五月 肆 [ 日 ] 贰拾叁號 4. May issue 23
本期艺术家 The Artist
致穎 1985 年生於 臺北 目前居住於德國柏林和臺灣臺北。
Musquiqui Chihying born 1985, Taipei lives and works currently in Berlin, Germany and Taipei, Taiwan.
Education 2015 Universität der Künste Berlin – Institut für Kunst im Kontext 2012 Universität der Künste Berlin ( class Hito Steyerl ) 2008 Shih Chien University - Institute of Fashion and Communications Design 2004 Taipei National University of the Arts – The Department of Fine Arts 1985 Born in Taipei, Taiwan. Prize & Collection 2014 “ S-An Cultural Foundation Art Prize 2014”, S-An Cultural Foundation. 2010 National Taiwan Museum of Fine Art collects work “The Ceremony of The Funeral”. 2008 “ S-An Cultural Foundation Art Prize 2008”, S-An Cultural Foundation. 2007 “ The New Perspective Art in Taiwan: The Painting Serious ”, Taichung County Seaport Art Center. “ Hing Alan Cheung Art Prize ”. Taichung City Seaport Art Center collects work “The Spectacle of The Twisted Nature”.
Exhibition 2014 "10th Shanghai Biennale : Social Factory", Power Station of Art, Shanghai, China. "Place an Image / Place in Image", Museum für Fotografie, Berlin, Germany. "Filmscreening : Die Nächste Generation V", Museum Folkwang, Essen, Germany. "DUMMIES" with Schwanzo Kollektiv, Modena, Italy. "Film Screenings : ENTER", Blockbuster Exhibitions, Berlin, Germany. 2013 "Palatti Schopf", Ledi - Die Wanderbühne, Oberegg, Switzerland. "Modifications", ZK/U Center For Art and Urbanistics, Berlin, Germany. "Von Wolkenkratzern, Flugzeugen un Vögeln", Galerie Genscher, Hamburg, Germany. "MACHT KUNST", Alten Münze, Berlin, Germany. 2012 "2012 Taiwan Biennial", National Museum of Fine Arts, Taichung, Taiwan. "Post – Office 2 ", Ping Pong art space, Taipei, Taiwan. "F – Stop", Leipziger Baumwollspinnerei, Leipzig, Germany. "Book – Like Objects", tamtamART, berlin, Germany. "Post – Office", Ping Pong art space, Taipei, Taiwan. "TASTENSPIELE - 100 Jahre CAGE und NANCARROW" Musikinstrumenten - Museum, Berlin, Germany. "Salon Schwarzenberg", Neurotitian, Gallery, Berlin, Germany. "Das WOHNUNGSPROJEKT ", COLLETTIVO CAZZO, Berlin, Germany. 2011 "Tekken Complete ! ", Edingburg, England. "Bridges and Barriers", U.D.K, Berlin, Germany. "Die Leistungsschau", Kunsthalle, Berlin, Germany. 2009 "POST.O : The Reverse of TOPOS", Museum of Contemporary Art, Taipei, Taiwan. "Squid V --- The King of Seafood will be Back Fighting", VTArt Salon, Taipei, Taiwan. "Luminal Art", Gallery 100, Taipei, Taiwan. 2008 "2008 Asian Students and Young Artists Art Festival", Seoul, Korea. "Sea Slug 2.0 ", Na-Pei Gallery, Taipei National University of the Art, Taipei, Taiwan. 2007 "The New Perspective Art in Taiwan : The Painting series", Taichung County Seaport Art Center, Taichung, Taiwan. "Melancholy On The Iron Wall", Taipei National University of the Art, Taipei, Taiwan. "Your Turn ! !", Na-Pei Gallery, Taipei National University of the Art, Taipei, Taiwan. "The Games of King", 8 & 1/2 Gallery, Taipei National University of the Art, Taipei,Taiwan.
