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【艺博会资讯】博而励参加弗里兹纽约艺术博览会 | 展位 C20

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博而励画廊荣幸参加2019弗里兹纽约艺术博览会(Frieze New York Art Fair),群展涵盖画廊强劲艺术家阵容,呈现包括安德烈·布特兹(André Butzer)、埃斯特班·卡贝扎·德巴卡(Esteban Cabeza de Baca)、方璐、侯子超、黄锐、乔纳森·米斯(Jonathan Meese)、廖国核、安瑟伦·雷尔(Anselm Reyle)、王加加、邢丹文、张培力、张伟等艺术家作品,以及画廊代理艺术家资产JCJ 范德海登(JCJ Vanderheyden)。


弗里兹纽约艺术博览会

Frieze New York Art Fair


展位 Booth

C20

贵宾预展 VIP Preview

05.01– 05.02, 11am–7pm


公众开放 Public


05.03, 11am–7pm

05.04–05.05, 11am–6pm


地点 Adress

纽约兰德岛公园 Randall's Island Park






参展作品精选 Selected works



乔纳森·米斯 Jonathan Meese 

(b.1970, Tokyo)


Jonathan Meese, "GOLDENEERZBASIS "K.U.N.S.T." IM 1. POLITIKLOSEN STALL", oil, acrylic andacrylic gel on canvas, 210.5 x 140.3 x3.3 cm, 2017 

? Jonathan Meese

版权归艺术家及博而励画廊所有



乔纳森·米斯,1970年出生于东京,现居住并工作于柏林,是一位德国观念艺术家。他的作品包含了架上绘画,行为艺术,装置艺术,雕塑以及多媒体艺术等多种创作形式。米斯的作品在不断挑战既有艺术媒介的同时,将其创作视为一种宣言——对政治体系的挑衅,亵渎,宣泄,驱邪与批判。


过去几年中,米斯曾与一些著名的艺术家共同创作,例如约尔格·伊门多夫,阿尔伯特·厄伦以及Tal R,并且被诸多世界闻名的展览邀请参展。2017年,乔纳森·米斯还参与了维也纳艺术节瓦格纳歌剧“帕西法尔”的指导。


Jonathan Meese, born 1970 in Tokyo, is a German conceptual artist. His artistic practice spans across multiple mediums from painting and drawings, to performance, installation, sculpture and new media art. While Meese’s work frequently challenges preconceived boundaries of artistic medium, each work comes across with a statement, which oscillates between provocation, blasphemy, catharsis, exorcism, and criticism of the political system.


Over the past years, he has collaborated with renowned artists such as, J?rg Immendorff, Albert Oehlen and Tal R, who have participated in numerous reputable exhibitions worldwide. In 2017 he was involved in the direction of Wagner’s opera “Parsifal” at the Wiener Festwochen. 




安瑟伦·雷尔 Anselm Reyle 

(b.1970, Tübingen)


Anselm Reyle, Untitled, mixed media on canvas, acrylic glass, 135 x 114 x 18.5cm, 2018

? Anselm Reyle

版权归艺术家及博而励画廊所有



安塞姆?雷尔生于1970年,是目前最杰出的德国当代艺术家之一。1997年,他于卡尔斯鲁厄国立造型艺术学院,毕业不久之后便移居到柏林。雷尔将早期对景观设计的兴趣融入其为人熟知的大尺幅,且极端细致的抽象绘画中;随后他开始制作雕塑以及精致的霓虹装置,从中观者可找到来源于20世纪60年代朋克运动初期平面设计中的迷幻风格,特别是那种带有荧光涂料切边艺术的样式。


在战后抽象的浪潮中,安塞姆?雷尔讽刺形式主义者的幻想,同时一丝不苟地继续其条纹绘画的创作。雷尔对主流的品味准则与现代抽象的理想化与乌托邦具有批判性的深思,试图在作品中制造出一种有如游乐场般的美学样式。


Anselm Reyle, born in 1970, is one of leading contemporary artists in Germany. Shortly after graduating from the Staatliche Akademie der Bildenen Künste Karlsruhe in 1997, he moved to Berlin. First recognized for his large-scale, ultra-refined abstract paintings drawing from his interest in landscape design early on in his career, Reyle then moved on to making sculptures and elaborate installations with neon elements, that are inspired by 1960s psychedelia and especially the Day-Glo hard edge agitprop look of graphic design in early punk movement.


