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东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09

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东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客


艺术深圳 2021 Art Shenzhen 2021

东画廊展位 B09 | Don Gallery Booth B09


参展艺术家 | Artists

曹再飞 CAO Zaifei、常陵 CHANG Ling

郭海强 GUO Haiqiang、胡子 HU Zi

九九 Kumi Usui、李珊 LI Shan

刘任 LIU Ren、吕松 LU Song

曲丰国 QU Fengguo王宁德 WANG Ningde

向振华 XIANG Zhenhua、章佩芸 ZHANG Peiyun

张如怡 ZHANG Ruyi张云垚 ZHANG Yunyao


藏家预览 | VIP Preview

2021/09/09 14:00 - 21:00

公众开放 | Public Days

2021/09/10 - 2021/09/11 10:00 - 19:00

2021/09/12 10:00 - 17:00


地点 | Location

深圳会展中心6号馆

Hall 6, Shenzhen Convention & Exhibition Center




曹再飞 | CAO Zaifei


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Bigger 要大, CAO Zaifei 曹再飞, 2019. Oil on canvas 布面油画, 60 × 70 cm


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曹再飞说:“生活中我是个简单随和的人,常常会迁就、妥协,甚至与世无争,但在艺术上喜欢自我死磕,甚至不在意他人的眼光。长期单兵作战,游离于各个圈层之外,形成了自己独特的视角与思考,既保持理性克制,又喜欢神秘主义,在正经与不正经之间寻找平衡。题材内容都是大家熟知的雕像、名画和日常事物,用一个不经意的动作改变了他们原有的含义,形成了我个人的语法。对我来说绘画语言越简单质朴越好,甚至夹杂着生硬、笨拙,有点范伟式的土味,并自带喜感。”


CAO Zaifei said, "In my life, I am a simple and easy-going person, often accommodating, compromising, and even incompetent with the world, but in art, I like to smash myself, and even don't care about the eyes of others. I have been fighting alone for a long time, free from all circles. Formed my own unique perspective and thinking, not only maintaining rational restraint, but also fond of mysticism, looking for a balance between seriousness and irregularity. The subject matter is all well-known statues, famous paintings and everyday things. With a casual movement, they changed their original meaning and formed my personal grammar. For me, the simpler and simpler the painting language is, the better, even mixed with blunt and clumsy, a bit of FanWei’s rustic humor style, and also with a sense of joy.”





常陵 | CHANG Ling


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

2014.12.6, CHANG Ling 常陵, 2014. Oil on canvas 布面油画. 162 x 130 cm


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该作品出自常陵《大玄玄社会》系列。“大玄玄社会” 延续了常陵对社会现实的关照,但这类现实更加内化而深入,是常陵用情感和记忆堆砌而成的时代幻像。在“大玄玄社会”系列的创作中,常陵提出并践行艺术的 “恰恰” 精神。他鼓励创作者摒弃逻辑的束缚,仅仅将作品看做是自身情感的流露和精神世界的外化。


This piece of work is from CHANG Ling’s Illusion Society series.  Illusion Society is a continuation of CHANG Ling’s preoccupation with society’s realities, while also representing a deepening of exploration into such realities – an epochal illusion borne of CHANG Ling’s accumulated emotions and memories. Through the Illusion Society series, CHANG Ling raises and practices “precision” in art. He encourages creators to abandon the constraints of logic, to view art as an externalization of the spiritual and an unveiling of emotion. 





郭海强 | GUO Haiqiang

东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

2021.4.10, GUO Haiqiang 郭海强, 2021. Hemp fibre, branch and oil on canvas 布面油彩, 树枝和麻丝, 190 × 275 cm

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郭海强说:“我喜欢通过写生来锤炼绘画语言,雕塑经验的带入,让画面里散发出充沛的身体感和物质感。用最朴素直接的方式集中色彩和形状的凝聚,把传统手法和当代绘画意识融合。我一年四季在山中穿行,画春暖,画夏阳,画秋爽,画冬藏,日复一日,就像我父母一辈子在地里劳作一样。 ”


GUO Haiqiang said, “I like to temper the language of painting through sketching, and then by incorporating my experience with sculpture, the composition exudes a sense of body and material. In bringing together color and shape through this most humble and direct methods, traditional techniques are integrated with a contemporary understanding of painting. I pass through each season of the mountains, painting the warmth of spring, the summer sun, the chill of autumn, and the retiring winter. Day after day, I labor as my mother and father labored all their lives in the earth of those mountains.”