All you require now is an ironical optimism
for you to maintain what you insisted upon before
你现在需要的是一种讽刺的乐观主义
让你继续你之前坚持的东西
高山 / " 这个短片的制作缘起于我和一位瑞士朋友的对话。他提起他的外祖母时说，她总 是将买来的很多食物储存在她的 'Zivilschutzkeller' 里——一个房屋下的地下室， 有着很厚的墙，曾经用来保护屋主免遭核武器攻击。如果说他的外祖母多少代表了 那一代经历过世界大战的硝烟后，仍然留着一些在现在看来稍显多余习惯的人，那 么这将会是一个了解战后社会如何重塑个人的好例子。在瑞士短暂停留的时间里， 先不说那些漂亮的风景和友善的瑞士人，这个国家给我的感觉是，尽管在很长一段 时间没有被卷进任何战争，表面上看起来非常平静，但巨大的焦虑正悄然埋藏在平 静的表面下。我们可以透过瑞士政策法规观察到一些模糊的痕迹，譬如“枪械持有” 条例，使瑞士的枪支持有数量成为欧洲最高；又如对于建造 'Zivilschutzkeller' 的 政策。不难发现整个社会已经准备好了迎接任何威胁与风险。 这个短片的情节围绕着一个叫 'A.K.' 的瑞士男孩和他的失眠症进行。A.K. 试图把他 的床建在不同的地方来获得更好的睡眠。譬如，建在草场上，树上，街灯下，马厩 里等等。然而他最终还是选择了 'Zivilschutzkeller'，并在里面关上了那扇厚重的 ' 反核 ' 门，这才找到了他的绝对平静。"
The Alp / "The starting point of the film production was a conversation with a Swiss friend. He mentioned his grandmother, who lives in Switzerland, always buys too much food, and stores in her 'Zivilschutzkeller'— a sort of shelters with very thick wall under citizen’s residences, which can protect residents from nuclear weapon. If his grandmother can partly represent a certain generation of people, who experienced world war and still keep some customs — even these may looks redundant nowadays, it will be a good subject to study how an individual be shaped by postwar society. With short visit of Switzerland, except beautiful landscapes and friendly residents, I noticed that although the country apparently seems extremely peaceful, without being involved in any war for long time, huge anxieties are quietly embedded underneath the peaceful appearance. Some dim clues can be observed through Swiss policies, such as 'Firearm Ownership', which leads the country with highest gun ownership rate in Europe, or the construction policy of 'Zivilschutzkeller'. It’s not hard to find that the whole society is already prepared for any dangerous risk. The plot surrounds a Swiss boy 'A.K.' and his insomnia. A.K. tries to build his bed in different places to achieve better sleep, e.g. in meadows, on a tree, under a streetlamp, inside a horse stable… etc. A.K. finally finds his absolute peace in the Zivilschutzkeller with the close of the heavy anti-nuclear door."
>>The Alp Digital Film 9 mins Switzerland 2014
>>The Alp Digital Film 9 mins Switzerland 2014
>>The Alp Digital Film 9 mins Switzerland 2014
致穎
採訪記錄
interview with Musquiqui Chihying 肆：从你的作品中能读出诸如“反战”、“讽世”、“民主” 等关键词，你怎么看？你认为你是具有人文社会关怀的艺术创 作者吗？ 致颖：基本上在杜尚（Duchamp）以来当代艺术创作本来就 是社会性的、政治性的，这也是为什么许多停留在物质生产和 买卖而不问世事的创作者其实更近似于视觉设计师或商人，我 甚至认为纯工作室艺术（Studio Art）也都是危险的，这危险倒 不是说创作者会做出什么危害世人的东西，而是容易让想法变 的狭隘。 “民主” 是很重要的关键词，它象征了社会介入的主 动性，它同时也保护了艺术创作思考问题的自由度。所以其实 对我而言，不论作品本身是否直接牵涉其中，社会和民主等概 念是当代艺术创作不可避免的课题，甚至，应该也可以说是每 一位公民的责任。 Si: We see "anti-war", "ironic", "democratic" from your works, what do you think? Do you consider yourself as a social-humanistic care artist?
>>The Alp Digital Film 9 mins Switzerland 2014
C: Basically, since Duchump the contemporary art becomes social and political, this is also why so many fabricators who stay at production and business without paying attention to social affairs are more close to visual designer or merchant. I even think that pure Studio Art is also dangerous. It does not mean the fabricators will do harmful things to people and society, but about their thinking will easily get narrowed. "Democratic" is a key word, it symbolizes the initiative of social intervene, meanwhile protects the degrees of freedom during art creating and thinking. So actually for me, no matter the work it is involved directly or not, social and democratic is unavoidable in contemporary art creation. Even, so to speak it is civic duty.