Riffing on postwar abstraction, he pokes fun at formalist conceits, as in his meticulously executed vertical stripe paintings. Reyle critically reflects not only upon the prevailing codes of taste but also the, sometimes utopian, ideals of Modern abstraction, creating something like a fun house atmosphere.




安德烈·布特兹 André Butzer 

(b.1973, Stuttgart, DE)


André Butzer, Untitled, acrylic on canvas, 98 x 74 cm / 38.58x 29.13 in., 2019

André Butzer

版权归艺术家及博而励画廊所有



安德烈?布特兹(1973年出生于德国斯图加特),2001年毕业于柏林Institut für SDI-Traumforschung(同比约恩达勒姆),现工作并居住于美国加利福尼亚州的阿尔塔德纳。


他曾在诸多美术馆和艺术机构举办个展,其中包括:“歌德有趣的人”,尼诺?米尔画廊,洛杉矶(2019);“安德烈?布特兹:请给我冰激淋(1999)”,麦克斯?赫茨勒画廊,伦敦(2018);“安德烈?布特兹”,罗伊特林根艺术协会,德国(2016)等。他的作品永久收藏于:普拉达基金会(米兰)、戈兹收藏馆(慕尼黑)、萨奇收藏(伦敦)、芝加哥大学(芝加哥)、新旧艺术博物馆(雅斯塔马尼亚的霍巴特)、斯图加特艺术博物馆、鲁贝尔收藏馆(迈阿密)、洛杉矶当代艺术博物馆、洛杉矶美术馆、哈默尔艺术博物馆(洛杉矶)、汉堡火车站现代艺术博物馆(柏林)、尼姆当代艺术博物馆艺术广场、凤凰城艺术博物馆。


André Butzer (born 1973, Stuttgart), 2001 graduated from Institut für SDI-Traumforschung (with Bj?rn Dahlem), Berlin. Now lives in Altadena, California. 


He has been the subject of solo exhibitions in art galleries and art institutions including Goethe komischer Mann, Nino Mier Gallery, Los Angeles (2019); André Butzer – 1, Eis Bitte! (1999), Galerie Max Hetzler, London (2018); André Butzer, Kunstverein Reutlingen, Germany (2016) among others. His work has been acquired by numerous public collections, such as the Prada Foundation (Milan), the Goetz Collection (Munich), the Saatchi Collection (London), the University of Chicago (Chicago), the Museum of Old and New Art (Hobart, Tasmania), the Kunstmuseum in Stuttgart, the Rubell Collection (Miami), the Museum of Contemporary Art (Los Angeles), the Los Angeles County Museum of Art (Los Angeles), the Hammer Museum (Los Angeles), Hamburger Bahnhof, Museum für Gegenwart (Berlin), Carré d’art, Musée d’art Contemporain, N?me, and the Phoenix Art Museum (Phoenix)  




JCJ 范德海登 JCJ Vanderheyden 

(1928-2012)


JCJ Vanderheyden, Untitled (Standing Red), acrylic on linen over panel, 30.3x 25.3 x 2 cm / 11.93 x 9.96 x .79 IN, 1982(1966)

JCJ Vanderheyden

版权归艺术家及博而励画廊所有

 

JCJ Vanderheyden, Tilled Horizon / AscendingHorizon, Acrylicon printed cotton over panel, 42.3x 45.6 x 1.2 cm / 16.65 x 17.95 x .47 in, 1985-1992

? JCJ Vanderheyden

版权归艺术家及博而励画廊所有



JCJ 范德海登被认为是“艺术家的艺术家”,对荷兰乃至世界的后世艺术家都产生了深远的影响,通过展现一种宏观的视角,暗示了广袤的空间和运动的状态,以及人类在其中的独特存在,以激起观者在宇宙论意义上的自我意识。对于范德海登而言,时间是循环而非线性的,重复和空白是空间和时间的视觉类比。

 