胡子 | HU Zi

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东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客
东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客
东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客
(左) Self-Portrait with Thalia and Euphrosyne, HU Zi 胡子, 2019. Gouache on paper 纸上水粉. 75 X 53.5 cm
(中) Self-Portrait with Aglaia and Euphrosyne, HU Zi 胡子, 2019. Gouache on paper 纸上水粉. 75 X 53.5 cm
(右)Self-Portrait with Aglaia and Thalia, HU Zi 胡子, 2019. Gouache on paper 纸上水粉. 75 X 53.5 cm


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“胡子画中的线条有棱有角,直来直去。画中人物的边缘轮廓粗钝差互,这种线条强化了画中人物个性的暗面。如果借用贡布里希 ‘图式与修正’(schema correction)的说法,那胡子对这些西方肖像画“图式”的重访,也即她以自己独特的视觉语言对其所作的 ‘修正’。贡布里希在《艺术与错觉》一书中写道:‘艺术家的创作不可能无中生有,但可以对前辈们评头画足。’ 这些自画像等待着后世艺术家的 ‘修正’,一如她‘修正’了十六十七世纪的这些历史肖像。光明与黑暗,昼与夜,阴与阳贯穿着人类的全部历史,也潜含于人类存在的本质,一同溶解在了胡子的暗面中”,Andy Cohen说。

“HU Zi’s lines are angular, and straight forward. The jagged-edged outlines of her subjects’ physical features reinforce the dark sides of their personalities. HU Zi’s renderings of these icons engage in a sort of ‘schema correction’ — to borrow a phrase from EH Gombrich--of western canonical images (the schema) that results in her own original, visual language (the correction). As Gombrich wrote in Art and Illusion, ‘The artist cannot start from scratch, but he can criticize his forerunners.’ HU Zi leaves plenty in her self-portrait for future artists to ‘correct’, as well as in her rectified portraits of historical icons from the 16th and 17th centuries. Light and darkness are as common to every period of human history as they are to each day and night — the Yin to the Yang. HU Zi’s latest body of work embraces the underlying bipolar nature of human existence as well as society’s need to whitewash its dark side. ” (Andy Cohen)





九九 | Kumi Usui

东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

I’m Drawing & Drawing 2021 #59 埋头画画 2021 #59, Kumi Usui 九九, 2021. Acrylic on paper 纸本丙烯, 27 × 19 cm

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九九的创作主要涉及纸本丙烯、综合材料绘画及装置。其创作观念及创作实践围绕日常生活与情感展开,并在《埋头画画》系列作品中尝试模糊生命与绘画的边界,试图回到绘画的本质状态进行无目的性的绘画,审问绘画本身的意义、生活的意义与自我的意义。


Kumi Usui’s work involves acrylic on paper, painting with mixed media, and installation. Her conceptual practice centres on everyday life and emotions. In the series of I’m Drawing & Drawing, she tries to return to the pure state by blurring the boundary between art and life when creating aimless paintings, questioning the meaning of drawing, the truth of life, and the connotation of self.