>>The Jog Performance Video 3 mins Switzerland 2014
>>The Jog Performance Video 3 mins Switzerland 2014
慢跑 / " 在健身房 ' 慢跑 ' 和在超市 ' 购物 ' 同样是城市生活的日常活动。收银 台在超市的终点等待我们，就像终点线等待着慢跑者。如今，带有自 动传送带的收银台成为了现代超市的标准装备。顾客只需将他们购买 的物品放在传送带上，后者就会将它们传送给收银员。传送带的滚动 方向暗示着购物的终点。在收银台而非跑步机的传送带上朝着与收银 员相反的方向慢跑，可以作为另一种思考我们日常活动的方式。我总 是感兴趣于图像和人体如何通过与社会的关联或反映而产生美学能量。 这个录像包含两部分主要内容：' 热身 ' 与 ' 慢跑 '。 我以运动员的着装，在过道或邻近的收银台边完成第一部分的 ' 热身 ' 练习。而在第二部分中我在传送带上轻轻慢跑。"
the Jog / " 'Jogging' in sport gyms, or 'shopping' in supermarkets seem to become usual activities in normal city life. The destination of a supermarket, always, checkout counters are waiting for us, just like a finishing line waiting for joggers. Nowadays, the counters with mechanical conveyor become standard apparatus in modern supermarkets. Customers can easily put their goods on the belt, then conveyor will help to transport them to cashiers. The rolling direction of conveyor implies the destination of shopping. Jogging on the belt of counters instead of treadmill, to the opposite direction of cashier can be an alternative way to rethink our daily movement. I am always interested in how images and human bodies relate / reflect societies and thereby produce aesthetic power. The video contains two main parts: 'warm-up' and 'jogging'. By dressing like an athlete, the first part 'warm-up' exercises was done either in corridors or nearby counters on the ground. In the second part I jog slightly on the belt of counters."
肆：“慢跑” 这个作品是你对生活的重新解读，用一种 看似荒诞却也合理的方式。为何采用与终点相反 的方向 跑步？传送带开始运转的时候就永远没有终点，你将无 限循环的跑下去？ 致颖：超市的传送带是个有趣的东西，基本上在我成长 环境中没有看过这样的设备，是在西方国家才看到的， 不过听说现在亚洲一些大卖场也有了。超市的结账柜台 象征了资本消费的终点，而运转的传送带是终点前的进 行曲，在传送带上我尝试往相反的方向逃回，最后也只 是徒然。虽然作品的象征性意义再浅白不过了，但其实 最开始的灵感来自观察到超市收银员有如机械人般地工 作着，而消费者也因这样流水线的消费规则不得不也像 蚁工一样配合作业。我在想该怎么样来打破乏味的生活 机制？我们该如何来反制这些将我们困住的机械设备还 有消费规则？虽然听起来有点卢德主义（Luddism）的 味道，但其实我更关心的是单一线性的思考方式。 Si: "The Jog" is a reinterpretaion of life, seems absurd but yet reasonable. Why you were running in the opposite direction in the video? When the counter belt starts to work, literally there's no destination until it is been turned off, would you run in such unlimited loop? C: The belt of counter is interesting. I’ve never seen such facility in my growth environment. I meet it in western countries. Though I’ve heard that nowadays it appears in some Asian supermarket too. The supermarket’s cashier represents the end of capital consumption. The running belt is like a march prior to the end. I tried to escape from the end so I was running in the opposite direction, but it was in vain at last. Although its symbolic meaning is very obvious, I got the inspiration priorly from looking at the cashier staff working like robots, meanwhile the consumers have to cooperate with the whole system, which looks like ants moving stuffs. I have been thinking that how to break such boring system in life? How do we do to against at such mechanical facilities and consuming rules that trapped us? It may sounds a little Luddism, but I actually pay more attention to the singer linear thinking.