JCJ 范德海登1928年生于荷兰斯海尔托亨博思(s-Hertogenbosch),是战后荷兰最重要的画家之一。1982年参加卡塞尔文献展后,在埃因霍温的范阿伯姆博物馆、鹿特丹的博伊曼斯范贝宁根博物馆、阿姆斯特丹的Stedelijk博物馆等欧洲重要机构举办回顾展。他的作品被世界各地公共及私人收藏。


Considered an artist’s artist, JCJ Vanderheyden has made profound influences on the later generations of artists in the Netherlands and beyond. Resonating with the artistic discourse on relations, Vanderheyden’s works produce a cosmological sense of self through the implication of the relationship between the viewer and the universe. The works imply the vastness and motion of sky and space, and humanity’s distinct place within it. Promoting an understanding of time as cyclical rather than linear, Vanderheyden sees repetition and blankness as visual analogies between space and time.

 

Born in 1928 in ’s-Hertogenbosch, JCJ Vanderheyden is considered one of the most significant post-war painters in the Netherlands. After participating in dOCUMENTA in Kassel in 1982, he held retrospective exhibitions at Van Abbemuseum in Eindhoven, Museum Boijmans Van Beuningen in Rotterdam, the Stedelijk Museum in Amsterdam, and other prominent venues in Europe. His works are in numerous public and private collections worldwide.




 张伟 Zhang Wei 

(b.1952, Beijing)


Zhang Wei, Untitled, oil on linen, 100 x 80 cm /39.37 x 31.5 in., 2018

Zhang Wei

版权归艺术家及博而励画廊所有


张伟,1952年生于北京。从20世纪70年代开始,张伟加入了后来被称之为“无名画会”的“非官方”艺术团体。在艺术生产还笼罩在“文化大革命”的阴翳之下时,这群艺术家已开始秘密在公园或城郊写生,希望借此打开绘画的创造力和生命力。张伟早期的艺术创作旨在呈现物体、人物、风景的印象,受益于老一辈“无名画会”成员杨雨澍与赵文量的指点,他逐渐找寻到自己的抽象视觉语言,通过无名画会的室外写生而得到砥砺,从文化传统中汲取营养,个人主义的激情驱动着艺术家创作出同文化语境无关的自由创造,在富于韵律的色彩之流明显地表现出一种建设性的力量,以独立于“官方”的艺术创作表明了不屈于主流的异见立场。


他的作品被美国芝加哥艺术学院、香港M+视觉文化博物馆、瑞士乌利?希克收藏,以及私人收藏等。


Zhang Wei, born in 1952 in Beijing. Zhang Wei began painting en-plein-air in the early 1970s with a group of artists later to be known as the “No Name Group”. Still at the heat of the Cultural Revolution, these artists sought out means to channel their creative energy on canvas by venturing on clandestine trips in the parks or on the outskirts of the city. Without having received any formal art education, in Zhang Wei’s early phase of artistic practice, he aimed at rendering the impression of an object, figure or the landscape. The guidance he received from the older members of the group, Zhao Wenliang and Yang Yushu inspired him to discover his own visual language. His interest and knowledge in traditional Chinese painting, and his job at the Beijing Kunqu Opera Troupe further contributed to the artist’s inclination of drawing from his own impressionist elements and translating them onto canvas.


His work has been acquired by numerous private and public collections, such as Art Institute of Chicago(Chicago), M+, Museum of Visual Culture(Hong Kong), and the Sigg Collection(Switzerland), etc.




张培力 Zhang Peili 

(b.1957, Hang Zhou)


Zhang Peili, Audible Mattress, new and old mattresses, pressure sensing controller, voice player, power amplifier, speakers, variable dimensions

unique, 2018

Zhang Peili

版权归艺术家及博而励画廊所有



张培力,1957年11月生于杭州。1984年毕业于浙江美术学院(现中国美院)油画系,居住和工作于杭州。现为中国美术学院教授,OCAT上海馆执行馆长。1985、86年组织参与“85新空间”展览及“池社”活动。主要作品有《X?》系列、《30X30》、《水-辞海标准版》、《(卫)字3号》、《不确切的快感》、《遗言》、《阵风》、《碰撞的和声》等,其中《30X30》(1988)为中国最早的录像艺术作品。强调艺术对于现实生活的关照和干预,强调艺术语言的批判和自我批判性。主要从事以录像、文字、声音装置、机械装置、摄影为媒介的艺术创作。从事艺术教学工作三十余年,于2003年在中国美院建立新媒体系,开始了中国艺术院校中最早的新媒体艺术教育。


