏观的感性现场。

 

“The Jungle of Multiple Entries”

Ma Nan

 

Perhaps, what painting is facing today is not only the flooding of images after the mechanical reproduction, but also the homogenization and overall mediocre caused by the globalization, as well as the marketization of art which is kidnapped by capitalism. However, we may have talked too much about art and endowed too much with painting. As if we expect to witness the universal spirit of human being through a single art work. Perhaps we should hold our high expectations and give painting a break, so to prevent it from becoming a popular fashion, another genre or an attitude of political righteousness. So to prevent it from becoming incompatible, which has being forcing the young artists to pretend to be deep in order to become a so called “contemporary artist.” Painting had made so many miraculous achievements through its own avant guard practices. But is this institutional reflexive awareness derived from sensational instinct or of philosophical analysis? Perhaps both, perhaps when talking about an art work, we also integrate too many elements but while looking at an art work, the process is quite different. When Walter Benjamin transported the responsibility of seeking truth from philosophy to art, he was de-powering the dominant rationality, in order to reveal the unspeakableness of allegory in art as an non-material creation. Art is not rationalism, instead, it is always digging for the other layers between the visible and the invisible world. It is more of a spontaneous spiritual exploration in this field of sensations and experiences.

In the “INTER-YOUTH: International Painting Exhibition,” we will not apply the linear inductive method to classify and summarize the works of participating artists. But, in the topological sense, to find out the relevance from the individual practice of young artists who use painting as a way to integrate the debris of everyday experiences. By juxtaposing the paintings of different artists from all over the world, the exhibition intends to create an immersive site of sensibility, in which several strategies of coping with the realities can be found.

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