>>The Jog Performance Video 3 mins Switzerland 2014
>>The Route Digital Film 10 min 2013 Chicago, U.S.A
路线 /
从中国城到中国城 " 地铁站，也许是现代城市中观察种族隔离的最佳地点。 在芝加哥的市中心到黑人社区之间的 Cermak- 中国城的地铁站里，人们很容易注意到月 台两边站着不同人种的乘客。乘客们的方向由终点站决定，而地理意义上的种族隔离由 经济活动主导，这已不再是多么重大的发现，这种现象在今天几乎随处可见。但是在这 些乘客开始他们的经济活动之前发生了什么呢？在走进办公室、百货商店和餐厅之前， 地铁是大多数人们必需经过的通道——这是一个民主的通道。 怀着强烈的好奇心，我带着相机走进通往不同方向的列车，想要观察这种空间里的乘客 活动。在双重屏幕里，观众可以跟随摄像镜头，穿越南北的三个地铁站到达分别位于芝 加哥市中心的 Jackson 站和位于芝加哥南部的 Garfield 站（是整个美国最危险的区域）， 然后再回到 Cermak- 中国城站。"
The Route /
from China Town to China Town " 'Metro station, perhaps is the best location to observe racial segregation in modern city' On the platform of Cermak-Chinatown metro station in Chicago, where in-between downtown and black neighbour, people can easily notice different racial passengers stand on the opposite side of platform. The destinations decide the direction of passengers, and economical movements define the geographical segregations, it’s not majestic discovery anymore, the phenomenon can be seen nowadays almost everywhere. But what happens before these passengers start their economical movements? Before stepping into offices, stores or restaurants, metro system is the necessary passage that most people have to pass : a democratic access. With strong curiosity, I took camera and got into different directional trains, try to observe passengers’s movement in the space. In the dual screens, audiences can follow the video camera, transport three stations far both north and south, to Jackson station and Garfield station, the centres of downtown and south Chicago (the most dangerous area in U.S.A), then come back to Cermak-Chinatown station.
Chinatown
Chinatown
Garfield
>>The Route Digital Film 10 min 2013 Chicago, U.S.A
Jackson
Jackson
Garfield
Chinatown
>>The Route Digital Film 10 min 2013 Chicago, U.S.A
Chinatown
>>the geographical movements of video camera
肆：“The Route : Chinatown to Chinatown”作品中， 你从你的观察中得到什么样的结论或感受？ 致颖：这件作品其实在观看时会有一定的困难度，原因 是它牵涉到了部分的地缘政治。拍摄地是北美大城芝加 哥，当地的种族划分非常明显：白人和中产阶级居住在 市中心以北，黑人社区多位于南边，而据传政府因治安 因素（政府当然不会承认）将中国城和华人建立在两大 社区之间作为缓冲。对我自己来说，影片的第一幕，也 就是中国城月台上等车进站时的影像以作品而言已经到 位了。观众能够很清楚地看到因工作区域不同，月台的 中间存在着一到透明的种族分界，向北多为白人和黄种 人，而向南则清一色为黑人。像这样的现象是在台湾或 是柏林都不曾见到过的。 Si: In the "The Route: Chinatown to Chinatown", what kind of conclusion or feeling do you gain from your observation? C: It is a little difficult while watching this work, because it relates to a bit of geopolitics. I shoot this video in Chicago where is the metropolis in North America, the geographical segregation of which is very obvious. The white and middle class live in the north of downtown, the black community is most likely located in south area. According to a rumor that says because of some security reasons, the government set the Chinatown and Chinese in-between the two main communities as a buffer. For me, the movie's first scene which shows the train coming towards the Chinatown station while people are waiting on the platform, has already came to the point. The audiences can clearly observe that, due to people's different occupations, there exists a transparent ethnical boundary in the middle of the platform. The white and yellow are standing towards to the north, whilst the black are facing at the south. I've never seen such scene in Taiwan or Berlin.