张培力的作品收录于众多国际性公共和私人收藏系列,其中包括:美国芝加哥艺术博物馆;英国泰特现代美术馆;美国纽约现代艺术博物馆;美国纽约古根海姆博物馆;阿布扎比古根海姆博物馆;法国国家造型艺术中心;法国巴黎蓬皮杜艺术中心;法国巴黎dsl收藏机构;德国柏林戴姆勒艺术收藏;日本福岗亚洲美术馆;新加坡国立美术馆;澳大利亚昆士兰美术馆;中国北京尤伦斯基金会;香港/温哥华梁洁华艺术基金会;美国纽约亚洲协会;德国慕尼黑戈兹美术收藏馆;瑞士乌利·希克收藏;澳大利亚白兔美术馆;香港 M+;上海民生美术馆;上海梅赛德斯-奔驰文化中心等。


Zhang Peili was born in Hangzhou, China in November 1957. He graduated from the Department of Oil Painting at Zhejiang Academy of Fine Arts (now China Academy of Art) in 1984, where he is now a professor. He is also the executive director of OCAT Shanghai. Zhang currently lives and works in Hangzhou. In 1985 and 1986, he organized and participated in the "'85 New Space" exhibition and artist collective "Pond Society" activities. His major works include Rest, X? series, 30x30, Water: Standard Version from Cihai Dictionary, Document on Hygiene No.3, Last Words, A Gust of Wind and Collision of Harmonies etc.. Among them, 30x30 (1988) was the earliest video artworks in China. 


His works have been acquired into private and public collections internationally, including, Art Institute of Chicago, US; Annie Leung Art Foundation, Hong Kong; Asia Society, New York;  Centre National des Arts Plastiques, France; Centre; Guggenheim Museum, New York, USA; Guggenheim Museum, Abu Dhabi; Georges Pompidou, Paris; DSL Collection, Paris; Daimler Art Collection, Berlin, Germany; Fukuoka Asian Art Museum, Japan; Guy & Myriam Ullens Foundation, Switzerland; La Fudación Helga de Alvear, Spain; Minsheng Art Museum, Shanghai, China; M+, Hongkong, China; Mercedes-Benz Arena, Shanghai, China; Queensland Art; Gallery, Brisbane, Australia; Singapore Art Museum, Singapore; Sammlung Goetz, Germany; The Museum of Modern Art, New York; Tate, UK; Ullens Center for the Arts; Uli Sigg Collection, Switzerland; White Rabbit Gallery, Australia, etc.



邢丹文 Xing Danwen 

(b.1967, Xi'an, China)


Xing Danwen, Urban Fiction 19, c-print, 79 x 105 cm /31 x 41 in., Edition 5 of 8, 2006

? Xing Danwen

版权归艺术家及博而励画廊所有



邢丹文出生于中国西安,现在生活并工作于北京。她的艺术实践是丰富多样的,作品的主题包括:文化情节之间的断层、传统与全球化之间的冲突、发展造成的环境问题、现实和欲望相互之间在都市舞台的演绎。事实与虚构、真实与幻想,常常在她的作品中扮演重要的角色。


其作品在国内外频繁展览,其中包括美国惠特尼美术馆、法国蓬皮杜艺术中心、美国ICP 国际摄影中心、英国Victoria & Albert美术馆,横滨三年展、悉尼双年展等。作品被博物馆及私人收藏家广泛地收藏,包括大都会美术馆,盖提美术馆,惠特尼美术馆、蓬皮杜艺术中心、 ICP 国际摄影中心、SF MoMA、广东和中国美术馆等。


Xing Danwen was born in Xi'an, China, currently lives and works in Beijing. Her artistic practice is both rich and varied and her subjects include: Dislocation between cultural status, conflicts between globalization and traditions, problematic environmental issues created by the developemnt, the urban drama between the desire and reality. Fiction, truth and illusion often play an important role in her works. 