李珊 | LI Shan


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Dark Blue (Heaven Lake of CelestialMountains) 深蓝 (天山天池)LI Shan 李珊, 2021. Oil on paper 纸上油画, 29.5 × 21.5 cm


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李珊以“非官方”艺术家的身份参加了“无名画会”在1974年的地下展览及1979年相对开放的公共展览,在这一时期创作中,树木、花卉与景观是艺术家始终掌握的母题;高洁的梅花与清雅的菊花都是艺术家的个人肖像,反映着艺术家自己的心理现实。而在最近新作中画面出现的场景多半来自艺术家在世界各地的遨游,而这些新作相较于七十年代的写生在色彩上更加明快鲜亮且都保留着其她娴熟入微的独特笔触。


As an "unofficial" artist, LI Shan joined the underground exhibition of the painting society in 1974 and, later on, in 1979 a less clandestine, more openly public exhibition as a relatively relaxed political atmosphere began to emerge after the Cultural Revolution. Trees, flowering plants, and the landscape are among the motifs which the artist has long embraced; the elegant plum blossom or noble chrysanthemum as personal portraits or reflections on the artist’s own psychological reality. In the recent paintings of LI Shan, many of the compositions and scenes derive from the artist’s extensive travels abroad. Tranquil landscapes contrast the hustle and bustle of city life. Compared to her earlier works from the 1970s, the palette of LI Shan’s new paintings is brighter while retaining the nuanced singularity of her brushwork.




刘任 | LIU Ren


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Panta Rhei-202105291533, LIU Ren 刘任, 2021. Silk screening on straw paper, gold foil 丝网草纸 金箔, 62.5 × 64.5 × 6.5 cm


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在这个系列中,刘任将草纸打成纸浆再重新塑形成厚如砖块的纸砖,当表面被压平与晾干后,再用丝网印刷的方式把颜色深浅不一的“Panta Rhei”字样描摹成海浪起伏的视觉形态,并且最终用金箔嵌入纸砖自然风干过程遗留下的裂隙。刘任动用众多反差性对峙的元素。譬如在直观的视觉感受上,用干枯的草纸去表现潮湿的洋流;在物质形态上,则是作为廉价快消品的草纸被转译为试图指向永恒的艺术品;而在至关重要的主题学范畴内,则是凝固的海与绵延的时间所形成的、互为隐喻的关系。


LIU Ren uses roughly textured straw toilet paper to create a mulch, and then presses the mulch into bricks of paper. After preparing a flat and dry surface on the straw paper bricks, LIU screen prints the words “Panta Rhei” in various shades to evoke the visual form of undulating waves. Lastly, he uses gold leaf to limn the cracks in the paper bricks which are left behind by the air-drying process. In terms of form, this process is like yet unlike painting. In this series, LIU often places elements in direct confrontation with each other. Visually speaking, dry paper is used to evoke the liquid currents of the ocean. While straw toilet paper -- one of the cheapest and most disposable consumer products -- is the chief material used in a work of art which strives at timelessness. In the crucial category of thematics, we find contrast in the mutually metaphorical relationship between the solidified sea and elongated time.





吕松 | LU Song


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Japanese Garden #30 日本花园  #30, LU Song 吕松, 2020. Acrylic on canvas 布面丙烯, 200 × 150 cm


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吕松如此描述自己的创作:“我的创作过程始于情绪,我从电影文学和个人经历中获取灵感。我的目标就是获得对这些情绪的更深层理解,并丰富自己绘画实践中的感觉。绘画对于我来说就像写作,是一个梳理、归纳和探寻未知的过程。” 吕松此次的绘画,让人一次次凝视同一图景,并获得了不同的心理感受。一直凝视,直至模糊。


LU song said, “My creative process begins with emotion. I find inspiration in film, literature, and my personal experiences. My goal is to obtain a deeper understanding of these emotions, and to enrich the feeling within my artistic practice. To me, painting is like writing in that it is a process of sorting, categorizing, and discovering the unknown.” LU presents the same scene over and over again to the viewer, so that they may encounter different states of mind. The same scene, again and again, until it becomes indistinct.