>>The Toyota Inflatable materials 240 x 160 x 140 cm Digital Photo Print 43.2 x 29.1 cm Taiwan 2015
丰田 / "Corolla 是日本自动车生产业丰田公司于 1966 年生产的紧凑型汽车系列，直到今 天 Corolla 创下了四千万的销售量，成为全世界销量最好的汽车之一。自 1980 年 Corrolla 出口到台湾，这种车型便多年占据了台湾的自动车市场，并在人们的记忆 里成为一个时代的象征。刚好我父亲也有一辆 E100 Corolla，一直是我家主要的 交通工具。它载着我们去海滩、去山上，陪伴我们各种历险。 然而，像亚洲其他典型大都市一样，台北——我父亲居住的城市，也面临着车多 停车位少的局面。每次兴高采烈地旅行归来总要历经找车位到精疲力尽的噩梦，导 致当我们每次需要用 Corolla 出行时我父亲竟倍感压力。 在 'The Toyota（丰田）' 这件作品中，我用充气材料制作了父亲的车的模型，取名 ' 充气丰田 Corollas E100'，这辆模型可以被轻松地折起来放进后备箱，也能快速展 开用以占据一个车位。在这里，这辆充气车充当了原车的化身，一个宣告车主权利 的代言人。"
The Toyota / "Corolla was first introduced by Japanese automotive manufacturer Toyota Motor Corporation ( トヨタ自動車株式会社 ) in 1966 as a series of compact cars, until today there are more than 40 million Corollas were sold and has been one of the best-selling car models in the world. Since 1980, when Corollas was imported in Taiwan, the car model also occupied taiwanese automotive market for years, and becomes a generational symbol embedded in people’s memory. Coincidently, my father also has a Corolla numbered E100, which has been always the most important traffic tool of my family. It takes us to beach, to mountains, accompanied us to experience all kinds of adventures. However, like other typical asian metropolis, Taipei, the city where my father lives, also suffers from it’s excessive number of vehicles and the lack of parking space. Exhausting search of a parking lot has been a nightmare after all the wonderful trips, the consequence is that my father feels pressured every time when we need his Corolla. In the work The Toyota , I used inflatable material to recreate a model of father’s car, namely an inflatable dummy Toyota Corollas E100, which, can be easily folded and put in trunk or rapidly deployed to occupy a parking lot. Here, the inflatable car functions like an embodiment of the origin, an agent to declare the authority of the ownership."
>>The Toyota Inflatable materials 240 x 160 x 140 cm Digital Photo Print 43.2 x 29.1 cm Taiwan 2015
>>The Toyota Inflatable materials 240 x 160 x 140 cm Digital Photo Print 43.2 x 29.1 cm Taiwan 2015
>>The Toyota Inflatable materials 240 x 160 x 140 cm Digital Photo Print 43.2 x 29.1 cm Taiwan 2015
肆：诙谐是你的叙述方式，故事下面往往是一些苦恼。 你怎么看待艺术与生活的关系？你是否有刻意去寻找和 留意有关苦恼的内容并成为你的创作泉源？你是否有怀 疑过自己的乐观 / 理想主义？ 致颖 : 我相信艺术创作都需要一个“Artistic Turn” 的概 念，这有点类似于策略或者是一种执行的态度，这个概 念基本上区分了某个行为和物件是否为艺术创作或仅仅 只是 Youtube 搞笑影片和设计商品。自上个世纪以来 诙谐和幽默一直都是许多创作者常使用的策略，因为它 在谈论某件事时除了有四两拨千斤的扩大效果外，如用 得恰当，也能够产生足够的政治性。在生活中我并未刻 意去寻找“苦恼”，应该说反正苦恼是会自己跑来缠住 我们的，论谁都一样。如果用艺术来处理苦恼或甚至是 尝试治疗苦恼的话那可是会没完没了的。相较于“苦恼”， 也许艺术更应该去关注“问题”，进而“思考问题”。 当然艺术创作和 Artistic Turn 不一定能够真的解决问题， 它的目的更像是提供一个实验场所让人们用不同的角度 观看事物：“如果这样做的话那会怎么样呢？” 这也是 为什么创造性是艺术创作不可或缺的基本条件。 Si: The way you telling story is humorous, but always with trouble beneath. How do you think about the relationship between art and life? Do you deliberately seek and refer to relevant content and make them to be your topic ？ Have you ever doubted your optimistic/idealism? C: I believe that an art work needs an ‘Artistic Turn’ concept, it is a bit similar to a strategy or is a kind of attitude, the concept basically distinguish whether a performance is a true art work, or a funny film on Youtube or a designed product. Witty and humorous has been an old trick since last century, because when discussing something, it has deeper influences on stronger ones. In addition, if using properly, it also has political effects. I didn’t mean to search ‘trouble’, trouble will come to you, no matter who you are. If you want to use art to deal pain or even try to treat it, then it will be endless misery. Compared to ‘upset’, perhaps artist should pay more