Xing Danwen exhibits domestically and internationally, including Whitney Museum of American Art, Pompidou Center, International center for Photography, Victoria and Albert Museum, 1st Yokohama Triennale and Sydney Biennale 2004, etc. Her works are also collected widely by museums and privates, including Whitney Museum, Pompidou, ICP, SF MoMA, FNAC, the Progressive, Groupe Lhoist, etc. 




方璐 Fang Lu

(b.1981, Guang Zhou)


 

Fang Lu and ArieKishon, Tank, single channelvideo, sound, 13', Photos, (four4x6 inch photos), 2017

Fang Lu and Arie Kishon

版权归艺术家及博而励画廊所有



方璐,1981年生于广州,现工作与生活于北京,她毕业于美国纽约视觉艺术学院及旧金山艺术学院。方璐是录像局——位于北京和广州的独立录像档案机构的共同创始人之一。


她曾在博而励画廊、艺门画廊、箭厂空间、博尔赫斯当代艺术机构、空间站举行个展;作品曾在在旧金山的亚洲美术馆、卢贝尔美术馆、马尔玻璃方雕塑博物馆、OCAT 上海馆、尤伦斯当代艺术中心、圣彼得堡的坦帕美术馆、中央美术学院美术馆、深圳雕塑双年展等展出。


Fang Lu is an artist currently lives and works in Beijing. She was born in Guangzhou China in 1981. She received her BFA from Graphic Design department at School of Visual Art in New York in 2005, and MFA from the New Genres department at the San Francisco Arts Institute in 2007. She is co-founder of Video Bureau, an independent video archive resource in Beijing and Guangzhou. 


Her work has been featured in solo exhibitions at Boers-Li Gallery; Pekin Fine Arts, Arrow Factory, Space Station, Borges Libreria Institute of Contemporary Art; and in group exhibitions such as the 28 Chinese in Rubell Family Collection Museum in Miami, China 8 in Skulpturenmuseum Glaskasten Marl, Pierre Huber Prize show in OCAT Shanghai, My Generation in Tampa Museum, On/Off in Ullens Center for Contemporary Art , Tampa Museum of Fine Arts in St. Petersburg, Central Academy of Fine Arts Museum in Beijing, Shenzhen Sculpture Biennial. 




黄锐 Huang Rui 

(b.1952, Beijing)


Huang Rui, Red Beijing Image, acrylic on canvas, 93 x 135 cm / 36.61 x 53.15 in., 1990

? Huang Rui

版权归艺术家及博而励画廊所有



黄锐能够将自身的智慧与敏锐的个人探索相结合,发挥到极致。他的作品笔触细腻,一气呵成;于简约间可窥见其背后,源于中国古代哲学、反映共产主义虚伪、表达对当今社会现实之关切的巨大隐喻。黄锐的作品寓意深厚,正如他的思想,化零为整,璀璨繁盛。


他的作品被博物馆及私人收藏家广泛地收藏,包括古根海姆博物馆、中国国家博物馆、广州美术馆、上海喜马拉雅美术馆、德山艺术空间等。


Huang Rui is an artist that has at once the ability to combine extreme intellect with highly sensitive and personal approach. His works are finely crafted and meticulously finished. Within a minimalist exterior there hides mountains of meanings and connotations stemming from ancient Chinese philosophy, modern-day communist hypocrisy or current society’s middling obsessions. There is never just one thing hidden in Huang Rui’s works but several, for his mind turns the pieces around and around while his ideas growing like shoots of complexity. 


His works have been acquired into private and public collections internationally, including The Guggenheim Museums, New York; China National Museum, Beijing; Guangdong Art Museum, Guangzhou; Shanghai Himalaya Art Museum, Shanghai; Deshan Art Space, China, etc. 