曲丰国 | QU Fengguo

东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

End of Heat, Four Seasons 四季 处暑, QU Fengguo 曲丰国, 2020. Oil on canvas 布面油画, 80 × 100 cm


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曲丰国的“四季”系列始于一种与“物哀”同工的审美意识,是艺术家对作为自然物的季节所带来的无常感与极致情绪的不自觉捕捉,情不自禁地从变幻流转的外界事物中获得了幽深玄静的洞察与身体力行的共振,仿佛将人与物之间的距离扩张成转瞬的间期。抽象作为惯习得以出现,而非基于场景的摹本。虽然在近阶段的“四季”中,分割的叠加与叠加的分割作为结构要素在画面中央占据了不少几何母题,但曲丰国创作语言的核心是空间与空间性的消失。


“Four Seasons” by QU Fengguo stems from a sense of aesthetic judgment analogous to “mono- no-aware.” It is the unconscious capture of impermanence and ultimate emotions brought by the seasons as a natural kind. Seized with a sudden impulse and all the patience, the artist obtains extraordinarily deep insight and empathy into external objects that are changeable and unpredictable, as though the distance between persons and things is expanded into a fleeting moment. Abstraction is practiced as a habitus but not a scenario-based transcription in his composition. Though in recent practice of this series, the superposition of division and the division of superposition functions as a structural element occupying the very center of the image. A number of geometric motifs emerge, but the core of QU’s creative language is the disappearance of space and spatiality.





王宁德 | WANG Ningde

东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Form of Light Color Filter for a Utopian Sky #06 有形之光 理想天空滤色镜 #06, WANG Ningde 王宁德, 2013. Honeycomb aluminum panel, acrylic, clear lightbox sheet 蜂窝铝板, 亚克力, 透明灯箱片, 198 × 141.4 × 6 cm. Ed 3of3


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”有形之光“是将一张完整的照片分割、计算、压缩和裁切,直立之后碎片的影子叠加还原成一张完整照片的影子图像,这个动作过程至关重要,所以也可以把它看成是一种过程的记录结果,它让我们联想到今天“碎片化”的生活和图景。一幅照片里拍摄的无论是什么,终究只是一些光化反应,即使你相信它是可以替代对象本身,那个对象也已经不存在,或者改变了。王宁德的作品向观众呈现图像的同时,提示自身的虚幻,质疑我们对世界认知的正确性。


WANG Ningde uses photographic processes without creating photographs by definition. The effect is closer to that of a camera obscura, an image or representation of reality hovering over reality itself. Furthermore, the gridded images, composed of hundreds of units, subvert the tendency of traditional photography towards the lone cropped image which we refer to as a photograph. WANG's method of composing these works eschews the chemical process of fixing an image to a surface, relying instead on an organized fragmentation of a singular image on a series of transparencies, which when exposed to a specific lighting, creates a composite shadow image. The end result is the artist quite literally drawing with light, creating ghostly images through a process that relies on both computers and the human hand. 





向振华 | XIANG Zhenhua


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

TM-f2016005, XIANG Zhenhua 向振华, 2016. Archival inkjet print 艺术微喷, mutiple size 多种尺寸规格, 3ED+1AP


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《型录》系列描绘了“消费”与“消耗”共时发生的动态景观。模特的样貌、服装形制等图像信息逐渐堆叠,他们身上“物”与“人”的特性越发模糊,形象变成幻影。堆叠处理的图像,逆向织构成霰散的质地,“生产”与“耗损”、“消费”与“消耗”共时发生的经过变得可见。


“Catalogue” describes a dynamic landscape in which “depletion” and “consumption” occur simultaneously. Instead of creating images by “capturing a moment,” XIANG Zhenhua uses advertising images as the object of creation. Images of models’ faces and silhouettes of garments are gradually layered, so that the characteristics of “things” and “humans” become increasingly blurred, and images become illusion. These stacked images are interwoven in reverse into scattered and isolated textures. “Production” and “waste,” “depletion” and “consumption” -- processes that are sharing the same moment in time are made clear.