attention to ‘problem’ and ‘thinking’. Of course, the artistic creation or ‘Artistic Turn’ cannot really solve the problem, but the purpose is more like to provide an experimental site to let people see things in a different angle, for example ‘ what would happen if you do this?’ That is why creativity is an indispensable basic condition for artistic creation. 肆：从台湾来到柏林继续学习后，你觉得自己在哪些方 面有了改变？ 致颖：有啊，冲击还满大的，我觉得最大的改变是开始 学第二种外语。我从来都没有想过要学德文，当时是因 为想要申请一笔奖学金，看到申请来德国的人比较少， 感觉竞争比较不那么激烈，就自作聪明硬着头皮跑去台 北的补习班快速恶补了一下，当然真正开始了解和使用 这个语言是很多年以后的事了。我觉得学习第二种外语 之后看事情会变得不太一样了，尤其是德文的文法逻辑 和中文可以说恰恰相反，词性、性别、时态等等都必须 清晰准确，这让我发现从前描述事情时是多么模糊，还 有中文的思考语境是多么模凌两可。 Si: What kind of change do you think happen on you after you went Berlin from Taiwan? C: It is a pretty huge impact for me. I think the beginning is to start to learn the second language. I have never thought to learn German, but I did because I wanted to apply for a scholarship at that time. There were a few people to apply German universities, so I thought it was not too competitive, and then I went to a cram school to study German in a short term. Of course, it has been many years since I really know and use it. I think the way you see things will change after you learned another language. Especially, the grammar logic is opposite to Chinese. Parts of speech, gender, tense and so on must be clear and accurate. And then I find that how fuzzy the way I used to describe things, and how equivocal the context of Chinese is.
肆：你目前有比较欣赏的艺术家吗？可以推荐一本你近 期读过或正在读的觉得不错的书给大家？ 致颖：这个名单大概会没完没了，有太多人值得欣赏了。 我最近刚好因为工作去威尼斯双年展兜了一圈，他们为 刚去世的德国导演哈伦·法罗基（Harun Farocki）布置 了小型的回顾展，是我很喜欢的部分。之前在上海双年 展碰到的中国艺术家周滔还有新加坡艺术家何子晏也都 是很棒的创作者。如果是电影的话我很欣赏杨德昌和贾 樟柯，还有泰国的阿比查邦（Apichatpong），基本上 我很喜欢写实中带着那么一点魔幻主义的色彩。关于阅 读的话我必须先承认我看书的速度真的非常缓慢，总是 需要几个月的时间才能看完一本，是很容易分心的那种 类型。最近我刚看完史学家黄仁宇的“万历 15 年”（食 货出版社，初版 1985），已经出版很久了，之前恰好在 台北的二手书店找到。他用别出心裁的方式来谈论明朝 的几位历史人物，非常精彩，让人更能理解当时局势的 混乱以及政治人物无从扭转历史的处境。 Si: Is there an artist you appreciate now? And could you recommend some books you read to us? C: The name list will be endless, since too many people to be appreciated. I went to Venice Biennale these days, and there was a small retrospective exhibition of German Director Harun Farocki, which is my favorate. And Chinese artist Zhou Tao and Singapore artist He Ziyan I met in Shanghai Biennale are excellent. I really appreciate Chinese directors-Yang Dechang and Jia Zhangke. and Thailand director Apichatpong. Basically, I like a little bit floral fantasy bind in realism. And I have to admit that the speed I reading book is very slow, and I always need about several months to finish one, because I am easy to distraction. I just have read the book ‘1587, A Year of No Significance’ written by historiographer Huang Renyu (published by Shihuo press, 1985). It is very old, which I find in a secondhand bookstore. He discusses some historical figures in an original way, and is very brilliant, in which you can understand the chaos situation at that time, and the circumstances which cannot be reversed by politician.
-end{English translated by Wendi Xie und Yandi Wang}
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.com 之微杂志 介绍活动于欧洲的亚洲青年艺术家 About SI micro conceptual magazine, part of Zoe(zoewanshu.com) introducing young Asian artists who are based in Europe
{zine-designed by Minqi Sun}
front cover / 封面 >>The Alp by Musquiqui Chihying
editor / 編輯 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
contact / 聯繫我們 www.zoewanshu.com info@zoewanshu.com 微信平台 : SiArtMagazine 或掃描二維碼
copyright©2015 zoewanshu / SI
SĂŹ 4. May 2015 No. 23
zoewanshu.com