廖国核 Liao Guohe

(b.1977, Calcutta)


EKS (coconut tree leaf, Justice, Devil Empire), acrylic fabric, 161x107cm, 2018

? Liao Guohe

版权归艺术家及博而励画廊所有


廖国核1977年出生于加尔各答,2001年结业于圣塔芭芭拉加州大学机械制图专业,现居长沙、北京。廖国核的绘画总让人处于某种无所适从的快感中,这种玩世不恭的批判策略既令人着迷,又为观者布署了诸多审美上的挑战。在当代艺术依附意识形态的同时又对后者进行揭露和抵抗的游戏已让人感到疲惫的今天,廖国核的实践似乎想要绕到游戏背后,成为一种比乔装的意识形态更为狡黠的存在。对于廖国核来说,绘画的“真理”潜藏在超越和减少其内容和形式这一充满讽刺意味的过程之中。廖国核在绘画形式上的表现可能会让观众相信艺术家对于媒介的信奉,但他使用的语言破坏了图像所传递的直白信息。和他很多绘画作品一样,在展现其对绘画深度理解的同时,廖国核同时也在颠覆绘画的基本信条中对此媒介发起挑战。


2014年至2016年,廖国核参与了包括“土尾世界——抵抗的转喻和中华国家想象”(PARA SITE 艺术空间)、“精神”(PAC 当代艺术博物馆)、蒙特利尔双年展等重要群展;四方美术馆与北京民生现代美术馆分别为其举办了个展。


Born in Calcutta in 1977, Liao Guohe graduated from the university of California, Santa Barbara, majoring in mechanical drawing in 2001. He now lives in Chang Sha and Beijing.. One would always immerse in the sense of loss and ignorance when appreciating Liao Guohe’s painting. This cyniscism is used as a critical strategy, fascinating while aesthetically is also a challenge for the audiences. . In today’s art ecology, while contemporary art adheres to ideology, the game of exposing and resisting the latter has made people feel tired. Whereas the practice of Liao Guohe seems to go behind the game and becomes a more crafty existence than the ideology in disguise. For Liao Guohe, the "truth" of painting lies in the ironic process of transcending and reducing its content and form. The representation of Liao Guohe in the form of painting may convince the audience of the artist's belief in medium, but the language of his painting destroys the direct message conveyed by the image. Like many of his paintings,  liao guohe challenged the medium in the process of overturning the basic tenets of painting while showing his profound understanding of painting., 


From 2014 to 2016, Liao Guohe participated in a variety of remarkable group exhibitions including "Tuwei World - Metonymy of Resistance and Chinese National Imagination" (PARA SITE Art Space), "Spirit" (PAC museum of contemporary art), and Montreal Biennale. Both Sifang Art Museum and Beijing Minsheng Modern Art Museum has organized solo exhibitions for Liao Guohe.




王加加 Wang Jiajia 

(b.1985, Beijing)


Wang Jiajia, oil, acrylic, resin, spray paint, digital print oncanvas

100 x 150 cm, 2019

Wang Jiajia

版权归艺术家及博而励画廊所有




埃斯特班·卡贝扎·德巴卡 Esteban Cabeza de Baca

(b.1985, San Ysidro)



Esteban Cabeza de Baca, Kiral 2, acrylic on canvas, 152.4 x 152.4 cm/60 x 60 in., 2019

? Esteban Cabeza de Baca

版权归艺术家及博而励画廊所有




正在展出



博而励北京 Boers-Li Gallery Beijing

好生意画廊

2019.4.20 - 6.2


博而励画廊隆重推出群展“好生意画廊”,呈现米歇尔·埃伯利斯(Michele Abeles)、潘望舒、孙一钿、阿玛利娅·乌尔曼(Amalia Ulman)、袁可如五位女性艺术家的作品,其中涵盖了绘画、摄影、雕塑、灯牌、录像装置,并在开幕现场上演了以袁可如影片主要人物为原型的表演。



博而励纽约 Boers-Li Gallery New York

Esteban Cabeza de Baca: Worlds without Borders

2019.4.5 - 6.15


博而励画廊呈现Esteban Cabeza de Baca在纽约的首次个展,展示艺术家最新作品,质疑“边界”作为概念划分国家,种族,与生物。Esteban Cabeza de Baca运用涂鸦技法,神话符号,以及前哥伦比耶时期的图像语言,其绘画与雕塑作品试图结构线性的时空表征,从而以多维度视角“重”现风景,历史,及人类,非人类,和自然之间的关系。


Beijing | New York



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