章佩芸 | ZHANG Peiyun


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

In The Garden #3 在园中 #3, ZHANG Peiyun 章佩芸, 2020-2021, Mixed Media 综合媒材, Dimension Variable 装置尺寸可变


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章佩芸的作品从起初对光影的寓意理解、对自然的观看和复调式的模仿,逐渐形成以自然界和艺术历史为资源参照的或抽象或具象的绘画群像。在创作中,她并不拘泥于其中任何一种知识型的单一立场。在她看来,不同时代的秩序感本身构成的是不同类型的知识,而对任何秩序感的感知必然是基于爱。绘画中真正重要的东西,并非秩序感所代表的理性,而是艺术家和观众如何感性地表达与感受着那种被归类为理性的秩序感。


From the initial understanding of the meaning of light and shadow, the viewing of nature and polyphonic imitation, ZHANG Peiyun's works gradually form a group of abstract and figurative images with reference to nature and art history. ZHANG does not stick to any single intellectual position. In her view, the sense of order in different eras constitutes different types of knowledge, and the perception of a distinct sense of order must be based on love. What is essential in painting is not the rationality represented by the sense of order but how the artist and the audience perceptually express and experience the sense of order classified as rational.





张如怡 | ZHANG Ruyi


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Individual Plant-42 一株-42, ZHANG Ruyi 张如怡, 2021. Concrete, pigment, ceramic tiles, wood panel, metal 混凝土, 色粉, 瓷砖, 木板, 金属, 42 × 30 × 10 cm


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一颗由混凝土浇筑的异形仙人掌坐落在瓷砖覆盖的底座上,像是被驯化的植物标本。这件雕塑继承了艺术家在早期纸本创作中关于天然物受到环境规训的思考。张如怡的雕塑和装置从日常生活中的物品和材料汲取灵感,参考它们面临着变化的环境表现出的力量和脆弱性。她在城市拆迁的废墟中采集碎石,这些现实之下的人造粗石,质感粗旷、颜色灰暗,却拥有独特的厚重感,仿佛是见证时代变迁的“化石”。


A dysmorphic cacti made out of concrete is situated on a tiled pedestal, petrified as a plant specimen. The sculpture is carrying forward the artist’s thinking upon natural objects being disciplined by the environment in her early paper works. ZHANG Ruyi draw on materials and objects from daily life, referencing their simultaneous strength and vulnerability in the face of a changing environment.  She collects rubble in the ruins of urban demolition, under the reality, these artificial rough stones have rough texture, dark colour, but unique sense of weight, they were “fossils” witnessing the changes of The Times.   





张云垚 | ZHANG Yunyao


东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

Study in the Head 头部习作, ZHANG Yunyao 张云垚, 2019. Graphite and pastel on felt 石墨, 色粉, 毛毡 30 × 20 cm


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选择毛毡作为画布,从起点处就决定了张云垚所必须“履行”的一种不可逆的绘画方式,以及对每一处细节的严格执行和强力控制。在其作品中身体在物理空间上是个人所占据的位置,在隐喻空间上又为自我认同与社会关系的互涉提供地方;更关键的是,身体是建构情感本体的场所。艺术家捏造各种虚假的姿态,以此显示对其解剖构造的深入见地,身体在快感的规训下具有了政治性。毛毡的雕塑质感通过对肉身、躯干和肢体的召唤得以实现,终结了强加于身体的压制与漠视。


Working with felt as a canvas, ZHANG Yunyao is “voluntarily forced” into an irreversible method of painting, which demands rigorous execution and an ironfisted grasp of every detail. Whereas body is the location occupied by an individual in physical space, it provides a place for the interplay between self-identifications and social relationships; more importantly, body situates itself as a site for the construction of sentimental noumenon. By fabricating highly stylized poses, the artist is showing an advanced understanding of anatomy, among which the body is disciplined by pleasure and thus becomes politicized. The sculptural appearance of felt is concreted by the powerful evocation of the mortal flesh, which ends the ignorance and suppression on body.


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东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客

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东画廊 | 2021 Art Shenzhen 艺术深圳 展位 B09 艺术 深圳 画廊 Art Shenzhen 展位 Shenzhen2021东画廊展位B09 艺术家 Zaifei 常陵 崇真艺客


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